Teaching Notes on El barranco by Nivaria Tejero (original) (raw)
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When two iconoclastic young editors took over Cambridge University's then nearly century-old student magazine in 1979, their purpose was to open avenues in the Old World for New World writing. The British weren't reading the new American writing. This idea-the construction of a transatlantic literary bridge-is part of what spurred us to create a Spanish-language edition of the magazine in 2003. When Granta's new publisher and now editor, Sigrid Rausing, took over the magazine in 2005, she encouraged Spanish Granta, fostering the magazine's increasingly internationalized spirit. In Spain, the fact that Granta en español was being run by a pair of outsiders was bad enough-one of whom, myself, wasn't even a native speaker. But our point was that fiction from the Americas-'challenging, diversified and adventurous', to quote Bill Buford and Pete de Bolla in their first edition of Granta-was not as well known as it should have been in Spain. Editors here were slow to pick up South American gems. But the opposite was also true-there was a dearth of Spanish writing in the Americas. 'If a good part of contemporary Spanish literature seems eccentric to Europe,' Aurelio Major, co-founder of Spanish Granta, wrote in the introduction to the first Spanish-language selection in 2010, 'Latin America has always been the literary Far West.' That Far West is composed of nineteen countries and territories where Spanish is the main language, and it has given the world six Nobel prizes in literature:
2016
In this article we attempt to compare two novels that belong to the hot-boiled genre regarding the Malvinas War. Our objective is to contrast the two ways of bringing back the memories of the war and some of its consequences from the fictional novel in Las Islas by Carlos Gamerro (1998) and Segunda vida. La guerra no siempre te convierte en un héroe by Guiller-mo Orsi (2012). We will start from the idea that the crime novel is the narrative genre par excellence, since it is structured according to conflict and enigma categories. According to Dan-iel Link (2003), the crime genre is seen as a model of the functioning of all plots which contain, as others cannot, such categories and allow it to develop. In this way, the problem of the truth, closely related to the issues mentioned before, allow the narration to continue as the initial mystery is uncovered. Regarding the memories of the Malvinas War, the literature still questions the way in which this experience should be told, thirty ...