Leonor de Recondo: Writing is like music

Leonor de Recondo, novelist and musician, the product of two languages ​​is wrapped in musical notes: French and Spanish. She was born and raised in Bilbao, the capital of the Spanish Basque Country, and raised in France. And when she entered the world of writing with a creative imagination and the ability to adapt language to a creative narrative, she was blinded: Spanish sophistication, French elegance and beautiful musical rhythm.She has so far published four novels, the common denominator of which is the overwhelming beauty of language. Indeed, she writes as if she were playing. She invests her musical repertoire, as a violinist, in representing a linguistic formation that rises and falls in linked paragraphs that almost drive the reader into drowning in rhythm. But there is one more thing the texts have in common: the body.

The human body in its aesthetic, mental, psychological and sexual dimensions, and the interaction that has no limits in the convergence and distance of bodies, one to the other or some of each other, without any social, class or gender barrier being able to stand in their face, that is, the two faces of this convergence, divergence.

We see this clearly in the novel “The Living Stone”. The novel takes place in the year 1505, and begins with the death of a monk who admired Michelangelo’s beauty to the core. Now that the monk is dead, the most famous sculptor on earth desperately seeks to restore his body through sculpture. He will create a monk out of stone. He will awaken him through the creative creation of his art. From the touch of his hand and his chisel the stone will come alive.

He therefore settles in a remote village to complete this creation. To restore the beautiful body. However, working on the body of the monk reminds him of his mother. with his mother’s body. Her memory rises and her longing for her explodes. The memories he thought he was burying. The perfume, the laughter of a child like Michel who lost his mother at the age of six, the taste of the fried pie made by his hostess, Maria, the innkeeper, the white mare of the crazy Cavallino, who thought people are just. animals … these memories, which flowed with the hammer of his chisel on the sculpture of the monk … The lost, bring with them the features of his mother’s face and the details of her body, which excites him, along with Andrea’s body, to have more ambition to return to Rome to complete the pope’s two-story tomb.

Her novel, “Ponto Cardinal”, takes place in the present day, and tells the life of a transgender character. We open the novel and from the first page we find the woman driving the car eager to get to the garage. We follow her in her eagerness and longing. The car stopped. Turn off the engine. came off. She takes off her make-up, takes off her wig, pulls out her silk dress, rolls her stockings off her ankles, she’s a pretty guy … He’s back in his socially restricted gender position. He is a young man who is mentioned in people’s eyes, but when he is alone, he wants to be a woman. He, undressed, is about to meet his wife and children for dinner. As a young boy, he spent hours in his mother’s closet and hated the masculine atmosphere and the stench of the locker rooms after football games. Eventually he will make the bomb explode and tell everyone that he does not want to be what other people want, but what he wants, with which he is comfortable.

Leonor de Reconder’s novel, the most beautiful and brilliant, in my opinion, is The Cases of Love (if the translation of the French title is Amours, ie love is correct in the plural). It is like a delicate literary symphony in which the author wanted to triumph over the sober classical narrative, and wanted to pay tribute to the pioneers of realistic literature of the nineteenth century, beginning with Gustave Flaubert, and his masterpiece “Madame Bovary”, to by Guy de Maupassant and Emile Zola, and others, whom she considers the novelist. They represent an “extraordinary moment in the French language”. The musical structure is evident in the rhythm of the text. There is a wonderful alternation between acceleration and deceleration, sound and silence, one and the sum.

Victoire, the protagonist, is able to express how she feels while playing the piano, because what happens to her is a revolution in her body that she can not share with anyone else. There are civic houses in which people of different social conditions live, in the house of Victoire and her husband and her servant, a bourgeois house par excellence, we are faced with more than one fate: the fate of the servant, the fate of the lady, the fate of the boy and the man, in a rhythmically harmonious polyphonic structure.

The servant Celeste does the work of a childless Mrs. Victory. The servant gives birth to a child. You know who gave birth to Victoire, but that’s okay. The boy will be her son. Child Adrian unites the lady and her servant in motherhood and opens a door to their bodies so that they exchange roles. The child comes and brings love in all its manifestations: love in all spheres, love for the mother, love for the body, love between the lady and the maid, the love between the master and the two women.

Before the child, the space was grim, the atmosphere cloudy and the emotions faded. After him, the fountain of love exploded in every corner and from every direction. As in every heart. Maybe that’s why the title was written in the plural.

The author approaches the subject of love, sensations, feelings and emotions, from the gate of the body. The body is the bearer of the psychological and spiritual process of both the male and female being. Michelangelo’s search for the perfection he saw in a man’s body. Victoire introduced herself in Celeste and at Cardinal Point the character changed her body from one state to another.


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