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

Greetings and meetings

Neguko argiak. PAMIELA, 2018. Idazlea: Irati Elorrieta Agirre. Algorta, 1979
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.

Irati Elorrieta embodies the travelling characters in the novel Neguko argiak (Pamiela, 2018), written in Basque and Spanish. Most characters are characters accustomed to displacement, who have crossed in a city other than their birthplace, Berlin. Añes and Marta are the two main protagonists, who are dedicated to urban circulation in many ways: both by the transfer of their residence from one city to another (from Paris to Berlin), and by the incorporation into the urban geography, which moves their bowels, until they join the marginal corners of the city, until they camouflage into an urban environment. They also walk through the corners of memory, especially Añes: landscapes also become timelines, depositing traces of the past.
Although the friendship of Añes and Marta is one of the main layers of the novel, it is a literary world built with very varied layers, one of the greatest contributions of the novel, in my view, is that it brings you in a very subtle, gradual way, to the personality and concerns of the protagonists.

The novel has built a wide network of characters per layers, but most of the nodes in the network have been built in the relationships between two people: Añes-Marta, Añes-Bruno, Marta Martín, Añes-Esteban, Añes-Xuan, Xuan, Claire, etc. All these knots are completed, interacted, to the point of representing a map of relations with nuances. The identities of the characters are constructed through the eyes of others, are beaten by the voices of others, and precisely those mirror and voice games are the center of the narrative architecture of the novel.

This affective map is built through short pieces. At first reading, when I looked at the index, I was shocked by the titles of the short pieces, sometimes believing that they were too explicit, sometimes too symbolic, and I was given the feeling that I wasn't entirely right with the titles of the sections. As I delved into the novel, as the layers were torn apart, I thought that this trend of titles could also represent the conflict of the two main characters, as in that maze of affections, the beauty and the pain, the accuracy and the hallucination, the real and the simulated, the alive and the dead are played out.


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