Modernism’s last stand, according to the great art critic Robert Hughes, was a retreat to the American desert. This is the terrain Agustín Fernández Mallo explores in his debut novel, Nocilla Dream, set against the barren backdrop of the “loneliest highway in North America”. Bookended by two forlorn brothels, US Route 50 is the non-place – the nada in Nevada – where “precisely nothing” can be found, if you look hard enough.
The horizon, here, is an event; a vanishing point, reminiscent of one of the characters’ de Chirico-style paintings, rather than the magnet that fuels narrative drive. No longer manifest, destiny can only be glimpsed obliquely, as illustrated by the haunting, Fitzgeraldian image of “the last casino glimmering on the horizon in the rearview mirror”. This retrospective vision soon infects the reading process itself.
First published in Spain in 2006, Nocilla Dream is the opening gambit in a trilogy that spawned a generation of like-minded writers. It is composed of 113 brief chapters – one of them is less than two lines long – which appear like shards of a shattered globe, or fragments of an unfinishable whole. Jorge Rodolfo Fernández is obsessed with Borges’s tale of an empire where cartography becomes so sophisticated that a map as large as the territory it represents is produced. He comes to believe that he inhabits the ruins of this mythical map, which seems to hark back to a time when a work of art could coincide with life itself. In another vignette, a Mexican stowaway who suffocates in a truck trying to cross the border, leaves a “broken map” of himself on the black beans serving as his deathbed.
Linear narrative is ill-equipped to respond to globalisation, hence Mallo’s picaresque twist on the road trip trope. Objects and characters migrate from one chapter to another, prompting the reader to constantly flick backwards to check if the biscuit tin produced in a Danish factory had already appeared in a supermarket in Carson City.
Nocilla Dream is a world seen in a grain of Nevada sand. Its arborescent structure stems from a solitary poplar tree, decorated with hundreds of pairs of shoes, growing alongside US Route 50. By juxtaposing fiction with non-fiction – more than 20 chapters are lifted verbatim from extraneous works – the author has created a hybrid genre that mirrors our networked lives, allowing us to inhabit its interstitial spaces. A physician as well as an artist, Mallo can spot a mermaid’s tail in a neutron monitor; estrange theorems into pure poetry.
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