Automatically translated from Basque, translation may contain errors. More information here. Elhuyarren itzultzaile automatikoaren logoa
"Erreka haizea. Botere, isilpen eta herioaz". Sonia Gonzalez. Susa, 2018.
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.

After more than a decade, writer Sonia González has taken the floor, this time in the form of an essay. He says in Erreka haizea: “They used to ask me why I had stopped writing. Few could understand that I could not forgive literature that it would not heal from reality.” In this way, he has approached the discourse of the essay, as well as personal testimony, to move away from fiction and literary expressions. In Erreka haizea, therefore, González collects thoughts, testimonies and dreams, bounded in brief texts, to express concerns. Using different forms of discourse, she has placed her reflections, emotions and dreams at the same level, suggesting that the three are key to perceiving and understanding reality.

We note the intention to give a voice to what has not been said or cannot be said. The writer claims that he has wanted to commit suicide, and, pulling away from that experience, one of the taboos in the West goes through the book: suicide. Issues related to the desire to commit suicide are also addressed, such as hunger for nothing, internal losses and pains, power relations, gender oppression, blame and repentance, the culture of suffering, etc. It has not taken all these concerns with the same thread, as the theme is jumping through the essay, but the texts echo and unity is evident in the conception of the world, both in tone and in the environment. Some ideas and reflections are repetitive throughout the book, but repetitions are useful for establishing connections between texts.

The literature also has a great presence in this trial. Among other things, it reminds writers who have committed suicide (Virginia Woolf, Alfonsina Storni, Anne Sexton, Sylvia Plath…) that they are somehow the mirror in which they live. In this sense, he reflects on the exchanges between writing and suicide, as well as on the potentialities and deficiencies of literature. He also collects poems for reflections in order to show the gaps between what was written and what happened. In these times of the politically correct, it is to be welcomed the sincere approach to wounds, to dark holes, to infamy and to the pretensions of power.


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