Abstract
The current “narrative of the crisis” has a precursor: the Generation X’s “dirty realism”. Both in the dystopia Tokio ya no nos quiere (1999) by Ray Loriga and in Madrid: frontera (2016) by David Llorente, the trauma of precarity leads to oblivion and loss of identity. In Loriga’s work, the atmosphere of the Transición and the postmodern discourses of globalized capitalism, drug abuse and media ...
Abstract
The current “narrative of the crisis” has a precursor: the Generation X’s “dirty realism”. Both in the dystopia Tokio ya no nos quiere (1999) by Ray Loriga and in Madrid: frontera (2016) by David Llorente, the trauma of precarity leads to oblivion and loss of identity. In Loriga’s work, the atmosphere of the Transición and the postmodern discourses of globalized capitalism, drug abuse and media simulations form the critical basis. Currently, the “Spanish crisis” forms the predominant analytical horizon.
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