Carmen Mola Opens Maestral Literature Evenings This Year
They fix their gaze on places others overlook. The authors Jorge Díaz, Agustín Martínez, and Antonio Mercero—known in publishing circles as Carmen Mola—tused to defy easy labeling. They emerged from a 19th century Spain where slavery shaped the country’s colonial past. Their work gained extraordinary traction in 2021 after winning the Planeta Prize, drawing readers into a Cuba where power and wealth were built on the backs of enslaved people. Yet the standout feature of this novel is not only its historical drama but the infusion of love into a world defined by upheaval. Love, they say, is the most powerful force in life. (Source: author interview)
We learn that the writers will present a new work at Maestral Literature Evenings on January 12th, with a capacity-filled venue and a menu inspired by the novel’s distinctive elements. The event promises a night of storytelling and gastronomy rooted in Carmen Mola’s latest narrative universe. (Source: event preview)
Questioned about whether this book was approached differently after the Planeta Prize, the trio explains that the project continues their exploration of the 19th century, a period they find rich with conflicts little understood by the general public. They describe a seamless blend of genres already familiar from Creature, now carrying a love story written in the style of a 19th century feuilleton. The aim was to fuse two literary traditions rather than let them clash, adding tension and emotional depth as the central engine of the plot. (Source: author interview)
The narrative threads a path between revolutionary Madrid and colonial Cuba, casting light on the often overlooked lives of enslaved people in 19th century Spain. They acknowledge a broader appetite for stories about slavery in the United States, yet emphasize the historical importance of acknowledging Spain as a slave power in that era. The discovery of this fact, they say, prompted a conscious decision to place Madrid on pause and move the spotlight to the island once called the Pearl of the Antilles. The dual layers of society become visible: a surface glittering with celebration and wealth, and a deeper, harsher reality of oppression. (Source: author interview)
When asked if Spaniards fear facing their past, they point to a persistent ignorance in the subject. A historical bias often places imperial glory ahead of atrocities committed under colonial rule. They note that many affluent families of the early 20th century traced their fortunes to slavery in Cuba, a fact that helps explain certain social dynamics from those years. (Source: author interview)
The writers are quick to admit that love can survive in the harshest circumstances. They affirm that love does not recognize oppression or historical boundaries. It is described as the most democratic force in life, capable of uniting rich and poor, owner and enslaved, in moments of tenderness even amid despair. (Source: author interview)
Another recurring theme is the absence of joy in the narrative, a consequence of the oppressive historical setting that darkens many moments. Yet bright notes appear in the form of friendships and intimate bonds that offer hope. Relationships such as those between Leonor and Pili, Mauro and Tomasiño, and Emiliano contribute to the emotional balance of the story, serving as counterweights to cruelty and a beacon of resilience. The love at the center of the tale fuels a determination to fight for a better outcome. (Source: author interview)
The authors also weave elements of legend and the supernatural into the journey. While there is no Santa Catalina ship in the plot, they draw a meaningful link to historic maritime lore, comparing the vessel that begins the novel to famous spectral ships that haunt Gothic literature. This connection underscores their affection for horror and fantasy traditions of the 19th century, while highlighting the authors’ creative impulse to celebrate fiction through legends and religious motifs. The narrative itself begins with a play and concludes with a mother sharing a tale with her son, underscoring the power of storytelling. (Source: author interview)
Responding to the perpetual question about brutality, they say they never write with a handbrake on. Violence and difficult subject matter are treated as legitimate elements of character, plot, and style. The freedom to write without fear was a hallmark of Carmen Mola during the period when the authors wrote under that pseudonym, and they intend to preserve that flexibility even as they operate openly under their own names. (Source: author interview)
Regarding the impact of public scrutiny after revealing their identities, they feel the noise on social media does not weigh into their creative process. The popularity of the Planeta Prize played a role in broader recognition, but sales ultimately depend on readers who engage with the story. The authors emphasize that the novel is the central object of attention, with their own personas functioning as mere spectators to the work they produce. (Source: author interview)
Cadence and output are addressed candidly. Publishing at a steady pace, with a new work each year, remains demanding. Their background in audiovisual work informs their approach to delivering material consistently and meeting deadlines. They acknowledge that promo time can cut into writing time, but they view the schedule as a necessary discipline to satisfy readers across markets while maintaining the integrity of the storytelling process. (Source: author interview)
In terms of collaboration, the trio describes a method that balances collective input with decisive outcomes. They discuss a commitment to unanimity, yet recognize rare situations where consensus proves elusive. In those moments, a democratic voting process determines the direction, ensuring a clear winner emerges. With three voices, a stalemate cannot occur. (Source: author interview)
When asked if they see themselves as stars of the literary world, the writers respond with humility. They identify as diligent workers who have achieved a level of success, but question whether stardom exists in a small market like Spain. They reference past luminaries and acknowledge the possibility of broader recognition in other eras or regions. The key, they insist, is waking up each day to write with effort and dedication, focusing on producing work that sustains a living. (Source: author interview)
Regarding the possibility of Carmen Mola overshadowing personal projects, they admit that the persona is demanding. The publishing pace, extensive publicity, and constant reader engagement can be exhausting. Yet they maintain that their own reading, hobbies, and lives persist, and that their individual projects will surface when time permits. Carmen Mola remains a construct for the collaboration, not a barrier to personal authorship. (Source: author interview)
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