Max Aub: the art of pretending not to falsify

Confessions are those without a history outlined by versatile artist, refined avant-garde writer Max Aub in "Crime EXEMPLARY," published in 1956 in Mexico where he lived in exile until his death, after managing to escape from a Nazi concentration camp.
Aub actually born in France but lived for years in Spain, he spent his whole life as a "genius stateless. Along with writings such as those committed on the Spanish Civil War, there are other kind of satirical, sometimes focusing on the biography of men ever really existed such as the biography of a cubist painter never existed (but did believe so readers for many years) considered by critics as a masterpiece of fiction "and that best represents the creative talent of Aub, it is" jusepa Campalans Torres. "
In "honor killings" exemplary "is not a conscious intention of explicit moralizing by the author except the pure pleasure of presenting the public with murderous fury that overwhelms the characters," imaginary-confessed criminals. " Though these, like the cubist painter, are never really existed, they are a vehicle for some truth, today more relevant than ever, meaning that today is really hard to keep their nerve when even the slightest pretext can escalate into tragedy. One example is the process going on in the media these days about the married couple that seems to have confessed to the killing of neighbors' noise they made. "
Painter, poet, journalist, engineer and inventor of characters and stories, Aub was able to combine humor, albeit bitter, relentless willingness to experiment and never deviate from the seriousness of the events presented: the short snippets of "killing spree" that constitute the pulp of the book are not subject to falsification or manipulation of reality, rather it is a profound correspondence between these realities, born of a skilful creative play (the invention) and those that exist today in the media every day they put us know. Two words can explain in brief what this masterpiece unconsciously wants to be: a dramatic "as possible."
The irony that it takes to read a confession like this: "I killed because instead of eating chewing" from the opera "copy" of raising a little weird crimes, turns immediately thought: this is a truth, potentially feasible in any time, in this world that seems crazy today, both in the role of victim of the executioner.

Grisiglione Graziella