![]() ![]() The impression the reader gets is that the book is a translation of a missing original in English, not because the Catalan language is misused (far from it) but because the plot is culturally alien to the language. The novel is written in Catalan but, as you can see, neither the setting nor the characters are connected at all with Catalonia. ![]() Perhaps the classic case by now is Albert Sánchez Piñol’s novel La pell freda (2002), a peculiar tale which mixes Conrad and Lovecraft in a South Pole location, and with an Irish protagonist. The actual examples I’ve come across, though, have a good share of problems. ![]() As citizens of the world truly interested in other cultures. We should expect in the near future Russian novelists to deal with Spain, or Indian authors to write about Japan, if you get the drift. ![]() The novel of globalization is still imperialistic and colonialist whereas the true cosmopolitan novel supposes that cross-cultural representation is open to all. The cosmopolitan writer has been freed by globalization to write about any theme located in any place s/he fancies, albeit it’s important not to confuse the cosmopolitan with the global. The cosmopolitan novel, according to Berthold Schoene’s eponymous volume (2009), opposes both the novel limited by the national territory (whether it is nationalist or not), and the post-colonial novel, which questions the very essence of the territorial from a critical position. ![]()
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