Céline Minard Olimpia succeeds in what she had missed in my taste with Bastard Battle in its work of blasting the language. Where this does not work with the language of the Middle Ages comes here with the game on the baroque an explosion, it goes in all directions and it hits every time. That's right, deep and strong. Baroque allows all the excesses and outrages inflicted Minard language.
Maidalchini Olimpia (1592-1657) seems to be an extraordinary figure for a novelist, born of nothing she climbs out of sheer ambition and lust for power at the highest rank of his time (in an alcove behind the throne of Pope Innocent X) it becomes popess instead of the pope. But that kind of power in Shadow does not support the light and the pope's death, he lost more than she had throughout her life.
Minard's novel is entirely in a monologue, and a short biography that has artfully put the figure in perspective. There is a great job on the inside and outside character who dares to go after his madness.
Roman short, is a diatribe of Olimpia logorrhea violent and hateful against this world she thought control. The monologue draws its strength from the hatred and anger, deep in the body of a woman who has lost everything. The violence of his remarks is proportionately equal to that world of power that comes from collapsing to escape at his feet.
Olimpia when she talks about is a broken woman, her tongue is made of flesh and sweat and blood, it stinks as strong as the rage that inhabits it. There is in the words of Olimpia, which are of great violence a heady and intoxicating hypnotic power.
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