As all of the argentines present this year at the FIL of Guadalajara, Claudia Piñeiro (Burzaco, 1960) has only been able to avoid the monotema conversation number 1 —the match River-Boca— replacing it by the monotema conversation number 2: the G-20 summit. In your case, one of those moments of disconnection was the exciting commemoration of the 25 years of the Prize Sor Juan Inés de la Cruz, held this Thursday. She, who won it in 2010 with The cracks of Jara, she starred in —with his fist in the air and a handkerchief of green surrounding him the wrist— one of the minute stars of an unforgettable session in the great literature and the feminist claim they walked hand-in-hand. The other great moment was going to be the presentation this Friday of his latest book —the volume of short stories Who is not(Alfaguara)— if not outside because the day dawned early with the news that he had been awarded the Prize Pepe Carvalho, which gives the festival Barcelona Black in homage to Manuel Vázquez Montalbán. You will receive the award on 31 January in the City of Barcelona in the framework of the contest, which will be held between January 24 and February 3, 2019.
The jury, which has adopted the decision unanimously, was formed by Carlos Zanón, as president, and Antonio Iturbe, Marta Sanz, Xon Labrador, Daniel Vázquez Sallés and Sergio Vila-Sanjuán, and vocal. Have you considered “Piñeiro is a benchmark for ethical and literary for the Letters of your country and outside of it, where they get their translations, lectures, articles and talks”.
expand photo Ana García Bergua, Claudia Piñeiro, Clara Usón, Margo Glantz, Tatiana Lobo, Nona Fernández, Cristina Sánchez-Andrade, Angelina Muñiz-Huberman and Cristina Rivera-Garza, award-winning Sor Juana Inés de la Cruz, Guadalajara (Mexico), November 28, 2018. . Hector Guerrero, The Country
Piñeiro happens to James Ellroy in a competition also form part P. D. James, Donna Leon, Andrea Camilleri, or Henning Mankell. This last is one of the favorites of the author argentina, which is recognized by the reader of novels “but no more than any other genre.” Nor titles of theirs as the widows of the Thursday or Yours fit strictly in a closed-source. “Have a subplot of the police, but they are not police pure”, explains the writer in the lobby of a hotel near the fair. “With Betibú I decided to write a novel genre with all my virtues and defects, that is to say, with much inquiry into the private lives of the characters.” Despite all of this, Piñeiro know that there are readers who always expect to find in his work “the suspense”. “Sometimes I think: ‘in the next I will want if it is not black’, but I end up writing what I want.”
Author and reader open-minded, is aware, however, of the prejudices that drag the novel as a minor genre. In your opinion, is the fault of the saturation of the offer: “There are many writers. Why so many? Because if you are not good it is Bets10 easier to write a novel of intrigue that the Ulysses of Joyce. The suspense is a game watch that you complete without the need to have necessarily nothing inside. There are, however, more and more authors that stretch the limits and do not write the typical novel with a killer. That makes approaching the genre writers who are not black”.
“why is there so much novelist black? Because if you are not good it is easier to write a novel of intrigue that the Ulysses of james Joyce?
In the eternal argument about the critical nature of a literature-based a priori involved in the evasion, Piñeiro argues that “it is very difficult to take off of the social novel that happens in the present. There are classic novels whose critical intention has been lost. Do we kill the horses? it would be a good example. He criticized the exploitation of the poor speaking of the dance contests”. The work of Horace McCoy should be a good part of its popularity to its film adaptation: Danzad, danzad, malditos. Also she has seen his work adapted for the cinema: “it Is a new movement, as the translations. Sometimes you get readers that don’t read. Others are going to see to see if they made the movie they had in their head.” Did you ever that she had in hers? “Impossible. It is another language. I am very respectful with the work of the director, who has to choose, does not fit all”. And remember how Marcelo Piñeyro met with her prior to shooting to explain to you what things he would take to the widows of the Thursday: “it was Not that don’t like them, but that would take the film to another side”.
The fact that Claudia Piñeiro is an author read in all the field of the Spanish language has not led us to find a Spanish standard to a genre that gives a lot of importance to orality. “In the first version is not what I have in mind never”, he explains. “In the books for guys I did change some thing that is not understood, but adults can understand well any variant”. That to books originally written in the language of Cervantes and Borges. The translations are another story: “In a translation of Murakami or Paul Auster, made by a Spanish bad falls that the characters say ‘asshole’ or talk about ‘skirts’. The same is not true if it is a Spanish writer. Then it seems to be a trait of authenticity”.
the specific language of the novels, the argentinean writer adds the sociological. The guatemalan Rodrigo Rey Rosa is usually to have your books turn to the open end because in his country most of the crimes are left without clarification and all closed end is unlikely. Piñeiro points to an exception of argentina: “The impossibility of creating a detective that comes from the police forces”. Why? “So many years of dictatorship in which the police were involved in criminal acts. That is why we use journalists, homemakers, teachers… Our children go off for the weekend and don’t tell them that if they pass something closer to a police -we continue to teniéndoles fear-we tell them to ask for help in a kiosk”.
