• The Last Days of Terranova
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Archipelago Books

The Last Days of Terranova

The Last Days of Terranova

by Manuel Rivas, translated from the Galician by Jacob Rogers

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The Last Days of Terranova tells of Vicenzo Fontana, the elderly owner of the long-standing Terranova Bookstore, on the day it's set to close due to the greed of real-estate speculators. On this final day, Vicenzo spends the night in his beloved store, filled with more than seventy years of fugitive histories. Jumping from the present to various points in the past, the novel ferries us back to Vicenzo's childhood, when his father opened the store in 1935, to the years that the store was run by his Uncle Eliseo, and to the lead-up to the democratic transition, which Vicenzo spent as far away from the bookstore as possible in Madrid. Like the bookstore itself, The Last Days of Terranova is a space crammed with stories, histories, and literary references, and as many nooks, crannies, and complexities, brought to life in Rivas’s vital prose.

Additional Book Information

Series: Archipelago Books
ISBN: 9781953861320
Pages: 400
Publication Date:

Praise

Rivas' sentences are aflame with philosophy and well-wrought beauty; beauty that, at times, supersedes the narrative itself. Rogers' translation from the original Galician is lucid and musical. . . As beautifully incongruous as a human mind.
—Kirkus Reviews

Rivas offers a tender requiem for a venerable Spanish bookstore . . . Literary and political history regularly intertwine: as dictatorships and revolutions come and go, the store is raided by secret police amid discussions of Andre Breton and walk-ons by the likes of Jorge Luis Borges. Terranova comes to encapsulate histories both personal and national, a vantage point to glimpse the melancholy and ecstasy of the characters and their culture . . . This hits the spot, both as a love letter to and postmortem of the world of ideas.
—Publishers Weekly

To Vicenzo, the closing of the family bookstore is like a killing, of himself, of his family, of the precious books within, and of the memories intertwined with all of them . . . What distinguishes Rivas’s approach isn’t that it reroutes the generic storyline much but that it festoons it with winsome, slithery sentences and references born from Rivas’s own literary wanderings. It’s here that the novel focuses its most genuine invention. The movement always on Eliseo’s mind is surrealism . . . and Rivas has a feel for its grammar, the nonsequiturs that ring with poetic profundity. The novel seeks to give life to the readers’ experiences, to reconcile all the things we’ve been, to breathe life into an old story with memory’s iron lung.
—James Butler-Gruett, On the Seawall

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