So to boat soon, who better than an actor to write and get that essential empathy of great stories? Nona Fernandez she is an actress, just like Lorraine Franco that comes to mind right now. And both write those stories with the cultivated ease of getting into other people's skin. The only question is to address what was previously given to them to interpret, to rotate the angle of vision and to side with where the script of life is written...
But also, Nona Fernández has dared lately with the test, with that thought dressed black on white. A thought only possible with maturity screening to balance reason, emotions and passions. The result is also gratifying because in its novelistic aspect, that taste for sediment was guessed, from the background of every story.
This is how a private label bibliography is compiled. Because tackling everything, feeling like a writer on all four sides is precisely dealing with the paths that have occurred, whether they are fictional stories or dilemmas of any social or personal spectrum.
Top 3 recommended books by Nona Fernández
The unknown dimension
The good listener lives what he is told, imagines and allows his interlocutor to continue, instead of trying to insert a reply as soon as possible. This is how you can compose novels, books that everyone writes in their own way ...
In the middle of the Chilean dictatorship, a distraught man arrives at the offices of an opposition magazine. He's a secret police agent. I want to talk, she says, and a journalist turns on her tape recorder to hear a testimony that will open the doors of a dimension hitherto unknown.
Following the thread of this real scene, Nona Fernández activates the mechanisms of the imagination to access those corners where memory and archives have not been able to reach.
Confronting her own experience with the stories of the man who tortured, the narrator enters the lives of the protagonists of this ominous testimony: that of a father who is arrested in a bus while taking his children to school and that of a child who changes names and lives until witnessing a massacre, among others.
Nona Fernández builds a story based on the bad conscience of an unfathomable character, exposing and illuminating that area of madness and loss that is much closer than we think and that can turn a human being into a beast. A novel that captivates, moves and shakes.
Chilean Electric
Tell stories to finally save someone. But who? The lighthouse of that story heard as a child illuminates the night by giving some coordinates. In search of those coordinates, I come here, to the same setting that my grandmother chose to deploy her call for help, to leave me a small candle lit as a warning signal, "says the narrator of" Chilean Electric. " Santiago's Plaza de Armas was artificially lit in 1883 and Nona Fernández's grandmother was at the opening ceremony.
But it turns out that he was born in 1908, so that memory is false. This is the starting point for the exploration of family history that is undertaken in this book, which becomes an illumination of the "fearsome darkness" that reigns in Chilean history, with its disappeared, murdered, hanged. A book illuminated, in turn, by some stick horses, a typewriter and the corpse of a president who said “More passion and more affection.
Travel
The memory of the stars. The memory of a mother. The memory of a people. How we remember. Why. So that. An exciting essay that addresses these and other questions.
Accompanying her mother in her neurological exams, the narrator of this book notes that the brain activity projected on the monitor bears many similarities to the astronomical images she knows. Based on this observation, Nona Fernández begins in this, her first essay, to scrutinize the mechanisms of stellar and human memory.
Taking note of everything he reads, observes and thinks, in the manner of Voyager, those exploratory space probes, Fernández is linking this record to his own history and that of the country, intelligently posing questions that are current and forever. How do stars and people remember are questions that inevitably lead us to wonder how people remember, and how they forget, and Nona Fernández addresses them with the sagacity and impetus that characterize her work.
