Eider Rodríguez comes to give a lesson on how to calculate invisible realities

Each story is composed without revealing any class of sophistication—the poetry of sobriety and simplicity is part of his identity– and yet it is possible to find a studied articulation that could account for three moments of the creative process: to hold on to the apparent normality of (for example) a couple, to explore the place of love that falls on someone (inside or outside of a relationship), and to hold on to a minimal gesture that draws us to the real focus, I suggest, while a well-designed attention plot amuses and sustains our attention.

No detours, no unexpected surprises, no more obvious tension than the narrative. It’s clear that he’s projecting a miracle!, but it’s not critical or sympathetic; no juzga. Such is his style, nothing simple in the territory of the story, even if the trajectory of this writer seems modest.

From the first book, publish it in Basque and write the same version to the castellan: Meat (2007), Aries cat (2012), and the most readable and recommended proposal to discover the angle from what he writes, the assumptions of what he deals with, and the strength of his literary personality, A big worn heart (2019), inspired by the content and emotional version of Pilar Palomero in her film Los destellos.

Just a voluntary parade in a different genre, Building material (2023), part of the first novel, although it is neither fiction nor autofiction, what it contains until the biography (actually of his father) is fictional, resulting from the need to translate into reality alcoholism, shame, fightsfamiliar assumptions were deconstructed to write their own history.

Tras esta pauza, y con reconocimientos como el Euskadi Prize for Fiction, This writer and professor of literature at the Universidad del País Vasco returns to the story. It was all the same color It is the title with the one that appears (on this occasion the translation is by Ander Izaguirre).

No smug words, no decisive turns, no red lines, no ending

After Rentería’s scenario, Hendaya (where he lives) is now a landscape that welcomes the women and men of the six stories that make it up: “Canícula”, “Mares a ruinas”, “Agujero”, “Corazón de pato”, “Lecciones de buceo” and “El cráter”. standarlo) representa an impeccable example of his method of composition.

The only reason is that material that is implicit contradictions in effects (always Alice Munro style) of men and women in a constellation of recognizable interactions, desires, sorrows and ambitions.

The women are the angle I’ve been following since the title. The legacy of their lives comes from finding the place of their truth, in love, in friendship, in what they desire, in assumptions that go beyond their affection. Ex prayer for one who feels sorrow It is “fossilizada anger”, the necessity to crawl through history in that which is and will be different, different. These reasons feed on the color that grows like a “crater” when something shakes. Everything is the same color.

There are no questions here for anyone looking for a different class of action, not complacent, not offering decisive turns or red lines, not wanting a finale. The most important thing is never mentioned, the story is in the background (Hemingway wrote about the story in his thesis). Eider Rodríguez’s story is more than a lesson in how to calculate invisible realities.