Things We've Seen

Häftad, Engelska, 2021

249 kr

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In The Things We’ve Seen, his most ambitious and accomplished novel to date, Agustín Fernández Mallo captures the strangeness and interconnectedness of human existence in the twenty-first century. A writer travels to the small uninhabited island of San Simón, used as a Franquist concentration camp during the Spanish Civil War, and witnesses events which impel him on a wild goose chase across several continents. In Miami, an ageing Kurt Montana, the fourth astronaut who secretly accompanied Neil Armstrong and co. to the moon, revisits the important chapters in his life, from serving in the Vietnam War to his memory of seeing earth from space. In Normandy, a woman embarks on a walking tour of the D-Day beaches with the goal of re-enacting, step by step, another trip taken years before. Described as the novel David Lynch and W. G. Sebald might have written had they joined forces to explore the B-side of reality, The Things We’ve Seen is a mind-bending novel for our disjointed times.

Produktinformation

Utgivningsdatum2021-03-24
Mått124 x 193 x 33 mm
Vikt477 g
FormatHäftad
SpråkEngelska
SerieFitzcarraldo Editions
Antal sidor488
FörlagFitzcarraldo Editions
ISBN9781913097301
OriginaltitelTrilogía de la guerra
ÖversättareThomas Bunstead

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Agustín Fernández Mallo was born in La Coruña in 1967, and is a qualified physicist. In 2000 he formulated a self-termed theory of ‘post-poetry’ which explores connections between art and science. His Nocilla Trilogy, published between 2006 and 2009, brought about an important shift in contemporary Spanish writing and paved the way for the birth of a new generation of authors, known as the ‘Nocilla Generation’. His essay Postpoesía: hacia un nuevo paradigma was shortlisted for the Anagrama Essay Prize in 2009. In 2018 his long essay Teoría general de la basura (cultura, apropiación, complejidad) was published by Galaxia Gutenberg, and in the same year his latest novel, The Things We’ve Seen, won the Biblioteca Breve Prize.

‘Echoes, implosions and coincidences soon make us feel we are circulating in a single space-time of displacements and substitutions. Shapes, for example, repeat in different scales or contexts: the reservoir in Central Park has the outline of Iberia. The most bravura example of this form of paranoia — signs everywhere — is given to a Dalí avatar who establishes a connection between the Twin Towers, the twin girls in the corridor of The Shining, the two columns of the pause icon on a screen, and (the narrator’s later input) a line in one of Lorca’s New York poems. It stays with you.’— Lorna Scott Fox, New Left Review