The Spanish writer and journalist, Sergio del Molino, author of La España vacía, which won the Madrid Booksellers’ Prize for non-fiction, and the Cálamo Prize for best book of the year, will talk to Xavi Ayén about this book and his new novel, La mirada de los peces. The novel starts with a text about his charismatic mentor, the activist Antonio Aramayona, a defender of public education, the lay society and the right to die a dignified death, and becomes a dialogue with the past and with the author’s own memory.
Jeanette Winterson (UK) took the literary scene by storm in 1985 when she published the semi-autobiographical novel Oranges Are Not the Only Fruit. Now, with more than 25 books published over more than 30 years as a writer, reflecting on matters such as religion, the LGTB community and art, Winterson is one of the major figures in contemporary British literature. Talking about art, she wrote in one of her columns for The Guardian: “We censor it, sentimentalise it, treat it as a commodity. But we can’t reduce its power.” So, what is art for? This outstanding English writer reflects on this question to talk about art’s incredible transformational power.
Simultaneous translation from English to Spanish available.
With the support of the British Council Mexico and Wom@rts.
How can a journalist work when faced with the proliferation of fake news? What is the impact of disinformation? How can it be ensured that the profession is being exercised rigorously, independently and responsibly? Three professionals with international careers, Jon Lee Anderson (United States), Lydia Cacho (Mexico) and Mark Thompson (United States), will talk to Peter Florence.
In a time when anybody can write and be published without the need for editors or criteria, we ask what are the impulses that drive writers and what is the relevance of literature, from an intimate point of view, but also social and transcendental. Despite of the massive consumption and the standardised thought, our daily experience is still been defined by local idiosyncrasies. What is the role of the writers within this contradiction? What can we say here, from here, that cannot be said in other places? The texts included on this anthology could be read as an collective thought essay that tries to answer this questions.