Secondary
(13-16 years)
|
|
Martín
Casariego, Y decirte alguna estupidez, por ejemplo, te quiero,
Barcelona, Anaya, 1995, 154 pp. Juan
thinks that the love is a solemn stupidity, but, even so, he/she falls
in love with Sara, the new girl of its class, nothing else to begin
the new course: Second of BUP. Juan is such an ironic boy as reserved,
and in and of itself he keeps secretly, or he believes this way it him,
his love that he doesn't admit neither to his most valuable friends.
Although, neither he/she dares to be admitted it to the interested one.
With everything, Juan is a normal boy, Sara it is more thrown and special:
it confuses Juan continually, to the one that alternating it attracts
and it drives away. When Sara intends him to steal the exams, he doesn't
know how to say that not to the adventure that she proposes him, because
you/he/she is put in another adventure, that of her secret love. This
is also the history of the step from the adolescence to the maturity:
in the year of the farewell of Butragueño, an idol for Zac, his
small brother, Juan is learning how to value that that calls you "the
small things". |
|
|
Andreu
Martín y Jaume Ribera, Flanagan Blues Band, Barcelona, Anaya,
1996, 214 pp.
Andreu
Martin and Jaume Ribera are the authors of the adolescent detective's
series Flanagan that Anaya is publishing in its collection" Space
Open" with great welcome between the readers and the readers. In
Flanagan Blues Band, the already famous detective Flanagan, alum of
the teenager Juan Anguera, will witness a murder in its own neighbourhood.
He will have to try to demonstrate the detective's innocence Oriol Lahoz
like I murder of the parish priest of the neighbourhood, the mosén
Roberto. The jewels of the family Garreta will be the motive of the
murder and the reason that our detective enters in quarrels with police,
with the granddaughter of the Garreta, with the antique dealer Martin
Elegance and, in another parallel history, with Pingüín
Fedorento. As it is already habitual in the series Flanagan, in this
new delivery doesn't lack literary ingredients as the sense of humour
that impregnates the whole narration, the alternation of serious situations
and comedians (combining masterfully several parallel plots), the abundance
of anticipatory elements of the plot and the use of a current and near
colloquial language to the world of the boys and small of today. |
|
|
Jesús
Gilabert Juan (ed.), Los mejores relatos históricos, Madrid,
Alfaguara, 2000, 189 pp. |
|
|
Juan
Farias, Ronda de suspiros, Barcelona, El Barco de Vapor, 1994,
119 pp. Located
past at one time, when, still, the ships tossed smoke and the poorest
were illuminated with a lamp, Juan Farias narrates us the history of
the inhabitants from the Puebla del Viento that all immerses walked
in their loves, and whose sighs were heard Ronda's Walk all told. Each
chapter is devoted to one of the characters of the town, and to the
fears and passions that hound them. Although, the san image Benitiño
that there is in the church, a building that presides over all the corners
of the town, should make some thing to change lapsing of the time and
of the lives of the inhabitants from Puebla del Viento. |
|
|
Gabriel
Janer Manila, Samba per a un «Menino da Rua», Barcelona, edebé,
2000, 126 pp. This
novel leads us to a different, unknown world, and, even, stranger. This
novel is about the extermination a group that act looking for the boys
that live for the streets of Brazil at night. To the pages gives rue
(children of the street) they kill them to shots; but, sometimes, it
runs over them a car. Those that are caught with life take them to the
police station and they torture them until they no longer can more.
The strongest only survive. This is a novel that, with a horrified look,
he/she talks us about the children that survive in the streets of the
cities of Brazil. |
|
|
Xavier
P. Docampo, Quan de nit truquen a la porta, Barcelona, Barca
Nova, 1996, 80 pp. There
are four mystery stories here in charge of Xabier P. Docampo. These
are histories that when we read them, it seems that we are hearing them,
fact that causes that our fear increases and, also, we can remember
our more remote nightmares: the wind that blows the trees, the snow
that he/she called us to walk and that he/she went covering our footfalls
with the consequent risks of getting lost, the darkness that doesn't
allow us to see the beings that hide... With the structure characteristic
of the stories of oral transmission, the author believes these four
stories that try to freeze to the reader in the deepest terror. |
|
|
Joan
Manuel Gisbert, L’arquitecte i l’emperador d’aràbia, Barcelona,
altadelta, 1990, 118 pp.
|