In the last line of the five pages that Íñigo Round (Bilbao, 1975) sent to the book publishers Random House to sell his story, a young 16-year-old asks, gripping your head of school that the kidnaps. It was not, nor much less the first attempt of this architect is to draw the attention of the publishers on his first novel, but in this case was right. “At first I sent the billet, was not aware of the procedure, but I was learning and with this synopsis, I got you to ask me for the manuscript”, an account to THE COUNTRY in a cafeteria of Madrid close to the Pacífico Engine shed, an industrial giant of the early TWENTIETH century is not so far removed from the Ukraine in the soviet that puts All of this exists.
The novel tells the story of Alexei and Erina, two beings in a free fall that may be hooked to each other in order to survive and fall into a trap “sometimes wonderful, others horrible.” He sees how his life, anodyne, under the influence of alcohol and solitary master of the provinces in the universe soviet of the eighties gives a radical turn when she comes to the aid of a student who is living a hell at home. Irina flees and takes refuge in the home of Alexei, who becomes the father, the protector, the beginning and end of the universe of the young, and, in the eyes of the law, in its hijacker. “I needed a fiction, simple, not artificial or too sophisticated to put in value the landscape, the event, the catastrophe that determines everything“, without revealing anything more than an argument that develops as a thriller without to become.
sometimes you find yourself making decisions that are creepy because you have no alternative or because the alternative is worse.
The relationship of a man in his forties with a teenage girl that keeps it hidden, locked up by the express desire of it, generates violent situations, uncomfortable. “Is that when viewed up close, nobody is normal. The dependence, pride, vanity are in all relationships, but here they have time to emerge. I put a camera two years in a house and I have to do that is not boring. She says yes to a thing that is not sure what that is, but I don’t think that there is attraction between them,” he explains.
what Would be, then, a variant of the novel of formation? “If it is, in a way, it is for two. It is not a lord that adoctrine a girl but, in any case, the other way around. He gets a different energy and was rediscovered in her eyes”.
don’t get match experience, I don’t have that feeling. May resolve with time
“The unsung hero behind each window is also weak and scared and terrified of loneliness. Sometimes you find yourself making decisions that are creepy because you have no alternative or because the alternative is worse. Heroism is not at odds with the meanness”, he argues when you underline the chiaroscuro of Alexei, true support of this novel that tells as much as is silent. “When Irina says ‘what makes a dad is ugly’ because you don’t have to say more, there are silences that are more explicit that anything that is written,” he reflects.
The choice of Ukraine has a sense of ending that the reader will discover. And a source. In 2011, the Round traveled to Kiev and met with the architecture that he remembered having seen as a boy in the television, the same blocks are immense, the planning beastly, the avenues are infinite, the hostility of the landscape, the blanket of snow. Then came four years of writing, of exploring the limits of the story without the tools to grasp –“with slow times, like a stone”, she says , the yes of a big publishing house and a new editing process with them to iron out excesses –although he admits that one is– and give you sobriety and forcefulness to a history that passes through murky waters without sinking.
The writer in the area of the Ship’s controls of Motors of Metro Pacific. B. P.
In the answers still tired sincere of Íñigo Round slip Juan Marsé — “Last afternoons with Teresa is so good that there is no pause, there is no need”— or, Jonathan Franzen, and your ten commandments for writers, the only mention of something like an instruction manual. Also references to books such as The unnamable by Samuel Beckett, which left him “dumbfounded” but that fails to identify as influences: “I do Not think that the texts that you most like are the ones you influence”. There are also other readings of youth, such as Hopscotch, term expires in your imagination and also some vectors, asymptotes, and other technical concepts of another life applied to the whys of a story.
This long-distance race that is the literature it has been present in the life of the author intermittently since 2004, when he was a finalist of the Contest of Young artists of Madrid with its collection Hours. Then came a book of stories and a theatre play, a rush that you have not helped with the novel. “I don’t get match experience, I don’t have that feeling. May resolve with time,” he says. However, the Round ensures that you do not plan on being a writer, that is a claim that seems “a bit childish”, but when you compare fun to your speech as an architect that has been deployed in this interview shows, perhaps unintentionally, that is already part of the club.
Ingredients for a author incipient
In the answers still tired sincere of Íñigo Round slip Juan Marsé — “ Last afternoons with Teresa is so good that there is no pause, there is no need”— or, Jonathan Franzen, and your ten commandments for writers, the only mention of something like an instruction manual. Also references of The unnamable, of Samuel Beckett, which left him “shocked”, but that fails to identify as influences: “I do Not think that the texts that you most like are the ones you influence”. There are also other readings of youth, such as Rayuela , term expires in your imagination, and also some vectors, asymptotes, and other technical concepts of another life applied to understand the whys of a story.
