Fernando Aramburu composed a magnificent portrait of a Basque society immersed in the poison of ETA’s terrorist unreason. He did it in the praised Homeland. And perhaps only he would now be allowed to make a work of fiction in which terrorists are treated with the resources of satirical humor and the picaresque novel. he does it in children of the fable, where the protagonists are two young people signed up for the gang on two newscasts before it announces the laying down of arms. In the work they display all their pathos and stupidity in adventures narrated with humor, although without ceasing to seriously treat the crude indoctrination to which many young people were subjected in that bloody time.
The paratexts ―book flaps, back covers, summaries― seem superfluous since they have not been written by the author who signs the cover, but not, at least, by the Italian publisher Sellerio. Far from being so, they constitute an inexcusable corpus when it comes to composing the image of an eminent figure of European letters such as Leonardo Sciascia. This is stated in the volume Leonardo Sciascia, writer and editor, our book of the week, which brings together the multiple writings that the Sicilian author wrote in his time as head of the aforementioned label. Small jewels that also reveal the limitless intellectual world of the author of The Moro casethe chronicle recently republished by Tusquets in line with the series outside night (Filmin).
Furthermore, critics of babelia This week they review works such as the biography Néstor Sánchez, enlightened conduct, which portrays the controversial Argentine writer; or the novels the heart of damageby Maria Negroni, and anoxiaby Miguel Angel Hernandez. Finally, two essays should be highlighted, The ambiguous word Intellectuals in Spain (1889-2019), in which David Jiménez Torres covers the meaning (sometimes reviled) in the last 150 years that the word intellectual has had in Spain; Y Miguel Primo de Rivera. Dictatorship, populism and nation, in which its author, Alejandro Quiroga Fernández de Soto, portrays the coup general as “the inventor of right-wing populism in Spain.” Furthermore, he points to his dictatorial regime as more repressive and close to fascism than previous historians have admitted.
This book reveals not only the amazing diligence of the Sicilian author in the task of reviewing and promoting a book but, above all, an intellectual world without limits. Criticism by Javier Aparicio Maydeu.
The author of the harsh sociopolitical panopticon of ‘Patria’ dares to narrate the tragedy of terrorism with the resources of satirical humor. Review of Domingo Ródenas de Moya.
An autobiographical novel in a broad sense with a narrator marked by the emotional absence of the mother during childhood. Criticism of Carlos Pardo.
An essay covers the life and work of the author of ‘Nosotros dos’, always ready for relentless discussion and who went beyond all the red lines of coexistence. Criticism of J. Ernesto Ayala-Dip
An unlikely friendship and a somewhat morbid interest in photography are the focus of the latest novel by Miguel Ángel Hernández. Criticism of Ana Rodríguez Fischer.
This biography recreates the figure of the coup general and defines his regime as corrupt, repressive and close to fascism. Criticism by Jordi Canal.
An investigation into how the term has been redefined over more than 130 years: from the generation of ’98 to the position taken with respect to ETA. Criticism by Jordi Amat.
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