Description
Book SynopsisA landmark in contemporary Spanish literature, Agustín Fernández Mallo's Nocilla Trilogy – made up of the novels Nocilla Dream, Nocilla Experience and Nocilla Lab – is a project for our time. Reading takes the form of literary channel surfing: we flick through an audacious network of chopped-up stories, recycled texts and mixed-media collages, and try to find the signal in the noise, reflecting the dizzying search for meaning that characterizes life in our digital age.
The globe-spanning narratives that explode across the trilogy take us from a lone poplar tree in the Nevada desert to a barnacle-covered cliff in Galicia, Spain, through scientific treatises and film-editing manuals, personal journals and comic strips. The books are full of references to indie cinema, theoretical physics, conceptual art, practical architecture, the history of computers and the decadence of the novel. And yet, for all the freewheeling, fragmentary swagger, a startling order emerges and takes hold. Peerless in its daring, Nocilla Trilogy charts a hidden and exhilarating cartography of contemporary experience.
Trade Review‘Like having multiple browser windows open, and compulsively tabbing between them.’
— Chris Power, Guardian
‘The most original and powerful author of his generation in Spain.’
— Mathias Enard, author of Compass
‘Think of [Nocilla Trilogy] as three novels at the edge of the form, their manifold narratives folded into each other: all highly imaginative, all fairly unhinged, all methodically interrupted by a range of scientific, theoretical and literary quotations…’
— Kevin Breathnach, London Review of Books
‘One of the best writers in Spanish, with an absolutely unique style and fictional world.’
— Jorge Carrión, New York Times in Spanish
‘A wonderful work of avant-gardist fiction – in the line of David Markson, Ben Marcus.’
— Germán Sierra, Asymptote
‘A strange and original sensibility at work – one that combines a deep commitment to the possibilities of art with a gonzo spirit and a complete absence of pretention.’
— Christopher Beha, Harper’s
