![]() “The biggest challenge of adapting ‘Nada’ is that it is a great novel, written by a 23-year-old woman in a very first person, a very personal but universal story,” Macías said. In narrative prose, arguably nothing as good as “Nada” was to hit Spain until Juan Benet’s “Volverás a Régión” in 1969. The tale was told, moreover, in a terse, tensed, tight style of laconic, aseptic sentences which will be difficult to capture in a series without resorting to the liberal use of voiceover. What is extraordinary about “Nada” is how it brought a sense of existentialism, of modernity, to a Spanish literature lost in the 1940 in bombast and plodding realism. Yet Andrea herself claims that when she left, “I had learnt nothing. The house, for those who sought a political message, could stand proxy for the physical and moral squalor of the society Franco had created whose violence was beginning to turn inward on itself. ![]() ![]() ![]() That runs from domestic violence – one of her uncles beats his wife who sleeps with her brother – to constant verbal abuse, hypocrisy and hunger. Though her family supported the Civil War’s victors, Andrea discovers a house of horrors, of “fustiness, sacristy and Francoism,” as Mario Vargas Llosa puts it. ![]()
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