{"id":290896,"date":"2012-06-14T16:55:22","date_gmt":"2012-06-14T16:55:22","guid":{"rendered":"http:\/\/www.wdev.rochester.edu\/College\/translation\/threepercent-dev\/2012\/06\/14\/javier-calvos-the-hanging-garden\/"},"modified":"2018-04-16T14:57:38","modified_gmt":"2018-04-16T14:57:38","slug":"javier-calvos-the-hanging-garden","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/2012\/06\/14\/javier-calvos-the-hanging-garden\/","title":{"rendered":"Javier Calvo's "The Hanging Garden""},"content":{"rendered":"

Javier Calvo—the author of<\/em> Wonderful World which was published by HarperCollins a couple years ago—is in the States for a few events, including this one<\/a> with Edith Grossman that’s taking place on Saturday at McNally Jackson in New York.<\/em><\/p>\n

To mark this, and to bring attention to an interesting young Spanish author, we got Jesse Barker from SUNY<\/span> Albany to write up this piece about Javier’s works, mostly focusing on<\/em> The Hanging Garden his latest novel. (Which has yet to be translated into English.)<\/em><\/p>\n

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Over the last decade a quiet boom has been occurring in Spanish narrative. In an age of conglomerated publishing houses and fascination with new media, the novel is alive and well in Spain, with a host of new authors pushing the boundaries of fictional form to describe the contours of the twenty-first century. One of the most prominent of these writers is Javier Calvo, whose latest work The Hanging Garden<\/em> (2012) continues his intriguing evolution as a novelist.<\/p>\n

Calvo\u2019s first books—the short story collection Canned Laughter<\/em> (2001) and the novel The Reflecting God<\/em> (2003)—had a considerable impact in Spain and earned him a reputation as an ultramodern writer, both experimental and highly attuned to pop culture. While the influence of American authors like David Foster Wallace and Chuck Palahniuk (both of whom Calvo himself has translated into Spanish) was evident, it did not overshadow what was from the beginning a unique narrative voice. <\/p>\n

The stories in Calvo\u2019s fiction are developed through short and intricately constructed scenes. Brief moments in time are described with striking visual details and metaphors, which accentuate the particularities of his eccentric characters or the absurdity of situations. Take, for example, the following passage from The Hanging Garden<\/em>, where he describes his protagonist Teo Barbosa at the meeting of a revolutionary left-wing group in a neighborhood church:<\/p>\n

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Everyone present has that slightly ridiculous look that adults always have when they sit at child-size desks, but in Barbosa\u2019s case—since he\u2019s two or three heads taller than the others—the impression is particularly dramatic. With his extra-long arms and legs protruding grotesquely from the desk, Barbosa looks like he\u2019s gotten himself snared at waist-height in some sort of experimentally designed trap.<\/p>\n<\/blockquote>\n

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[Todos los presentes tienen ese aspecto vagamente rid\u00edculo que les queda siempre a los adultos cuando se sientan en pupitres infantiles, pero en el caso de Barbosa, que les saca dos o tres palmos de altura a los dem\u00e1s, la impresi\u00f3n es especialmente dram\u00e1tica. Con los brazos y las piernas largu\u00edsimos sobresaliendo grotescamente del pupitre, Barbosa tiene aspecto de haberse quedado atrapado a la altura de la cintura por alguna clase de cepo de dise\u00f1o experimental] (21).<\/p>\n<\/blockquote>\n

Just as the ridiculously tall Barbosa is here trapped in his ridiculously small desk, Calvo\u2019s characters seem propelled by innate physical and psychological qualities towards playing certain social roles, carrying out certain extreme behaviors and fulfilling certain (often tragic) destinies. These personalities are revealed through a visual narrative reminiscent of films and comic books, but the narrator\u2019s voice is constantly highlighted through elaborate and fanciful metaphors like the one seen in the quote above.<\/p>\n

In contrast to this emphasis on surface images, Calvo\u2019s fictions are also constructed around profound allegorical meanings, often intentionally shrouded in mystery and contradiction. This aspect became more evident in the short story collection The Lost Rivers of London<\/em> (2005), which revealed a growing interest in myth and pagan magic. Characters are consumed by their obsessions with ancient deities or contemporary pop figures, which act as totems providing access to millennial energies, represented by the lost subterranean rivers of the book\u2019s title. In metafictional asides, the narrators present the stories themselves as magical incantations unleashing powerful forces. The satirical surfaces of this author\u2019s works are thus configured as components of a complex structure aimed at penetrating the depths of cultural and spiritual dynamics.<\/p>\n

Calvo\u2019s latest three novels—Wonderful World<\/i> (2008), Crown of Flowers<\/em> (2010) and finally The Hanging Garden<\/i>—show a progressive mastery of these different levels. The stories take place, respectively, in a modern day hyper-consumerist Barcelona, a Dickensish nineteenth-century Barcelona and a 1970s Barcelona immersed in Spain\u2019s transition from the Franco dictatorship to democracy. For a dedicated Calvo reader it is fascinating to see how his peculiar narrative lens shifts between such different time periods and yet retains his characteristic style and themes, which are increasingly integrated into a sublime vision of human psychology and society. If the long choral novel Wonderful World<\/em> (thus far the only one of Calvo\u2019s books available in English) seemed a culmination of his earlier literary exeriments, the others turn his lens onto two important historical periods in Barcelona: the arrival of industrial modernity and the arrival of consumer-driven postmodernity. <\/p>\n

While initially surprising within Calvo\u2019s trajectory, these historical focuses serve to dig deeper into the demons that have always fueled the author\u2019s work. Crown of Flowers<\/em> shows a repressive state and economic apparatus that tears down Barcelona\u2019s medieval wall and, along with it, the ancient spirit of the place and its people. Residues of this spirit, however, persist underground in the obsessions of a mad scientist and a violent sect of orphaned children guided by a mysterious leader, both of which maintain ambiguous connections to the very power elites that seek to dominate the city. <\/p>\n

The Hanging Garden<\/em> represents a sharper departure from previous works. First of all, Spain\u2019s conversion into a democratic state—known within the country as the Transition—invokes a more explicitly political subject matter, as this period of Spanish history is inevitably a source of controversy. Some hold up the process as a model political transition, with no bloodshed and a quickly achieved widespread consensus. Others criticize the amnesty and \u201cpact of silence\u201d about the dictatorship\u2019s crimes. In a broader cultural sense, the Transition is an accelerated version of processes occurring throughout the Western world since the end of World War II: globalization, de-industrialization, the loss of ideological certainty and the ascendance of media-driven consumerism. Thus Spain\u2019s celebration of new political and social freedoms was quickly tainted by the social fragmentation that characterizes contemporary society.<\/p>\n

The Hanging Garden<\/em> addresses both political and cultural aspects of the Transition. On one level it is a political thriller centered on the struggle between the government and a fictional revolutionary group, complete with terrorist acts, double agents and espionage romance. The novel portrays the transition between a security apparatus dominated by the dictatorship\u2019s army to the more subtle and pervasive secret service working behind the scenes of modern democracies. It also exposes the gaps between the priority of maintaining power that guides democratic governments and their stated goal of serving the interests of the people.<\/p>\n

On another level the novel represents the societal upheaval of Spain\u2019s Transition and functions as a chilling allegory of the cultural order inaugurated in the era. A meteorite fallen in the Catalonian countryside shortly before the beginning of the story covers Barcelona in dust and causes extreme weather patterns. Teo Barbosa maintains ambivalent relationships with both the left wing extremists and the secret service, too skeptical and sarcastic to fit comfortably on either side. His only sincere passion seems to lie with Sara Arta, the fellow revolutionary with whom he shares long nights at the \u201cBar Texas\u201d and her studio apartment, filled with sex, drugs, alcohol and the pre-punk wailings of Patty Smith. It is impossible to know where Barbosa\u2019s true feelings lie, however, both for the reader and ultimately for himself. His intellectual and existential disorientation is indicative of a society where the real is disintegrating. Sara Arta\u2019s aesthetic transformation from pale-faced, dark-eyeshadow art student to nihilist punk is also representative of the times. As the narrator declares more than once, in 1977 Spain the past is quickly fading and, consequently, so is the future. <\/p>\n

On the other side of the equation is Ar\u00edstedes Lao, the mathematical genius that works for the secret service and is apparently devoid of human feelings. Instantly repulsive to all who meet him, Lao has a gift for analyzing the human psyche and complex social dynamics. Like many of Calvo\u2019s characters, Lao begins as a comic caricature but acquires a profound symbolic importance in the novel. His computer-like mind engineers the different pieces of the human jigsaw in the story, producing an apocalyptic ending that reduces the potentially subversive elements to impotence and desperation.<\/p>\n

Words like allegory and representation fall short of describing The Hanging Garden_\u2019s depiction of reality. While the specific subject of the novel may be the Spanish Transition, the reader is taken along a journey, both mythical and ironic, to the heart of a global cultural\/political\/economic order that appeared invincible until recent financial meltdowns and protest movements. _The Hanging Garden<\/em> is a brilliant and captivating novel that confirms Javier Calvo\u2019s enormous talent.<\/p>\n

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Although<\/em> The Hanging Garden isn’t yet available in English, you can buy<\/em> Wonderful World which is now available in paperback from HarperCollins and translated by Mara Lethem. And with a little luck, we’ll have a full review of this up by the end of next week.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Javier Calvo—the author of Wonderful World which was published by HarperCollins a couple years ago—is in the States for a few events, including this one with Edith Grossman that’s taking place on Saturday at McNally Jackson in New York. To mark this, and to bring attention to an interesting young Spanish author, we got Jesse […]<\/p>\n","protected":false},"author":292,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[67486],"tags":[47606,4236,47586,47616,47576,1646,6516,47596],"class_list":["post-290896","post","type-post","status-publish","format-standard","hentry","category-articles","tag-hanging-garden","tag-harpercollins","tag-javier-calvo","tag-jesse-barker","tag-mara-lethem","tag-review","tag-spanish-literature","tag-wonderful-world"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/290896","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/users\/292"}],"replies":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/comments?post=290896"}],"version-history":[{"count":1,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/290896\/revisions"}],"predecessor-version":[{"id":319126,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/290896\/revisions\/319126"}],"wp:attachment":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/media?parent=290896"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/categories?post=290896"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/tags?post=290896"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}