BARCELONA.- Just landed from a long promotional trip to China, where this year he published four titles, still not believing ends. He insists on the phone from his home in the Eixample on the “surprise” of the award, but deep down knows that there are good and every reason for the distinction. Moreover in the case of an award that comes from Mexico, where he has good friends, though perhaps better readers.
Enrique Vila-Matas (Barcelona, 1948), a rare among the rarest of the recent Spanish narrative Load years in his homeland with the stigma of “cult author” in the worst sense. That is, when the formula is used to assume that the fanaticism of his readers is inversely proportional to their number. But recognition will come in a while across the Atlantic. Question confirming the International Book Fair (FIL) in Guadalajara Literature Award in Romance Languages 2015 to all his work, which ruled yesterday. An award that adds weight to another, the Romulo Gallegos, who received 14 years for The Vertical Journey : And you are few important to complete his resume in the new continent <. /> p>
“The critic Michel said Christopher Dominguez 15 who would win the Rulfo ago,” recalls Vila-Matas doubly grateful because the award of the FIL comes from Jalisco, the land of the author of Pedro Paramo, and that comforts him. Christopher Dominguez was also the author of the first commendatory review, published in the magazine Vuelta, he received the Aztec country in 1985 about Brief History of portable literature . And that neither forgets Barcelona. Followed in the wake of the writer praises álvaro enrigue with that sentence quoted ad nauseam in strips and flaps, “the nascent myth of Spanish literature.” “So we had to replace because over the years I stopped being a nascent myth” recalls humorous dialogue with the NATION.
And with that good reception not only won a few friends, but opened it the doors in Latin America. “It was an extraordinary reception, the book really liked Mutis, Monterroso, the painter Vicente Rojo and in Argentina, Bioy Casares” recalls the author of El mal de Montano in a tone He enraged because then made little noise at home and still far from the Herralde Prize (2002). “That changed my map, the land of my writing, because I felt more recognized in Latin America than in Spain,” he confesses. “Here, however, still I have to justify myself against the repeated question, almost offensive, why do me much attention outside,” he adds. And it does with the answer that he gave his friend Sergio Pitol many years ago: “For your literature is eccentric and so is Latin America, in the literal sense of the word” quotes Vila-Matas, recalling the idea of geographical eccentricity for Pitol. “For him the best literature of the twentieth century was born in central Europe, but in Lisbon, Geneva, Dublin”
As it was, the author of the recent does not invite Kassel logic (Seix Barral) and electric Marienbad (Black Box) has not stopped traveling and dialogue in a round trip to Latin American literature. Especially at short distances with authors like Felisberto Hernández, Nestor Sanchez, José María Arguedas, Julio Cortazar and Julio Ramon Ribeyro, he considers crucial in his work. And the point is given if any close relationship that today generates some confusion in the Anglo world. “The Guardian puts me in the top five Latin American writers published in the last year, which I find very funny, but I’m flattered,” having fun.
Owner of a hybrid prose, halfway between fiction, essays and autobiographical references-similar in a sense to narrative programs such as Ricardo Piglia, Vila-Matas has built much of his work as a reflection of the writing itself and, above all, an exploration of experience literary negativity in all its variants. From the narrative suicide or stubborn lock the blank page, in works such as Bartleby and company (2001), to the obsessive experience of literature as an insurmountable disease with said Evil Montano , or the hiding and escape ribauldiana with titles like Doctor Pasavento (2005).
In any case, the FIL Prize, worth 150,000 dollars, it now comes “renew the European and American literature” -as the failure of the jury with “a work in which different genres intermingle and boundaries between essay and fiction are diluted.” A prize “that makes sense because of my relationship with Mexico” -recognizes you author, although the jury has little Mexican “jokes regarding the origin of the members comprising João Cezar de Castro Rocha Brazilian court; Ottmar Ette from Germany, Joachim Garrigós of Spain, Alberto Manguel, the Argentina / Canada; Patricia Martinez, Spain, and Pierre Assouline, France
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