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Antonio Muñoz Molina, as seen by Manuel Rodríguez Rivero

Author of an extensive work in narrative, journalism and essays, Antonio Muñoz Molina is one of the most valued Spanish contemporary writers in our country and beyond. As a novelist, he became known in 1986 with the publication of Beatus Ille, the initial installment of the long "Mágina" cycle, the imaginary city (although not mythical at all) where the the vital and moral adventures of many of his characters occur. Since that first novel, he has published a dozen of other narrative books and has obtained some of the most prestigious prizes that are awarded in our country (Ícaro, de la Crítica, Nacional de Literatura -twice-, Planeta, etc.). Antonio Muñoz Molina is a novelist of cities. It is in these dynamic, hybrid, and protean environments -Mágina/Úbeda, San Sebastián, Lisbon, Madrid, Buenos Aires, New York- where the characteristic combination of memory and life is forged, and act as the background over which the stories of characters, who always seem to be chasing their own identity or escaping from a past that is never completely gone, are built. And all of this within a world where it is always mandatory to choose -never an option-, and in which the errors are unavoidable probably because everything started way before.

Through his narrative texts, Muñoz Molina has traveled a path which, regardless of its specificity, has not been infrequent among the writers of his generation. From an initial enthusiasm for the novel as a privileged room of the world's knowledge -in parallel to the "rediscovery of the narrative" that characterized what is known as the "new Spanish narrative" (a period in which his personal highlight is represented by El jinete polaco, 1991)- the author has enriched and fertilized his novelistic contribution with the addition of reflexive elements he had already developed in his clearly memorial and autobiographical books (Ardor guerrero, 1995, Ventanas de Manhattan, 2004), and in his regular participations on other mass media, as an intellectual fully aware of the reality he is living in. Also through his permanent worry about the sense of telling and the craft of writing, very well represented in the compilation of essays Pura alegría (1996), and already present, in an embrionary and diffused state, in his early newspaper articles compiled in El Robinsón urbano (1984) and Diario del Nautilus (1985). His last novel, El viento de la luna (2006), is a finalized example of the efficiency of this binomial -memory and imagination- for building a multi-faceted narrative where fable and moral reflexion are perfectly integrated. 

Fundación Juan March
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