Spanish Fever: Stories by the New Spanish Cartoonists
Santiago Garcia, ed
Fantagraphics Books, 2016, pg 283
There was a moment when I first began to read Spanish Fever I thought I had made a mistake: not another anthology of excerpts that propose to give you a sense of a writer’s work, but given the brevity of the sample all you get is sections of novels that don’t really say anything. Fortunately, Spanish Fever is better than that. Fist, the pieces are not excerpts. The selected pieces are self contained, almost short stories, and that gives a sense of completeness to the works. While many of the pieces are collaboration between writer and artist, especially older authors, it is critical to see an artist’s work as a whole.
While I’m familiar with recent Spanish history and how that has played out in literature, I’m less familiar with comics and graphic novels. The only graphic novel I’ve ever bought in Spain was actually Lebanese. The brief introduction from Santiago Garcia is quite helpful in showing how the transition from dictatorship to democracy actually slowed the development of the graphic novel. Tebeos, as they are called in Spain, were associated with the Franco regime, and in the 80s, despite the arrival of mature and irreverent comics, attempts to create graphic novels failed. Only in the last fifteen years or so have writers found success.
Of the writers included here, Poco Roca might be the most famous. His book Wrinkles about Alzheimer patients was made into a successful animated move. His piece here is Chronicle of a Crises Foretold, which describes the economic crash of 2008 and its effects. It feels as if it was an newspaper supplement explaining what happened. It is quite successful and the art is solid and his drawing of monopoly board is very effective.
Other writers of note were Jose Domingo’s Number 2 Has Been Murdered, which is one of the most stylistically drawn works. It is uses very precise angular drawings with stark contrasts between black and white. It is also one of the more sarcastic pieces, making fun of corporate culture. Javier Olivares Finland uses a an approach that is closer to Clowes, with a nice use of color and solid geometric lines. The story is meta and shows strong story telling skills. Both Max and Micharmut’s work eschew realism in narrative and are more symbolic. Max is the more famous of the two and his work is very recognizable. Gabi Beltran and Barolome Segui’s Mathematics is taken from another work and looks interesting. The piece stands on it own, but the stories of his childhood, if they are the same quality as Mathematics, have potential.
As usual, the number of women included in the volume is quite small. 4 out of 28 pieces are by women, which is a pretty bad ratio, especially given that there are many stories with women as protagonists. Ana Galvañ’s Horse Meat was better than I thought it would be. I’m not a big fan of the art, but the story two teenage friends who have the shape of horses was interesting.
It is a collection that is worth using as an entry in to the world of Spanish graphic novels.
Finally, the blog Historia y Comic is a great resource for finding comics, in Spanish, about history.