González Suárez, photographer
I know him as the friend of a friend far from done so long that my geography is part of basic friendly at least the last two decades. From afar, it seemed a strange man, difficult, even unpleasant. Three years ago we finally agreed with him at a dinner a few guests in Coyoacan where I saw rabbits eat half while talking perfectly attentive, careful, almost delicate. Like him, his books I have read: a couple of very disparate novels and short stories were a pleasant surprise and allowed me to understand why this remarkable man is one of the strongest storytellers of my generation. If I had to define their literature, at least I know, say in it a certain desolation expressed sparingly, no fuss. If I were a tree, I'd say one of those healthy specimens that were once bulky pruned too severely. 
Later, when I was at the head of the Directorate of Publications of Conaculta, I suggested running a series of narrative as it: strange, if you like hard, little or no concessive, of that despises the market, and thus was born the collection that I named "Unique" and the two brilliant first titles chosen and always care Mario, were Tadeys Osvaldo lamboghini and Tales (almost) complete Casey Calvert. A few weeks ago I was at his house in the street to give a negative Neva who offered to extend to me. It was when I saw their pictures, among which was the beautiful set today I share with the readers of Century in the breeze . For those who already know it will be interesting to keep an eye on this aspect of his creative work, for those who have not read, these unusual pictures and text accompanying them are perfectly good an example of his unique talents.
noon Ghosts
Text and photos by Mario González Suárez
After visiting the town of Patzcuaro is natural to think of approaching the lake of the same name. Asking around, one learns that there is a pier for departure back to Morelia, passing a railroad track and then pa inside. There goes one, mentally constructing something like a dock or berth, or perhaps a dam. The lake is great, I say, well seen in the map, to an island is famous, but surely not enough for a pier or a breakwater. Makes a lovely day and I imagine it will be nice to get on a boat, feel the breeze, shooting the water.
The road is long in the sun, going for a Avenue do not know if cobbled or unpaved, the houses begin to get my attention. It looks like a residential suburb, safe and I missed, nothing indicates that it is the lake area, I see no one until there is a very friendly lady with me said that at the end of the street will give the left and then there is then entry. End of the road and go to a clearing where several dogs roam and a gunman with a flannel tells motorists where to park even though there is plenty of space. I see a sign with the name of a restaurant and another with the stroke of an arrow pointing toward the pier. I will never see it, and suddenly stopped caring because that field without a fence is chaired by handful of well-off houses. Overwhelms me that aspect of the houses as cottages. One of these subjects who consumed the day to care for a couple of cows with no bell and ask for coins I do not know what service, tells me that this was a subdivision of the Navy, there left their ships, see. There are a half-built houses and I have not finished building it. As I approach I see rather is abandoned. Avanzo and the camera at the ready and I am intrigued that there just does not walk or a dog. I think I see some packages to run away, hide in the bush. Discover traces of building materials and people, hanging clothes, some shade, some chairs. Rather, they are restored. I get a flat a house a little with the intention that someone will come. And the grass so no couple. Everything looks abandoned and care at a time.
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Mario González Suárez was born in Mexico City in 1964. Has been a fellow of the Mexican Center of Writers, the National Fund for Culture and the Arts and Artistic Residency program Mexico-Canada 2000. He has published From childhood (Tusquets, 1998), a novel adapted into a film by Carlos Carrera; The book of passion (Tusquets, 1999, 2001), which won the National Prize for Literature "Gilberto Owen" and the National Literature Prize "José Fuentes Mares" Landscapes limbo. An anthology of twentieth century Mexican narrative (Tusquets, 2001, 2009); Martian Leninist (Tusquets, 2002); light Nostalgia (Tusquets, 2003); Shadow of sun (El Cuenco de Plata, 2006; Almadía, 2007); salt Dulce (Pre-Textos, 2008); A wevo, godfather (Mondadori, 2008); With those hands caress. Anthology (Bruguera, 2010). He is a member of the National System of Creators of Art since 2001. Part of his work has been translated into German, French, English and Slovenian. In 2002 he won the International Award for story Emecé / Zoetrope. He directs the Writers' School the Sogem.
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