Automatically translated from Basque, translation may contain errors. More information here. Elhuyarren itzultzaile automatikoaren logoa

When there is no lap

Horma. Anjel Lertxundi. Erein,2017.
Zarata mediatikoz beteriko garai nahasiotan, merkatu logiketatik urrun eta irakurleengandik gertu dagoen kazetaritza beharrezkoa dela uste baduzu, ARGIA bultzatzera animatu nahi zaitugu. Geroz eta gehiago gara, jarrai dezagun txikitik eragiten.

In the novel Horma, Anjel Lertxundi embodies the voice of a literary translator who lives multiple crossroads: they diagnose Alzheimer's their mother, they hit a family secret, Marta goes to live at home and daily coexistence has created friction in their relationship as a couple, the precariousness of the trade creates uncertainty for her... Her mother's illness revives the ghosts of the past and speaks to her mother in the novel to give way to what she had not said. Along the way, the mother, and Fidel, although badurnated, seemed to have felt the loss of her mother's memory, as if she had froze her, not forward, not backwards, when she lacked the ability to decide. He goes around, he is afraid that the knot will get screwed: the shadow of defeat stops him. Fidel embodies a hopeless and nonconformist voice.

In this impossibility of dealing with daily life, he is awakened to the need to decipher the secret of the family, to turn to its origins or roots. The emphasis on origin raises questions about originality, in the field of literary creation, in the context of translation work, when taking the line to personal identity. “Without memory there is no originality,” says Fidel. This painful voice addresses the concerns of several novels by Anjel Lertxundi: the burden of the past, feelings of repentance and moral issues, the chains created by silences, the reinvention of tradition…

In the midst of this anguish, if there has been escape, refuge: the passion for translation. This escape route has left traces in the structure of the novel, as the metalworking games, the dots around the writing process, or the reflections on the practice of translation are constant. Literary texts and translation exercises are the main source of communication for Mr Fidel, and although he has been trained in this media, he has been betrayed in other speeches.

In the Wall there are many traces of the existential novel: in the breath of narration, in the types of concerns of the protagonist and in the literary intertextures (among which is the Intruder of Albert Camus). In this sense, it is a low-tension narrative novel, and as history advances, Fidel's murmur has become repetitive in several passages. Games with literary echoes and reflections on the act of writing come to balance this weak chain of events. It presents us with the pieces of literary tradition, updated, renewed, and invites us to form a puzzle. That refuge, so that the oblivion of this cultural model does not break it, so that we do not lose the literary and cultural memory.


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