The December 31, 1979, Carmen Martín Gaite in Diario 16 greeted the appearance" of a really splendid book, The novel of the corset, Manuel Longares. It was the first novel who would eventually be revealed as one of the strongest storytellers of the past thirty years. Soldiers later novels as Pavia (1984) and especially two most recent and portentous, Romanticism (2001) and Our epic (2006), and ratified it.
Since that date far and I am honored to be part of that minority was enthusiastically before a secret society, Manuel Longares readers.
Today, especially following his novel Romanticism was recognized in 2001-ten years ago the National Critics Award, the minority may not be as overwhelming, but remains as enthusiastic as ever. And she had been joined by many readers of our epic the book before The four corners ( Galaxia Gutenberg / Círculo de Lectores) we present today. Write
literature is a commitment in time, "said Longares at the 2001 in a conference- and this usually involves a lack of response in life. It is a universal and eternal evidence, which affects the writer of yesterday, today and tomorrow, and it becomes an ascetic sacrifice their present for a future illusion. literary writer knows that his job is done in silence and that silence itself is often accommodate short-term products.
The move away from the glare of notoriety and the chapels of the influence, slow creative, almost ascetic detachment of bubbles in the world, not reality, fidelity to a project narrative based on literary demands are Longares forms of behavior, rooted in the certainty of one who knows who writes for the future.
Born in Madrid, the city felt which constitutes the spatial reference of his novels, Manuel Longares belongs to the same age group that Luis Mateo Díez, José María Merino, Eduardo Mendoza and José M ª Guelbenzu, who started his public career in transition in the mid-seventies.
But as a writer full, Longares is an island, a separate case, the operator of a personal and inimitable literature, itself a literary world that does not arise in a vacuum, which has its hub in Madrid space and develops around three key: memory, imagination and words. Because literature is for Longares a memory exercise with the addition of the writer's imagination, his style and his high moral stance towards reality.
On that Madrid was also reference Quevedo, Galdós, Valle Inclán, Baroja, Gomez de la Serna, Max Aub, more recently Eduardo Zúñiga, casts its gaze expressionist Manuel Longares. It's a look that is more likely to interpret the reality that reflect off objects, and stylization, parody or symbolic rather than a documentary will. A look at sum that feeds on tradition and modernity, and coupled to Mesonero Romans and Gomez de la Serna, cultured and popular, with that tear affective Longares could learn from Quevedo.
The local and universal, irony and compassion, invention and memory, ethics and aesthetics coexist in writing Longares protein, capable of building a vanguard through the portrait carpetovetónico individidual and social and moral life.
And all those characteristics that go through the work of Longares re-focus on the four novellas that make up The four corners. Four stories that cover the four ages of man by four points in the history of contemporary English society.
1940, 1960, 1980, 2000 son las cuatro décadas en las que transcurre este retablo narrativo que se inicia con El principal de Eguílaz, situado en el Madrid de los fusilamientos sumarios a principìos de los años cuarenta, en la glorieta de Bilbao en la que se cruzan al amanecer los señoritos juerguistas que han ganado la guerra y vienen de recogida, con los obreros que salen a esa hora a trabajar.
El silencio elocuente, Delicado y Terminal son las otras partes de un retablo en el que conviven diversos tiempos y clases sociales, distintas épocas y ambientes habitados por cuatro tipos de personajes: los súbditos de la posguerra, la juventud inconformista de los sixties, the coexistence of both victims and perpetrators in their adaptation to democracy and the elderly concerned about the afterlife. Characters from these various ages to develop their strategies for survival.
Poverty, naivety, perfidy and transcendence characteristic of each of these four stages, each of the four episodes of the four corners to draw the map of Spain new: that Spain was beginning to dawn on He appeared to be a Virgin Moncha smelled sweet, until today's Spain. And that map
I invite you to read is drawn with the subtlety and narrative power of Manuel Longares, with their critical, compassionate and deep, and one of the highest quality prose of contemporary English literature.
usual because the reader is wonder Longares incessant glare caused joyful literature. And The four corners are a new proof of a narrative talent and stylistic virtuosity that you are at the highest level of the English novel of the last quarter century.
who knows his previous books know that I'm not exaggerating. And those who do not know do not know what is lost.
Since that date far and I am honored to be part of that minority was enthusiastically before a secret society, Manuel Longares readers.
Today, especially following his novel Romanticism was recognized in 2001-ten years ago the National Critics Award, the minority may not be as overwhelming, but remains as enthusiastic as ever. And she had been joined by many readers of our epic the book before The four corners ( Galaxia Gutenberg / Círculo de Lectores) we present today. Write
literature is a commitment in time, "said Longares at the 2001 in a conference- and this usually involves a lack of response in life. It is a universal and eternal evidence, which affects the writer of yesterday, today and tomorrow, and it becomes an ascetic sacrifice their present for a future illusion. literary writer knows that his job is done in silence and that silence itself is often accommodate short-term products.
The move away from the glare of notoriety and the chapels of the influence, slow creative, almost ascetic detachment of bubbles in the world, not reality, fidelity to a project narrative based on literary demands are Longares forms of behavior, rooted in the certainty of one who knows who writes for the future.
Born in Madrid, the city felt which constitutes the spatial reference of his novels, Manuel Longares belongs to the same age group that Luis Mateo Díez, José María Merino, Eduardo Mendoza and José M ª Guelbenzu, who started his public career in transition in the mid-seventies.
But as a writer full, Longares is an island, a separate case, the operator of a personal and inimitable literature, itself a literary world that does not arise in a vacuum, which has its hub in Madrid space and develops around three key: memory, imagination and words. Because literature is for Longares a memory exercise with the addition of the writer's imagination, his style and his high moral stance towards reality.
On that Madrid was also reference Quevedo, Galdós, Valle Inclán, Baroja, Gomez de la Serna, Max Aub, more recently Eduardo Zúñiga, casts its gaze expressionist Manuel Longares. It's a look that is more likely to interpret the reality that reflect off objects, and stylization, parody or symbolic rather than a documentary will. A look at sum that feeds on tradition and modernity, and coupled to Mesonero Romans and Gomez de la Serna, cultured and popular, with that tear affective Longares could learn from Quevedo.
The local and universal, irony and compassion, invention and memory, ethics and aesthetics coexist in writing Longares protein, capable of building a vanguard through the portrait carpetovetónico individidual and social and moral life.
And all those characteristics that go through the work of Longares re-focus on the four novellas that make up The four corners. Four stories that cover the four ages of man by four points in the history of contemporary English society.
1940, 1960, 1980, 2000 son las cuatro décadas en las que transcurre este retablo narrativo que se inicia con El principal de Eguílaz, situado en el Madrid de los fusilamientos sumarios a principìos de los años cuarenta, en la glorieta de Bilbao en la que se cruzan al amanecer los señoritos juerguistas que han ganado la guerra y vienen de recogida, con los obreros que salen a esa hora a trabajar.
El silencio elocuente, Delicado y Terminal son las otras partes de un retablo en el que conviven diversos tiempos y clases sociales, distintas épocas y ambientes habitados por cuatro tipos de personajes: los súbditos de la posguerra, la juventud inconformista de los sixties, the coexistence of both victims and perpetrators in their adaptation to democracy and the elderly concerned about the afterlife. Characters from these various ages to develop their strategies for survival.
Poverty, naivety, perfidy and transcendence characteristic of each of these four stages, each of the four episodes of the four corners to draw the map of Spain new: that Spain was beginning to dawn on He appeared to be a Virgin Moncha smelled sweet, until today's Spain. And that map
I invite you to read is drawn with the subtlety and narrative power of Manuel Longares, with their critical, compassionate and deep, and one of the highest quality prose of contemporary English literature.
usual because the reader is wonder Longares incessant glare caused joyful literature. And The four corners are a new proof of a narrative talent and stylistic virtuosity that you are at the highest level of the English novel of the last quarter century.
who knows his previous books know that I'm not exaggerating. And those who do not know do not know what is lost.
presentation of the four corners. Cáceres Book Fair.
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