This was recognized today by writers from several Latin American countries participating in the XXXI edition of Semana Negra of Gijón, Spain.

The so-called "Latin American boom", which between the 60s and the 90s of the last century was a reference for the culture of this region, "no longer exists", as writers of several countries Latin America participating in the XXXIth edition of the Semana Negra de Gijón, Spain

The Mexican Fritz Glockner, the Argentine Enzo Maqueira, the Cuban William Navarrete and the Peruvian Jorge Eduardo Benavides present today. their latest works in this literary event in which more than 160 authors from 15 countries will talk about black novels, but also science fiction, fantasy, historical novel, poetry or comics.

According to the four authors, the loss of prestige of political commitment in the arts and borders in the "monopoly" editorial gave the final push to a cultural movement recognized worldwide.

Currently Ibero-American literature is characterized by a diversity of genres and narrative styles that have nothing to do with its glorious past, said Benavides, who in his latest novel, The Murder of Laura Olivo wanted to pay tribute to this cultural phenomenon.

Enzo Maqueria, who presents the novel Do Yourself in the contest of Gijón, badured that "the boom has ceased to exist", but from his ashes a "new literature" can be reborn from the hand of the return of ideologies and the feminist revolution.

Fritz Glockner admitted that in Mexico, the reality is so cruel that it has replaced the detective novel, because people no longer want to read every day the horrible facts that are in the chronicle police.

In addition, the concentration of publishers has provoked a "malignant" phenomenon which means that local authors are not published in Europe and that Europeans are not published in America.

These "borders" did not exist in the 60s and 70s, when the "boom" took place, whose Argentine Julio Cortázar and the Colombian Gabriel García Márquez were his most recognized representatives .

William Navarrete felt that this phenomenon that originated in Havana with the Castro revolution existed "from doors to out" of the island, because of the same did not participate any Cuban writer .

As he stated, the regime was responsible for keeping it under control by not publishing the works of those authors who did not agree with Castroism, as in the case of Jorge Luis Borges.

Another problem that hinders the exchange of works on both sides of the Atlantic is economic because the current exchange rates between the currencies of the countries of the region and the euro make it virtually impossible to buy edited books. In Spain.

The same publisher has different policies in each of the capitals in which he operates and establishes watertight compartments in which writers are locked, said Glockner.

The Mexican novelist says that on several occasions he fell flat on the wall of "no" literary agents and publishers who proposed to publish or import works "good writers" who had succeeded in selling out

Glockner featured in Semana Negra The Red Book of Puebla in which he compiled the most famous bloody events committed in this Mexican state during the 20th century , while Maqueira brought the novel yourself the fourth of his production and the first of the detective genre in which he tells a crime by domestic disputes.

For its part, in Let Spain Die Navarrete focuses on the discovery of the Cuban origins of the Cuban people, convinced that behind every Cuban there is a Spaniard and, of all the Spaniards, a Cuban.

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