Writers recognize the end of the "boom" of Latin American literature

Participants in the XXXI edition of Semana Negra of Gijón (Spain), say that the loss of prestige of political commitment in the arts and borders in the "monopoly" editorial have given the final push to a recognized cultural movement

The called "Latin American boom" which between the 60s and 90s of the last century was a reference of the culture of this region, "no longer exists", as recognized writers from several countries of Latin America participating in the XXXI edition of the Semana Negra of Gijón (northern Spain).

The Mexican Fritz Glockner the Argentine Enzo Maqueira the Cuban William Navarrete and the Peruvian Jorge Eduardo Benavides introduced their latest works in this literary event in which more than 160 authors from 15 countries speak about fiction, but also science fiction, fantasy, historical novel, poetry or comedy. (It may interest you: "Futures negatively", the story by Eduardo Sacheri to remember a child victim of an attack.)

According to the four writers, the loss Prestigious prestige of political commitment in the arts and borders in the editorial "Monopoly" gave the final push to a globally recognized cultural movement.

Currently Ibero-American literature is characterized by a variety of narrative genres and 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 it yourself" at the Gijón event, said that "the boom has ceased to exist", but from its ashes may be reborn "a new literature" hand in hand with the return of ideologies and the feminist revolution.

Fritz Glockner admitted that in Mexico the reality is your cruel n who moved the crime novel because people no longer want to read the horrific facts found in the police chronicle every days.

In addition, the concentration of publishers has led to a "malignant" phenomenon whereby local authors are not published in Europe and Europeans are not published in America.

These "borders" did not exist in the 60s and 70s when there was a "boom" of which the Argentine Julio Cortázar and the Colombian Gabriel García Márquez were his representatives the most recognized. (We recommend reading: Jorge Volpi, a 50 year old writer between the keys of the sun and the fa).

William Navarrete considered that this phenomenon originated in Havana with the Castro revolution existed "from the outside" of the As he stated, the regime was responsible for keeping it under control by not issuing not the works of those authors who did not agree with Castroism, as in the case of Jorge Luis Borges

Another problem that hampers 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 books published in Spain [19659005 The same publisher has different policies in each of the capitals in which he operates and establishes watertight compartments in which the writers remain closed, said Glockner.

The Mexican novelist said that on several occasions he fell flat on the "no" wall of literary agents and publishers who proposed to publish or import works of art. "good authors" sales success abroad.

Glockner presented in the Black Week "The Red Book of Puebla", which collects the most famous bloody events committed in this Mexican state during the twentieth century, while Maqueira took the novel "Do you", the fourth of his production and the first of the kind police in which he tells a crime for domestic disputes.

For his part, in "Let Spain Die", Navarrete focuses on unraveling the keys to Hispanic origins of Cubans, convinced that behind every Cuban there is a Spaniard and, of every Spaniard, a Cuban.