Nuria Amat
Taken El País.
The smear from the standpoint of literary quality, the novel suffers stems, in part, the laws devouring the market and the banality that permeates the culture of modern society. These causes have led to consider the novel as the most frivolous of literary novelists and we are taken and used as media puppets. Symbols or marks of a social reality increasingly vocal and imposts, ready to use the novel as a springboard advertising market their products.
Years ago there was a time when it seemed that the quality could be novel be as widely accepted as was the novel pastime. Lived, so to speak, two kinds of narrative: the novel, period, and the other romance novel, dark, melodramatic or mystery. If you then came to believe that good literature could be widely disseminated, the reality, except in rare and few exceptions, it does tell us every day otherwise. The market and media systems, far from being interested in taking care of quality literature are devoted to impose and design marks a novel only to act as breakers of novels and novelists. Buoyed by gains splendid and alluring, the writer is in danger of writing novels as alien subject your real imagination that eventually prove false and deceitful. The big issues (sex, drugs, women, love and violence) become repetitive topics which often take hold certain narrators. Pastiche novels are the order of the day. Also, those who try to appear educated and erudite with just grab classic narrative clichés and high-profile case. Umberto Eco said syndrome well in his vein of writing and has given us a glut of novels that integrate elements of real life (historical, emotional or bookish) mixed with fiction (mundane or police). Success that, over other literary genres, the novel continues and money move this market still drives writers and other professionals outside in principle to fiction, writing novels for the sole purpose of getting a wider audience of readers. Almost ashamed to be called a writer when reporters, players, actors, politicians and other celebrities are transvestites in the overnight on authors of books. To preserve the environmental pollution literature, many authors choose different forms of resistance: the irony, silence, controversy or exile. Furthermore, the fact that every time there are more writers who are writers, teachers, professors, critics, etc., is transformed narrative in border literature found it at last in our country, but not always legitimate and new. The novel is itself a hybrid genre. A mixed form of writing that lends itself to be manipulated by outside interests into the literary. All this does not preclude recognizing as meritorious deed that never before in the world are given many important novelists.
literature to which I refer is inevitably subject to a commitment to art, regardless of whether or not a commodity. It is written from a personal and aesthetic parameters-commercial use. But today it is idle to talk about style. Quoting Proust or George Eliot is prehistoric. Hence the tendency to hang tags on the novel with the purpose of adding underground aesthetic value is sometimes lacking. There is talk of lyrical novels, realistic, poematic, meta-twenties, historical, autobiographical and scientific. When it is known that every good novel does not need adjectives that pigeonholed in a genre out of the way out. The author is responsible for the commitment to know the truth of his narrative project avoids definitions and try to stay in the preserve of literary creation. This state of chaos and confusion, whose first symptoms occurred a few years ago, was what prompted a writer of the stature of Marguerite Yourcernar say, 'Did you write novels? I have no impression of having written. " And to the question he raises his biographer: 'Are you ready to end the romance? ", The writer says,' I do not differentiate between novel and poetry."
Some narrators copies, with the possibility of being tagged commercially in any narrative trend, maintaining strong literary identity, by writing against the style or trying to establish your own, since all write novels or not are merely variations on a handful of literary archetypes. What matters ultimately is the act of writing from which Each book succeeds in presenting his particular disagreement with the world. It also happens that the acquisition of a narrative or current formula encourages certain narrators attack those who swim in seas other than their own. Thus, each author becomes an enemy of his opponent. Men, women. The publishers, authors. The cunning of the wise. The continuing death and resurrection that lives the novel allows and encourages this kind of shoddy crimes laws stimulate market devouring and consecrate to the point where the fiercest tirades can become missiles capable of ending the energy of most valued writers. The masked ball which becomes trade literature encourages letters are pronounced in some individuals or groups manifest against the fictional narrative brandishing a flag of their cause that tell a story is something already obsolete, as heroes, plots, characters and heroines belong to the historical record of the literature. Their arguments go beyond in proposing that all activity should stop writing, unless, of course, exercising their own detractors of the novel, advocates, moreover, another literary genre with which they feel like. Today, this attitude catastrophe, therefore, be repeated, has ceased to be taken seriously. Especially when those in charge to bury the book are the first to start writing a new one within hours of having sentenced. The defeat and the threat of total and absolute silence with which some novelists accompany the publication of a new book almost always due to a personal crisis, creative writer with the circus promotional fearful that he comes over and points out again that the so-called crisis of the novel is in many cases, following the crisis of the tired and bewildered novelist. The literature is not sick. At most, shaken and despised by a consuming market and unscrupulous. And when a writer announces the death or dying of the novel, it is possible to be this writer who is suffering a collapse in its creative force.
The novel claims to new forms of telling authors. And it's not easy to find. In contrast to the uniformity, simplicity and obedience to the canon that requires advertising the book market, the true novelist is to defend a strong attitude of independence. Narrating is paid travel. The novelist, since he has no choice but to resign themselves to be exchanged, struggling to stay afloat in the sea of \u200b\u200bliterature in which each Ulises sails on a voyage without return. The poet, unlike the novelist, knows the challenge that demands the literature. From the first moment is a wreck. Would never think to say that literature is dead, because he knows too well that this statement reflected his lack of inspiration. The poet's voice is silent because it lets them talk to poetic truth. Some of this come from the poet's life should take on borrowed time novelists and storytellers with aesthetic will. The solitary vice of reading is significant proof that something happens in the text. Nineteenth-century novels were very descriptive and had many pages because their authors belonged to a more patient and leisurely culture than ours. Now the film has come to occupy the place of nineteenth-century novel. But each novel offers its unique and original vision of the world through a plurality of languages \u200b\u200band intensity that have always nourished the literature. It is in this sense can still be a work of art.
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