The Álvaro Mendiola Trilogy by Juan Goytisolo
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Overview: Juan Goytisolo Gay (5 January 1931 – 4 June 2017) was a Spanish poet, essayist, and novelist. He lived in Marrakech from 1997 until his death in 2017. He was considered Spain’s greatest living writer at the beginning of the 21st century, yet he had lived abroad since the 1950s. On 24 November 2014 he was awarded the Cervantes Prize, the most prestigious literary award in the Spanish-speaking world.
A major theme of Goytisolo’s writing is the celebration of Arab culture. This is especially true of his great Exile trilogy comprised of Marks of Identity, Count Julian and Juan the Landless.
Genre: Literature, General Fiction
1: Marks of Identity (translated by Gregory Rabassa): An exile returns to Spain from France to find that he is repelled by the fascism of Franco’s Spain and drawn to the world of Muslim culture. Upon his return, the narrator confronts the most controversial political, religious, social, and sexual issues of our time with ferocious energy and elegant prose. Torn between the Islamic and European worlds around him, he finds both ultimately unsatisfactory. In the end, only displacement survives.
2: Count Julian (translated by Helen Lane): Exiled in Tangiers, cut off from home and country, the narrator of Count Julian rants against the homeland he was forced to leave: Spain. The second novel in Juan Goytisolo’s trilogy, this story of an exiled Spaniard confronts all of Goytisolo’s own worst fears about fascist Spain. The narrator identifies himself with the real Count Julian, the Great Traitor who allegedly opened the gates of Spain to an invasion of Moors and the consequent eight hundred years of Islamic Influence. For the narrator, nothing short of the total destruction of Spain and all things Spanish will be an acceptable punishment for his exile.
3: Juan the Landless (translated by Helen Lane): Juan the Landless focuses on Goytisolo’s surreal exploration and rejection of his own roots, Catholic Spain’s repression of Muslims, Jews and gays, his ancestors’ exploitation of Cuban slaves and his own forging of a language at once poetic, politic and ironic that celebrates the erotic act of writing and the anarchic joy of being the ultimate outsider. In Juan the Landless the greatest recent novelist from Spain defiantly re-invents tradition and the world as a man without a home, without a country, in praise of pariahs.
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"Marks of Identity" & "Count Julian" only:
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