Marta sanz el pais

Marta sanz el pais

Anne carson, princess of asturias award for letters

Thank you very much for your comment and for the generosity of your reader. Your words remind me that, beyond the ideological aspects on which I wanted to raise questions and give answers in my novel, all this is achieved through a plot where the relationship between a mother and a daughter is very important… A relationship in which I was very concerned about the verisimilitude, the chiaroscuro, the mixture of violence and tenderness. Thank you, really.16Javi Clemente17/07/2013 12:54:37Dear Alumni Javi Clemente:

Culture is health: ignorance as the engine of knowledge.

I say it a lot, because it seems fundamental to me: if it is a political novel, it is so because it speaks of mass graves, of violence against women, of the Law of Democratic Memory; but above all, it is so because it is poetic. It is something revolutionary, in times of haste, of headlines, of inertia, in which vertigo, speed and spontaneity are so overrated, to propose a different reading pact, to say: wait, stop, read underneath, enjoy the pleasure of reading, which has nothing to do with skating over the words to see the end clearly, but with walking the path and seeing how that path has to do with your own life.
What interested me, and hence my concern for language and how language relates to reality and to the values that each one of us has. For me, the priority was to express how the modes of representation of violence against women’s bodies, or against the bodies of the losers, have managed to naturalize these forms of violence, to make them seem normal to us. When in a museum we have represented a biblical passage as gruesome as Susanna and the old men with soft and bland colors, what we are doing is turning horror into euphemism. When we turn a rape of women into a stimulus to arouse morbidity, we are normalizing horror and even turning it into something desirable. It is important to see where the origin of our desires comes from: from a tremendously macho culture, which is why language, poetry, how the way of saying things is related to reality, is so relevant.

Marta sanz: el poder de las palabras (entrevista completa)

Marta Sanz nació en Madrid en 1967, pero pasó la mayor parte de su infancia en la localidad costera de Benidorm, regresando a Madrid en su adolescencia. Realizó una tesis doctoral sobre la poesía española durante la transición a la democracia (1975-1986), y ha trabajado en el mundo académico y como directora de la revista cultural Ni hablar.
Su primera novela, El frío, se publicó en 1995. Desde entonces ha publicado otras diez novelas, entre ellas Susana y los viejos, que fue finalista del prestigioso Premio Nadal en 2006, la aclamada Daniela Astor y la caja negra (2013) y Farándula (2015), galardonada con el Premio Herralde. También ha publicado dos volúmenes de poesía, Perra mentirosa/Hardcore (2010) y Vintage (2013), así como el ensayo No tan incendiario (2014).
Como escritora, Sanz se preocupa por explorar y desvelar la dimensión ideológica y el poder de las representaciones culturales y, por supuesto, del lenguaje. Su estilo de escritura se caracteriza por el juego, la ironía y, a veces, el sarcasmo corrosivo. Si bien su obra supera los límites lingüísticos y genéricos -por ejemplo, en sus novelas Black black black y Un buen detective no se casa jamás, que son en parte un homenaje y en parte una parodia del género negro y tienen como protagonista a Arturo Zarco, un detective gay hiperestésico-, la experimentación literaria de Sanz siempre va acompañada de una preocupación por las cuestiones sociales y políticas, como el género y la desigualdad.

Marta sanz: humor

During a flight, Marta Sanz has a pain that she had never had before. A dark malaise or a flatus. From that moment on, the comical discomfort that triggers Clavicula grows: I’m going to tell you what happened to me and what didn’t happen to me. Here, the narrative of the autobiographical episode fractures like the body itself, which deforms, recomposes or resuscitates at the rhythm of the violence of reality. The decomposition of the body seems indissoluble from the decomposition of a kind of organic novel where truths are lied about and traps and other conjuring tricks are used.in Claviculao Mi clavicula y otros inmensos desajustesno: here the word seeks to give an account of the facts, more or less blurred, to arrive at an understanding.the difficulty of naming pain gives rise to grotesque reflections: first it hurts and then I go mad? First they explode me, then I go mad and then I hurt, or do they hurt me and I become aware that they exploit me? In the thread of them a string of themes is approached: the edge that separates the body from its scientific stories and its imagination; the intolerance before the psychological unbalance and the unbalance as a symptom every time I am in pain; the intolerance before the psychological unbalance and the unbalance as a symptom every time I…