Ricardo Gómez’s “Homeland, the Good”: Navigating Trauma, Humor, and the Ghosts of ETA
A new novel confronts Spain’s turbulent past, blending political violence with unexpected humor and a poignant exploration of immigration and industrial decline.
Ricardo Gómez, a 54-year-old writer and former lyricist, is challenging conventional narratives surrounding the Basque conflict with his fifth novel, “Homeland, the Good” (Autsaider). The book, set against the backdrop of ETA’s activities and the shadowy operations of the GAL (Grupos Antiterroristas de Liberación), imagines a darkly comedic scenario: ETA attempting to win an apartment in Torrevieja through a televised contest. Gómez’s work, reminiscent of Aramburu’s “Patria” (2016), delves into the complexities of violence, revenge, and the lasting scars of a fractured society.
A Novel Rooted in Personal and Collective Memory
Gómez’s inspiration stems from a deeply personal connection to the era. Growing up in Ordizia (Gipuzkoa) during the 1980s, he witnessed firsthand the pervasive influence of ETA. He recalls the chilling impact of the assassination of Yoyes, a former ETA member, while he was shopping at the local market. This experience, coupled with his later studies in Hernani, shaped his desire to explore the period through fiction. “To live in a town and feel the harassment of ETA has really passed,” Gómez stated, emphasizing the enduring impact of the conflict.
However, “Homeland, the Good” distinguishes itself by also confronting the often-overlooked actions of the GAL, a state-sponsored paramilitary group. Gómez notes the lack of fictional exploration surrounding the GAL in Hernani, questioning the potential backlash for addressing this sensitive topic. He aimed to create a nuanced portrayal, avoiding a simplistic “Maniqueo” narrative where either side is entirely vilified. The novel features protagonists driven by conflicting desires for revenge, blurring the lines between victim and perpetrator.
The Human Cost of Conflict and Displacement
Beyond the political intrigue, Gómez’s novel offers a powerful commentary on the social consequences of conflict and economic change. He highlights the significant immigration to the Basque Country, particularly from Extremadura, during the industrial boom. His own family’s experience – his father’s move from Vigo to work in the metal industry – informs this portrayal.
Gómez emphasizes the often-overlooked tragedy of “double migration,” where individuals who initially sought opportunity in Euskadi were later forced to return home due to industrial conversion. He notes that many Extremaduran immigrants, after decades in the Basque Country, found themselves without roots upon their return. This theme is particularly resonant now, he argues, given contemporary debates surrounding immigration.
Humor as a Tool for Incisive Commentary
A defining characteristic of Gómez’s work is his use of black humor. He believes that humor can be a more effective tool for exploring difficult subjects than outright drama. He cites the film “ETA FAITH” (2017) as an example of a work that successfully used satire to confront the realities of terrorism, contrasting it with the more heavy-handed approach of “The Infiltrated” (2024). “Humor, sometimes, is closer to reality,” Gómez explained.
This approach is evident in a seemingly trivial detail that sparked the novel’s setting: a couple from Hernani who competed in the 1980s on the game show “A, dos, tres.” They won a high-fidelity stereo system, a prize they reportedly felt was inadequate, prompting outrage in The Basque Newspaper. This anecdote, Gómez recalls, served as a catalyst for setting the story in Hernani.
From Cycling Lyrics to Literary Exploration
Gómez’s journey to becoming a novelist began with his work as a lyricist for the cycling team Iturgaiz. Following the team’s dissolution and the tragic loss of his sister to cancer, he felt compelled to pursue his long-held desire to write fiction. His debut novel, “Gooolpe View” (2016), explored themes of football, separation, and state manipulation, hinting at the political undercurrents that would become central to his later work.
Gómez’s “Homeland, the Good” promises to be a provocative and insightful addition to the growing body of literature grappling with Spain’s complex past. By blending political thriller elements with nuanced character studies and a distinctive sense of humor, Gómez offers a fresh perspective on a period that continues to shape the nation’s identity.
