By Marta E. Altisent
This selection of stories by means of eighteen fashionable theorists and critics deals a various landscape of the fashionable Spanish novel visible in the course of the prism of Spain's fresh political, cultural and ideological heritage. It considers the advance of the unconventional as a social replicate and as a altering literary shape, torn among the culture of stern realism and the aesthetics of rupture affecting all Western literature from the Avant-Garde to the Postmodern age. whereas a few essays emphasise the Spanish cultural context and canonical writers, others are of a broader nature, grouping lesser-known writers less than definite literary traits: the metaphysical novel, the city novel, recuperative bills of the Civil warfare, female first-person narrations, and the increase of the preferred detective, historic, and erotic novels. 3 reviews tackle the resurgence of the Catalan, Basque and Galician novel and their departure from a poetics of id to at least one of world matters. Interdisciplinary techniques handle the reciprocal affects of literature and cinema, and the consequences of at the intake of fiction are usually not forgotten. The better half presents plentiful bibliographies and a important chronology, whereas all titles and quotations are translated into English.
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Extra info for A Companion to the Twentieth-Century Spanish Novel (MonografÃas A) (Monografías A)
Women’s fiction helped to make the subjective the core of the literary text. Another important strand in this renewed interest in fiction was the emergence of a hybrid: the detective story infused with social and political commentary. Eduardo Mendoza’s *La verdad sobre el caso Savolta (1975) ushered in this development, which was then taken up by Manuel Vázquez Montalbán’s *Asesinato en el comité central (1982) and, to a lesser extent, by Juan Madrid (see below, Chapter 8). The wide acceptance of a form tradition- 26 GONZALO NAVAJAS ally associated with literature of entertainment as a vehicle for the discussion of pressing social and political issues arising from the troubled history of the country is an indication of the greater freedom now enjoyed by writers in dealing with political questions.
In addition to works such as these centering on the Civil War, Sender and Aub also produced a number of novels dealing with a variety of subjects and contexts well beyond the traumatic events that forced them to leave the country. Another major novelist to produce important work in exile was Francisco Ayala. Thanks to the censorship imposed by the regime, both Muertes de perro (1958) and El fondo del vaso (1962) remained for many years unknown in Spain, as did the work of many other novelists in exile, such as Rosa Chacel, Segundo Serrano Poncela, and Manuel Andújar.
The sense of doom and fatalism that we find in *Señas de identidad will persist throughout Goytisolo’s work and it serves as a painful reminder of the country’s history of cultural conflict and collective frustration. The publication of *Tiempo de silencio and *Señas de identidad, together with the first tentative overtures of the regime to the outside world in the mid1960s, made it possible for the novel gradually to embrace new themes and structures. The works of Juan Benet, Luis Goytisolo, and Jesús Fernández Santos signal the beginnings of more experimental types of novel.