The influence of a literary work will always be greatly reduced in comparison to other types of media. Literature is not as effective because it acts from person to person only one person can read the book at a time, and maybe they’ll mention it to another person, and maybe that other person will read it. I think there are other, better ways: activism, for example. For starters, I don’t have much belief in committed literature, inasmuch as I don’t believe literature is a good space in which to deliver messages that have a deliberate bearing on political change within people. How would you describe the reception of this book?įernanda Melchor: It’s a very complex question I’ll do my best to try to answer it.
Jake Neuberger: Something you’ve mentioned in other interviews, and that strikes me as very important, is the role the novel or any literary work plays in provoking reflection that is, giving rise to a conversation among us in order to create a discursive space that influences the book’s meaning in other words, a process of interaction, interjection, re-signification, which is profoundly important. I spoke with the internationally recognized author about her impact and her intention in creating and entering into the dark world of “La Matosa.” Appealing to the traditions of brujería (witchcraft) and the singular history of Veracruz, she creates a novel of crimes of passion, hidden desires, and the undeniable humanity of all people. Her novel Temporada de huracanes (translated to English as Hurricane Season by Sophie Hughes) addresses violence against non-normative bodies within a rural, tropical space. Through her experiences, she constructs intense literary works with a nuanced rawness. Photo: John Hult, Unsplash.īorn in 1982 in Veracruz, Mexico, Fernanda Melchor is an author who encapsulates, in powerful synthesis, a shared humanity and a brutal realism that permeates her varied works. Abandoned structure on Isla Holbox, Mexico.
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