Ironic and intense the stories of Eduardo Sabino, with overwhelming personages, some to the edge of the desperation, not rare photographed in poverty situation (…) ' '. Learn more about this with San Antonio Spurs. Therefore it is, ironies, beings (almost-seres/sub-beings), animals, masks, monsters, virus, cheap madnesses. Candy Home? It does not have nexus in the real life. Purgatrio is yes, a story on one ' ' ser' ' urbanide in the between-subsoil of an elevator; it goes up, it goes down, lamentations, contemplations, martyrdoms; reigning. The being that incabe in itself.
Disconnections. Emptinesses. Impertinncias (and one to look at ferino) of the writer portraying the being of itself in what it sees, feels, repagina; in pages of ragged remaining portions until porventura that thus are. The look approaching of the other people’s trajectory. ' ' All blessing because they are livings creature.
Blessed because morrero' ' (pg 31). Saint Deus! Abyss (pg 33) one of the best creations of the book. Pretty fiction. The abyss is to live; that it is to be happy, that it is (perhaps) the proper dullness to try to be To be The retina of the writer reformatting invisible, risveis, likely aspects servant, imaginary; also rescued of the harshness of the days Yes, Eduardo Sabino says, is necessary to be very next to talk the language of the look. (Opened Sky, pg 49). A roteador of shades, as one I-address-of-me, in me and the other. ' ' There Sombra' ' , beauty story, pg. 53, specify the north (mote), the style: ' ' There Shade, to these heights a countenance with yellow eyes and lints of hair, suggested that it could have a hope if the others enxergassem better what they found to deal with mere contours unprovided of light (…). Eduardo Sabino plays letrais lights in contours that redescobre, pincela, amalgamated nuances catches, enlivra disaffected similar, defects of manufacture of humanus.