Alba  Oliva   

Alba Oliva, was born in Córdoba on May 13, 1980.


After finishing her studies in Fine Arts at the Mateo Inurria School of Applied Arts and Artistic Trades (Córdoba) in 1998, the author acquired the Diploma in Primary Education as well as in Musical Education from the UCO (Universidad de Córdoba, 2001). She joined the National Police Corps in 2005, motivated by a strong vocation, without neglecting all her artistic concerns. She is the author of the novel "The color of rhythm" (Editorial Amarante, 2018). Likewise, he has published more than twenty stories in a cultural magazine with circulation in the United States, much of Latin America and Europe.

He has combined his profession as a police officer with the artistic world, exposing his collections of oil paintings on canvas in different rooms, projecting his short films (for which he composed his music) and, above all, developing literary creativity.

THE DARK ROOM

Marcos was six years old, he always slept with the door open and the nightstand light on. It wasn't the darkness that scared him, it was the ghosts. His parents calmed him every night by telling him that spirits do not exist. But he imagined them at the foot of his bed, looking at him, or from any corner of his room. He seemed to feel them. She covered her head with the sheets. And so strong was his feeling that sometimes he was forced to check that they weren't there, building his courage every time he suddenly popped his head in to make sure.

At the age of thirty-three he realized that it was not any kind of fear or paranoia. He began to see shadows from his bed, then heard whispers. The presences of the beyond began to become more and more latent. And, strange as it may seem, he felt calmer and calmer, as if liberated; he did not feel like a coward. He understood that what had been happening to him since childhood was real, his intuition and his sensations had been revealing to him that there were entities with which he could communicate, energies from beyond.

Her fear persisted through the years. In adolescence he felt ashamed of it, it was his great secret. Even in college I still had this phobia. And he continued when he went to live with his girlfriend in a modest but cozy apartment. He never told her anything, however much she repeatedly asked him why he insisted on leaving the hall light on and the door open. To drive away possible thieves, he always answered. Let them know that there is someone at home, clarified.

He began to communicate. He was able to help some of them leave that interface they were in and direct them towards the light. Others were somewhat mocking, intended to scare him. At first it was difficult for him to deal with these, he soon realized that they could not harm him. At most, move an object, make a whisper in the ear, pull the sheets or something.

At the time, he decided to help people on this plane who wanted to contact their deceased loved ones. It had a great acceptance; Those who came to him obtained all kinds of details that only these people and their loved one knew, it was impossible that Marcos had that information.

He felt lucky to be able to help those who are here and there, near here.

He felt lucky to be able to help those who are here and there, near here.

He felt lucky to be able to help those who are here and there, near here.

He felt lucky to be able to help those who are here and there, near here.

He felt lucky to be able to help those who are here and there, near here.

LOS QUE MIRAN LAS ESTRELAS

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Synopsis

"Those who look at the stars" is a police thriller where several cases based on real events occur, one of them being the backbone of much of the novel. The plot moves in a choral story in which six main characters have only one gesture in common: looking at the stars in moments of dismay. The author compares the characters' gradual or sudden connection with the way the stars, nebulae and other objects in the cosmos interact with each other, pushed by practically the same laws.

The afterlife, with the narration of various near-death experiences, will be a constant throughout the whole novel, with all the amalgam of turns that this entails.

Alba  Oliva

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