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Quemar las naves: juegos novelescos de Alejandro Cuevas

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Gutkowska K. Z.

2009

tom 4

While trying to comment on Quemar las naves of Alejandro Cuevas, it is impossible not to notice the intricate net of tropes and means which makes it one of the most noteworthy examples of contemporary Spanish narratives. Written with great attention to details, structured with astonishing precision and based on multiple contrasts, the novel does not desist from surprising its reader. It seems, for example, paradoxical that a postmodernist story about the disintegration of a traditional poet’s life can be so perfectly coherent in its form, diligently organized, and divided into chapters and subchapters arranged alphabetically.Furthermore, the novel falls outside any unequivocal interpretation due to the author’s incessant trifling with mythological allusions, the wittiness and sharpness of his obliquely slipped insights concerning today’s culture and the status of literature, the introduction of playful ambiguity, and the unspecified space-time textual frame. Apart from that, Quemar las naves constitutes a kind of genealogical guessing game, as it contains elements of various genres and, thus, it cannot be analysed only within the constricting traditional genre classifications. All in all, Quemar las naves may be perceived as a kind of never-ending toying with literary conventions and with the readers’ expectations. Key words: Alejandro Cuevas, contemporary Spanish novel, 21st century Spanish narrative.

Paweł Huelle i Antonio Munoz Molina, Jerzy Franczak i Alejandro Cuevas – miejsce „ja” we współczesnej prozie hiszpańskiej i polskiej

100%

Gutkowska K. Z.

2011

tom 2

p. 179-194

The paper focuses on the comparative literature’s theoretical possibilities and the traps of intertextual comparison as well as on the interpretative praxis of both Polish and Spanish contemporary prose. The comparative analysis shows the similarity between narrative strategies which can be found in two novelistic duos: The Last Supper by Paweł Huelle and The Polish Rider by Antonio Munoz Molina and, secondly, The Inhuman Comedy by Jerzy Franczak and Life is not an “Auto Sacramental” by Alejandro Cuevas. In all the aforementioned novels, space functions as a semantically significant reflection of the hierarchy of values to which the characters-narrators relate. Moreover, it reveals the dynamics of constant unification and the disruption of the “I” of the narrator, as well as of the intersections of cultural spaces, currents and areas of aesthetic and pragmatic experience. The paper also shows the generational change in the artistic use of the references to the past: Huelle (born 1957) and Munoz Molina (born 1956) do not renounce the exploration of the “I”, however, they frequently turn to historicism. On the contrary, Franczak and Cuevas, born in the 1970s, tend to treat the past solely as a pretext and always in the context of valorising the present. Each novel constitutes a multidimensional labyrinth in which space serves not only as a decoration, but also as a virtual link to various spheres of symbols, art (especially painting) and a network of literary allusions. Furthermore, all novels – more or less directly – touch upon the issue of the subject’s social and national status and of its cultural affiliation, thus engaging in a dialogue with the notion of national, global and European identity.