The last decade of Spanish fiction has been crossed by tensions and anxieties marked by a double thread that links purely literary aspects to questions of a historical, political, economic and social nature. A sign of continuity with respect to the past, underlined by the Ley de memoria histórica approved by the government of José Luis Rodríguez Zapatero in 2007, is the tendency to insist on the crucial period of the civil war, but with a transversal look attentive to minimal episodes or with an approach demystifying. In the wake of the first trend, Ignacio Martínez de Pisón (b. 1960) is inserted with Enterrar a los muertos (2005; trans. It. Death of a translator, 2006), while The vain ayer (2004; trad. It. The vain yesterday, 2007), ¡Otra maldita novela sobre la guerra civil! (2007), both by Isaac Rosa (b. 1974), and La comedia salvaje (2009) by José Ovejero (b. 1958) are examples of reinterpretations in an ironic key. The civil war, however, projects gray areas over the entire second half of the 20th century. and forces to balance out feelings of guilt and rancor that have not entirely subsided. Among the writers who have dealt with these aspects, in addition to Martínez de Pisón (Dientes de leche, 2008, trad it. Il fascista, 2010; El día de mañana, 2011), Ramiro Pinilla (1923-2014; La higuera, 2006; El cementerio vacío, 2013), José María Merino (b.1941; La sima, 2009), Manuel Longares (b.1943; Nuestra epic, 2006; Los ingenuos, 2013), Andrés Trapiello (b.1953; Ayer no más, 2012), Antonio Muñoz Molina (b. 1956; The night of time, 2009), Antonio Soler (b. 1956; The alligator’s dream, 2006, trans it. Il sonno del caimano, 2012), Almudena Grandes (b. 1960; The frozen heart, 2007, trans it. Cuore di ghiaccio, 2009; Inés and joy, 2010, trans it. Inés e l’allegria, 2013; The Julio Verne reader, 2012, trans it. The boy who read Verne, 2013) and Rafael Reig (b.1963 ; Todo está perdonado, 2011). Javier Cercas (v.), On the other hand, in Anatomía de un instante (2009; trad. It. Anatomia di un instant, 2010), analyzes a decisive junction for the recent Iberian democracy: the coup attempt by Lieutenant Colonel Antonio Tejero in February 1981. Finally, the present is marked by the terrorist attacks in Madrid of 11 March 2004 and by the economic crisis, themes that contribute to giving life to worlds where the most widespread feelings are fear, disorientation and frustration, as emerges from the plots by Luis Mateo Díez (b.1942; La piedra en el corazón, 2006), Justo Navarro (b.1953; Finalmusik, 2007, trad. it. 2010), Adolfo García Ortega (b.1958 ; El mapa de la vida, 2009), Diego Doncel (b.1964 ; Mujeres que dicen adiós con la mano, 2010), Blanca Riestra (b.1970; Madrid blues, 2008) and Ricardo Menéndez Salmón (v.; El corrector, 2009, trad. it. Il correttore, 2011). Among the voices that have best managed to restore the deterioration of the social fabric, those of Rafael Chirbes deserve to be mentioned (see Crematorio, 2007, trans. It. L’equatore delle cose, 2009; En la orilla, 2013, trans.. com. On the shore, 2014), the aforementioned Rosa (El país del miedo, 2008; The invisible hand, 2011; The dark habitación, 2013) and Juan Goytisolo (n. 1931; El exiliado de aquí y allá, 2008, trad. It. Exiled here and there. The posthumous life of the Sentier monster, 2014), echoed the ‘entire production by Belén Gopegui (b.1963), with an anti-capitalist imprint, and the humorous novel El enredo de la bolsa y la vida (2012; trad. it. O la bag o la vita, 2013) by Eduardo Mendoza (n. 1943).
The history and current events, not only of the Iberian Peninsula, then lend themselves to becoming an instrument of reflection on the utterability of horror or on the lability of narration and appearances. If Menéndez Salmón (La ofensa, 2007, trans. It. L’offesa, 2008; Medusa, 2012) and Cercas (El impostor, 2014, trans. It. The impostor, 2015) recover Nazism and the holocaust to probe the possibilities of the act of testifying, Eduardo Lago (b. 1954; Llámame Brooklyn, 2006, trad. it. Call me Brooklyn, 2008) and Javier Marías (b. 1951; Veneno y sombra y adiós, 2007, trad. it. Veleno and shadow and goodbye, 2010; Los enamoramientos, 2011, trad. it. The falls in love, 2012; Así empieza lo malo, 2014) highlight the fragility of narration by resorting to metal-literature and self-fiction. Literature that is tinged with fake autobiography or essay, or examines the human condition amidst loneliness, phobias or discrimination, is at the center of already consolidated trajectories: Enrique Vila-Matas (n. 1948; Dublinesca, 2010, trans. It. Dublinesque, 2010 ; Aire de Dylan, 2012, trans. It. An aria from Dylan, 2012; Kassel no invites a la lógica, 2014, trans. It. Kassel does not invite to logic, 2015), Juan José Millás (b. 1946; The world, 2007, trans. Item. Il mondo, 2009), Luis Landero (n 1948. Today Jupiter, 2007, Absolution, 2012; The balcony in winter, 2014), Alvaro Pombo (n 1939;. The fortune of Matilde Turpín.. 2006, trad it ‘s fortuna di Matilde Turpin, 2008; The tremor of the hero, 2012) e, tra le generazioni più giovani, David Trueba (b. 1969; Know how to lose, 2008, trans it. Saper perdere, 2009; Blitz, 2015) and Andrés Barba (n. 1975; August, October, 2010, trans. it. August, October, 2012; In the presence of a clown, 2014). Still in the context of formal and content refinement, it is worth noting Intemperie (2013; trans. It. 2013) by Jesús Carrasco (n. 1972), a singular and acclaimed debut novel.
The book market in Spain, despite being hit by the global financial turmoil, the decrease in investments by the institutions and the uncertainties of publishing in the face of digital technology, has maintained a varied and, generally, quality offer. The trend of the Spanish best seller was still able to be successful abroad with Arturo Pérez-Reverte (b.1951), Clara Sánchez (b.1955) and the more commercial Julia Navarro (b.1953), Ildefonso Falcones (b. 1959) and Carlos Ruiz Zafón (b. 1964). The generación nocilla or mutant narrative, a heterogeneous group born in the wake of Nocilla dream (2006; trans. It. Il sogno della Nocilla, 2007) by Agustín Fernández Mallo (b. 1967; Nocilla experience, 2008; Nocilla lab, 2009; Limbo, 2014) which claims the need for a greater hybridization between literature and multimedia culture, referring to the pop mix of American postmodernity. Critics close to this current include Vicente Luis Mora (b.1970) and Eloy Fernández Porta (b.1962), while Juan Francisco Ferré (b.1962) and Jorge Carrión (b.1976) are authors who experiment with flexibility. of prose in contact with television series or video games. Finally, a literary genre that has recently found its editorial and critical position in the Iberian territory is the micro-story, supported by academic studies and independent publishing houses which, in addition to various anthologies, have published significant collections by Juan Pedro Aparicio (n. 1941; La mitad del diablo, 2006; The game of the diabolo, 2008), José María Merino (La roundabout of the fugitives, 2007, trans. It. La rotonda dei fuggitivi, 2012) and Julia Otxoa (b. 1953; A strange shipment, 2006; Family scene with ghost, 2013).
The poetic production. – Fixed points of a panorama with infinite ramifications are two long-time poets, Antonio Gamoneda (b.1931) and José Manuel Caballero Bonald (b.1926), awarded the Cervantes Prize for their work in 2006 and 2012. A ‘ another voice that has now definitively established itself is the visionary but committed one of Juan Carlos Mestre (b.1957; La casa roja, 2008; La bicicleta del panadero, 2012). Within the following generations there is a boundless variety of tones ranging from realism to symbolism, with the relative nuances. Among the figures most inclined to civic protest are Jorge Riechmann (b.1962), Isabel Pérez Montalbán (b.1964), Antonio Orihuela (b.1965) and Enrique Falcón (b.1968), while postmodernity is dissected with a caustic grin from Manuel Vilas (b.1962) and with cynical humor from Juan Bonilla (b.1966), or it is filtered by evocative images in the books of Jordi Doce (b.1967) and Lorenzo Oliván (b.1968), or again it is the language that is purified (Ada Salas, n. 1965; Luis Martínez Falero, n. 1965) or subjected to twisting (Antonio Méndez Rubio, n. 1967). In this same spectrum, with a further theoretical and formal fragmentation deriving from an individualistic urban society, characterized by the interpretative limitations of the ego, there are Pablo García Casado (b.1972), Abraham Gragera (b.1973), Miriam Reyes (b.1974), Carlos Pardo (b.1975), Rafael Espejo (b.1975), Josep Maria Rodríguez (b. 1976), Alberto Santamaría (b. 1976), Luis Bagué Quílez (1978), Álvaro Tato (b. 1978), Vanesa Pérez Sauquillo (b. 1978), Erika Martínez (b. 1979) and Elena Medel (b. 1985). Finally, the Internet and multimedia, in addition to the proliferation of blogs and digital magazines, have favored the birth of the critical label Vanesa Pérez Sauquillo (b. 1978), Erika Martínez (b. 1979) and Elena Medel (b. 1985). Finally, the Internet and multimedia, in addition to the proliferation of blogs and digital magazines, have favored the birth of the critical label Vanesa Pérez Sauquillo (b. 1978), Erika Martínez (b. 1979) and Elena Medel (b. 1985). Finally, the Internet and multimedia, in addition to the proliferation of blogs and digital magazines, have favored the birth of the critical label postpoesía, which the aforementioned Fernández Mallo and Mora refer to, amalgamating elements and languages of contemporaneity, in a hybridization that often approaches performance.
Basque literature. – According to sportsqna.com, the best-known personality is Bernardo Atxaga (b.1951), but it is also good to keep in mind other names that have helped to outline a multifaceted image of the Basque Country by comparing myths and modernity, in search of a national dimension capable of affirming itself overcoming, without forgetting them, the years of dictatorship and terrorism: Ramon Saizarbitoria (b.1944), Arantxa Urretabizkaia (b.1947), Anjel Lertxundi (b.1948), Pello Lizarralde (b.1956), Joseba Sarrionandia (b. 1958), Rikardo Arregi (1958), Miren Agur Meabe (b.1962) and Iban Zaldua (b.1966). If you write it in Basque is in itself a political and identity choice, however it should be noted that younger writers broaden their horizons, establishing a close dialogue with techniques and the postmodern world, as is evident in the fiction and poetry of Kirmen Uribe (n. 1970), Unai Elorriaga (b. 1973), Harkaitz Cano (b. 1975) and Leire Bilbao (b. 1978).
Catalan literature. – In 2007 Catalonia was the guest of honor at the Frankfurt Book Fair, confirming the vitality of a publishing market inclined to adopt the strategies of large groups. The focus is on writing of immediate reception which, even within single trajectories, amalgamates different themes and genres: historical re-enactment and the adventure novel (Jaume Cabré, n.1947; Lluís-Anton Baulenas, n.1958 ; Albert Sánchez Piñol, b.1965), the ironic critique of modern life (Quim Monzó, b.1952; Sergi Pàmies, b.1960; Imma Monsó, b.1959), the noir (Andreu Martín, b.1949; Ferran Torrent, n. 1951) and, in some cases, eroticism and metal literature (Miquel de Palol, n. 1953); or you try aesthetic solutions in keeping with the pop-media chaos of the present (Vicenç Pagès, n. 1963; Jordi Puntí, n. 1967).
Galician literature. – In Galicia, from 2005 to 2015, lines of writing focused on local memory and the civil war seem to have definitively consolidated, represented by the now canons Manuel Rivas (b.1957) and Suso de Toro (b.1956) and the lesser known Carlos G. Reigosa (b.1948) and Rosa Aneiros (b.1976), on the historical novel (Alfredo Conde, b.1945; Marcos Spain Calveiro, b.1968), on the detective story (Domingo Villar, b.1971; Diego Ameixeiras, n. 1976) and on a cosmopolitan dimension open to contemporaneity (Iolanda Zúñiga, n. 1975; Inma López Silva, n. 1978) or to metaliterary implications (Xurxo Borrazás, n. 1963). In the field of opera, among the established and emerging authors (Xosé María Álvarez Cáccamo, b.1950; Manuel Vilanova, b.1946; Mario Regueira, b.1979; Daniel Salgado, b.181), female voices have multiplied.