Love is a literary genre. Its ending, too. Especially this autumn, which seems marked by the theme of marras in the narrative, in the cinema and in the bridge that leads from one to the other. The next day 23 is released in Spain The verdict, adaptation of The law of the minor (Anagrama), a novel by Ian McEwan that mixes the matrimonial storm of a judge with a moral dilemma that has her in suspense. As to the reader. Richard Eyre's film completes a chapter of cinematographic separations whose flagship so far this year is undoubtedly Cold War, by Pawel Pawlikowski. After signing the great Going, the Polish filmmaker has founded a melodramatic subgenre with an hour and a half of black and white video clip: the longest Martini ad in history, the The Land of El Hierro Curtain.
On the book side, the harvest of ruptures is still good: a The sky according to Google, by Marta Carnicero (Acantilado); Happy ending, by Isaac Rosa (Seix Barral), and Learning to talk with plants, by Marta Orriols (Lumen), they have just added two titles with much in common. The first is The deer jump (Igitur), from the huge poet U.S Sharon Olds, who remembers in verse his own divorce. Pulitzer Prize in 2013, the book now sees the light in Spanish in the version of Eduard Lezcano and Joan Margarit. The second is Tamar's book (Eternal cadence), from another poet, the Argentine Tamara Kamenszain, who has once called "domestic vanguard" his way of "spying on the seams to see the buildings on their back". Beginning with the reverse of the masculine tradition.
Olds is, by the way, one of the authors cited by Kamenszain. The two took 15 years to talk about their respective separations. The Californian to avoid bad drink to third parties: their children. The porteña to avoid, literally, the first person. When I waited for her husband – the writer Héctor Libertella– a "I miss you", he passed under the door an hermetic poem playing with his name. "Militant couple of pure and simple formalism", the I it was anathema to both of them. Hence Tamar's book be at once memory, criticism and self-criticism. "Hector and I", we read, "we had built a language so indecipherable for others that it ended up not only isolating us from the world, but also from one another". The structuralists also have their heart (broken).