![]() ![]() ![]() Schweblin’s writing has complied with all the protocols that the literary circuit and the book market demand: prizes, translations, grants, national and international recognition. I think time and Samanta’s later work have backed up that judgment, which no longer seems so uncertain. When I reviewed the book for World Literature Today in 2007, I dared to say it was the best story in the collection. There he finds a man who is digging a well. The story is called “The Digger.” In it, a man rents a house in a little town near the sea. ![]() As in past years of the dictatorship of the military juntas from 1976 to 1983, or the coming of neoliberalism after 1990, this would be, without a doubt, the definitive event of a generation-identified by some critics as “00” or “NNA,” for “Nueva Narrativa Argentina” (new Argentine narrative)-that refused to integrate into the collective or form part of a certain literary circle and that observed, open-mouthed, a historical collapse and an unheard of panorama of publishing. The book compiled works by writers who were “young” at the time: who, born after 1970, found themselves at the age of twenty or thirty suffocated by the Argentine economic and political debacle of December 2001. It was in the anthology La joven guardia, published in Buenos Aires in 2005. I have a good memory of the first time I came face to face with a story by the Argentine writer Samanta Schweblin (Buenos Aires, 1978). ![]()
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