When in 2010 Almudena Grandes published Agnes and joy, first delivery his Episodes of an endless war, He declared that he had a job until 2017. That the deadline ended a year ago proves that imagination can never be programmed at all. Not even that of one of the most lucid and persevering novelists on the Spanish scene. It is this mixture of perseverance and lucidity that has led the writer from Madrid to try to shake off all the labels (all less, precisely, one that nobody wants: that of Madrid writer). Before the water freezes under her feet, she is already stepping on another puddle.
A success like that of The ages of Lulu (1989), his first novel, would have sunk anyone. With 29 years, the prize La Smile Vertical in the pocket and the adaptation of Bigas Luna in the cinemas, could have sat down to make cash exploiting the erotic reef of the new Spanish narrative. Two years later, however, he broke the mold of the genre with I'll call you Friday, that gave way to a series of generational works stuck to the present: Malena is a name of tango to Rough Winds.
In 2007, The frozen heart he played the role of Antonio Machado's two Spains and, incidentally, between the political news and the historical memory. When each new novel of hers was told by success and the Olympic medal of literature hovered over her of women -It is assumed that, however bad, the of men it does not require prepositional additions – Grandes embarked on a cycle destined to narrate, under the invocation of his beloved Galdós, the least known intrahistory of the long Spanish post-war period. When eight years ago he published the first of his particular national episodes-dedicated to the invasion of the Aran Valley in charge of the maquis-the second was already written: The reader of Julio Verne (2012). They followed The three weddings of Manolita (2014) and the now awarded Dr. García's patients (2017).
According to the initial plan, they remain in the loom The mother of Frankenstein Y Mariano in the Bidasoa. They will occupy these years if, as in the case of the economic crisis -which led to Kisses on bread (2015) -, the present does not cross again on its way. The present or some cause that leads her to commit herself, that is, to gamble something. Anyone who reads their opinion articles will check that he writes to have readers, not to make friends.