«La Guardiana vio cumplido el anhelo de Las Arg enderas cuando las madres y los padres, y las hermanas y hermanos, y sus amistades, las ve an dentro del jard n, vivas, sonrientes. Sent an esa dicha que la justicia no les hab a podido dar. Se dice a menudo que «el futuro est escrito como si eso robara toda la esperanza, pero es en la escritura donde se juega la imaginaci n subversiva de lo posible y la memoria ind mita de lo que est al borde del olvido. Y si, para los seres que el presente desprecia y mengua, el porvenir fuera el tiempo de la rebeld a y la comunidad? En los doce cuentos que componen So ar n en el jard n, Gabriela Dami n Miravete despoja la fantas a, el horror y la ficci n especulativa del manto f nebre de lo irreversible en una serie de ventanas a lo inesperado y asombroso. Y lo hace con una inteligencia insubordinada y un oficio artesano del arte de contar. Sus narradoras son, como ella, mujeres aut nomas que confabulan para ingeniar m quinas y conjuros de libertad de cara a los p ramos de la cat strofe. Las flores y los gatos, el agua y la monta a, deshacen con palabras ind ciles la promesa de apocalipsis que intenta conquistar nuestro ma ana y ocupan el lugar de los cong neres, en un mundo compartido y horizontal en el que los seres humanos no son la cumbre de ninguna evoluci n ENGLISH DESCRIPTION The Guardian fulfilled the longing of Las Arg enderas when mothers and fathers, and sisters and brothers, and their friends, saw them inside the garden, alive, smiling. They felt that joy that justice had not been able to give them. It is often said that "the future is written" as if that robs all hope, but it is in writing where the subversive imagination of the possible and the indomitable memory of what is on the verge of being forgotten are played out. What if, for the beings that the present despises and diminishes, the future were the time of rebellion and community? In the twelve stories that make up Dreaming in the Garden, Gabriela Dami n Miravete strips fantasy, horror, and speculative fiction of the funeral mantle of the irreversible in a series of windows to the unexpected and astonishing. And she does so with insubordinate intelligence and a craftsman's skill in the art of storytelling. Her narrators are, like her, autonomous women who conspire to devise machines and spells of freedom in the face of the wastelands of catastrophe. Flowers and cats, water and mountains, undo with indocile words the promise of apocalypse that tries to conquer our tomorrow and occupy the place of the congeners, in a shared and horizontal world where human beings are not the pinnacle of any evolution.
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