Manuel Rivas returned to the novel with ‘Behind the Sky’, a story that begins as the story of a wild boar hunt and ends in a spiral of violence. The Galician author will speak in a new meeting of the EL CORREO Hall which will take place on November 4, starting at 7 pm, at the Bidebarrieta Library, about this new milestone in his long creative career. “Literature is an ecological work, it keeps the meaning of words alive and avoids semantic terror, it is very useful to dismantle it”, claims the writer, recently awarded the National Literature Prize. The event has the support of the Alfaguara publishing house and BBK.
–Do the awards confirm or sanction the quality of an author?
–With prizes you don’t write, just as if you run medals don’t help you. The recognition of a large jury, in which representatives of the Academy and the journalists’ association are present, creates a very great responsibility for me because I have to respond to the expectations that exist in that award. But what sustains you is what you write. I don’t show up for the awards. I think the important thing is not to compete but to share.
–After more than four decades of a creative career, do you have any regrets?
–I don’t think that the poetry, novels and essays I write belong to different worlds. My way of doing this is in the form of concentric circles. I make a book that expands and leads me to another, in a process that takes me back, for example, to ‘A Negra Terra’, one of the first poems I remember and which takes me to ‘The Carpenter’s Pencil’ and from there to “The Last Day of Newfoundland.” My job is similar to that of the tramp, I have no clear destiny.
–He assured that he writes cross-country skiing.
–I like to exit the highway from well-marked roads, I like detours and curves, I don’t plan much what I’ll do. I feel better on the shore because from there I can see other shores. At the center is the command word and speech. I like walking peripherally, exploring and not doing karaoke.
–Languages are a battlefield in our country.
–Diversity is positive in nature and culture. It must be recognized and appreciated. It is accepted on a theoretical level but inconvenient when practiced. I think what is incompatible with culture is uniformity. I tried to translate it in previous experiences, but I felt paralyzed, I didn’t feel comfortable, whereas on this occasion I realized it and it was a fluid and joyful experience. Tongues are eager to hug and touch each other like anatomical tongues. The more things coexist inside you, the broader your gaze and the lighter you feel.
–Despite the problems, peripheral languages and their narratives have won over Spanish critics.
–Languages are a wonder in the country that has this cultural biodiversity. As they say in the Galician marine world, the almeiro, the
–I believe you write to delve deeper into reality, not to escape from it. Literature is discovery and a place of why. The worries and fears you feel in your environment are reflected in what you write. I experienced this when I was 15 when I had to do a horoscope in the editorial office of a newspaper and they told me to copy last year’s. When he made me do it I saw myself in front of me and felt very busy. Everything you write will compromise you.
«The more languages coexist inside you, the broader your gaze and the lighter you feel»
–This book, from the beginning, was born with disturbance. We live in a time in which the word peace has disappeared, not even diplomacy uses it anymore. I begin the novel with the hunting of an animal as if it were a public enemy and the persecution becomes human. It talks about that struggle you experience when you write, the conflict between the creative drive and death, Eros versus Thanatos.
–In the writing process we inherit the traditions and contributions of other authors. There are conscious and unconscious referents. May also be referred to as “The Holy Innocents” or “The National Rifle”. Earthly hell and comedy, self-destruction and competitions to see who has the most time are intertwined in earthly existence.
–There are many of them and the good thing is that they think differently. There are male and female voices. My mother spoke to herself and my grandfather was a storyteller. In my childhood, he would walk with me hand in hand and different voices would come out arguing with each other and I would be amazed. I held onto it because I thought it might take off.
«When I spend two hours in front of a thought-provoking novel, I feel it as a triumph of humanity»
–Yes, we cannot let ourselves be moved by emotions. You have to stop and think about those impulses. The literature that interests me is something similar to seeing the sea, an experience that never tires. Unfortunately the context does not facilitate this, this acceleration that we experience added to greed does not allow us to see the causalities. Literature weaves together the broken fabric that is the world and allows you to see its internal connections. When I spend two hours with a novel that encourages you to think, it feels like a triumph of humanity. It makes you want to go out the window and exclaim that everything makes
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Interview Between Time.news Editor and Manuel Rivas, Author of ‘Behind the Sky’
Time.news Editor (TNE): Good evening, Manuel. It’s a pleasure to have you here as we discuss your latest novel, ‘Behind the Sky.’ The book begins as a wild boar hunt but escalates into a spiral of violence. Can you tell us a bit about what inspired this juxtaposition of elements?
Manuel Rivas (MR): Good evening, and thank you for having me. The inspiration stems from our current reality, where the pursuit of peace seems increasingly elusive. The novel opens with the concept of hunting, which serves as a metaphor for deeper struggles within society. The idea is to highlight the transitions from external conflicts to internal battles, a reflection of my belief that writing often mirrors the chaos we experience in everyday life.
TNE: You mention that the novel is born from disturbance and that the word “peace” has seemingly vanished from our discourse. How do you think literature can address or even combat these societal issues?
MR: Literature serves as a crucial tool for discovery and understanding. It allows us to grapple with our realities rather than escape them. In my experience, every word I put on paper is a commitment to the realities we face, revealing the worries and fears inherent in our surroundings. It’s through narratives, such as in ‘Behind the Sky,’ that we can explore the complexities of existence—where Eros and Thanatos collide.
TNE: Your approach to writing is very intriguing. You’ve mentioned that you prefer to write as if you’re cross-country skiing, enjoying detours and curves. Can you elaborate on that?
MR: Yes, I think of writing as an exploration rather than a linear journey. I find that the most profound experiences come from the unexpected paths. By not adhering strictly to a pre-planned route, I’m able to discover insights and create narratives that are richer and more meaningful. It’s about embracing the uncertainty and allowing myself to be guided by the creative process.
TNE: There has been much discussion about the role of languages and cultural diversity in literature. You’ve emphasized the importance of embracing multiple languages within your writing. How does this influence your storytelling?
MR: Language diversity is indeed a treasure, particularly in a place with such cultural richness as ours. Each language teaches us to see the world differently; the more languages you embrace, the broader your perspective becomes. In ‘Behind the Sky,’ I aimed to let various linguistic influences coexist and enrich the narrative. The beauty lies in the interplay between cultures and languages, much like different melodies harmonizing together.
TNE: You’ve had a long and illustrious career spanning over four decades. Reflecting on that journey, do you have any regrets about your creative choices?
MR: Not really. I view my body of work as interconnected—like concentric circles that lead back to earlier pieces. Each book, poem, or essay contributes to a larger dialogue that continues to evolve. I would liken my journey to that of a wanderer without a fixed destination, gathering experiences and insights along the way that enrich my understanding of literature and life.
TNE: You’ve recently received the National Literature Prize, which many see as a significant accolade. How do awards impact your writing philosophy?
MR: Awards are undeniably affirming, but I don’t revolve my work around them. The recognition can create a sense of responsibility to meet expectations, yet what truly sustains me is the writing itself. My focus has always been on sharing, not competing. After all, literature should foster connection rather than rivalry.
TNE: Lastly, as we wrap up, what can readers expect when they attend your upcoming talk at the EL CORREO Hall?
MR: I plan to delve deeper into the themes of ‘Behind the Sky,’ examining the violence inherent in both nature and humanity, as well as the creative struggle that underpins my writing. It’s a space for reflection and exchange, where I hope to inspire others to explore their own narratives and engage with the complexities of our world.
TNE: Thank you, Manuel, for sharing your insights with us today. We look forward to your continued exploration of these themes in literature.
MR: Thank you for having me! I’m eager to engage with readers and fellow writers as we navigate these narratives together.