How could it be otherwise, we echo this week the granting of the Cervantes Prize to the writer Cristina Peri Rossi, the sixth woman to win the highest award in Hispanic literature and the first to have dual Uruguayan-Spanish nationality. The author of The insubordinate (his latest book) received the news just two days before his 80th birthday and about to receive a tribute in the city that has been settled for decades. The one that on November 15th they will give him the House of America and the Autonomous University of Barcelona. The jury recognized in the ruling “her career as one of the great literary vocations of today in a wide variety of genres and her ongoing commitment to contemporary issues such as the condition of women and sexuality.” And that jury included, of course, the Cervantes Institute, represented -in this case- by Ignacio Peyró. Hence, we dedicate a good part of our podcast to talk about what in Uruguay they consider the “news of the year.” Just a few minutes after receiving the call from the minister Miquel Iceta, and that the doctor left his house to treat the gillspasm that he suffers, the writer also had the generosity to speak with RNE (With the program The Critical Eye) to express your satisfaction with the award. Statements that we will hear briefly in this window and that arrived just on the eve of the Bookstores day and the inauguration at the headquarters of the Institute of the Eñe Festival. A great festival of letters that has been held in Madrid for thirteen years, four in Málaga– where it begins on November 18- and many others in different cities of Latin America. Between them, Montevideo, the hometown of the Uruguayan writer recognized with the Cervantes.
Under the motto The narratives of love the Eñe Festival began on November 11 in the Cervantes from Madrid, from the hand of Aitana Sánchez Gijón, Lluis Pasqual and their “shared passion”. We will echo that inaugural crush on this window, shortly before stopping also at that museum of love and curiosity that – as it says Luis Garcia Montero– is the Letter box. For the first time, the security camera guards the work of an author in the Asturian language: the legacy in rememberence of the poet Fernan crowns. Among the texts is, for example, the Asturian translation of the popular haiku of the frog of Basho (“A frog jumps / in the old pond./ Noise of water”), perhaps the most famous in the history of literature.
But in addition to what happened this week in the old vault, we will visit the retrospective recently inaugurated at the headquarters of Cerantes in Paris on the painter from San Sebastian Gonzalo chillida, brother of Eduardo Chillida. We will do it hand in hand with our correspondent in the French capital, Antonio Delgado placeholder image, which not only has had the privilege of visiting the exhibition before it arrives in Spain, but has also done so with the curator as a guide Alicia chillida, daughter of this secret artist (as Gabriel Celaya called her), who always hated fame, despite deserving it.
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