{"id":29555,"date":"2025-09-29T08:53:57","date_gmt":"2025-09-29T06:53:57","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=29555"},"modified":"2025-09-30T20:04:29","modified_gmt":"2025-09-30T18:04:29","slug":"david-aliaga-a-writer-does-nothing-but-question-identity","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/en\/david-aliaga-a-writer-does-nothing-but-question-identity\/","title":{"rendered":"David Aliaga: \u201cA writer does nothing but question identity\u201d"},"content":{"rendered":"

Interview with David Aliaga, writer<\/p>\n

David Aliaga: \u201cA writer does nothing but question identity\u201d<\/h1>\n
\"\"
The writer David Aliaga. Photo: Courtesy of the author<\/figcaption><\/figure>\n

License Creative Commons <\/a><\/p>\n

\"\"<\/p>\n

 <\/p>\n

Andreu Navarra<\/strong><\/a><\/p>\n

 <\/p>\n

David Aliaga<\/strong> (L\u2019Hospitalet de Llobregat, 1989) has just published La lengua herida <\/em>(Candaya), a novel that has been especially anticipated. Previously, Aliaga had brought out three short story collections\u2014Inercia gris<\/em> (2013), Y no me llamar\u00e9 m\u00e1s Jacob<\/em> (2016) and El a\u00f1o nuevo de los \u00e1rboles<\/em> (2018)\u2014as well as the novel Hielo<\/em> (Ice<\/em>, 2014).<\/p>\n

 <\/p>\n

\"\"
A novel about the search for identity, roots, and borderlands. \/ Photo: Candaya<\/figcaption><\/figure>\n

I think I\u2019ve been pestering you for almost a decade to bring out another novel, your big novel. And here it is at last. Have you hated me much for that?<\/strong><\/p>\n

Not really, to be honest. Especially if you\u2019re going to call La lengua herida <\/em>\u201cmy big novel\u201d and describe it as \u201clong awaited\u201d (laughs). In any case, the truth is that, just as I try to remain open to the conversation that develops around what I write\u2014because certain readings of my texts allow me to learn, to rethink them\u2014I\u2019ve also learnt to shield myself from the expectations of an editor, a reader, or, as in this case, a friend. If La lengua herida <\/em>turned out to be a novel, it\u2019s because that was the form that best suited this book. If it had once again been short stories, or an essay, or poetry, I wouldn\u2019t have had too many qualms about making you wait a little longer\u2026 (laughs).<\/p>\n

Ten years since you published Hielo\u2026<\/em><\/strong><\/p>\n

And seven since El a\u00f1o nuevo de los \u00e1rboles<\/em>. It turns out I\u2019ve become a slow writer over the years\u2026 But I\u2019m at peace with that. I\u2019m aware of this idea that circulates among editors and agents: that a writer who doesn\u2019t publish something new every two years disappears, is forgotten. And, at the pace things are going, if we keep accustoming readers to this absurd voracity, demanding new stimuli every so often, soon it\u2019ll be said that you need to bring out a new book every year, or every six months.<\/p>\n

\u201cI spent almost seven years working on La lengua herida <\/em>because that\u2019s how long it took me to arrive at a version I could feel satisfied with\u201d<\/p><\/blockquote>\n

But that has to do only with market dynamics, with visibility, with selling books. And I won\u2019t be hypocritical about it: I want as much visibility as possible for my work and to sell as many copies as I can. But that\u2019s a later stage, one that comes after the literature, that has nothing to do with literature itself and therefore interests me less. In this sense, literature is becoming slightly anachronistic: it demands other rhythms, it calls for calm, for thinking about what one writes, letting it rest, questioning it, turning it upside down\u2026 I\u2019ve also learnt to shield myself in this regard. Even though from time to time an editor would ask me, or an agency would write, I spent nearly seven years on La lengua herida <\/em>because that was the time I needed to come up with a version of the novel I could feel satisfied with, one that made me believe it was the best text my knowledge, my talent and my capacity for work would allow me to put into readers\u2019 hands.<\/p>\n

How did you work with time in La lengua herida<\/em>?<\/strong><\/p>\n

In this novel I tried to find ways of writing time that didn\u2019t follow a chronological criterion, that felt vaporous, so that at certain moments the reader wouldn\u2019t know if the narrative was moving forwards or backwards, whether the time was factual or whether it was taking place in thought or in a dreamlike state.<\/p>\n

This was important for several reasons. One has to do with a twist in the plot that is revealed in the last chapter, which of course I won\u2019t spoil, but which led me to want to dissolve time\u2014and sometimes space as well\u2014in the narrative, in order to propose a certain kind of experience to the reader.<\/p>\n

\u201cOne of my aims was to make the reader remain constantly on guard against the text itself, questioning it, staying alert\u201d<\/p><\/blockquote>\n

Another reason is that one of my aims was to make the reader remain constantly on guard against the text itself, questioning it, staying alert\u2026 because La lengua herida <\/em>is about, among other things, the way we construct reality as discourse, through language. And if reality is constructed as discourse, using language, that means whoever is constructing it can lie to us, can distort it to suit themselves or out of ignorance\u2026 including the narrator, and even the author of the novel we are reading.<\/p>\n

The world of comics seems to occupy more and more space in your life and in your prose\u2026<\/strong><\/p>\n

Reading comics is something I enjoy and that gives me pleasure. I\u2019ve done it since I was a child, but it\u2019s only in recent years that I\u2019ve integrated it into my writing and professional work, that\u2019s true. The fact that comics have a certain weight in La lengua herida<\/em>\u2014perhaps I should point out that its protagonist is someone who once wanted to be a comic book artist, and at the moment when the novel begins is taking up that vocation again\u2014began almost as a provocation.<\/p>\n

There are still prejudices about comics, snobs who find it incompatible to enjoy, say, the books of Pierre Michon or Pascal Quignard and The Fantastic Four<\/em> by Jonathan Hickman or Grant Morrison\u2019s Animal Man<\/em>. So, creating a protagonist who can cite Derrida, Kafka, Carrington or Kerouac as easily as he can theorise about Stan Lee, Steve Ditko or Ed Brubaker\u2019s X-Men<\/em> was a way of rebelling against that stupidity. But not only that. P. Coen\u2019s relationship with comics is also an important element of his characterisation, one that speaks of his Jewish roots as well.<\/p>\n

Who\u2014or what\u2014is P. Coen?<\/strong><\/p>\n

He is, of course, the novel\u2019s protagonist. A character who, as the narrative unfolds, thinks of himself as a Jew, the grandson of immigrants, a father, an ex-husband, a Barcelonan, a comic book artist, a reader, a university lecturer\u2026 with all the complexity and contradictions such categories entail.<\/p>\n

And who are you?<\/strong><\/p>\n

Are you really asking that of a writer who does nothing but question identity? (laughs) I suppose I\u2019d have to start the answer by saying that I\u2019m someone who, depending on the time of day, thinks of himself as a writer, a Jew, a Catalan great-grandson of Andalusian and Murcian immigrants, a son of Barcelona\u2019s working-class periphery, a husband, a reader\u2026 with all the complexity and contradictions such categories entail. (laughs)<\/p>\n

Do you still write short stories?<\/strong><\/p>\n

Yes, after finishing La lengua herida <\/em>I wrote a few stories, though I\u2019m not sure they\u2019ll end up forming a book this time. That\u2019s not my intention at the moment, in any case, but I did feel like going back to writing something shorter. Even though, as I said, I\u2019m at peace with being a slow writer, when I finished the novel, after nearly seven years, I did feel some anxiety at the thought of going through another process that long\u2026 It\u2019s been a draining experience. So, while I catch my breath and find the strength to start the next novel\u2014assuming again that writing may take four, five, six years\u2014I\u2019m writing short stories.<\/p>\n

\u201cMy sense is that more and more voices are making themselves heard that want to impose narrow margins on what one can be\u201d\u00a0<\/strong><\/p><\/blockquote>\n

Why Trieste, why Mexicali?<\/strong><\/p>\n

The three main settings of the novel\u2014Trieste, Mexicali, and Barcelona\u2014share the fact of being spaces that reveal how complex it is to narrate identity. And, again, I chose those places because they allowed me to question the idea of identity as a closed, monolithic, uncrackable discourse. My sense is that more and more voices are making themselves heard that want to impose narrow margins on what one can be, on what it means to be, I don\u2019t know, Spanish or Catalan, a man or a woman\u2026 When reality shows us instead that the experience of being is complex, changing, that we are many things at once and that perhaps tomorrow we won\u2019t be exactly the same as we are today. What does it mean to be Triestine, cachanilla<\/em> [from Mexicali], or Barcelonan? Can we really give a single, fixed, immutable answer to that question without sounding ridiculous?<\/p>\n

How do you think or feel about Barcelona, which is also present in your novel?<\/strong><\/p>\n

I think I\u2019ve already answered that in part. In my own imagination Barcelona still presents itself as that place of exchange, of culture, of conversation, of mixture\u2026 the place I began to visit as a teenager, coming in from the periphery, trying to quench a certain thirst, to broaden the margins of my experience, because it was the place where culture happened. And although it\u2019s true that the city has declined in recent years, I still think of it and experience it as a forum, in the classical sense of the word.<\/p>\n

Is La lengua herida <\/em>a current of interwoven memories?<\/strong><\/p>\n

That doesn\u2019t strike me as a bad way of defining the novel. As long as we remember, of course, that memory itself is made up of distortions, fictions, challenges\u2026<\/p>\n

What are you reading at the moment?<\/strong><\/p>\n

For reasons connected to my work as an editor, these past few months I\u2019ve been reading a lot of Central American fiction. Rodrigo Rey Rosa, Carlos Fonseca, Zee Edgell\u2026 Dany D\u00edaz Mej\u00eda, who you may have heard of, perhaps because of his work as a journalist. I must admit I hadn\u2019t heard of him until very recently, but I had the chance to read La Quebrada<\/em>, and I think it\u2019s an absolutely wonderful book. I greatly admire the author\u2019s ability to perceive and narrate the goodness that exists, even if it doesn\u2019t seem so, in contexts of violence. Another of my recent reads has been the chronicle Martha Gellhorn wrote about the US invasion of Panama, which I found very interesting.<\/p>\n

\n

Source:\u00a0educational EVIDENCE<\/strong><\/p>\n

Rights:\u00a0Creative Commons<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

David Aliaga (L\u2019Hospitalet de Llobregat, 1989) has just published La lengua herida (Candaya), a novel that has been especially anticipated. 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