In this thoughtful and compelling book, leading Spanish literature scholar Noël Valis re-examines the role of Catholicism in the modern Spanish novel. While other studies of fiction and faith have focused largely on religious themes, Sacred Realism views the religious impulse as a crisis of modernity: a fundamental catalyst in the creative and moral development of Spanish narrative.

Forth and Back broadens the scope of Hispanic trans-Atlantic studies by shifting its focus to Spain’s trans-literary exchange with the United States at the end of the twentieth century. Santana analyzes the translation “boom” of U.S. literature that marked literary production in Spain after Franco’s death, and the central position that U.S. writing came to occupy within the Spanish literary system. Santana examines the economic and literary motives that underlay the phenomenon, as well as the particular socio-cultural appeal that U.S. “dirty realist” writers—which in Spain included authors as diverse as Charles Bukowski, Raymond Carver, and Bret Easton Ellis—held for Spaniards in the 1980s. Santana also studies the subsequent appropriation of this writing by a polemic group of young Spanish writers in the 1990s whoself-consciously and insistently associated themselves with the U.S. Forth and Back illustrates that literary movements do not unilaterally spread; rather, those that flourish take root in fertile soil and are transformed in their travel by the desires, creative choices, and practical constraints of their differing producers and consumers. It is precisely in the crossing of these currents that plots thicken. The translation of dirty realism, its reception in Spain, and its cultural legacy as appropriated by the young Spanish writers, serve to interrogate a perceived U.S. hegemony. If Spanish realismo sucio has been said to be symptomatic of the globalization of literature, Forth and Back argues that the Spanish works in question posed a subtle reaffirmation of Spanish literature’s strong ties to realist fiction, a gesture of continuity in a decade that seemed to presence the undoing of much of Spain’s “Spanish-ness.” Ultimately, this project asks an ambitious pair of questions at the heart of human culture: how do we “read” each other, quite literally, across geography and language? How do we construct others and ourselves vis-à-vis those readings?

In the late nineteenth century, Spain’s most prominent writers – Juan Valera, Leopoldo Alas, and Benito Pérez Galdós – made blood a crucial feature of their fiction. Blood Novels examines the cultural and literary significance of blood, unsettling the dominant assumption of the period that blood no longer played a decisive role in social hierarchies. By examining fictional works through the rubric of "blood novels," Julia H. Chang identifies a shared fascination with blood that probes the limits of realism through blood’s dual nature of matter and metaphor. Situating the literature within broader cultural and theoretical debates, Blood Novels attends to the aesthetic contours of material blood and in particular how bleeding is inflected by gender, caste, and race. Critically engaging with feminist theory, theories of race and whiteness, literary criticism, and medical literature, this innovative study makes a case for treating blood as a critical analytic tool that not only sheds new light on Spanish realism but, more broadly, challenges our understanding of gendered and racialized embodiment in Spain.

Volume 184 in the North Carolina Studies in the Romance Languages and Literatures series.

This new interdisciplinary study argues that the late-nineteenth-century Spanish realist novel not only documents but also forms part of the contemporary nation-formation process. Drawing on a wide range of recent cultural theory from largely English- and French-language sources, it relatestheir insights to contemporary Spanish debates in the fields of economics, politics, medicine and town planning, showing that the cultural anxieties dominant in other western nations at the time found acute expression in Spain precisely because of the imperfect nature of the modernization process.In particular the book studies the ways in which women function in canonical Spanish realist texts as a cipher for anxieties about modernization, and especially about its conversion of reality into representation. the consequence is an intense self-reflexivity which mirrors contemporary critiques offlawed systems of monetary and political representation, as well as the emphasis by social reformers on self-making.

Imagined Truths provides a twenty-first-century analysis of stylistic and philosophical manifestations of nineteenth- and twentieth-century Spanish literary realism. Bringing together the work of the foremost specialists in the field of contemporary Spanish letters, this collection offers new approaches to literary and cultural criticism and reveals how Spanish realism, far from imitative of other European movements, engaged in complex and modern concepts of representation and mimesis. Imagined Truths acknowledges the critical importance of women writers and contemporary approaches to questions of gender. The essays address the impact of economics on our perceptions of reality and our constructions of everyday life, and they argue for the importance of emotions in the social construction of individual identity. Most importantly, the essays acknowledge the post-imperial turn in literary studies. Addressing a broad range of authors, works, and topics, including the continued relevance of Cervantes's Don Quijote and the way Spanish realism moved beyond narrative to inhabit the spaces of both theatre and film, Imagined Truths comprises a series of meditations on new ways of understanding the unique place of realism in Spanish cultural history. Offering insights for specialists in a wide range of disciplines - literature, cultural studies, gender studies, history, philosophy - this collection is equally important for readers just becoming acquainted with realist narrative as a central component of Spanish literary history.