The Narcoviolence in northern Mexico, but told from a very personal perspective. Gender issues that point and shoot the scourge of feminicide and, at the same time, return eroticism to literature. A rural world that makes its way in front of the traditional urban phenomenon of male writers and middle class. Critical realism remains in force, but personal experiences take on special relevance among the new Mexican literati. Contemporary pop culture, mixed genres and the Internet add to this cocktail of trends from a new wave of creators who still have much to prove.
The International Book Fair of Guadalajara (FIL) has gathered in its 32nd edition eight Mexican "talents" in a cycle that intends to serve as "showcase for big firms to sign them", explains Melina Flores, organizer of the event. "All of them already have a trajectory, they have published work and they have won some prizes. What they lack is, perhaps, this: to sit them at a table so that the editor, the agent, other colleagues can see them … ", considers the Mexican writer Antonio Ortuño, who also participated years ago in a similar meeting and today, already consecrated, visits FIL to present his new book The glass eye.
The great thematic dispersion and freshness of the authors is striking. Also their accents, different from each other, that far from being relegated to a second plane provide the tempo for their writing. Although the north of the country is still very represented, through a new narcoliterature, related from "those subtleties of each one's private life", explains the writer and researcher Liliana Pedroza (Chihuahua, 1976), and of the cross-border gender, they charge thematic relevance as the feminism of Mariel Iribe (Veracruz, 1983). "She emphasizes an almost liberating eroticism, when feminicides are a thing of every day and this implies a problematization of sexuality and sexual practices ", analyzes the Mexican writer Cristina Rivera Garza, twice winner, in 2001 and 2009, of the Sor Juana Inés de la Cruz prize, with which FIL recognizes a literatas, and today godmother of the sample.
The youngest of the selected ones is Josué Sánchez (Veracruz, 1989) and brings a touch of topicality to the cultural movement in Mexico. On the issues that the Veracruz treats, Ortuño reflects: "There is a greater presence of pop culture, many references of music, of cinema, of the Network and a greater presence of certain fantasy subgenres. I'm still shy about talking about Internet things in a book, but there is already a generation that is absolutely digital, "he confesses. That is, precisely, one of the signs of distinction of the novel author. "I have an obsession for what's behind the screens, for things recorded 10 years ago," says Sanchez. However, he is one of those who still prefer, somehow, the role. "It is not the same to see that you have 700 visits in a blog to someone ask you for a signature of your book. That physical interaction … "
Gabriel Rodríguez Liceaga (1980) is the only representative from Mexico City and focuses on "contemporary life in the city not focused on violence", according to Ortuño. One of his works is about Estadio Azteca, from the cursed team Cruz Azul, an emblematic building of the Mexican capital, point of reference from the sky before landing at its airport, on which its demolition hangs.
The majority of those selected are multi-employees. Abril Posas (Jalisco, 1982) works as a waitress, Alejandro Vázquez (Nuevo León, 1984) makes a living in a scrapyard, Darío Zapala (Michoacán, 1990), as a political advisor, and Laura Baeza (Campeche, 1988) is also a publicist. . They are, for now, part-time writers. And although most of them also defend that these works enrich them and give them, in many cases, the raw material for their stories, their godfather in fiction, Ortuño, insists: "It is much more difficult to build that great book when you have to being in the office nine hours a day. A narrator needs space and discipline, sitting down to write, if possible, every day. "
Rivera Garza He also observes in all of them a way of telling that it could be characteristic of the next generation. "There is less attention to the body as a topic and more as something that goes through literature: an emphasis on the materiality of experience and writing," he explains. Very personal stories, "but in which the register that sees itself and locks itself does not govern, but rather is directed to go out". While a new literary generation is being formed or not, authors such as Fernanda Melchor, Emiliano Monge, Veronica Gerber and Guadalupe Nettel are defending the current Mexican narrative. The story of the novels is still to be written.