Hijos del naufragio

As the centennial of Franz Kafka's death approaches, the few pages he published in life appear as sparks that caused a huge fire. But not a destructive fire; rather a pure and high flare that still illuminates the ashen landscape that spreads around us like a lighthouse. In Sons of the Shipwreck, the figure of Franz Kafka projects his long luminescence into the closed world of a warship, the famous battleship Potemkin, and in a political environment as smelly as the Soviet one, when Stalin and Trotsky struggled to seize power . Several dozen characters, theoretically invited by the Soviet government to this improbable cruise, are projected onto us from the real life of the time, or torn from literary works that were then written, or fall from our current desires and shortcomings, living side by side. energetic to set up a long chain of events, which are actually disturbing symbols. Little by little, these people, these navigators of life, who are driven by forces very similar to those that drag us today, in the sterile exhaustion of their struggle, will discover in Kafka ("a Jew from Prague", perhaps the last of the last on the Soviet value scale) not Kafkaesque darkness, but its inner light; the spiritual radiance capable of giving meaning to their long journey towards they do not know where. The absurd does not exist here because death is always close, as in life, and it is presented with sarcastic tones that wear the mask of comedy embedded on the face. Sometimes they make us laugh out loud, or just smile, because we withdraw into the comedy, perhaps embarrassed.