{"id":31589,"date":"2025-12-10T08:43:56","date_gmt":"2025-12-10T07:43:56","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=31589"},"modified":"2025-12-11T08:58:17","modified_gmt":"2025-12-11T07:58:17","slug":"world-and-lens-toni-salas-escenaris","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/en\/world-and-lens-toni-salas-escenaris\/","title":{"rendered":"World and lens: Toni Sala\u2019s Escenaris"},"content":{"rendered":"<p>Detail of the cover of Toni Sala\u2019s <em>Escenaris<\/em>. \/ L\u2019Altra Editorial<\/p>\n<p>&nbsp;<\/p>\n<p><a style=\"display: inline-block;\" href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/deed.en\" target=\"_blank\" rel=\"license noopener noreferrer\">License Creative Commons <img decoding=\"async\" style=\"height: 22px!important; margin-left: 3px; vertical-align: text-bottom;\" src=\"https:\/\/mirrors.creativecommons.org\/presskit\/icons\/by.svg?ref=chooser-v1\" \/><img decoding=\"async\" style=\"height: 22px!important; margin-left: 3px; vertical-align: text-bottom;\" src=\"https:\/\/mirrors.creativecommons.org\/presskit\/icons\/nc.svg?ref=chooser-v1\" \/><img decoding=\"async\" style=\"height: 22px!important; margin-left: 3px; vertical-align: text-bottom;\" src=\"https:\/\/mirrors.creativecommons.org\/presskit\/icons\/nd.svg?ref=chooser-v1\" \/><\/a><\/p>\n<p><img decoding=\"async\" class=\"alignleft wp-image-12365\" src=\"https:\/\/educationalevidence.com\/wp-content\/uploads\/2024\/01\/Andreu-cover-696x452-1-150x150.jpg\" alt=\"\" width=\"70\" height=\"70\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/twitter.com\/AndreuNavarra\" target=\"_blank\" rel=\"noopener\"><strong>Andreu Navarra<\/strong><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>Just as we gained nothing \u2014 and lost a great deal \u2014 <strong>when a certain strand of the left abandoned humour<\/strong> and ceded that terrain to the far right and its obedient conspiratorial fringe, so too have we gained a new world now that writers have reclaimed laughter as a subversive force. At last, we can breathe again and read literature that is truly free, rather than those dreary, thesis-ridden books. A newly published novel from Males Herbes, <strong>Mara Faye Lethem\u2019<\/strong>s <em>Series boja si no ho fessis<\/em> \u2014 the story of a pregnant woman, fed up to the back teeth with moralising sermons, who becomes a self-liberated serial killer; a kind of inverted <strong>Patrick Bateman<\/strong> in a world where the Patrick Batemans continue, sadly, to multiply, untouched by the humourless zeal of the illiberal left \u2014 also gestures towards the path Toni Sala takes in this ambitious, flayed-back novel, unafraid to press its finger directly into the wound of contemporary Catalonia.<\/p>\n<p>We are far removed from the days when <em>Pere Mar\u00edn<\/em> (1998) or <em>Rodalies<\/em> (2004) shook the orthodox certainties of well-behaved Little Catalonia. Sala can now devise novels as ambitious as those of <strong>Francesc Ser\u00e9s<\/strong>. And the school of \u201cSincere Realism\u201d, developed in Girona by <strong>Pon\u00e7 Puigdevall, Dami\u00e0 Bardera, Anna Carreras Aubets <\/strong>and<strong> Jordi Daus\u00e0<\/strong>, seems to be consolidating \u2014 while the capital has sunk steadily into anodyne discourse and literary insignificance. Girona blows the world wide open; Barcelona tries to make peace with too many post-ideological inanities. That, at least, is how I see it.<\/p>\n<p>The braided stories that Sala offers here will make you laugh \u2014 and think hard about the kind of country we live in. A stylistic and thematic counterpart might be <strong>Marta Sanz<\/strong>\u2019s <em>Far\u00e1ndula<\/em> (Anagrama, 2015), equally steeped in grotesque energy and expressionistic truth about Madrid\u2019s theatrical world. Sala\u2019s perspective on actors and the stage leads him, at long last, to dare to speak truths about his own cultural ecosystem \u2014 one sorely in need of giving up its comfort blanket. It was necessary to say things like this: \u201cBarcelona\u2019s theatres are full of stunted authors \u2014 just look around someday. That\u2019s why there\u2019s no ambition. Or rather: actors in Barcelona are stunted because the theatre made there lacks ambition. It shrinks them, and the whole thing becomes a snake eating its own tail. A theatre without great actors is a theatre without great acting. Barcelona is a machine for levelling down, a theatrical machine for castration\u201d. The protagonist is letting rip \u2014 but it is true that <strong>literature in Barcelona suffocates<\/strong> between its perennial petty-bourgeois small-mindedness and its guilty substitute: a pseudo-Leninism without neurons and without a single reading of <strong>Marx<\/strong>. It is a posture that has grown tiresome and one we are, thankfully, beginning to outgrow.<\/p>\n<p>This Gironan nihilism is far healthier than the polite, well-behaved civic convenience that wafts through the capital. In\u00a0<a href=\"https:\/\/www.laltraeditorial.cat\/llibre\/escenaris\/\"><strong><em>Escenaris\u00a0<\/em><\/strong><\/a>(L\u2019Altra Editorial), real Puigcerd\u00e0 throbs and breathes: a real Catalonia populated by obese bodies, by the mentally ill traumatised by the end of the <em>Proc\u00e9s<\/em>, by loneliness and individualism, hellish hospitals, depressive scriptwriters, a dystopian Barcelona, <em>emo<\/em> teenagers with heads full of post-truth turbulence \u2014 a world in which a piece of cultural detritus like the <em>Malicious<\/em> saga can make millions while a delicate spirit has almost no chance of survival.<\/p>\n<p>We need more books like this: irreverent, funny, wise, cruel \u2014 and at the same time expressionistic, exaggerated and true. The writers are here; but is society ready? Will it withstand the mirror? The car crash of an actor in crisis opens out into a range of human stories that unfold between the grotesque lens and the most familiar social truths, in a total novel \u2014 complete, defiant \u2014 that will fight tooth and nail to endure, because it has been written tooth and nail and in blood, where tenderness and the blackest humour can stand side by side.<\/p>\n<hr \/>\n<p>Source:\u00a0<strong>educational EVIDENCE<\/strong><\/p>\n<p>Rights:\u00a0<strong>Creative Commons<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Just as we gained nothing \u2014 and lost a great deal \u2014 when a certain strand of the left abandoned humour and ceded that terrain to the far right and its obedient conspiratorial fringe, so too have we gained a new world now that writers have reclaimed laughter as a subversive force. At last, we can breathe again and read literature that is truly free, rather than those dreary, thesis-ridden books.<\/p>\n","protected":false},"author":4,"featured_media":31461,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_FSMCFIC_featured_image_caption":"","_FSMCFIC_featured_image_nocaption":"","_FSMCFIC_featured_image_hide":"","footnotes":""},"categories":[413],"tags":[3638,3088,1816,3637],"class_list":["post-31589","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-literatura-en","tag-escenaris","tag-humor-en","tag-humour","tag-toni-sala"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>World and lens: Toni Sala\u2019s Escenaris - Educational Evidence<\/title>\n<meta name=\"description\" content=\"Just as we gained nothing \u2014 and lost a great deal \u2014 when a certain strand of the left abandoned humour and ceded that terrain to the far right and its obedient conspiratorial fringe, so too have we gained a new world now that writers have reclaimed laughter as a subversive force. 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