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Jesús Ferrero, as seen by Santos Sanz Villanueva

Along the transition and the first years of democracy, the Spanish novel lived a long period of atony and confusion. In this context of uncertainty and discouragement, in 1981 we got to know a young Jesús Ferrero (1952) with his debut Bélver Yin, which was received as a book of rupture opening new paths for the Eastern-is imagination. He further insisted in this in his following novel Opium (1986). Both titles gave the wrong first impression of being upon a specialized prose writer, anchored in the mysterious exoticism of the Chinese spaces. But it is the opposite, Ferrero's narrative, wide and regular in its apparitions, point towards a versatile writer, in both thematics and formal procedures. Different impulses mould the twenty something titles of the Zamora-born writer: the action or intrigue tale, dramatized narrative, psychological exploration, a quite direct communication, the cinematographic objectivism, the picaresque, or the lyrical novel. Regarding the motivations, those books compile a variety of concerns, although they pay special attention to the relatively strange and enormous passions: harrowing individual disputes, traumatizing relations, revulsive sieges to the erotic impulses, inquiries about death, timeless or legendary analysis of human experience, testimonies of collective degradation with a certain social atmosphere...

This way, the narrative of Jesús Ferrero is displayed in a writing of multiple registers: in the melodramatic tone and a demanding and intense culturalism cohabitation; the mythical and the present; the raw realism, the allegory and the expressionist perspective; the picaresque, the traditionalist testimony, and existentialism. This dispersion has to be understood as a the mean to cover the totality of the human being with a multi-faceted look, and most of the times, quite dostoevskian

Fundación Juan March
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