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nineteenth century” and that “one must remember that the diminished selection of
available titles [during Franco’s regime] was a far more damaging manipulation of the
public than the current over-production” (in Gies, David Thatcher ed. The Cambridge
Companion to Modern Spanish Culture. Cambridge: C.U.P., 1999. p. 149) is indeed
questionable; if it is a given that a totalitarian regime is indeed manipulative by
definition, one could argue that Franco’s regime did not dispose of the promotional
arsenal available to today’s publishing companies. Overproduction is not the issue as
much as the irresistible promotion and distribution of one given title or artefact above the
others, which leads to the same lack of choice any decent fascistic regime would impose.
Furthermore, to argue that the novel reached its level of success thanks to the
commercialization of publishing during the 1800s is to ignore the deep changes our
economic structures have undergone throughout the 20th century, when production has
given way to distribution in terms of capital gain. These issues are further discussed in
Generacion Kronen which presents the Leather Literature phenomenon within an
anthropology of modem cultural markets.
Works Cited
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Casavella, Francisco. Lo que se de los vampiros. Madrid: Destino, 2008.
Espido Freire. Melocotones helados. Barcelona: Planeta, 1999.
Garcia-Valiflo, Ignacio. La caricia del escorpion. Madrid: Destino, 1998.
Gies, David Thatcher ed. The Cambridge Companion to Modern Spanish Culture.
Cambridge: C.U.P., 1999.
Hernando, Violeta. Muertos o algo mejor. Madrid: Montesinos, 2006
Loriga, Ray. L opeorde todo. Madrid: Debate, 1992
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Lucia Etxebarria. Amor, curiosidad, prozac y dudas: Plaza & Jan£s, 1996
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Maestre, Pedro. Matando dinosaurios con tirachinas. Madrid: Destino, 1996.
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