Three Percent has reprinted the English introduction to Granta’s Best of Young Spanish Language Novelists. It is a good read for anyone interested in some of the thoughts that went into putting together the collection and some more general thoughts on writing and publishing in the Spanish and English speaking worlds.
Here’s the final part of the unedited version of Aurelio Major and Valerie Miles’s introduction to the special issue of Granta dedicated to “Young Spanish Novelists.” Part I is available here, Part II, here, Part II here, and you can download a Word doc of the entire piece by clicking here.
From the third post:
If a good part of contemporary Spanish literature seems eccentric to Europe, Latin America has always been the literary Far West, offering another way of being European, if you wish, since the traditions there incorporate all sources, not only their own. No other language shares the same territorial expanse (nor population) in contiguous “nations”. Its modernity seemed peripheral until its literature became contemporary of all men in the sixties: it brought about a renovation in the metropolises of various languages, thus moving the periphery into the center. The intellectual meridian has not passed through Madrid for over a century, although the publishing meridian cuts across both Madrid and Barcelona, where writers can be found building their reputations, which then furthers their regional prestige. The controversy over whether there are national literatures in Latin America has long become the stuff of historians, and we prefer to sustain, without excessive romanticisms, that the literary homeland is the language itself. Although in reality all literature is a magma of forces and traditions or trends in opposition, fluctuation and influence; of the living and the dead, of all languages—as is proven by reading the authors selected for this issue—and put in circulation by other hidden legislators: the translators, the editors and the critics (since without criticism there is no literature, either). In order to discover this, though, one needs to know the works, and this can only be done by reading, obviously, in translation. This issue, for example. Need we be reminded that a literary culture in which there is no translation is doomed to repeating the same things to itself over and over again?