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Enrique Vila-Matas
Enrique Vila-Matas was born in Barcelona in 1948. His works include Bartleby & Co, Montano, Never Any End to Paris, The Vertical Journey, winner of the Premio Romulo Gallegos, and Dublinesque, which was shortlisted for the 2013 Independent Foreign Fiction Prize. 'February 2008' is an excerpt from his novel Dietario Voluble, published by Anagrama in 2008.

Articles Available Online


Writers from the Old Days

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Issue No. 13

Enrique Vila-Matas

TR. J. S. Tennant

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Issue No. 13

Augusto Monterroso wrote that sooner or later the Latin American writer faces three possible fates: exile, imprisonment or burial.   I met Roberto Bolaño...

poetry

January 2015

Litanies of an Audacious Rosary

Enrique Vila-Matas

TR. Rosalind Harvey

poetry

January 2015

FEBRUARY 2008   * I’m outraged, but I’ve learned a way of reasoning that quickly defuses my exasperation. This...

Editor’s note: The images in the slideshow document a conversation on paper between the writer and artist Louise Stern and theatre director Omar Elerian, although they contain other voices Louise has edited the conversation by tearing it into fragments and recomposing it as a collage, the method she employs in much of her artistic practice She also contributes the below text:   Observations on communication and language have long bitten at my heels, demanding that I find some form or other to convey their urgency I have tried to obey them in different ways: through art, performance, literature When, a few years ago, it occurred to me that theatre might bring together the strands that I had been working along, a series of generous coincidences led me to the theatre director Omar Elerian   Omar split his childhood between Italy and Palestine, where his father was born The rich presence of his Palestinian grandmother, with whom he shared no common language, stood large in his childhood Because they had no words for one another, they turned to eye contact, to food, to touch, gesture, and the potency of sharing the same spaceThe mystery and magic of the other’s life was allowed to collect between them without compression into words and ideas   This is something that I feel deeply through my deafness, which pushes me up against visceral experience, and this is one of the reasons that the collaboration with Omar has become so meaningful for me The play we have developed together is about how words so often mask physical, sensual reality In The Ugly Birds, each of the three characters struggles in their different ways with life in a world that is saturated with language For each of them, a point arrives where their physical reality can no longer be reconciled with that world It incorporates choreographed physical gesture and projected written conversations as well as spoken dialogue   In my native sign language, there is the potential for distilled physical expression The closest thing that I have to compare this to is painting or dance – mediums that allow for boundless sensation While

Contributor

August 2014

Enrique Vila-Matas

Contributor

August 2014

Enrique Vila-Matas was born in Barcelona in 1948. His works include Bartleby & Co, Montano, Never Any End to...

Leaving Theories Behind

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Issue No. 9

Enrique Vila-Matas

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Issue No. 9

I. I went to Lyon because an organisation called Villa Fondebrider invited me to give a talk on the relationship between fiction and reality as...

READ NEXT

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Issue No. 4

Tibetan Kitsch

Evan Harris

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Issue No. 4

I first glimpsed the Potala Palace behind the bending legs of a prostitute. She swayed, obscuring a vista of...

Art

Issue No. 12

After After

Johanna Drucker

Art

Issue No. 12

So many things are ‘over’ now that all the post- and neo- prefixes are themselves suffering from fatigue. Even...

Interview

November 2016

Interview with Njideka Akunyili Crosby

Cassie Davies

Interview

November 2016

Njideka Akunyili Crosby first encountered Mary Louise Pratt’s ‘Arts of the Contact Zone’ (1991), which identifies ‘social spaces where cultures meet,...

 

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