2023-09-10 01:38:28
The historical novel was, when the national past was still infected with clichés and dark visions, the definitive point of siege to demolish entrenched myths and lead the general public to once again enjoy the great episodes of Spain. Today, the genre is experiencing a golden age in Spain due to complex reasons that Javier Velascodirector of Todoliteratura, and David Yagüe, journalist of the newspaper ABC, have proposed to break down in the book ‘Interviews with history’ (Ondina Editions).
«There are people who say that it is because of the poor education in History that occurs in schools and people look for where to learn, but I don’t believe it. On the one hand, because I believe that the educational system is repeatedly blamed for cultural failures, but laws and systems change and complaints remain. And on the other hand, and more importantly, I hope that no one believes that they can learn History through fiction. The historical novel makes you reflect on the past, it makes you discover History, but it is not the appropriate tool for learning,” Yagüe clarifies.
In the pages of ‘Interviews with history’, with a prologue by Javier Santamarta, there is a selection of conversations with the greatest specialists of the genre, from Ken Follett to Santiago Posteguillo, where there is room for both reflection on the success of these novels and the fabric of which great stories must be made. «Every day there is a more evident mix of genres. We have historical thrillers, murder investigations, there are even horror novels with a historical background, and the richness of the genre lies in the fact that there are many interesting periods to deal with, there are Romans, Egyptians, Visigoths, the conquest of America, from the Tercios, even some historical novels have overtones of the fantasy genre or romanticism or, if you hurry me, eroticism. There is still a lot of history to bring to light,” says Velasco.
–How do you explain the continued interest of Spaniards in historical novels?
–Javier: Spanish readers have always had an interest in historical novels. We would have to go back to Enrique Gil y Carrasco and his novel ‘El Señor de Bembibre’ published in 1844 to find the origin of this genre in our literature. We cannot forget ‘The National Episodes’ by Benito Pérez Galdós, ‘The Memoirs of a Man of Action’ by Pío Baroja or the unfinished trilogy ‘The Carlist War’ by Ramón María del Valle-Inclán, there were going to be five novels, to give us realize that the genre has been to the taste of the Spanish reader. It is true that in recent years there has been a rebirth of the historical novel with a plethora of authors who are recovering forgotten passages of our history and this, of course, is very popular, as reflected in the sales figures of these novels.
–At the critical level it is always an undervalued genre, what is the cause of this disconnection between critics and the public?
–David: I suppose it is a common evil due to a certain elitism prevailing in the cultural world. That critics like novels like Hamnet, by Maggie O’Farrell, Timandra, by Theodor Kallifatides, or the novels of Scurati or Éric Vuillard? Well, they are not historical novels, they are narrative. They have to explain it to me, honestly, because I am convinced that they are great and undoubtedly historical fictions. I am a believer in the ideal that defends that the cultural critic must have a critical spirit and personal vision in the face of general tastes and fashions, but there are tics that are difficult to justify.
The authors of the book during a presentation at the Ateneo. ABC
–What tools as a journalist are needed to get the best interview among the masters of the genre?
–Javier: I think the main one is patience. A journalist must know how to empathize with the authors, let them speak and save their best questions for last. It is at that moment when the writers open up and can get the best opinions or answers and not those that they, astutely, have prepared in an argument.
–David: The same as for any other interviewee, knowing the character and what he does. And time to read it carefully, but this is more difficult in the current development of the media. In historical novels, and especially in Spain, I feel that it is necessary to take the writers of this genre out of their comfort zone and ask them about the literature and the vision of the past that their works offer, because many seem to believe that they are only You can ask about the historical setting, about the rigor that exists in their work. It’s something curious, but quite general: they write fiction, but then they talk little about it and a lot about History.
–Of the interviews published in the book, which ones cost the most effort to obtain?
–Javier: Almost all the authors I have interviewed have been easy to find, the publishers help a lot, but the one that was most difficult for me was Matilde Asensi, a very special author who does not usually give many interviews, despite that the The conversation we had was totally cordial. There were others that were much more difficult, but they have not appeared in the book because when an author closes his mouth, the interview is usually not very interesting and I don’t want to name names because I still appreciate my life. These are complicated ones, those who do not leave a predetermined script and answer with obvious things.
–David: The most difficult to get were the ones that did not come out, either because they could not be arranged or because after the fact you realize that there is nothing interesting to scratch and it ends up not being published, so they are not among the 60 of this book. And yes, there are complicated authors for many reasons, some who talk and talk and say whatever they want no matter what you ask them; Others are scolded because they don’t like the questions… But fortunately for a sector where ego counts for so much, they are in the minority and in general they are reasonable and even kind interviewees.
«The Spanish historical novel is little given to innovation and it makes sense seeing what its object is, but little by little it is learning to move and transform»
–Writers are terrified of a blank page. As interviewers, should we be afraid of silence or embrace it and take advantage of it?
–Javier: You should never be afraid of silence, it serves to reflect on the following question, which is why I think we should take advantage of it. A silence can make the author seek to be more original and more conscientious with what he is responding to.
–David: Silence is a good resource for the radio and audiovisual medium, in the written medium it is lost a lot. In any case, I only remember one writer who spoke little and who almost responded with monosyllables to questions about his book; In general, writers talk a lot and more when they talk about his work.
–What is the future of the genre in Spain? Is there a risk of burning from using it so much?
–David: The historical novel in Spain is at a moment of maturity and has a future, even though it does not conquer the younger audience. I am convinced that the most classic historical novel and the so-called fictionalized history will gradually be relegated by more mixed and innovative historical fictions. In general, the Spanish historical novel is little given to innovation and makes sense seeing what its object is, but little by little it is learning to move and transform with the society that reads it. Young authors are coming who are contributing things to that path.
–Javier: There is still a lot of history to bring to light. And if the genre has not been burned by so many historical Roman novels, I think it will be very difficult for the genre to find its limit. So I believe and hope that he continues to be in good health. As my partner says David Yagüe: Long live the historical novel!
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