Quim Monzó and Post-War Catalan Literature: Trends and Styles
Quim Monzó: A Literary Overview
5 – Short Stories by Quim Monzó
Quim Monzó, born in Barcelona in 1952, is a multifaceted artist: a graphic designer, writer, and translator. However, his primary identity lies in his role as a writer. His literary journey began with his first novel, “The Howl of the Gray Edge of the Sewers” (1976), followed by “Self Service” (1977). These early works reflected the aesthetic coordinates of some authors from the Generation of 70, showcasing features that would become characteristic of his literary world: a critical perspective on urban life, an attraction to short stories, and the poetic portrayal of anonymous myths within consumer society.
Monzó’s narrative style evolved towards a more direct approach. His short story collection “Whew, He Said” marked a shift towards the elision of superfluous elements, both in terms of fiction and literary language. His stories often revolve around a single idea, sometimes culminating in a surprise ending. The tone varies from the comedic, irreverent, and absurd in his early works to a more realistic approach in his later ones.
Recurring themes in Monzó’s work include existential loneliness, ironic reflection on the human condition, and the alienation of life partners. In “Olivetti, Moulinex, Mauri et Chaffoteaux” (1980), themes such as the rebellion of objects take center stage. However, in “The Island Maians” (1985), the focus shifts towards reflections on language and the act of writing. From “The Why of It All” (1993) onward, his stories tend to cluster around two main themes: the alienation of life partners and the ironic rewriting of known literary episodes (e.g., Kafka’s Metamorphosis, reimagined with an insect transforming into a man).
“Mil cretins” (2007) delves into the themes of old age and physical decline over time. Monzó’s fiction often engages in metafiction, questioning the very nature of storytelling. His collection of essays, “The Lord’s Day” (1984), offers a critical examination of literary and news chronicles, employing resources such as parody, irony, and absurdist reduction. His journalistic writings provide a testament to his time, showcasing his insightful analysis and inexhaustible capacity to respond to official rhetoric, half-truths, and stereotypes. Catalan sub-nationalism and the complexities of bilingualism are recurring themes in his articles.
In both his fiction and essays, Monzó analyzes the images of the city and the countryside, the dynamics of couple relationships, and the human condition itself. The central theme of his literature revolves around the lies that permeate everyday life.
6 – Post-War Poetry Trends Between the 70s and Beyond
Between the late 1940s and early 1950s, Carles Riba emerged as a pivotal figure for young writers in Catalan culture, striving for survival during a challenging period. Riba embodied the values of strict moral requirement and unwavering faith in the literary and cultural foundations necessary to rebuild the country. He became a guiding light for young poets who sought to continue the tradition of post-symbolist poetry and the 19th-century penchant for sophisticated expression and linguistic rigor.
Another influential figure was J.V. Foix, who championed the breakdown of formal conventions and linguistic experimentalism characteristic of the avant-garde movements. The 1960s witnessed a debate that pitted the aesthetics of Symbolism against a literary tradition that viewed literature as a form of political commitment in the fight against the dictatorship. This movement, known as social or historical realism, drew inspiration from Marxist thought and scholars like Brecht, advocating for literature’s active participation in the struggle for individual and social liberation.
“Twentieth-Century Catalan Poetry” (1963) by Joaquim Molas and Josep Maria Castellet became a touchstone for a new wave of literary figures. Two notable works, Pere Quart’s “Paid Holidays” and Salvador Espriu’s “Bull’s Skin” (both published in 1960), were interpreted through the lens of this realistic framework. This context explains the emergence of the New Song movement, utilized by writers and politicians to connect with a broader audience.
The 1970s witnessed the publication of the complete works of Joan Brossa and a renewed interest in the poetry of J.V. Foix. These two authors became influential figures for younger generations of poets. This generation shared a common desire to practice poetry as an autonomous activity, free from external purposes, and embraced poetic options that explored and exploited the possibilities of language.
Characteristics of Early 1970s Modern Theater
In the early 1970s, independent theater groups emerged, distancing themselves from the formal structures of the Western theatrical tradition. Writers moved beyond solely developing literary texts and became actively involved in the creation of the entire performance. Julio Leal stands out as a prominent playwright during this period.
Several trends characterized Catalan theater during this time:
- Drama based on humor and irony, following an experimental line exemplified by Sergi Belbel.
- “Opaque theatricality”: focusing on individual struggles rather than current social issues, with Sanchis Sinisterra as a key exponent.
- Commercial theater, influenced by television culture and aiming to attract large audiences (e.g., Carlos Alberola).
- “Theater of irritation,” which deliberately provokes discomfort in the audience.
In the Valencian region, Manuel Molina gained recognition with works like “Velatori Dance” and “Four Stories of Love for Sister Queen.” Rodolf Sirera also made significant contributions with plays such as “The Death of Henry Plany Bank” and “Indian Summer.”
Josep Maria Benet i Jornet’s Dramatic Works
Josep Maria Benet i Jornet’s theatrical career aligned with the leading figures of Catalan theater, including Maria Aurèlia Capmany (associated with the Adrian Ford School of Dramatic Art). However, he did not subscribe to the aesthetics of the Theater of the Absurd or the existentialist theater of Bertold Brecht. His extensive body of work, comprising over thirty plays, includes notable titles such as “An Old, Known Smell,” “Berenàveu in the Dark,” “Revolt of the Witches,” “Desire,” and “Smells.”
His works exhibit the following trends:
- Early social realism with a search for a mythical territory.
- Works belonging to the Drudània cycle.
- A return to realism, but with a focus on the intimacy of the characters.
- Influence of Harold Pinter’s theater.
- A return to introspection, where communication becomes nearly impossible.
Benet i Jornet’s plays often depict characters shaped and deformed by their environment. While not always portraying unhappy or cruel individuals, his works highlight the profound struggle for self-expression faced by his characters. He has adapted numerous screenplays and theatrical texts, created the first daily series on the Spanish television channel TV3, and received prestigious awards such as the “Premi Blanquerna de Comunicació” and the “Premi d’Honor Max.”