Sunday, September 15, 2024

Meet the Author: Elin Hilderbrand

 



Meet the Author: Elin Hilderbrand



I was so thrilled to get the chance to connect with the lovely, talented and very busy writer, Elin Hilderbrand. I just love breezing through her books and am excited to share she has two new books coming out this Summer and Fall!

 

28 SUMMERS will be out June 16 and TROUBLES IN PARADISE on October 3. Just what we need these days – something to look forward to, so preorder yours today and if you haven’t read all of her books, well, now is the tim to do so (with all this extra time on your hands). Enjoy diving head first into Elin’s books! Her writing is witty, engaging and entertaining. Let’s get to know the writer and mom behind the pages…
 
 
◇ Elin, thank you so much for taking the time to chat with The South Shore Moms. Tell us a bit about your background.
 
I grew up outside of Philadelphia but my family would spend the month of July in Brewster, Mass on the Cape.  Those summers were the happiest times of my life.  It was my father, my stepmother and their blended family of five children.  We rented a cottage on a sandy lane that led to the sound and we had all of these summer traditions — outdoor showers, beach days, grilling out, miniature golf, soft-serve ice cream, falling asleep with sand in the sheets.  Then, when I was sixteen, my father was killed in a plane crash and those summers came to an end.  I spent my seventeenth summer working in a factory that made Halloween costumes.  It was 1986 and I spent 8 hours a day folding Rambo headbands.  I made a promise to myself that somehow I would find a way back to the beach.  When I graduated from college (Johns Hopkins, in Baltimore) I moved to New York City.  I taught 8th grade English — first in the NYC public schools, and then I got a better job teaching in Westchester county (fun fact: the actor Max Greenfield of NEW GIRL was my student that year!) . I had the summer between those two years off so I headed back up to the Cape and Islands, specifically Nantucket, where I had rented a room in a house for the summer.  And I fell so in love with it that as soon as that second school year was over, I moved to Nantucket permanently.  That was in 1994.
 
◇ Wow, what an incredible story. I’m sorry to hear about your father. I love how you found your happy place at such a young age and made it your mission to get back there. Tell me about your kids. 
 
I have three children.  Maxx, 20, is a sophomore at the University of South Carolina.  Dawson, 18, is a junior at Brewster Academy in Wolfeboro, NH.  And Shelby, 14, is in eighth grade at the public school on Nantucket.

 

◇ What is your favorite moment as a mom to date?
 
All three of my kids are incredible athletes.  My best memory was with my oldest, Maxx.  When he was 11, he was invited to play on the 12-year old baseball all-star team.  After his first or second practice, he was visibly upset when I went to pick him up.  When I asked what was wrong, he said “Joey said I didn’t belong on this team because I’m not good enough.”  The following year, Maxx was a 12-year old on the 12-year old all star team.  The team went to Cooperstown for a week-long tournament and in their final game, Maxx hit three home runs in a row, the last of which was a grand slam.  And Joey was there to witness it.  It was a moment of such ridiculous poetic justice, I can’t believe it’s real.  But yes, it happened.  

 

◇ Ha, Go Maxx! Incredible. What would you say is the toughest part about being a mom?
 
Everything is tough!  But I had a couple of wham-doozy years in there.  When the kids were 13, 11 and 7, my husband and I got divorced and I moved out.  And then the following year, when the kids were 14, 12 and 8, I was diagnosed with breast cancer.  When I look back, I think: How on earth did we make it through all that?  But now, it’s 5+ years later, my ex-husband and I are great friends and I’m healthy.  I will also say that traveling when the kids were younger was very difficult.  There’s a saying about working moms: When you’re at work, you feel like you should be with the kids.  When you’re with the kids, you feel like you should be at work.  That is my life.

 

◇ Wham-Doozy. That’s a good way to put it. What is the best advice you have ever received as a mom?
 
There is no such thing as a “good” mother.  There is only such a thing as a “good enough” mother.  And I’m confident that most of us are good enough.

 

◇ What is the best advice you would like to give to a young mom or a new mom reading this?
 
Have something of your own: a career, an interest, hobby, purpose.  Otherwise it’s just too easy to get subsumed into the house and the kids and losing yourself.
 
◇ So true. Elin, how did you decide to become an author?
 
In second grade at the end of the year, my teacher gave everyone in our class an award.  And my award was the Top Author award.  I said to myself, “Yes, I am an author.”  Age seven.
 
◇ Wow. Amazing! What do you love most about writing?
 
I love bringing Nantucket specifically and summertime in general to people who maybe don’t have a chance to experience summer the way that I do.  
I love creating characters and getting to know them.  And then pragmatically, I love the freedom that writing novels affords me.  I don’t have a boss and I don’t have to report to an office.  
 
◇ What is the toughest part about being a writer?
 
Everything is tough!  When I was at the Iowa Writers Workshop, John Irving came to speak.  He said, “If you can do something other than write, do something else.”  Writing, much like parenting, means you succeed and fail every day. 
 
◇ It must be such a journey. What was it like becoming a successful writer?
 
When I graduated from Johns Hopkins in 1991, I went to my writing professor, Madison Smartt Bell, and asked him what to do next if I wanted to be a writer.  He said, “Go out in the world and live.”  I moved to New York City, worked in publishing for nine months, hated it, then realized what I needed was a job that would give me blocks of time to write.  I taught English, first in the NYC public schools, and then in Dobbs Ferry (suburbs).  The summer between the two school years, I sublet my apartment and rented a room in a house on Nantucket.  The house I lived in was a complete hovel.  Now, when I drive my kids past it, they don’t believe I used to live there.  Despite this, that summer was revelatory.  I fell madly in love with Nantucket and I decided that I wanted to go back to live permanently.  That happened the following summer, 1994.  I traveled the globe in the off season, backpacking through Southeast Asia, Australia, New Zealand, South and Central America.  Then, feeling like I had sufficiently “lived,” I applied to graduate school.  I attended the University of Iowa Writers Workshop, which is the best writing program in the country — but, guess what, it’s in Iowa.  I was miserable.  I missed everything about Nantucket and was so depressed that I used to go to therapy every week (it was free for students) and cry.  Eventually, I decided I could create my own therapy — and I started writing a novel set on Nantucket.  That novel was THE BEACH CLUB.  In my final Iowa workshop, my professor invited his agent to the class.  The agent asked which one of us lived on Nantucket.  I raised my hand and he asked for me to stay after class.  (I didn’t want to — my U-Haul was parked in front of my apartment and ready to go!). But thank goodness I did, because that agent, Michael Carlisle took me on as a client (he had grown up spending summer on Nantucket) and he has been my agent for 20 years.
 
I want to say that just getting my first book, THE BEACH CLUB, published did not a successful career make.  This happens VERY rarely — let’s say a book like Crawdads, which is a success right out of the blocks.  I didn’t have a “break out” book until I switched publishers in 2006.  My first five novels sold modestly and I used to cry out of frustration because I didn’t feel like my publisher was promoting them properly (they weren’t).  When I wrote BAREFOOT, my agent suggested we switch publishers and I ended up at Little, Brown.  They turned the next 19 books into NYT best sellers, building my career book by book, summer by summer, year by year.  This past summer, my novel SUMMER OF ’69 debuted at #1 on the NYTBSL.  Dream come true.
 
◇ Incredible. I love your books, and love knowing so much more about your background now. Tell us about your new book coming out in 2020.
 
My 2020 novel is called 28 SUMMERS.  It’s based on the play “Same Time Next Year.”  A couple gets together every summer on Nantucket for 28 summers.  The twist is that the man in the couple is married to a woman who is running for President.  Should be very timely for summer 2020!  It’s out June 16th.

 

◇ Can’t wait to read it. Do you have a favorite passage or quote from one of your books?
 
There’s a passage in my novel BAREFOOT where my main character, Vicki, thinks she’s dying and she tells her sister, Brenda, all the things Brenda will need to do for her kids once Vicki is dead.  And then she says, “No one else can do this.  To do this, there is only you.”  It’s a poignant mom moment and also a poignant sister moment.
 
◇ Do you have a favorite book?
 
A couple of truly extraordinary books I’ve read recently include WHITE FUR by Jardine Libaire and THE MOST FUN WE EVER HAD by Claire Lombardo
 

◇ I will have to add those to my list of books to read during quarantine. Tell us, who inspires you?

 
I’m inspired by women who succeed on their own merit.  Diane von Furstenberg, Lady Gaga, Christine Lagarde, Ann Patchett, Margaret Atwood.
 
◇ How do you balance being an author and a mother?
 
Now that I’ve been at it twenty years, I can say that I have eliminated a lot of things in my life that aren’t writing or parenting.  Those are my two foci and everything else takes a backseat — the committees and the charities and the friend drama and all the stuff that created white noise in my twenties and thirties, I’ve gotten rid of.  It’s liberating.

 

◇ Love that. Anything else you would like to share with our readers?

Well, I’m writing these answers during the pandemic, so I guess I’d like to ask you all, if you can, to support local businesses, and especially local bookstores.  If you’d like to pre-order a copy of 28 SUMMERS and want it signed and personalized, you can visit the Nantucket Book Partners and order it and they’ll ship.  Many thanks!
 
 
Thank you, Elin!






Elin Hilderbrand explains why she's retiring from writing summer beach reads

 

Elin Hilderbtand

Elin Hilderbrand explains why she's retiring from writing summer beach reads

Elin Hilderbrand
Elin Hilderbrand is an American writer, mostly of romance novels. In 2019, New York magazine called her "the queen of beach reads." (Beowulf Sheehan)
After two decades writing about Nantucket, the prolific author is ready to start her next chapter
Vivian Rashotte
12 August 2024

Elin Hilderbrand is a bestselling romance author who’s been writing about summers on Nantucket for the last two decades. Now, after 30 books, she’s closing this chapter with “Swan Song,” her final novel set on the island. Elin joins Tom to share how her experience going to the most prestigious writing school in North America led her to writing beach reads, how she creates a community through fiction, and why she’s now calling it quits — sort of.  29:01




The New York Times bestselling author Elin Hilderbrand has been writing about summers spent on the island of Nantucket, Mass., since 2000, when she released her debut novel, The Beach Club. But now, after 30 books, she's retiring from the genre. Her latest beach read, Swan Song, will be her final novel set on the island.

"I'm stopping writing these books because, frankly, I am out of ideas," Hilderbrand tells Q 's Tom Power. "Nantucket is small. I've covered every part of the island, every festival, every time of year. The last few books, although I think they are my strongest, have been the hardest to write. I've gotten to the bottom of the well."

With a dedicated fanbase and more than 20 million books sold worldwide, Hilderbrand is an extremely successful writer by any measure. She's a graduate of the prestigious Iowa Writers' Workshop, which counts Flannery O'Connor and John Irving among its alumni, but at times, she says she's grappled with the fact that her novels are considered more commercial than literary.

"I write books that I think people feel are maybe a little bit lowbrow or [for] mass consumption," she says. "One of the things I love doing is selling books and so I love having an audience."

But Hilderbrand didn't experience overnight success with her work. She says she didn't hit it big until her sixth novel, Barefoot, which came out in 2007. It was only when her books started to be promoted as beach reads that she was able to break through.

"My first publisher did not do a great job with my first five books," Hilderbrand tells Power. "Then I moved publishers and my new publisher saw an opportunity to really market these as summer beach novels and they just started taking off from 

One of the things Hilderbrand loves about writing beach reads is the escape, comfort and wish fulfillment she can give her readers. Her fans aren't judging her books by whether they're considered lowbrow or highbrow — they know they can count on her for a good story.




(Hachette Book Group)

"I was very adamant about not wanting to let the quality of my novels suffer," Hilderbrand says. "I feel like everyone out there has read an author like me who is putting out a book a year, or even several books a year, and that author will inevitably deliver a dud. I was adamant that that person was not going to be me."

Though her Nantucket series may be done, Hilderbrand isn't hanging up her writing hat forever. She's currently writing two novels with her daughter that are set at a New England boarding school. 

"They are adult novels," Hilderbrand says. "In fact, they're very adult because we get all the sex, drugs and rock and roll. I'm really, really proud of Shelby, my daughter, and the way that she has embraced this project, bringing a Gen Z boarding school novel into the culture. I grew up reading A Separate Peace, I know the millennials all read Harry Potter, and there hasn't really been the Gen Z boarding school book moment. So we're going to hopefully create that."


CBC

https://www.cbc.ca/amp/1.7288558



The five masks of Milan Kundera





Milan Kundera, 1978 (FERDINANDO SCIANNA


The five masks of Milan Kundera

Refusing to talk about himself was not a moral attitude, nor a posture of proud withdrawal, but a novelistic rejection of the despotism of the media




CHRISTIAN SALMON
JUL 13, 2023 - 10:37 COT

The success of a writer is often accompanied by increasingly numerous misunderstandings about him. After the worldwide success of The Unbearable Lightness of Being, misunderstandings kept arising. Interview requests came in from all over the world and his words were often misrepresented. The legend of the Prague dissident threatened to overshadow his work, which he had tried to protect from biographers with his constant translation and editing work. His seminar at EHESS, the School of Advanced Studies in Social Sciences in Paris, was always full of journalists and intellectuals in need of a master thinker. One of them said to me as he left a seminar: “He could be the new Sartre!”

Kafka’s Prague: a captivating city brimming with literary tradition

 

Praga
A sculpture by David Cerny at the Franz Kafka Museum in Prague.DOMONABIKECZECH / ALAMY / CORDON PRESS


Kafka’s Prague: a captivating city brimming with literary tradition

The capital of the Czech Republic is a metropolis very much focused on culture and attracting tourists


TONI MONTESINOS
OCT 24, 2023 - 14:13 COT

Franz Kafka is known for his precise and enthralling writing style. His literary worksgo beyond published works into letters and diaries that provide insight into his enigmatic persona. Testimonials, studies and new discoveries — Kafka’s essence continues to fascinate readers and leave a lasting impact a century after his death.

Because of his frequent appearances in news articles, Franz Kafka is often considered the most iconic writer of the 20th century. Visiting Prague offers a unique opportunity to delve into Kafka’s world and vision. The Franz Kafka Museum is a marvel for admirers of the author, offering insights into his life, socio-historical context and the city he lived in. Explore first editions of his works, along with a wealth of documents, photographs and audiovisual materials, presented in a meticulously designed exhibition.

About a 10-minute walk from the museum, you’ll find the impressive Prague Castle in the Hradcany neighborhood on the left bank of the Vltava River. Inside the castle grounds, you’ll discover palaces, churches and the cathedral… as well as a charming little street called Zlatá ulička, also known as Golden Lane. One of the houses on this street — number 22 — is where Kafka lived in 1916 and 1917. Although the house was renovated in 1955, it still retains the humble character and low ceilings of the author’s abode a few years before his death.

Tram 22 is the ideal way to explore this area of the Czech capital. To save money and time, purchase a transportation card from the Prague tourist office, as well a visitor pass that gives you direct entry to over 60 places of interest, guided tours and boat trips around the city.

Malostranska
Tram 22 was given its number in honor of Franz Kafka's home at 22 Zlatá ulička in Prague.DALIBOR KOTEK (ALAMY / CORDON PRESS)

The neighborhood adjacent to Prague Castle is the place about which Jan Neruda wrote his most famous book of short stories. In 1895, the city named a street there after him — Nerudova — undoubtedly one of the most beautiful in Prague. It had been four years since he passed away, and the city decided to honor his childhood home on this street. Prior to 1770, houses in Prague were distinguished by their signs, and Neruda’s home was known as the Two Suns. The author drew inspiration from the innumerable anecdotes and snatches of gossip he heard in his father’s grocery store to write Tales of the Lesser Quarter, a collection of short stories published in 1877.


Hispanic-Czech fusion

In this same charming Prague neighborhood, you’ll find a cozy restaurant called El Centro (Maltézské 293/9, Malá Strana, 118 00). Opened in 1999, it was the first restaurant with Spanish and Central American cuisine in the city. It’s run by Radek Neruda and his wife Norma, a Czech and Guatemalan duo with an interesting personal story. Their restaurant offers a delightful selection of tapas, paellas, Latin American delicacies and a carefully curated selection of Spanish wines. It’s the perfect spot to rest, recharge and enjoy delicious food.

The Head of Franz Kafka by David Cerny
The Kafka Statue by David Cerny is modern sculpture of Franz Kafka's head in Prague.MARC BRUXELLE (ALAMY / CORDON PRESS)

This Hispanic-Czech fusion restaurant is notable because it’s also surrounded by weighty literary tradition. Nearby is the Czech Literary Center (České literární centrum), where Kateřina Chromková promotes Czech writers in other countries. The Prague Cervantes Institute occupies a beautiful and imposing building where its director, novelist Gonzalo Manglano, connects local literature with works in the Spanish language.

The city is a thriving literary hub, hosting various events and offering scholarships for writing and translation through the Czech Literary Center. Initiatives like “Encounters with Literature” promote Hispanic literature and its authors to the Czech public and publishing industry. This focus on the literary world is not surprising in a country that loves radio dramas, reflecting the Czech Republic’s enthusiasm for literature.


On the corner of Dusní and Vezenská streets, in the heart of the ancient Jewish Quarter, stands a monument honoring Kafka created by sculptor Jaroslav Róna and unveiled in 2003. Another famous writer, Jaroslav Hašek, best known for his four-part humorous novel, The Fateful Adventures of the Good Soldier Svejk During the World War (1920-1923), is also honored in various places around Prague. Known for his bohemian lifestyle and anarchist leanings, Hašek fought with the Austrians in World War I and later as a mercenary in the Russian Army. Josef Landa’s iIllustrations of the fictional character of Švejk can be found in several Prague cafés.


Some of Landa’s illustrations adorn the U Brejsku café, a place both Hašek and Kafka frequented. A colossal sculpture of Kafka’s head sits on the outskirts of Quadrio shopping center. Designed by David Černý and installed in 2014, the 24-ton, stainless-steel sculpture has 42 movable sections that rotate independently, creating a mesmerizing facial effect.

Bothšek and Kafka also frequented literary cafés like the Louvre, a charming establishment that has maintained its beauty since it opened in 1902. Inside, you can find images and information commemorating visits by Kafka and other writers, including Karel Čapek, who coined the term “robot” in one of his science fiction plays. Albert Einstein even paid a visit once. The restaurant is highly recommended for its Czech cuisine, particularly the delicious roast pork with pasta, a dish that truly represents local flavors.


Equally impressive is the elegant Slavia café, open since 1884. Its walls are adorned with photographs of renowned writers, especially former president and playwright, Vaclav Havel. During the post-Soviet collapse of the 1990s, Havel played a crucial role in saving the establishment after the fall of the Berlin Wall. Another notable spot is U zlatého tygra (The Golden Tiger), where Bohumil Hrabal would often spend entire days. Finding a seat can be challenging in this popular tavern housed in a 14th-century building that features a Gothic portal and painting dedicated to the 20th-century Czech writer.

Yellow Penguins art installation by Cracking Art along Vltava river at the Kampa museum
Cracking Art's yellow penguins line the Vltava River at the Kampa Museum in Prague.JIM MONK (ALAMY / CORDON PRESS)

For more literary exploration, check out museums like the National Gallery of Prague, the DOX Center for Contemporary Art, the Kampa Museum, the Kunsthalle Praha, and the recently opened Museum of Literature. And of course, you can’t miss all the places associated with Kafka, from his burial site at the immense Olšanské hřbitovy Cemetery to his birthplace near Staroměstské náměstí Square.

Attached to the Old Town Hall in Prague is the renowned 15th-century astronomical clock, a ubiquitous sight (in miniature) in every souvenir shop. Every hour, figures of the 12 Biblical apostles spring into motion, drawing huge crowds of fascinated tourists. Surrounding the clock, four allegorical figures symbolize Vanity, Greed, Death and Lust, encapsulating large parts of our shared human experience.


THE GUARDIAN




Is there a European literature?

 


Literatura europea
Franz Kafka’s grave in the Prague cemetery.JNS (GAMMA-RAPHO / GETTY IMAGES)

Is there a European literature?

The narrative of the continent continues to be burdened by the absence of a common strategy in a space of miscegenation with no shared language



ANTONIO MONEGAL
NOV 17, 2023 - 19:01 COT


The question posed by the headline is one that inevitably excites the experts in comparative literature, those of us who study literary phenomena beyond national and linguistic borders, from a supranational perspective, if only to delve into the implications of the matter without the need to reach a definitive answer. Like so many other, very relevant questions, this one is not answered with a yes or a no, but with “it depends.”


It is clear that there is a literature produced within the diffuse, ever-changing margins of that territory we call Europe, and if this were the meaning of the question, the answer would be a simple “yes” and this article would end here with nothing more to say. An obvious answer to an uninteresting question. Such European literature would be nothing more than the sum of the literary productions of a group of countries endowed with the status of “European,” either due to their membership in the EU or to broader, more inclusive criteria.

I understand that the ambition of the question is different; that it alludes to a notion of Europe that is more than a territory or a sum of nations. Is there such a thing as a European identity that unites a literary system, a series of shared traits that define a group of works or writers, a lowest common denominator? This immediately leads us to question whether it is possible to develop a canon of European literature, especially one that differs from Harold Bloom’s Western canon or what was previously known as world literature, in a comprehensive ethnocentric projection. Are we referring to a set of values? It is not even easy to reach a consensus on who Europeans are and which writers to include, because today Europe is a space of miscegenation, hybridization and diversity.

The answers to these questions are far from obvious, and require questioning some labels that we take for granted. There is nothing natural about the national and linguistic categories that we use to classify literature. However, nation and language are identifiable elements; possible instruments of convergence that help build community. Europe lacks these basic resources, a common language and a hegemonic cultural identity.


Imre Kertesz
Hungarian Nobel Prize winner Imre Kertész at a conference held in 2005.FERENC ISZA (AFP / GETTY IMAGES)

The title of this article coincides with that of a short essay by Richard Miller, Existe-t-il une littérature européenne?, published — not coincidentally — in Brussels in 2017. In his exploration of the topic, Miller notes some evidence. There is a European literary tradition, dating back to Homer, made up of borrowings, influences, reception and circulation of literature, since the Romans read the Greeks, a powerful circuit of exchanges that characterizes the Middle Ages and the Renaissance, when the common poetics outweighed territorial and linguistic differences.


The circulation of literature does not slow down when national distinctions gain strength and political centrality, and comparative literature emerges as a discipline to deal with this international trade of literatures, already understood in the plural, with an essentially European approach because, in that early period, the requirement was that relationships between traditions and authors who had not been in contact should not be studied, which largely left out the non-Western literatures, where, on the contrary, the discipline is now fully rooted.

European literature was thus understood as a set of national literatures in a close relationship that grows when the works enter what Emily Apter refers to as “the translation zone.” This phenomenon today has been facilitated, extended and multiplied, but it can no longer be said that it is limited to European literatures: there is a global circulation of literature.

European leaders have disregarded culture as an instrument of cohesion

Perhaps the most interesting thing about Miller’s diagnosis is his assertion – or complaint – that there is no EU literature (which would certainly not coincide with a European literature) because European leaders have disregarded culture as an instrument of cohesion, delegating any cultural strategic planning and goal setting to the member states. He cites Renaud Denuit’s study on European cultural policy, which shows that the 2007-2013 budget allocated €400 million to culture for seven years; less than €1 per inhabitant for the entire period. This neglect is particularly serious if we consider, as Miller says, what the European ideal owes to the literature that founds and substantiates it.


Where does the idea of Europe come from if not from that shared tradition? For Milan Kundera, the modern novel, since Cervantes, is the research instrument through which Europe is built. That is a theme that is also explored, invoking Homer, by the Albanian Ismail Kadare.

Miller’s reflection forces us to acknowledge the absence of what would be a European literary system, that framework of institutions, resources and tools with which nations are equipped to protect and promote activities related to literary production and reading, the translation of works and their circulation. There is a lack of a European policy for the development of common institutional platforms, support for culture in the media, promotion of transnational initiatives in the publishing industry and distribution, and even literary awards.

Literature is not only authors and texts in a sort of cumulative chain, as literary history used to be taught, and perhaps still is; but rather a set of practices and the experience of a relationship with and for the readers that depends on a complex network of factors. Without the social structure that surrounds it, literature can hardly fulfill its purpose and have an impact. Hence, it is difficult to identify a properly European literature in a context in which the various European national literatures, with internal support, move and compete in a global literary system, because the old limitations to the dialogue and exchange with non-European traditions have been overcome. Miller concludes that it is not literature that needs the EU; it is the EU that needs a literature, it needs the Europe of literature, the source of its fundamental principles.

Zadie Smith
Writer Zadie Smith, pictured in September 2023.DAVID LEVENSON (GETTY IMAGES)

Perhaps it is Stefan Zweig who most consistently embodies and turns these principles and the consciousness of being European into literature, in the midst of the threats that loomed over that dream, humanist and cosmopolitan, of freedom. His contemporary, Franz Kafka, a writer who belongs to everyone and to no one, appeals to another eminently European tradition, one that describes the disturbing, hopeless side of the human condition. Two subjects of the Austro-Hungarian Empire, Zweig and Kafka, who anticipate the horror of the Holocaust, the transnational tragedy that defines European history.

A hypothetical European canon must include those who went through that experience and were affected by it, leaving us their testimony, such as Primo Levi, Charlotte Delbo, Imre Kertész or Victor Klemperer, who defended a moral idea of Europe. If identity consists of a collective memory, what other memory do Europeans share? And the literature of those survivors has contributed to building it. Jorge Semprún was that kind of European whose multilingual literature cannot be appropriated by a single nation and who struggled to translate his concentration camp experience into writing and political practice, both expressions of an ethical commitment and a vision of Europe.

Others who moved between languages and cultures are also essential references, like Vladimir Nabokov and Samuel Beckett, to whom George Steiner, another polyglot European, dedicated his essay Extraterritorial. Or James Joyce, an Irishman who belongs to English literature, publishes in Paris, lives in Trieste and dies in Zurich, and whose English contains a multitude of languages. His secretary, Beckett, can be read as an heir of Kafka’s desolation, although the languages among which they move are different: English and French one, German, Czech and Yiddish the other.


For Milan Kundera, the modern novel, since Cervantes, is the research instrument through which Europe is built

Another way of being between cultures and languages, one that is subject to more friction than that of these established authors, is that of writers like Sema Kiliçkaya, Najat El Hachmi or Zadie Smith, women who make us aware of the experience of migration, an inherent part of the European reality today. The question is not who is and who is not on an exclusive list, but rather on the selection criteria that make up a repertoire that we recognize as European, beyond the sum of its parts.

The literature that fulfills this purpose cannot be, at this moment, the representation of an identity, but that of a tense, dynamic and conflictive plurality, defined by displacements, crossings between languages and cultures and the mediation that expresses the perspective of the other. A literature that could be described as extraterritorial.

Claudio Guillén said in Múltiples moradas(Multiple dwellings) that “Europe is a moving whole, with a changing profile, but which nevertheless recognizes itself, physically and historically. It recognizes itself, but it does not know itself? Let us say for now that its demarcation is problematic, mobile, and often indefinite.” From this approach, we can think of Europe and its literature not as an identity, but as a changing process, the evolution of a project. More than a tangible, definable reality, it would be a historical construction and a utopian horizon to aspire to, if the goal is a Europe that is capable of combining union and differences.


Antonio Monegal teaches literary theory and comparative literature at the Pompeu Fabra University. He won the 2023 National Essay Prize for ‘Como el aire que respiramos: el sentido de la cultura’ (Like the air we breathe: The meaning of culture).


THE DRAGON