They describe it as his first novel and at the same time autobiographical, though Raúl Zurita from Santiago de Chile, born in 1950, resists simple labels. He explains that the work is essentially a poem that has taken a narrative form. The work earned the Reina Sofía Poetry Prize for Ibero-American Poetry in 2020 and will be discussed during the launch of the course at UA’s Mario Benedetti Education CenterCeMaB this afternoon, at the Alicante Town University venue, at 7:30 pm.
Why is a novel appearing now, one reader asks?
Zurita replies that he is not sure it fits neatly as a novel. It revisits material from an earlier piece, a story of his life published in 1999. He notes the difficulty of fitting his voice into a single genre. The book is autobiographical in spirit yet intentionally cross-breeds with other forms, because life itself does not fit inside one box. A book about a life can still be more than the life it narrates.
The project is framed against a dark chapter in Chilean history, during the dictatorship, when many intense events touched people on every side. Zurita helped found the Art Actions Collective, known as CADA, born from a shared human impulse in a fractured country. At times, individuals crossed paths, dreams aligned, and future possibilities emerged. Close bonds formed, as neighbors across the wall remained unaware of what happened next door. Protests surged in 1983, revealing that even ordinary streets held resistance. In such times the world seemed to crumble, yet there could still be a surprising sense of happiness amid a harsh reality.
Why tell his life in narrative form when his poetry has always driven his work?
Because the piece evolved into a narrative shape, Starved of aesthetic convenience, yet still poetry at heart. Reading it, one senses the poem hidden within the prose; its voice simply demanded this shape.
Was the life story itself painful to tell, given the personal and collective traumas endured?
The hurt is real, yes. A painful arc where personal wounds intersect with public wrongs left a lasting mark on many. There were moments of happiness and encounters that mattered—happiness that felt solitary, but real, and separations that changed everything.
Was writing this book a therapy or did memories surprise him?
Therapy is one measure among many, and writing alone hardly solves anything. Still, the process can bring a clearer peace and a deeper understanding of mistakes—both one’s own and others. The book gathers strong feelings into a single frame, inviting readers into those moments.
A line from Zurita underscores the approach: writing in the background may not fix problems, but it can offer a measure of peace and a deeper comprehension of past wrongs.
The author recounts an image of a father carrying the severed head of his son, a memory rooted in history. He explains how a Mapuche chief and his son’s fate became a motif for the book, chosen because the story was told to him and resonated deeply.
Is there peace now after shedding old ghosts?
Yes, a quiet peace exists. He speaks of a fulfilling life with his wife and children, and a sense of artistic peace that comes from having said what mattered. He is content with the book and feels he has left things behind.
Could literature have been different if the Chilean experience had not shaped his life?
One cannot imagine a different baseline. The conditions of life in Chile shaped his work from the start, and without them his path would have diverged entirely. The other life arrives through love, and it continues to color his writing.
Zurita also presents his anthology this afternoon, a project he appreciates as a collaborative effort. He has several anthologies and readings that reflect his broader body of work.
He speaks of a prose collaboration about a dialogue between the dark forest and the stars, noting a personal connection to Dante through family stories and the enduring influence of the Divine Comedy, which remains a guiding reference.
The world seems unsettled, with right-wing currents gaining traction in various regions. Zurita sees the left pushing for social democracy but acknowledges missteps in understanding how society truly functions. Chile’s recent constitutional events highlighted these tensions, and the far right’s populism has been fueled by inequality and misinformation. Yet he believes engagement remains essential.
What might Europe face with right-wing leadership ahead?
He cautions that such leadership can create a political and social vacuum, relying on simplified slogans focused on security and immigration. He expresses cautious optimism about measured leadership and thoughtful policy even amid widespread challenges.
Could a new war emerge in the 21st century between major powers?
He acknowledges a troubling possibility linked to the human impulse toward destruction and the imminent threat of nuclear weapons. Yet he does not believe such a catastrophe should be accepted as inevitable.
Is there a basic literacy about fascism today?
He notes that awareness is often lacking not because people are unaware of the term, but because the implications are not always understood.
What is the role of literature amid these tensions?
Literature offers a stubborn thread of hope, a persistent belief that another world is possible. Maintaining that hope is essential to give life lasting meaning.
What would he say to a future poetry or novel collection of his own?
He trusts that the mind and hand will continue to work together. He hopes that writing, sketching, or simply taking notes will keep the creative flow alive.