Now when the eternal diversion between reality and fiction shows itself with more force, when the histories based on real facts populate the shelves of the bookstores and the lists of selling and triumph in the awards of prestige, a polemic piece of news comes to the literature. Is there any red line in the novels that are nourished of the history?
What happens if the narrated facts are terrible moments of the recent past? Is it possible to invent when one speaks about real protagonists of the Holocaust?
A series of tweets on Twitter online from the Museum of Auschwitz dissuading the lecture of the novel tatuador of Auschwitz (Heather Morris, publisher Espasa) for those who wanted to understand the reality of the field of extermination has provoked a flood of reactions. This newspaper in Spain ''El Pais'' has spoken with historians, experts and writers to treat of contextualizar the controversy.
“ Jorge Semprún counts in The writing or the life the debate that originated between some deportees of Buchenwald on how counting lived. On the one hand there were those who were thinking that it was necessary to count it to dry stick, with all abstinence, without adding not even a comma. On the other hand there were those who, as him himself, were thinking that it was necessary to resort to the art, to the literary creation, because the proper of the memory it is not to count facts – for that the historians are preferably – but to unravel the meaning of an experience and to transmit it as far as possible ”, the historian Reyes Mate says.
''The Tattooist of Auschwitz'' takes to the fiction the life of Ludovit Eisenberg – known then as Lali Sokolov – and Gita Furman, two Slovak Jews who lived in the field a sobrecogedora history of love and survival. For his making, Morris was provided with the testimonies of Eisenberg. It is convenient to indicate that from the Brief of Auschwitz the novel is not analyzed from the literary point of view. “, not only on having narrated facts but in the description of the reality of Auschwitz, sometimes the number of different errors that exist in the book create more confusion than comprehension. The interpretation of the life of these two prisoners blurs the authenticity of his experiences ”, points out Pawel Sawicki, boss of press and educational of the field. “ His connection with the authentic history is very weak ”, adds Wanda Witek-Malicka, researcher of the Brief of Auschwitz. “ The book should turn only as an impression about what there it happened, practically gap of documentary value ”, he adds before being sorry what to his judgment is an opportunity lost with a book that has turned into a world best seller.
Nevertheless, which is counted in a novel has to be credible, not true. Perhaps the problem takes root then in the motto “ based on an unforgettable true story ”, included on the front cover of the book. “ Based on real facts it is the most idiotic label of the history of the humanity. The whole literature from Homero up to today is based on real facts. The pure fiction does not exist, it is an invention of that they do not know what is the fiction ”, affirms writer Javier Cercas, who in the “ novel without fiction ” The faker goes deep into the figure of Enric Marco, a man who did to himself to happen for years for a survivor of the field of Flossenbürg. “ To judge how it has been mixed I have to read the novel because everything depends on how it does. Shakespeare was doing it of marvel ”, there finishes off the author of Anatomy of a moment. “ There is lie when, as in case of Frame, there offers a biography that is invented. But the literary creation, as that of Semprún, it is true. Let's not forget what Aristóteles says in his Poetic art: ' There is more truth in the poetry than in the history ', tercia Mate.
“ Nobody has said that quite what it makes out like that, like any history based on real facts. It is an emotional approach, not factual ”, there defends Elena Ramírez, director of international fiction of Planet, publishers of the book in Spanish. “ The spine on which it is based is a testimony of what a person remembers. Heather has done very well what it has to do and the Brief of Auschwitz also ”, it finishes off.
The implications of the Holocaust and his intense representation in the culture it includes innumerable tones, gray zones. “ Fiction is The list of Schindler and nevertheless it has helped to understand the facts and his meaning. Artistic creation is Shoah, of Claude Lanzmann, the most important movie on Auschwitz ”, he sums Mate up.
The problem remains opened and it is possible that, as Oscar Wilde was saying, the truth is alone a question of style. “ Some of the visitors of Auschwitz believe that what they have read is true. That's why this is a case different from the pure fiction based on the Holocaust. In these cases there must be more responsibility in the meticulous investigation of the facts ”, he notices Sawicki. Can a wrong idea of a fact give the fiction? “ If it presents a history invented like really happened, it defrauds the reader. But he can contribute powerfully to the knowledge of the facts if it unravels somehow his meaning ”, he underlines Mate. The debate remains opened until there comes the next success based on real facts.
TRANSLATION BY MRS GOOGLE MACHINE.
Ahora que el trasvase eterno entre realidad y ficción se exhibe con más fuerza, cuando las historias basadas en hechos reales pueblan los estantes de las librerías y las listas de ventas y triunfan en los premios de prestigio, una nueva polémica llega a la literatura. ¿Hay alguna línea roja en las novelas que se nutren de la historia? ¿Qué ocurre si los hechos narrados son momentos terribles del pasado reciente? ¿Se puede inventar cuando se habla de protagonistas reales del Holocausto? Una serie de tuits del Memorial de Auschwitz desaconsejando la lectura de la novela El tatuador de Auschwitz (Heather Morris, Espasa) para aquellos que quisieran comprender la realidad del campo de exterminio ha provocado una riada de reacciones. EL PAÍS ha hablado con historiadores, expertos y escritores para tratar de contextualizar la controversia.