1 November 10 | Chad W. Post

Here’s the second part of the unedited version of Aurelio Major and Valerie Miles’s introduction to the special issue of Granta dedicated to “Young Spanish Novelists.” Part I is available here and you can download a Word doc of the entire piece by clicking here.

Enjoy!

To select the young writers within the last named context we invited four writers, who exercise the trade in diverse ways from a variety of origins to serve as jurors, each offering a somewhat detached vision of the spirit of what is being written in this language: the Argentine writer and filmmaker Edgardo Cozarinsky, who has lived between Paris and Buenos Aires for many decades; the British journalist Isabel Hilton, previously a correspondent in South America who currently divides her time between England and China and the jury member who is the most involved in public affairs, together with the novelist Francisco Goldman, American of Guatemalan descent (whose influence has also been decisive in the publication of many Hispanic American writers in the US, among them Bolaño), and who lives between New York and Mexico City; and the Catalan writer and literary critic, Mercedes Monmany, who lives in Madrid. Those who write these lines make up the last two members of the jury, writers and editors, one an American and the other a Canadian-Mexican who have both lived in Barcelona for a very long time. So, endowed with our inevitable prejudices and carefully cultivated arbitrariness, we chose twenty-two authors. We reiterate the fact that this verdict does not constitute any kind of manifesto, nor is it the fruit of a marketing scheme between an editor and a literary agent. Best of Young Spanish Language Novelists aims to offer a true-to-life portrait of the vitality, the diversity—it deals with individual talents—that thrive in the contemporary literature (literatures?) of the Spanish language.

It has been an ambitious endeavor, covering the entire area of the second most widely spoken language in the world, in more than twenty countries. We were as meticulous as possible. The flood of mediocre work, along with the depleted state of literary criticism outside of the academic world spurred our anxiety. We believe that we couldn’t have come up with another list with the same merit as this one with 22 other authors, as one juror had commented to Ian Jack, then editor of Granta, regarding the first issue dedicated to the best young American authors. We searched publicly and privately in the most diverse ways for recommendations and discoveries, from telephone calls to internet blogs and cultural section,s and, of course, to books. Duomo ediciones, the publishing house that sponsors Granta en español in Barcelona, received the work of more than three hundred Spanish language writers from all over the world. We read through everything and came up with a list that included suggestions from members of the jury throughout the course of voting. Early on, we renounced the possibility of a unanimous vote, establishing a system of four rounds in which authors received at least a majority vote. It almost goes without saying that we didn’t take into account the nationality or sex of the candidate, only the certainty, at times more enthusiastic and others less so, that what we read corresponded with our intentions: our reading as vice impuni, to recognize talent that was either already consolidated or that would, in our opinion, strengthen in the passage from objective to accomplishment, as narrative writing with artistic intention (what heresy . . .) and the pretense of perdurability. Members of the jury opposed the inclusion or exclusion of this writer or that one, but in the end the majority ruled. There were laments over writers who were not included. Such a diverse jury found, then, the diversity that the reader is about to discover, which has little to do with creative writing workshops or a pedestrian idea of exoticism: profoundly ironic and demanding female writers on the one hand, but also male writers who represent women in a much less passive and traditional role than earlier generations; there are parodies and formal innovations: revision and even exacerbation, as could be expected, of diverse sentimental customs and literary traditions more or less regional and even local, although not necessarily belonging to the author, since many have chosen to live in foreign countries and are more open, thanks to their own backgrounds, to the inventions of other places.

A necessary digression: the preface to one of the previous Granta selections mentions that already in the eighties attention was being called to the way writers were presenting themselves to the public instigated by agents or editors as personalities who give interviews to the media; not as engaged intellectuals but as celebrities whose physical appearance was also relevant for widespread coverage since it was no longer the work itself, but the writer who spoke to the reader. This type of publicity became routine in Spain since the early nineties, thanks to the fact that the publishing sector is subjected to the same circumstances that have prevailed in the English language for many years. Yet in Latin America it is still not the case, authors tend to be much more reserved since the figure of the celebrity writer who directs their work exclusively to the widest possible audience has not yet been imposed. The changes commented on a quarter of a century ago in this magazine have now given way to the current explosion, unimaginable in those days, of blogs, videos, social networks and all the thousands of new means of promotion, that distract us like fireworks from keeping that minimum amount of concentration needed for considered reading. Most of the writers selected here have had their own blog at some point and some of them have explored the narrative possibilities of this media explosion. Nothing new. But the talent we are searching out could not be evaluated through these accessorial phenomena, as they have not yet encompass the present in full. It’s possible that the reader might expect some sort of a defense of the Internet and the currents of its parallel world in this forward or in our selection, but in light of the enthusiasms of last century’s Futurism, we need not give them any greater literary importance.

Click here for Part III.


Comments are disabled for this article.
....
Death by Water by Kenzaburo Oe
Reviewed by Will Eells

Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .

Read More >

Twenty-One Cardinals
Twenty-One Cardinals by Jocelyne Saucier
Reviewed by Natalya Tausanovitch

Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .

Read More >

One of Us Is Sleeping
One of Us Is Sleeping by Josefine Klougart
Reviewed by Jeremy Garber

We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .

Read More >

Bye Bye Blondie
Bye Bye Blondie by Virginie Despentes
Reviewed by Emma Ramadan

Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .

Read More >

La Superba
La Superba by Ilja Leonard Pfeijffer
Reviewed by Anna Alden

Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .

Read More >

Intervenir/Intervene
Intervenir/Intervene by Dolores Dorantes; Rodrigo Flores Sánchez
Reviewed by Vincent Francone

It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .

Read More >

All Days Are Night
All Days Are Night by Peter Stamm
Reviewed by Lori Feathers

As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .

Read More >

The Seven Good Years
The Seven Good Years by Etgar Keret
Reviewed by Vincent Francone

It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .

Read More >

Human Acts
Human Acts by Han Kang
Reviewed by J.C. Sutcliffe

Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .

Read More >

Nowhere to Be Found
Nowhere to Be Found by Bae Suah
Reviewed by Pierce Alquist

It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .

Read More >