Now when Le Clézio won the Nobel in 2008, there were those who said their compatriot Patrick Modiano, five years younger, would have been a better choice, but now not to take colleagues to fight but to celebrate it deserves the talent of one of the great European writers alive, creator of a personal work pointing a summit of contemporary French literature. In Spain Modiano has had early supporters like Juan Manuel Bonet and José Carlos Llop, who read it and recommended before Anagram, where his later novels have appeared, to initiate the rescue of some of the above, because he had already been translated from Abundant us -benemérita Jaime Salinas in the second half of the seventies. Other publishers -Seix Barral, Pre-Texts, Cabaret Voltaire have in their catalog titles Modiano, but to his credit, Herralde spreading the novelist has succeeded in recent years when even then, as the Llop told himself, he had been a cult author.
Modiano has been said to always write the same book, but his insistence on the same issues-the weight of memory, identity and masquerade, revival of the past is far from a reiterative complacency that would not explain What we seek his novels, never too long, with the fervor of addicts. The usual scenes of his narrative are the Paris of the Occupation could not live he was born in France but has recently Unencumbered recreated in many of his works, and the city of the soixante -agitada, tardobohemia- where he spent his “lost youth”. Sometimes there is a thread that links both seasons or extends to the present from them, but the reconstruction is always partial and fragmentary. The mark of the writer, the famous modianesco style is characterized by an apparent lightness that trusts his strength to the lack of artifice. The accuracy and economy are two of the recognizable aspects in a way apparently incidental in which live investigatory passages, documentaries and almost telegraphic, often mere statements or relations of things, Perec- mode other than off a dry lyricism, full of nuances and suggestions, insinuated revelations of deceit, folds and half-truths.
Now in his first trilogy of novels-the The Star Place , The Night Watch and Rides ring – the twenties, even before finding his distinctive style stripped, almost minimalist, yet addressed the damn period and largely silenced the Occupation, but the obsession Modiano those unlucky not answered by culture alone preference but it is closely related, as he himself has told in A pedigree , excellent autobiographical narrative that evoked childhood solitaria- with their own origins as son of absent parents who unwrapped in the same way avoids many of the characters in his novels: “I always felt, for obscure reasons of family order, I was born from this nightmare.” It is a mythical time and blurs referring to historical reality but not openly recreates, but through subtle references to raids, mercadeos or the excesses of the terrible band rue Lauriston and its network of collaborators or merely exploited. There is a sort, inherited guilt indelible polluter subsequent lives. There are persistent enigmas that refer to more sinister facts intuited shown.
The characters in -evanescentes, sheer, muted, like sketches or drafts of unfinished-painting features sleepwalking by Modiano wander mist-shrouded scenarios portrayed in dreamlike and vaguely ominous atmospheres. You never defined in whole but from highly accurate but incomplete, short data conversations unrelated news or testimonials isolated: police reports, mentions of old yearbooks, newspaper clippings, postcards or letters, diaries, photographs, scattered remains after shipwreck. Memories fade or disappear for a while or come back in waves, an enigmatic, harmful, disruptive manner. The places lose their former contours to be almost unrecognizable, but somehow remain for those who lived.
The fluid and hypnotic prose Modiano uses a transparent language yet dark, but equipped with a direct allusion enormous power, very visual images achieve their effect without frills or flourishes. Now what modianesco being a style, it is also a territory inhabited by beings that appear ambiguous half-light, as in the classic black frames of film. In this territory the remote events not prescribed, although they are not fully disclosed, as its protagonists inhabit a hybrid space where they live, or past events and the geographies extintas- this diluted indistinguishable them clearly. There are elements of intrigue, but are often very faint. Care more about the process of finding and tracking, the evocation of the past is not dead again because of all the layout of a fuzzy time the planes are confused and actually displaced by memory coexists with the phantasmagoria.
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