Andreu Navarra<\/strong><\/a><\/p>\n <\/p>\n
Sloper Publishing has recently reissued a remarkable novel that won the Juan March Cencillo Prize in 1997, Experto en Silencios<\/em>. We speak with its author, Pablo Gonz<\/strong>, a seasoned writer with a rich and unique personal biography.<\/p>\n <\/p>\n
How and why did you come to the conclusion that <\/strong>Experto en Silencios <\/strong><\/em>should be reissued?<\/strong><\/p>\nAfter publishing Cerca del fuego<\/em> with Sloper, we considered releasing a second novel that would, at least from my perspective, offer a more accurate reflection of my literary career. I say this because all the themes that interest me\u2014primarily freedom\u2014had been explored through a lens of sarcastic humour. Cerca del fuego<\/em>, a purely dramatic story, is thus an exception in the context of my work.<\/p>\nThe second reason is that the first edition of Experto en Silencios <\/em>(1997) received very limited distribution. It was published as a special issue of the magazine Bitzoc<\/em>, and presumably only reached subscribers from that time. We concluded that it deserved a second chance, which, in reality, was its first.<\/p>\nWhat was the writing process like? The novel is far from conventional…<\/strong><\/p>\nWhen I wrote this novel, I was very young, reckless, and bold. Likely influenced by Kafka’s The Metamorphosis<\/em>, I was struck by the image of a man who wakes up one morning with no knowledge of who he is. At that time, this entry point into fiction was enough for me to embark on the adventure. If I was lucky and the ground was fertile, I could continue, inventing as I went along. If the initial image didn’t unfold as I had hoped, I would retreat, calling off the venture.<\/p>\nToday, I\u2019m less young and less reckless, which allows me to be more successful in my boldness. I never begin a story now unless the initial image is accompanied by a series of elements\u2014anxieties, memories, desires to express\u2014that offer some guarantee of successful writing.<\/p>\n
\u201cHumour is one of the central psychological functions of humanity\u2014it helps us to maintain emotional balance\u201d<\/p><\/blockquote>\n
As for writing without full stops, it\u2019s largely a formality intended to heighten the sense of confinement or anxiety. Experto en Silencios <\/em>is still very readable because, in fact, the sentences are structured quite normally.<\/p>\nIs humour dying?<\/strong><\/p>\nThat\u2019s impossible because humour is one of the central psychological functions of humanity\u2014it helps us to maintain emotional balance. When something evokes a strong emotion, especially positive ones, we laugh to restore balance, in essence, to keep from losing our minds. Humour in literature serves the same purpose as literature itself: it creates a representation of life that allows us to reflect and feel without risk. In this sense, both writing and reading literature prepare us for life.<\/p>\n
Currently, the publishing industry pays less attention to humorous works for a simple reason: we all feel sorrow for the same things, but we laugh at different things. Therefore, in a mass-market-driven world that stems from industrialism, it\u2019s more practical to create dramatic works with a potentially larger audience. A secondary reason is that in tough yet self-satisfied societies like ours, many find solace in witnessing the drama of others, while the contemplation of happy lives becomes a difficult challenge to accept. Writing with humour today is a revolutionary act.<\/p>\n
How did you become a bookseller? Would you recommend it to friends?<\/strong><\/p>\nI had always seen it as a possibility, but the right circumstances had never arisen. Naturally, it\u2019s advisable to have bookshops, but for them to be viable businesses, those who run them must have a good understanding of the field. Most mainstream literature is sold in well-established bookshops, in branches of large chains, or online. Therefore, I see a niche only in specialised bookshops with national reach. Today, for instance, it\u2019s feasible to set up a bookshop in a small town like Tomelloso, Ciudad Real, specialising in marine topics, and succeed\u2014with the support of the internet for advertising and orders.<\/p>\n
In fact, this kind of peripheral location can significantly reduce installation costs, especially regarding rent.<\/p>\n
\u201cIf you don\u2019t know the true value of a specific book, such as an 18th-century piece, you may not maximise its profit during the buying and selling process\u201d<\/p><\/blockquote>\n
Another option that has proven very successful is dealing in old, second-hand, or rare books. Many people still seek the advice of a bookseller but can\u2019t stand the high prices of new books. As the stock in conventional bookshops is being reduced to favour new releases, a niche opens up for the sale of classics or long-sellers, which easily occupy second-hand bookshops. These are easier to manage because they don\u2019t require significant training. However, dealing in antique books is different, as the product is more unique. If you don\u2019t know the true value of a specific book, such as an 18th-century piece, you may not maximise its profit during the buying and selling process.<\/p>\n
What was <\/strong>Libertad<\/strong><\/em>, the dystopian novel you wrote in 2010, like?<\/strong><\/p>\nIt was and still is a novel that functions almost as a synthesis of my previous works. After a five-year hiatus, I returned to literary creation by gathering everything that had always obsessed me around the word \u2018Freedom\u2019. Libertad<\/em> is a dystopia, a work that fits within soft science fiction\u2014a subgenre more concerned with social and philosophical issues than technical-scientific ones. Yes, there are UFOs in my novel, which, because they are perfectly identified, are called \u2018ovis\u2019, but I don\u2019t delve into explaining their propulsion systems. Instead, I focus on the conversations between the people travelling inside these crafts.<\/p>\nOn the other hand, the setting is dual, featuring hyper-technological cities and rural areas much like those of the past. This also gives the novel a bucolic air.<\/p>\n
What are your fondest memories of Brazil and Chile?<\/strong><\/p>\nI remember almost nothing of Brazil as I arrived when I was two months old and left at three years. In fact, I\u2019m not sure if my memories are my own or merely those my parents once shared with me.<\/p>\n
From Chile, I cherish the grandeur of the landscape, its purity and majesty, the strength of the ocean and storms. I also fondly recall the high quality of the food\u2014both wild produce (especially from fishing and shell-fishing) and human-made products. All vegetables and fruits are excellent, as are the meats. No one forgets Chilean ulmo honey once they\u2019ve tasted it. On the other hand, the country had a deficit in cheeses, but this is improving daily. Their olive oil has nothing to envy from ours.<\/p>\n
\u201cMy literature is bold in its themes, rigorous in its form, and primarily concerned with musicality\u201d<\/p><\/blockquote>\n
How would you define your literature?<\/strong><\/p>\nMy literature is bold in its themes, rigorous in its form, and primarily concerned with musicality. For that reason, I consider myself more of a prose writer than a storyteller. Perhaps I\u2019m not in tune with the topics of today or those easily embraced by society, but I will write unforgettable sentences, one after another, and compel you to follow me to the end. What my literature offers readers today is a unique way of making language dance before their eyes.<\/p>\n
What authors do you prefer? What do you read?<\/strong><\/p>\nI have many preferred authors, or rather, many preferred works, as great authors should, if they are truly good, venture into many different areas. Authors should be different each time they approach a specific story. Without any particular order, I would mention: Sherwood Anderson, Faulkner, Jos\u00e9 Eustasio Rivera, Garc\u00eda M\u00e1rquez, Ciro Alegr\u00eda, Borges, Cort\u00e1zar, Onetti, Stevenson, Wilde, Chesterton, Dickens, Saki, Wodehouse, Zweig, Balzac, Flaubert, Mohamed Chukri, Tomasi di Lampedusa, Pavese, Calvino, Curzio Malaparte, Ivo Andri\u010d, Kafka, Tolstoy, Turgenev, Bulgakov, Grossman, Sholokhov…<\/p>\n
Among Spanish authors: Cervantes\u2019 Exemplary Novels<\/em>, Gald\u00f3s, Azor\u00edn, early Cela, Baroja, Chaves Nogales, Eduardo Mendoza, V\u00e1zquez Figueroa, and Juan Eduardo Z\u00fa\u00f1iga, who, in my opinion, is one of the finest prose writers in the Spanish language.<\/p>\nHow do you view contemporary Spanish literature?<\/strong><\/p>\nI know very little about it. I don\u2019t have enough exposure to form a well-founded opinion. If I were to say something\u2014more a perception or an invention\u2014it\u2019s that novel writing (I have no idea about the other genres) is divided into three tiers: mainstream literature, published by large publishers, usually bestsellers (that is, very conventional novels), or false essays\u2014novels that provide hard information but of poor quality, not backed by credible sources. This would include many current historical novels or those addressing \u2018big topics\u2019\u2014slave trade in East Africa, military dictatorship in Argentina, or China\u2019s expansion into Tibet.<\/p>\n
The second tier consists of serious novels that respect the genre\u2019s necessary transgressive nature. These works are published by medium and small presses, ensuring a sensible level of diffusion that promotes intellectual plurality. This is the pool from which I fish when I do fish, which isn\u2019t often, as I said.<\/p>\n
The third tier includes self-published novels, whether through small presses, obscure imprints, or well-known platforms like Amazon. These novels are often conventional in theme (autobiographies or clich\u00e9d narratives) and tend to be written in a poor or awkward style, by those who either fail to achieve coherence or have read extensively without assimilating enough to develop their own voice. Of course, this third tier may also contain hidden gems, difficult to perceive as such.<\/p>\n
Are you writing now? What are you working on? Will Kola and Louise make it to Switzerland aboard a transatlantic ship?<\/strong><\/p>\nNo, Kola and Louise have already found their place, and I don\u2019t plan to give them more space. I\u2019ve just finished an odd little novel that I\u2019m not sure I\u2019ll even attempt to publish. It\u2019s titled The Triumph of Matter<\/em> and tells the story of a translator who experiences a series of abductions by members of an advanced alien civilisation. I won\u2019t reveal more, as I\u2019m still unsure whether I\u2019ll publish it.<\/p>\nIn the meantime, I have an idea for something more serious, but for now, it\u2019s just that\u2014an idea. If it develops properly, I\u2019ll work on it gradually, though my time is consumed by the bookshop. Still, I\u2019m grateful because it allows me to keep writing.<\/p>\n
\nSource:\u00a0educational EVIDENCE<\/strong><\/p>\nRights:\u00a0Creative Commons<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"An interview to Pablo Gonz, writer Pablo Gonz: \u201cWriting with humour today is a revolutionary act\u201d License Creative Commons Andreu Navarra Sloper Publishing has recently reissued a remarkable novel that won the Juan March Cencillo Prize in 1997, Experto en Silencios. We speak with its author, Pablo Gonz, a seasoned writer with a […]<\/p>\n","protected":false},"author":4,"featured_media":20191,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_FSMCFIC_featured_image_caption":"","_FSMCFIC_featured_image_nocaption":"1","_FSMCFIC_featured_image_hide":"","footnotes":""},"categories":[268],"tags":[1816,386,1817],"class_list":["post-20259","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-humanities","tag-humour","tag-literature","tag-pablo-gonz-en"],"yoast_head":"\n
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