However, in that historical climate of difficult openness, the effort for democratic transition and the consequent individual-society dialectic are able to accelerate and accentuate problematic tensions – present or latent – which manifest themselves, on the level of writing, as a space for experimenting with possibilities., utopias, freedom. The search for the meaning of existence in the sense of writing is sharpened and formal problems are exhibited to respond, with a radical artistic ethic, to the end of Franco’s climate of repression. In particular, the vindication of the body will replace lost faith, frustrated or unattainable ideals, ideologies in crisis. In the tension between individual-collectivity-totality-writing, the novel seeks a new point of support that gives meaning to chaos and promotes self-analysis and fantasy. It is a question of a problematic dimension and a desire for emotional, memorial and dialectical dialogue, not intellectual or didactic: a dialogue that has existential anguish in the background, between the anxiety of vital communication and personal truth and the constraints and closure of social codes; finally, between what could have been, in an atmosphere of freedom, and what irremediably was and will no longer be. In these years we are witnessing the full maturity of the generation that had made its debut in the previous decade (or even earlier). Among others, some of their most significant works are now published by J. Goytisolo (Juan sin tierra, 1975; Makbara, 1980), G. Torrente Ballester (b.1910: Fragmentos del Apocalipsis, 1977; La islas de los jacintos cortados, 1980), L. Goytisolo (Los verdes del mayo hasta el mar, 1976; La cólera de Aquíles, 1978 ; Theory of conocimiento, 1981). Alongside this generation of novelists and alongside the older masters, still active and vital (CJ Cela, n.1916; M. Delibes, n. younger storytellers, whose sources of inspiration are to be sought in the teaching of the major novelists of the previous generation and Latin American writers. But the recognized master is certainly J. Benet (b.1927), who with Saúl ante Samuel (1980) and El áire de un crímen (1980) is seen as the one who has matured tradition, grafting tensions with great and superior originality. renovators.
According to healthinclude, these storytellers express an intense desire for style and a rigorous attitude towards the word. In their works, the reference to reality always occurs under the multiple aspects of a multiple focus. Autobiographical writing and a certain distance from the immediate referent – political, moral, geographical – are the dominant coordinates, which are linked, moreover, to the experiences started in the previous decade. Furthermore, in the new historical phase, the writer is no longer a public figure who denounces or accuses himself in a more or less collective form, as had been the case until then, but is an isolated individual, who assumes personal responsibilities and no longer has any ethical-political delegation, but represents only himself. Hence, the problematic dominance, as mentioned, hinged on a sort of present / past contrastive examination, as a result of personal awareness and the conquest of a different lucidity, given by the distance and the exit from repressive and alienating conditions. For some writers, the central theme becomes the memory of educational anxieties and cultural and ethical limitations, as well as the process of overcoming that gradually leads to the discovery of personal and social reality: Las corrupciones, by J. Torbado (1941-1974); Fauna, by H. Vázquez Azpiri (b. 1931); Los males sagrados (1973) and Las ninfas (1976) by F. Umbral (b. 1935); El infierno y la brisa (1971), Diálogos del anochecer (1972), Fabián y Sabas (1982), by JM Vaz de Soto (b.1938); Celia muerde la manzana, by ML Melcón. For others, it is the more strictly political references that testify to a sort of loss of innocence, as in Autobiografía de Federico Sánchez (1977) by J. Semprún (b.1923), Lectura insólita de ” El Capital ” (1977) by R. Guerra Garrido (b. 1935); La verdad sobre el Case Savolta (1975) and La ciudad de los prodigios (1986) by E. Mendoza (b. 1943); La soledad del manager (1977; trad. It., 1993) by M. Vázquez Montalbán (b. 1939). Finally, for others, the past is seen with a sort of bitter skepticism of the present, as in La noche en casa (1977) by JM Guelbenzu (b. 1944) and in Mortal y rosa (1975), by F. Umbral.
However, albeit in an oblique and inconspicuous way, the environment of the moment also filters into the narrative, at least in two types of manifestations that somehow reflect, with acute sensitivity, certain problems related to those years. Some authors, in fact, address the issue of terrorism, which constitutes one of the most serious threats to the peaceful coexistence and democratic normality of the Spain: C. Zaragoza (b. 1923), X. Berenguer (b. 1947), J. Serra y Fabras (b. 1947), among others, write works that no longer have the edge of the political denunciation of the past, but rather express a general ethical commitment and a reflection on the human condition. On the other hand, the tensions of the present emerge, albeit in a humorous and oblique dimension, in certain narrative works too. they lack the polemical tension and social denunciation of the past: it is a significant flowering of detective novels, or rather, written according to the schemes of the detective novel and aimed at giving an expressionistic vision of the society of the moment. It is a genre cultivated by writers of the highest quality and great narrative resources such as Mendoza or Benet or, above all, Vázquez Montalbán, author among other things of the successful cycle starring detective Pepe Carvalho.