Certain stories capture us from the first sentence. It is not a question of technique or style. And 'that make you feel the complex substance of the facts, but simply that they are composed, and spark your imagination on their development and the desire to know what will happen.
' Those days in Bucharest ', Stefan B. Rusu, published by the Playground, begins with a passage in a school play, the transposition of a successful movie theater.
seems put there by displacement, and instead understand immediately that is an excuse to talk about something else. A
something fundamentally different, yet quite similar to the recited, where love, misunderstanding, social context, provoke reactions of healthy youth rebellion equivalent.
The protagonist is the same: Gabriel which says that in the representation, and, in part, in life.
A pearl of purest light, whose dark complexion makes her shine even more.
Conscious or unconscious, he is the engine of the actions of all those around him.
NICU as Ioana. Director of representation, his father and brother, Victor.
once crossed his eyes, but perhaps not enough, just close your presence makes everyone how dangerous stray dogs in Bucharest: subservient to the music produced from his lips, the gesture of his hand.
me if this interlocking causes violent reactions from which Gabriel seems not defend themselves.
Love gives courage, though, and Gabriel, who surrounded them in various forms, reflects it, pushing others to act according to it.
The happy ending, though on a knife edge, is assured, even if the final is still partially open, suggesting but without giving the confirmation.
A confirmation of which, perhaps, there is a necessity, but we would like to have, for the new adventures you can imagine that might be experienced by Gabriel Nicu.
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