The writer, poet, essayist and journalist Manuel Rivas brought two main stories to Cuba.
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- 02 / 27 / 2008
That 112 pages beautiful novel, Publisher by Arte y Literatura was praised at the San Carlos de la Cabaña Fortress by the Cuban narrator Laidy Fernández de Juan, who said that she enjoyed the book listening a Serrat song, having a wine bottle and some Ducados, Spanish cigarettes "that are the ones more similar to the Cuban Populares". "I usually do not remember the titles of the cronic inthe newspapers", she indicated, but later on she said, she never forgets that suggesting book she received over a decade ago, thanks to her colleague Eugenio Marrón.
Rivas remembered how her grandfathers carpenter pencil - "a work object, he draw a lot" - becomes an allegorical figure that conducts the story. "At the end is a trip of the conscience", says the author, one of the most important in the Galician letters nowadays.
The work faces the reader with the 1936 Spanish tragedy, but in a different way. Here, love that fills every frustration space, is a weapon that accompanies the characters in a distressing but, at the same time, revitalizing trip", says the editor of the prologue.
"Everything that war and the long dictatorship that came afterwards left us was a dark space - confess the novelist. I did not live the war, but I lived many of the consequences. When someone is interested for that, means he is thinking in the human condition."
Owner a work, mainly written in Galician, his journalist works are made in Galicia. El bonsái atlántico (The Atlantic bonsai), Toxos e flores and El periodismo es un cuento (Journalism is a myth)(1997) have verses in the poetic collection, as well as the stories El pueblo de la noche (The people of night) (1997), Un millón de vacas (A Million of Cows) (1990, Award winner of the Spanish Critic), Los comedores de patatas (The potato eaters) (1992); En salvaje compañía (In a savage company) (1994, Award winner of the Galician critic) and ¿Qué me quieres, amor? (Do you love me, my love?) (1996,Torrente Ballester Award and National Narrative award of that year).
Something he feels a huge passion for is Cuba, "because for us it is part of our landscape, to stand out in Galicia look at the see and think in the promised island. In my grandfather table there were many letters and images from Cuba, it was a piece of us at the other side of the see".
Manuel Rivas, considers poetry "the mother cell of literature" and recalls the Bulgarian writer of Jew origins and German expression Elias Canetti, when remembering his reflection: "Writer must be the guardian of the sense of the words", and compares the environment destruction with the one of the language: "I live the destruction of the environment. I believe language is an organic part of out body, model us, form us, is part of the history of the people and we have to protect it as the Amazon rainforest".
He confirms his shudder in front of the language of his origins. "For me to write in Galician has also to do with ecology. At school, in the university, I was never taught this language, it was actually a burden, a kind of punishment. To write in Galician is to recover wounded words".
(Granma)
Rivas remembered how her grandfathers carpenter pencil - "a work object, he draw a lot" - becomes an allegorical figure that conducts the story. "At the end is a trip of the conscience", says the author, one of the most important in the Galician letters nowadays.
The work faces the reader with the 1936 Spanish tragedy, but in a different way. Here, love that fills every frustration space, is a weapon that accompanies the characters in a distressing but, at the same time, revitalizing trip", says the editor of the prologue.
"Everything that war and the long dictatorship that came afterwards left us was a dark space - confess the novelist. I did not live the war, but I lived many of the consequences. When someone is interested for that, means he is thinking in the human condition."
Owner a work, mainly written in Galician, his journalist works are made in Galicia. El bonsái atlántico (The Atlantic bonsai), Toxos e flores and El periodismo es un cuento (Journalism is a myth)(1997) have verses in the poetic collection, as well as the stories El pueblo de la noche (The people of night) (1997), Un millón de vacas (A Million of Cows) (1990, Award winner of the Spanish Critic), Los comedores de patatas (The potato eaters) (1992); En salvaje compañía (In a savage company) (1994, Award winner of the Galician critic) and ¿Qué me quieres, amor? (Do you love me, my love?) (1996,Torrente Ballester Award and National Narrative award of that year).
Something he feels a huge passion for is Cuba, "because for us it is part of our landscape, to stand out in Galicia look at the see and think in the promised island. In my grandfather table there were many letters and images from Cuba, it was a piece of us at the other side of the see".
Manuel Rivas, considers poetry "the mother cell of literature" and recalls the Bulgarian writer of Jew origins and German expression Elias Canetti, when remembering his reflection: "Writer must be the guardian of the sense of the words", and compares the environment destruction with the one of the language: "I live the destruction of the environment. I believe language is an organic part of out body, model us, form us, is part of the history of the people and we have to protect it as the Amazon rainforest".
He confirms his shudder in front of the language of his origins. "For me to write in Galician has also to do with ecology. At school, in the university, I was never taught this language, it was actually a burden, a kind of punishment. To write in Galician is to recover wounded words".
(Granma)
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