Santiago de Compostela, May 13 (EFE) .- Taraza confesses; before the place than the parish itself, Meirás, in Valdoviño (A Coruña).
Rosa Aneiros (1976) is one of the most respected firms on the Galician publishing scene and this week she experiences “the excitement of returning, taking the step” twelve years after her latest hit, “Sol de inverno”.
He does it with “Sibila” (Xerais), in whose pages the calculated leap from the weight of the story to the lack of concreteness of the story in time or to a darker setting stars.
In an interview with Efe, he observes his return to the adult book after having devoted the last exercises to deepening a direct contact with the children’s audience.
There are no major changes because there are constant changes in it, like those experienced by the “publishing scene” itself.
Raquel, her “first proofreader”, shared her “surprise” with her because she read “a different text from what is usually my subject” and placed it “full of poetry”.
Aneiros points out that there is “a mystery to be solved” and an articulated narrative based on “images that are very powerful.”
“I trust the story a lot; deep down, I’ve been writing it all my life,” highlights the author, who attributes to “Sibila” a structure “like an onion, it has many layers; each reader is going to be left with a different one” .
Some clues: a woman “arrives on an island, in the dark”, and it is time to “discover what mystery is hidden” in that place.
The Taraza writer clings to the Galician expression “of what do you see being”, but also to “who are you”, in a “very strong natural space”.
The feeling of “isolation” permeates everything and there is also a “great burden of social denunciation” because those who resist on the island “are elderly; they are considered useless, a burden.
A “liquid” story of elements “taken to the extreme, a lot of poetry and a lot of denunciation.”
Although Rosa Aneiros admits that she plays “a lot with the concept of identity”, she admits that there are “characteristics of your line that you often fight with.”
Therein lies the “struggle of the protagonist” to find “her own identity” and it will not be easy to advance in its details: “In many moments you feel empathy, but in others you hate it.”
There are “many women” in a single protagonist and its creator emphasizes that identifying “with something hateful” allows you to discover “a part of yourself that you don’t like.”
Since “Sol de inverno” the social and literary panorama has changed and now faces “a very big leap” from the “historical setting of great weight” to not knowing “in what time or in what place” the plot advances.
He argues that it is “radically different” and that to “write I need a challenge.”
There are echoes of the past, the song of the Sibyl, an omen of the “end of the world” and from which to wonder “what world is left and how is it revitalized”.
A woman, Aneiros adds, whose “presence is threatening to the rest” and who fulfills her aspiration to “have fun” as a writer, “face new challenges”.
Dumped on the little ones in recent years, they often ask her “if there is going to be a second part” in the books she presents to them, but “I try not to have a second part.”
His “Sibila” is a full stop in times of pandemic, of recovery of the “pleasure of reading.”