Elvira Navarro | |
|---|---|
 Navarro in 2018 | |
| Born | Elvira Navarro Ponferrada 25 March 1978 Huelva, Spain |
| Alma mater | Complutense University of Madrid |
| Occupation | Writer |
| Awards | Jaén Novel Award (2009) |
Elvira Navarro Ponferrada (born 25 March 1978) is a Spanish writer.
Elvira Navarro holds a licentiate in Philosophy from the Complutense University of Madrid. [1] In 2004 she won the City Council of Madrid's Young Creators Competition, [2] and enjoyed a creative scholarship at the Residencia de Estudiantes. [3] She has published two complementary books: La ciudad en invierno (The City in Winter) and La ciudad feliz (The Happy City), as well as the novels La trabajadora (The Working Woman) and Los últimos días de Adelaida García Morales (The Last Days of Adelaida García Morales). Her work has earned the Jaén Novel Award , [1] the Tormenta en un vaso Award for Best New Author, [4] and the Fnac New Talent Distinction. [2] Navarro is also the author of the blog Periferia, an ongoing work on the neighborhoods of Madrid that explores bordering and undefined spaces. In 2010 she was included in the magazine Granta 's list of the 22 best Spanish-language novelists under 35. [5] [6]
In 2013 she was selected as one of the Spanish voices with the greatest futures by El Cultural , and in 2014 the same magazine rated La trabajadora one of the ten best Spanish-language novels of the year. Portions of her work have been translated into English, French, Swedish, Italian, Turkish, and Arabic.
She has written for magazines such as El Cultural, Ínsula , Letras Libres , Quimera , Turia, and Calle 20, and for the newspapers Público , eldiario.es , El Mundo , and El País . She has performed literary criticism for Qué Leer, Revista de Libros , and the blog La tormenta en un vaso . She became editor of the Caballo de Troya imprint in 2015, and teaches writing workshops.
Her novel Los últimos días de Adelaida García Morales was harshly criticized by the filmmaker Víctor Erice in El País. Erice accused Navarro of trivializing the figure of Adelaida García Morales (his ex-wife), and causing grief to her loved ones by writing "a sort of fake fiction documentary" rather than a well-researched biography. [7] Navarro's retort and various public interventions by other writers (such as Juan Marsé, in support of Erice) increased the controversy and the debate over the limits of fiction. [8]
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