'The generation': history of the last 'boom' of Spanish literature | Culture

Of Easy reading (Anagram), who won the last Herralde Novel Prize, it is said that before the recognition his fate was another. The book was hired by a large publishing group, which never published it after the author's refusal to admit certain changes. Cristina Morales (Granada, 1985) does not deny the fact, but admits that a series of legal constraints prevent him from delving into this story. "There is a general problem of censorship," he says, "it is a censorship by the publishing market towards certain issues, and a censorship a posteriori,that of judges and prosecutors. The first obstacle of a writer is the criminal code itself. "

The happy ending of Easy reading It has also served to test an intuition that was flying over the Spanish publishing scene: the confirmation of a new generational sensitivity among writers born in the eighties and nineties, where there is a overwhelming presence of women, whose writing has also been promoted in times of reflection on gender.

For these writers, literary production often appears linked to a context of precarious work ("one is an expert in receiving It is not"Says Morales). And unlike the literary generation to use, it is not a constellation of signatures that orbits around a single genre, but flows through journalism, nonfiction, novel or poetry. Recent titles and several of the novelties that will appear this year crystallize this new scene of Spanish literature, which is written mainly in women. It is not, then, another generation, but The generation, if the italics are allowed

After exhausting several editions of his poems Field notebook, the writer and veterinary María Sánchez (Córdoba, 1989) publishes Land of women, book whose seminal idea, in the words of the author, is "the historical debt with all the women" of her family. The essay, which will be released in February at Seix Barral, proposes giving a voice to the silenced in the Spanish fields. "For me," says Sánchez, whose job is to advise farmers, "the rural environment has the name of a woman and it is with feminism that we will reach food sovereignty, transforming economies, other social movements and other types of life. and of forms of consumption ".


For Lucia Baskaran (Zarautz, 1988), the construction of the feminine identity and the violence suffered by the bodies read as "woman" make up the thread that unites their two works: Split (Polar Expeditions) and Damn bodies, that will be released in 2019 in Temas de Hoy. The writer admits that the rubric of feminism in literature contains a problem: "Labeling a work written by a woman as feminist only because her female characters are complex is a trap, just as the label is female literature. These are terms that bother me because it is being explicit that there is a dry literature, the universal one, which is produced by men, and the other, the one that the women wrote, directed only to us ".

In the doubt regarding the uncritical welcome of the feminist label abounds the writer and journalist Sabina Magpie (San Sebastián, 1984), author of The prodigy girls (Fulgencio Pimentel): "While my male colleagues were invited to talk about their literature, I and many colleagues are only asked about writing as women and little about what we wrote. I felt used opportunistically, taking advantage of the virality of the matter. "

At this point, the question is inevitable: and where are they? "On the masculine in Spain there has been a too heavy influence of the cigars and the whores, and that idea has permeated in a harmful way in new writers. There is enough emulation of a discourse that is insufficient ", responds Marcel Ventura, editorial director of Temas de Hoy, a label that is reinvented to approach a young audience, with authors in the portfolio for this year as Alejandra Parejo (Mallorca, 1989) or Elisa Levi (Madrid, 1994).


That the publishing industry has spent years betting on writers born in the eighties is undeniable. With a literary career of more than a decade, Aixa de la Cruz (Bilbao, 1988) is proof: "I have noticed a great disconnection with a sector of my generation that I used to follow and read with great interest, but that suddenly, and coinciding with the fact that they are aligned on that front of reaction to the perspectives of gender, they no longer question me ".

De la Cruz is not alone: ​​the list of names whose work reflects these generational concerns is wide and increasingly recognized: Berta García Faet -last National Young Poetry Award-, Noemí López Trujillo -which this year will publish an essay with Captain Swing - or Elena Medel -the first poet of her generation to excel and whose work as editor has given voice to many of these authors-. More or less obvious, there is a confrontation in all these firms not only with a good part of the Spanish literary tradition, but also against those contemporary voices where certain reactionary echoes resonate. "That confrontation," says Morales, "was necessary."

The commercial advantage of a female voice

Mónica Carmona, a literary agent who represents several successful young writers, admits the favorable winds of the market: "I have attended meetings in which, with proposals for the publication of two authors of similar talent, the female voice has greater commercial interest and therefore more editorial bet ".

In Carmona's catalog, which for years worked as an editor, there are names like Paula Bonet (Vila-Real, 1980), who since the Enlightenment has promoted several works of literary background - the last one is Rodents (Random House Literature), in which she recounts her experience of having gone through two abortions- Rosa Moncayo (Mallorca, 1993), author of Dog Café (Polar Expeditions) or Ana Llurba (Córdoba, Argentina, 1980), which last fall published The heaven's Door (Aristas Martínez), a science fiction story with religious overtones.


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