SmallStations - Ludmila Ilieva

Suso de Toro’s books appear like screenplays or simple plays. You can count the main heroes on your fingers; dialogue governs the action, characters and environment. The feeling is one of careering along in a Land Rover. Considered by critics as the author of degraded urban surroundings, a pornographic viewpoint and the deconstruction of language, he rushes unexpectedly into a biblical (or Shakespearean) story of fratricide and incest born out of envy not towards the other, but towards a third side. A Bermuda triangle of parents and children, lovers and customers of the flesh, where the privacy of family is a bargain, and sin isn’t just a parasite that feeds off a foreign body, but the air needed for surviving, or even burning.