Spanish Literature from 1975 to Present

Posted on Oct 9, 2024 in Latin

ITEM 8: Spanish Literature from 1975 to Present: Fiction, Poetry, and Theatre

1. Historical and Cultural Context: The Current Era

The 1970s witnessed significant historical events in Spain, including the death of Franco (1975) and the first democratic elections (1977). These events led to Spain ending its international isolation by joining the European Economic Community and NATO. However, the impact of these changes on the Spanish novel was not as immediate or direct as on other media like film, which experienced a boom in freedom of expression.

From Franco’s death until today, Spain has undergone a process of political transition. The novel was no longer the sole means of reflecting reality symbolically, as media could now do so without censorship. This emancipated the novel from social realism, allowing for creative exploration in various directions. The rise of postmodernity and the decline of major ideological systems like Marxism also influenced literary trends.

2. The Last Novel

From 1975 onward, the Spanish novel experienced a flourishing period with new authors and increased publication of titles. Experimentalism thrived, and novelists embraced an optimistic approach, re-engaging readers. The number of readers grew due to factors such as:

  • Simplified narrative structures
  • Renewed focus on plot, characters, and cohesive storytelling
  • Use of traditional narrative techniques (e.g., first and second-person dialogues)
  • Abandonment of overt ideological and political intentions

Novelists embraced storytelling with a renewed sense of realism, incorporating subjective, imaginary, or fantastical elements. While experimental novels like Luis Goytisolo’s Antagonía and Julián Ríos’ Larva continued the legacy of earlier trends, the period from 1975 to 1984 saw a rise in neorealism, encompassing various subgenres:

  • Neorealism: Represented in the later works of established authors like Delibes, Torrente Ballester, Marsé, Fernández Santos, and Martín Gaite, as well as emerging writers.
  • Psychological Neorealism: Notable authors include Álvaro Pombo, José María Guelbenzu (El río de la luna, 1982), Juan José Millás (Visión del ahogado, 1977), and Enrique Vila-Matas.
  • Social Neorealism: Examples include works by Lourdes Ortiz (Antes de la batalla, 1992) and Manuel Longares (Soldados de Pavía, 1984).
  • Fantastic, Mythical, and Grotesque Neorealism: Prominent writers include José María Merino, Luis Mateo Díez, and Juan Pedro Aparicio.

Neorealism also intersected with other genres, such as the historical novel (e.g., Eduardo Mendoza’s La verdad sobre el caso Savolta, 1975, Eduardo Alonso’s El insomnio de una noche de invierno, 1984, and Paloma Díaz-Mas’ La tierra fértil, 1999) and the novel of intrigue (e.g., Eduardo Mendoza’s El misterio de la cripta embrujada, 1979, Vázquez Montalbán’s Tatuaje, 1974, and Antonio Muñoz Molina’s El invierno en Lisboa, 1987).

Authors

  • Eduardo Mendoza: Born in Barcelona (1943), Mendoza contributed to the resurgence of cinematic narrative in the contemporary novel and embraced trends like intrigue, historical fiction, and neorealism. Notable works include La ciudad de los prodigios (1986) and Una comedia ligera (1996).
  • Álvaro Pombo: Born in Santander (1939), Pombo developed a psychological and intellectual narrative style often centered on the family unit, portraying its members as isolated individuals. A key work is El parecido (1979).
  • Luis Mateo Díez: Born in León (1942), Díez played a crucial role in revitalizing narrative language. His works blend realism with myth and expressionism, particularly in their treatment of settings and characters. Notable works include Las estaciones provinciales (1982) and La fuente de la edad (1986).
  • José María Merino: Born in La Coruña (1941), Merino is a leading figure in Spanish fantasy writing, especially in his short stories. His works often feature realistic settings as backdrops for fantastical events. Notable works include Novela de Andrés (1976) and La casa de los dos portales (2003).

3. The Last Poetry

In the latter half of the 1970s, a new wave of poetry emerged, characterized by a philosophical approach. Poets moved away from preoccupation with the text itself and focused on expressing feelings derived from personal experience, resulting in a neo-romantic tone. This marked a departure from the Venetian aesthetic and avant-garde concerns of earlier decades, shifting towards a more human-centered poetry.

These poets, often referred to as “poets of experience,” included prominent figures like Luis García Montero. Their work exhibited characteristics such as:

  • A decidedly anti-avant-garde stance
  • Focus on everyday issues affecting individuals
  • A melancholic tone, often reflecting on the passage of time
  • The creation of a distinct poetic voice

Luis García Montero

García Montero championed a new sentimentality that transcended the poet’s ego. He viewed poetry as a form of fiction. His work embodies the characteristics of the poetry of experience, as seen in collections like Diario cómplice (1987), Las flores del frío (1991), and Habitaciones separadas (1994).

4. The Last Theatre

Following the end of the dictatorship, two trends emerged in Spanish theatre. The first involved staging exotic works by classical authors, while the second focused on reviving previously suppressed texts. The arrival of democracy raised expectations for a liberated theatre.

Antonio Gala (1936) became a prominent playwright, alternating between realistic dramas, symbolism, and historical recreations. His plays often featured female protagonists and explored themes of love, loneliness, and other human experiences. A notable work is Los verdes campos del Edén (1963). José Luis Alonso de Santos (1942) cultivated a style of humorous comedy reflecting contemporary social issues, as seen in Bajarse al moro (1985). The actor Fernando Fernán Gómez achieved success with Las bicicletas son para el verano (1982).

The National Drama Centre was established in 1978, marking the emergence of institutionalized state theatre. In recent years, this model has become prevalent, featuring regular productions by renowned authors like Buero Vallejo and Gala.