In an interview with EFE for her participation in the Centroamérica Cuenta festival, which reached its ninth edition this year, the author values this meeting that during this week brought together more than 20 Ibero-American writers looking for “a meeting point” between both sides of the Atlantic.
The festival “highlights the best ways to establish a dialogue or conversation – between Spanish and Latin American literature – which from an artistic point of view has always been very fruitful,” he considers.
Sanz, a novelist and essayist known for works such as “Domestic Animals,” “A Good Detective Never Marries” or “Little Red Women,” remembers when she began studying Latin American literature in college.
“You start with the Chronicles of the Indies and there is a period in which all the literature on the other side of the Atlantic seems to be slipstreaming from what is happening with the Spanish, but there is a point that coincides with the historical avant-gardes that totally changes”, analyze. It might interest you: Mariana Enríquez: Living in fear of crises helps to write terror
A point that comes with the appearance of figures such as Rubén Darío or César Vallejo, according to his opinion, and in which “in Latin America a great past is attached to literature made in Spain.”
“From there it has been a permanent exchange where it seems that the most stylistically intrepid books are written in Latin America,” he sums up.
The interest in Spain for Latin American literature
During the Central America Account festival, Sanz shared a discussion table with the Guatemalan writer Rodrigo Rey Rosa, with whom he analyzed “the origin” as a starting point for writing.
For Sanz, these types of meetings are one more opportunity to be up to date with the literature that occurs in Latin America, a material that he prefers to treat by country and not as a regional whole.
“I find it very impoverishing to talk about Latin America, there are many countries, traditions, references, different points of origin beyond the Spanish language, Mexican history and culture have nothing to do with Chilean or Argentinean,” he insists.
In his opinion, what these countries do share is that they are “enormously plural”: “in that richness and variety lies the enormous interest that it now has for those of us who write in Spain to look to the other side.” To read: Liudmila Ulítskaya will receive the Formentor Prize for Letters in Spain
And it is that despite the belief that Latin American writers are not read in Spain, Sanz considers that “there is a group of reception” and that thanks to the Latin American Boom, starring writers such as the Colombian Gabriel García Márquez or the Peruvian Mario Vargas Llosa, the Spanish public is familiar with those lyrics.
“We are undoubtedly very aware of what is published, within our possibilities, for the general public it is prestigious literature and for those of us who are more specialized, we are very fascinated with Mexican, Chilean or Argentine writers,” he shares.
A new generation of Latin American authors
For the Spanish, this new generation of young Latin American writers “are writing with the language of devils.”
“They are being built against all the authoritarianism of the canon, against everything that has to do with the violence of colonization, gender, cultural, the homogenization of discourse that is marked by power and money, that leads them to build their books with a very powerful style from a poetic point of view,” he says.
An important aspect for Sanz, that of being aware of reality and writing accompanied by the sign of the times that each one has lived through.
“The fact that you are a writer or a photographer or an actor does not discredit or discredit you as a citizen to express your opinion, it seems that the arts are a space reserved for a certain tranquility that has to do with leisure and entertainment, that vision it is completely mercantile and intentionally political,” he says.
And it is that for her “the market roller unifies all styles”.
“All books are the same, nothing is done to make us uncomfortable but to rest and in some way to reaffirm what we already know, I think it’s great that people who have a public speaker use it in a responsible way” , ditch. Remember to connect with the live signal of the HJCK, the art of listening.