By Marcia Cotlan
Catalina siempre ha amado a Mateo Aspériz, pero está obligada a casarse con Tobías Ordaz. Para ello deja su Vizcaya natal y parte rumbo a Maracaibo, donde el que será su esposo tiene una hacienda productora de cacao. Unos meses después, Mateo emprende el mismo viaje para ir en su búsqueda.El tiempo, l. a. distancia y que Tobía s no resulta ser el hombre despreciable que ella creía, harán que los angeles joven se plantee si el amor que siente por Mateo es verdadero y si realmente odia a su futuro marido.En medio de esta encrucijada, se descubre un poor secreto de su pasado que ensombrece aún más su difícil y complicada situación. Ahora que está sola y despojada de todo cuanto creía suyo, ¿será capaz de escuchar los dictados de su corazón?Marcia Cotlan nació en Asturias en 1975. Es una lectora voraz desde muy pequeña. Toda su vida l. a. recuerda leyendo, desde Madame Bovary hasta las novelas de Karen Robards o Crónicas marcianas de Ray Bradbury. No hay un género literario que le guste más que otro. Siempre cube que le gustan las novelas bien escritas, independientemente de su género.Estudió Filología y actualmente trabaja como profesora de Literatura.Escribe desde niña. Su primer poema aparece publicado en l. a. revista de su colegio y estaba dedicado a los angeles primavera. Escribió poesía hasta l. a. adolescencia, ganó varios concursos literarios, y después comenzó a escribir narrativa, sobre todo relatos fantásticos, con algunos de los cuales también ganó concursos. Su salto a los angeles novela romántica se produjo tras leer a autoras como Mary Jo Putney y Kathleen Woodiwiss. Su primera novela publicada es Corazones heridos.
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Additional info for Amargo como el amor
Cambiava molto durante le riprese e soprattutto in fase di edizione: nel doppiaggio modificava quasi completamente (spesso radicalmente) il dialogo. Gli importava talmente poco del- 35 DA LONTANO la drammaturgia che agli attori, qualche volta, invece di far dire le battute chiedeva di snocciolare numeri: più tardi avrebbe trovato le parole adatte. Le conflittualità arrivavano quasi da sole, e avevano sempre a che fare con una visione da mascarade della realtà, stravolta, filtrata dalla memoria, immaginifica.
Cerchiamo di individuare quali sono le caratteristiche di queste due modalità di scrittura e quali le differenze per quanto riguarda la drammaturgia. '* Partiamo dal dato più importante (e anche più occulto). Mi riferisco alla sintassi e al tono di voce del narratore. La scrittura, infatti, mima sempre la voce di qualcuno. E il personaggio che ha quella voce è sempre e comunque il protagonista della vicenda che essa narra, anche se, come nel caso della terza persona, non si vede. Egli è il protagonista immobile, nascosto, e ci sta raccontando, indirettamente, com'è fatto, secondo lui, il mondo.
E l'epoca in cui, in teatro, la parola conosce la sua più grave crisi: la gestualità tenta di riempire il vuoto che le parole sembrano fatalmente aver creato. La sincronia ha avuto la meglio sulla diacronia, vale a dire che il tempo è un tutto presente e che i fatti non sono più portatori di senso: ciò che li origina è destinato a rimanere nell'oscurità. La metonimia. Da un punto di vista poetico, sia la prima che la terza persona presentano vantaggi e svantaggi in egual misura. Ho voluto soltanto mostrare le differenze tecniche più vistose tra le due forme di scrittura.