The Dark Blooms
Los brotes negros
SERIES:Nuevos cuadernos Anagrama
A broken self-portrait, a notebook of psychic suffering that clearly describes the symptoms and intensity of a prolonged anxiety disorder and the dark way that it blooms.
What’s left of a person when they write,“my head is my enemy?”
A broken self-portrait, a notebook of psychic suffering, or the re-telling of the life of an ex: an ex-workaholic, ex-partner, and ex-member of the Mentally Sane Club. Los brotes negros—which could just as easily be titled The Good Tear Ducts, clearly describes the symptoms and intensity of a prolonged anxiety disorder, and the dark way that it blooms: the desperation phases, the rage episodes, the suicidal ideations.
Something more or something less than an individual, what is drawn here is an experimental subject—“let’s see if this other pill has an effect”— whose biorhythms, altered to the point of collapse, manifest through the exalted speed of production, profession, and capital.
Eloy Fernández Porta (1974) was born in Barcelona. He has a PhD in Humanities from the Universitat Pompeu Fabra. Anagrama has published his essays on cultural criticism: Afterpop, Homo Sampler, €RO$, Emociónese así (‘Get Excited Like That’) and the most recent En la confidencia (‘In Confidence’). He was awarded the Premio Anagrama de Ensayo (Anagrama Essay Award) and the Premi Ciutat de Barcelona (Barcelona City Award). His work has been translated into English, French and Portuguese. He is considered a “fine analyst but also a great writer” (Maxence Grugier, Première), a “top class essayist” (Santi Balmes, Rolling Stone), “brilliant, hilarious, and bizarrely accessible” (Céline Ngi, Fluctuat). Recognised as “one of the most decisive proponent of spoken word in Spain (Eduard Escoffet), acts with Agustín Fernández Mallo, in the Afterpop duo Fernández and Fernández. She leads a new generation of bookworms who look at pop culture with the rigour of university research (Carlos Sala, La Razón) and she has “invented a form of thinking that is impressive in its freedom and causticity” (Nils C Ahl, Le Monde).