“How tempting is autofiction in this world where phones have a front camera because what we are most interested in photographing is our own face.” I wrote this a few weeks ago The country columnist and writer Jimina Sabadú. “There is already more than one generation that knows no other orography than that of its face”, he added. Perhaps that is why there is no interview with an author in which autofiction is not discussed.
In the opinion of Lucia Lijtmaer (S Fashion), the issue especially affects women writers. “It seems that women when we write only talk about ourselves. (…) When is Sylvia Plath They say it’s autofiction and when it’s Philip Roth it is fiction.”
John Paul Villalobos confess to Cool that he has been “aware for more than 20 years that there is something called autofiction”. But he is “more interested from a parodic point of view”. the author of Hairdressers and lettersin which he portrays his family intimacy, explains that the idea of naming the protagonist after him “has to do with questioning my place and that of the established writer”, because “I think it is very harmful for oneself to believe oneself to be a great writer”.
Perhaps the editor and critic is right Andreu James when he tells Daniel Capo on The Objective that “we live in a time of tremendous sentimental, sexual, emotional and psychological exhibition (…) Everyone exhibits and sells what they live and do. And at the same time the notion of experience has been degraded and industrialized in an atrocious way”.
Who knows a lot about autofiction is Peter Handke. interviewed in The country by Marc Bassets, reveals that “I have always felt horror for pure and simple autobiography, there has to be a detour”. He recalls a story of his uncle, who, fed up with the seminary, ran away and walked 40 kilometers to get home. The reaction of Handke’s mother when she saw her brother arrive was to start sweeping at four in the morning, “A great little story like this – explains the Nobel Prize winner – is transformed for those who listen to it. Fiction gently settles in without planning. Literature is this”.
“The master of all that is Kafka“, according louis landero (The vanguard). “He is the one who has taught us all to what extent daily minutiae can become nightmares and mark our existential condition, to what extent we are ridiculous.”
The genre is an inexhaustible debate. The editor of Chalk Circle, Eva Serranoconsider in Vanity Fair that “we are in a very heterodox world, there is no longer a difference between literary genres, nor between sexes (…) I think the paradigm has changed in the sense that pure fiction, the novel, is beginning to be a genre of the last century . Now the genres are more mestizo. The books aspire to tell different realities in which the reader sees himself recognized”.
“I’ve always had a horror of autobiography pure and simple”
Writing also brings more domestic problems. It’s what happens to Theresa Cardonawho writes four hands with Eric Damian. He counts his technique on All Literature. “First we lay out the plot and the story we’re going to tell, then Eric writes it in French, hands it over to me and I correct and add what I think is appropriate. I pass it back to him and he polishes it. Although I write in French, he speaks the language much better than I do; he passes it back to me and I redo whatever is necessary”. Of course, he admits that “I write much faster on my own”.
PS Weeks later, the Goya gala continues to make people talk. Daniel of the Towerdirector of the ceremony, explained in The voice of Galicia one of the most commented moments. “I thought it was a Berlanguian moment that ‘get up all of you, you have no idea’, ha, ha! She had been discussing it with cough on the train back and said, ‘Damn, if we get up with Cate, what do we do with Pepe [Sacristán], get on the seat?’. And they weren’t going to be 15 minutes either. Imagine me, who controls the times. What was I going to do, kick Almodovar From Stage? Let’s see who throws it, I’m not going to do it, I’m telling you! Ha ha”.
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Overwhelmed with autofiction