Kirmen Uribe – författare

The day he knew he was going to die, Liborio Uribe took his young daughter in law to the Museum of Fine Arts to show her a picture. Liborio had spent his entire life at sea, like his son José, living out unforgettable adventures which would later fade into obscurity. Years after, faced by the same painting, Liborio''s grandson Kirmen, a writer and poet, uses these family stories to write a novel. Bilbao–New York–Bilbao takes place during a flight to New York and tells the story of journeys by three generations of the same family. The key to the book is Liborio''s fishing boat, the Dos Amigos: who are these two friends, and what is the nature of their friendship? Through letters, diaries, emails, poems and dictionaries, Kirmen creates a mosaic of memories and stories that combine to form a homage to a world that has almost disappeared, as well as a hymn to the continuity of life. It is also a reflection on the art of writing, and lies between life and fiction. "Uribe has succeeded in realizing what is surely an ambition for many writers: a book that combines family, romances and literature, anchored deeply in a spoken culture but also in bookishness – and all without a single note of self-congratulation." – TLS "The novel is set in an absolutely modern territory, the usual place of key writers of our time such as Emmanuel Carrere, WG Sebald, Orhan Pamuk and JM Coetzee." – Sudouest "This book is as beautiful as a memory." – Le Figaró "Uribe''s literary proposal is entirely fresh and innovative. A novel of our time. This writer who comes from a ''small country'' begins his journey through the field of universal literature, searching for transnational communication." – Mainichi Shimbun "A splendid novel, which the reader acknowledges like a hug." – El País "Beautiful. It has the rare quality of attending to tradition without sounding like folk, and being modern without rejecting those that were so before." – ABC "This ingenious and original historiographical novel tells the story of its own writing, as Uribe explores the history of his family and the Basque Country fishing community of which they have long been a part. Framed by the author''s plane journey to the States, the web of digressions is mapped by ever-lengthening and constantly entwining cultural tendrils as the family diffuses around the world, led off by his father''s trawler. The intersection between truth and storytelling is a particularly potent theme, contrasting the prosaic and the poetic, the pragmatic and the romantic. It''s a view from the inside of the novel, looking out upon the reader in consideration of what might prove engaging, a metafictional conceit made engaging by the genial candour of Uribe, or at least his novelistic avatar, as he explores the process of researching and honing his book. Huge credit must go to Wales-based indie Seren Books for bringing this book to English-language readers; it''s extraordinary that this winner of Spain''s prestigious Premio Nacional de Literatura wasn''t picked up by a major publisher." – Jonathan Ruppin, Foyles Best Fiction: 2014

Uri und Nora ziehen mit ihren Kindern von Bilbao nach Manhattan, um dort ein besseres Leben zu beginnen. Genau wie die feministische, pazifistische Vordenkerin Rosika Schwimmer, die in den 1920-er Jahren aus Budapest kam, um die von Patriarchat und Rassismus geprägten Vereinigten Staaten friedlich zu revolutionieren. Über Rosika will Uri eine Biografie schreiben, wie sie Worte gegen politische Gewalt setzte – ein Thema, das ihm und Nora als Basken nur allzu vertraut ist. Doch genau wie vor 100 Jahren ist New York eine Stadt, die sich jungen Zuwanderern gegenüber vor allem feindselig zeigt …

A Karmele Urresti a Guerra Civil sorpréndea na súa Ondarroa natal. Mentres a poboación foxe ao exilio, ela decide quedar curando os feridos e tratando de liberar o seu pai, que foi encarcerado. Ao remate da guerra debe abandonar a súa terra e partir cara a Francia, onde pasa a formar parte da embaixada cultural vasca. Alí coñece ao que será o seu home, o músico Txomin Letamendi. Xuntos percorren media Europa até que, a piques de caer París en mans dos alemáns, foxen a Venezuela. Xaora, a Historia irrompe de novo na súa vida. Cando Txomin decide sumarse aos servizos secretos vascos, a familia regresa en plena Segunda Guerra Mundial a Europa, onde el realiza labores de espionaxe contra os nazis até que é apresado en Barcelona, baixo unha ditadura á que non sobrevivirá. Karmele terá que arriscar a súa vida e partir, soa desta volta, coa esperanza cega de quen deixa atrás o máis prezado. "A hora de espertarmos xuntos" é a gran novela sobre a historia vasca, española e europea desde o século XX até os nosos días.

Culo subido y otros relatos recoge cuentos de diez escritores de renombre, invitados por Juan en el marco del festival La Risa de Bilbao.Un hilarante y malévolo retrato conyugal a través del masajeo y apuntalamiento de un culo (Fernando Aramburu). Un catálogo de Ikea que se remonta a la Edad Media y que llega a los confines del futuro (Agustín Fernández Mallo). Una arrebatadora monja de lujuria desbordante y adictiva (Andrés Neuman).Por hacer realidad la ilusión de un hijo, uno se deja engañar lo que haga falta y más (Kirmen Uribe). Fifi y Fefo, una pareja ridícula, untuosa, cursi y sobre todo cómica (Fernando Marías). Una delirante venganza poética a base de comerse las palabras de un modo textual (Juan Bonilla).El secuestro de un perrito pilonero o trullo y zoofilia en feliz maridaje (Montero Glez). Los elefantes, los monos y la ineptitud determinan las elecciones de un país (Ángeles Caso). Cuando la falta de pudor se sirve de un peculiar medio para mostrarse (Lola Beccaria). El diálogo tipo Epi y Blas de dos etarras autistas (Iban Zaldua).

Becerro de Bengoa Saria (1995) Lizardiren olertian agertzen den maitasuna oso lotua datorkigu urtaroei, hots, bizitzaren zikloari. Eternitatean sinisteak maitasunak espirituala izan behar duela derrigortu egiten du. Denbora ez da amaitzen, ez da orduan maitasun ironikorik, soilik gozamen hutsalera bideratutako mementuko maitasunik, haragiaren desira asetzea besterik nahi ez duen erlaziorik. Erotismoa, Lizardirengan, estilizatua da, analogikoa. Maitasunak eta plazer sexualak badute tokirik, hala ere, maitaleen arteko harremanek unibertsoaren harmoniaren analogiarekin bat egin behar dute. Aipatu beharrekoa da Lizardiren olertia aztertzeko autoreek aukeratu duten ikuspuntuaren originaltasuna. Hala ere, ikuspuntu horren azterketak ez ditu itsutu, Lizardiren olertia osotasunean hartu baitute. Lizardiri buruzko liburu honek aurretik atera direnen osagarri izan nahi du.

On a transatlantic flight between Bilbao and New York City, a fictional version of Kirmen Uribe recalls three generations of family history—the inspiration for the novel he wants to write—and ponders how the sea has shaped their stories.The day he knew he was going to die, our narrator’s grandfather took his daughter-in-law to the Fine Arts Museum in Bilbao, the de facto capital of the Basque region of northern Spain, to show her a painting with ties to their family. Years later, her son Kirmen traces those ties back through the decades, knotting together moments from early twentieth-century art history with the stories of his ancestors’ fishing adventures—and tragedies—in the North Atlantic Ocean. Elegant, fluid storytelling is punctuated by scenes from Kirmen’s flight, from security line to airport bar to jet cabin, and reflections on the creative writing process.This original and compelling novel earned debut author Kirmen Uribe the prestigious National Prize for Literature in Spain in 2009. Exquisitely translated from Basque to English by Elizabeth Macklin, skillfully captures the intersections of many journeys: past and present, physical and artistic, complete and still unfolding. Bilbao–New York–Bilbao is the second book commissioned for the Spatial Species series, edited by Youmna Chlala and Ken Chen. The series investigates the ways we activate space through language. In the tradition of Georges Perec’s An Attempt at Exhausting a Place in Paris, Spatial Species titles are pocket-sized editions, each keenly focused on place. Instead of tourist spots and public squares, we encounter unmarked, noncanonical spaces: edges, alleyways, diasporic traces. Such intimate journeying requires experiments in language and genre, moving travelogue, fiction, or memoir into something closer to eating, drinking, and dreaming.