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Agustín Fernández Mallo

Agustín Fernández Mallo is a Spanish writer and physicist. His Nocilla Trilogy, published between 2006 and 2009, initiated a new wave in Spanish writing and led to the emergence of the 'Nocilla Generation' of authors.

Agustín Fernández Mallo was born in A Coruña in 1967. He studied physics and, in addition to his work as a physicist, he writes for cultural magazines such as Lateral, Contrastes and La Bolsa de Pipas. His literary work includes poetry, fiction and essays, highlighting his multidisciplinary approach.

His poetry collections include Yo siempre regreso a los pezones y al punto 7 del Tractatus (2001), Creta, lateral travelling (2004), Joan Fontaine Odisea (mi deconstrucción) (2005), and Carne de Píxel (2008), which won the Ciudad de Burgos Poetry Award.

His fiction works include the Nocilla Trilogy: Nocilla Dream (2006), Nocilla Experience (2008), and Nocilla Lab (2009).

Mallo's essay Postpoesía: hacia un nuevo paradigma (2009) was shortlisted for the Anagrama Essay Prize. His long essay Teoría general de la basura (cultura, apropiación, complejidad) was published in 2018, the same year his novel The Things We've Seen won the Biblioteca Breve Prize.

In 2022, he received the Eugenio Trías Essay Prize for La forma de la multitud.

The Book of All Loves (2024), Mallo's latest work, is his fifth publication with Fitzcarraldo Editions. Set after the Great Blackout, it explores the near-extinction of humanity through the dialogue of a pair of lovers. The novel blends fiction, essay, poetry, and philosophy and presents a composite image of love that extends into metaphysics, geology and AI.

Reflecting on his style, Mallo states, "The intersection of art and science offers endless possibilities for exploring the human condition."

Agustín Fernández Mallo lives in Palma de Mallorca.

Photo credit: Wikimedia Commons
годы жизни: 1967 настоящее время

Цитаты

nishak73338цитирует5 месяцев назад
Where has it come from, this whole landscape of wounds?

– he says.

From bodies without passion, which are also landscape.
Katia Patsцитирует5 месяцев назад
A person’s face does not exist in itself,’ Alfred Hitchcock said, ‘only when a light shines on it.’ An activity that is common but nonetheless just as strange as shining a light on people’s faces is the packaging up of things; we package up everything. The internet is only millions of metres of cable that package up the globe. Or take plants, which, left to grow unchecked, would package it up too. Or when people embrace: what is an embrace but the packaging up of the other, giving them a shape unknown to all but you. Or what is choosing one’s gender but the packaging up of
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sex. Meaning there is no need to wrap things up as gifts or send them in the post in order to give them an outline or an identity; light does that for us already. There is no face, once illuminated, that does not fill the beholder’s eyes with love. (Parcel love)

You and I are nothing.

– he says.

In a world whose only desire is to devour everything, it’s better to be nothing.

– she says.
Katia Patsцитирует5 месяцев назад
And the years go by, and adult love arrives, which does everything within its power to invert this process, to turn it on its head: when two people are in love they are forever seeking a return to childhood, to create new names, new sexes, to invent a private language, to recast from inside all that is known and create a new roof for them alone; a place to take shelter. This is why the image, present in every culture throughout history, of a couple loving one another under what appears to be a sheet has nothing to do with modesty around nakedness but – in this improvised cave that is theirs and theirs alone – with
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rebelling against the language imposed in childhood. (Contra-language love)
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