The writer Javier Cercas collected this Saturday the Eñe Festival Award for his career, at the Círculo de Bellas Artes in Madrid. Sergio del Molino, his literary director, dissected the author – with his complicity – through his novels. The day was closed with talks and recitals in which the creation wells were scrutinized.
The award distinguishes Fences not only for his works, but for "his person, his position in literature and his values", as presented by the director of the cultural manager La Fábrica, Alberto Anaut, who delivered the award and gave way to the talk. Caceres writer has also just won the Planet award for Terra Alta, what part of a brutal murder. The genesis of this novel, as revealed, is the attempt to steal your car in this Catalan region a couple of years ago. The anecdote gave rise to the formation of some phrases in his mind "with music he had not heard before." A brief period of creative silence, the attacks in Barcelona and the explosion of the Catalan crisis ended up composing "the fuel" I needed to write. What is real or fiction in the work? The writer came to say that where reality does not reach, fiction appears, but, in any case, what prevails is the literary truth.
Del Molino pointed to the past as a constant in the work of Cercas. This "obsession," acknowledged the author of Anatomy of a moment, it is due to his need to know, although what one discovers is not always pleasant. In this sense, the writer highlighted the inability of the human being to digest the inheritance, personal or collective.
Behind them, Juan José Millás Y Manuel Vilas They also talked with the deputy director of EL PAÍS Berna González Harbor also about memory, family and everyday life. Both writers have turned to these universal materials as a source of inspiration and, demonstrating this, they started their presentation by talking about how day-to-day throws, such as buying a mattress, are what exploit their curiosity and creativity.
Experts in converting any anecdote into a story or fantasy, the writers – especially Millás – blamed it on naivety. "You cannot write if there is no conflict," he summarized, stressing that it is necessary to feel strange. Between anecdotes about colonoscopies, flies inside the fridge and bad writers to whom nothing can be said, they offered one of the funniest talks of the festival.
Shortly before this meeting, Brazilian cartoonist Adão Iturrusgarai commented with the journalist of THE COUNTRY María Martín The limits of humor. "I like to be a little offensive, but the joke has to be good," justified the irreverent chronicler, one of the most popular in his country, in reference to the cases of censorship that some of his colleagues have experienced. Iturrusgarai, who has reflected the changes of his country through the drawing, he is presenting Rocky & Hudson, stories of a very particular gay cowboy couple.
The poems “on the unbearable contemporary life” of Los Peligro, Liliana Peligro and Sergio C. Fanjul followed them on stage. Masked and dressed completely in black, they rhymed with survival irony about love in social networks or the eternal fellows.
The voice has played a central role in this day, not only for the recitals, but for the different tables on the radio and the podcast. Juan Gómez Jurado, Rodrigo Cortés and Juan Gómez Campos spoke about this last format, which transferred to the audience the humor and complicity they pour in private in Almighty or Here are dragons. Among the three they disemboweled the realization of these auditory pills that "do not compete with anyone", because they defended their independence from the radio.
The closure put it project presentation Messy, in which Elvira Sastre and Andrés Suárez They will join their talents next November 21 in Madrid.