Iona recommends:
Nada by Carmen Laforet
Laforet’s first novel, the beguilingly titled Nada (first published in 1945), loosely follows the autobiographical trail of her own early life, a bildungsroman (coming of age novel) fractious with unrest and upset. Set in the immediate, troubled aftermath of the Spanish Civil War (1936-1939) the reader is introduced to Andrea, a melancholic but personable eighteen year old, who places her hopes and dreams in the appealing prospect of studying literature in Barcelona. Andrea clearly assumes she will enjoy a carefree and experimental student experience, complete with friends, relationships, culture and crucially; total independence. The reader continues wide eyed as Andrea’s family and companions swiftly turn each of these expectations on its head, with Aunt Angustias forcefully taking Andrea’s freedom, Uncle Roman’s reinterpretation of traditional familial bonds and new friend Ena’s various hurtful betrayals. Eventually, Andrea can stand it no longer and departs, stating “When I left, I had learnt nothing . . . I took nothing with me. At least, that’s what I thought then” a statement which may appear empathetic to many who find themselves with an Arts degree and unsure of their next direction!
From a feminist perspective it is plain to see that Laforet is using Andrea’s tale as a representation of Franco’s Spain as a whole. Laforet wrestles Franco into the character of Aunt Angustias, who is fervent in her enthusiasm for keeping Andrea indoors, and despairs over the ‘necessity’ of Andrea’s university attendance. Uncles Juan and Roman grapple with the treatment of women in their lives, alternating between cloying kindness, barely repressed sexual preferences and malicious cruelty. Pons, a sweet but ultimately unsatisfying companion is unable to voice his true emotions, and evades Andrea’s challenges with that familiar line; “I don’t know what’s wrong with you today, Andrea…”
Laforet’s debut is widely available as it has never been out of print, such is its popularity with a large and varied readership. It addresses the neglect of Spain’s (or Franco’s) women throughout much of the twentieth century and allows the reader to draw her own conclusions about the regime and its requirements. Nada is a modern take on the historical coming of age novel, with brilliant characterisation and an informative critique of Franco’s Spain, worthy of wide recommendation.
