"When grandmother explained it they did not seem like traumatic events, she recounted it as if they were adventures"

Barcelona“I made the decision to tell this story when I was about 16 years old, but I realized very quickly that I still didn't have the resources or enough maturity to do so. I knew I only had one chance to write this novel, because you only have one family story. That is why I set it aside and kept coming back to it over the years,” explains Swiss writer Nelio Biedermann. Born in 2003 and a film student in Zurich, Biedermann published Lázár (Edicions 62/Salamandra; with a Catalan translation by Ignasi Pàmies) when he was 21 years old and it has become quite a phenomenon. Acclaimed by critics and praised by Dua Lipa and Patti Smith, the novel, written in German, has been translated into more than thirty languages, Forbes magazine has included Biedermann among the 30 most influential young people in the world, and its film rights have already been sold.

Biedermann grew up listening to his grandmother's stories about her childhood in a castle. His grandmother spoke to him about the paternal family, Hungarian aristocrats who had lived in castles surrounded by lands that were theirs, and about a time not so long ago: the first half of the 20th century. “When my grandmother told it, they didn't seem like traumatic events. She recounted it as if they were adventures, even the escape to Switzerland,” says Biedermann. What the novel tells, however, is far from being a fairy tale. It is a family saga that begins with Lajos, who is born with almost transparent skin, under which one can distinguish the organs. Son of the baroness and one of her servants, he is born in a castle located next to a forest that can drive anyone who enters it mad. The forest, however, does not act as a border: the family cannot isolate itself from the terror of a convulsive century that includes two world wars, the collapse of the Austro-Hungarian Empire, the persecution of the Jews, communist repression, and exile.

Filling the silences

In every family history there are gaps. “This was my starting point: to fill those holes and shed light on the darkness through fiction and my imagination. To write the book I needed to make an atmosphere and daily life perceptible, and for that I had to start researching, both about the less positive parts and about daily life,” explains the author in Barcelona. To fill the silences, he also decided to introduce magical realism: "It made it possible for me to write very freely.”

While writing the novel, Biedermann did not tell his family what it was about. When he had it finished, he went on a trip to Mexico and left them the text to avoid, at least for a while, any comments. “When my father read it, he called me and told me: ‘You haven’t told the truth, this novel has nothing to do with our family.’ I told him that I thought that was perfect, because it was a work of fiction. He read it again and, two weeks later, he called me again to tell me: ‘I have to retract what I told you; the story is actually very close to our family.’ That was exactly my goal: for the real story and fiction to blend together,” he asserts.

It is a fiction, but the historical background is real. Among the characters in the plot, Imre stands out, who chooses to flee from reality. “During the writing process, I often wondered how people did not go mad with all the madness of that century. It surprised me how people continued to live their routine as if the world were not collapsing around them. For a character like Imre, madness is his salvation and his escape from a life he has not chosen. Madness has a double meaning: it can be a threat, but it can also mean freedom,” explains Biedermann. There are also those who lose their memory. “I have had to accept that there are things that are lost forever. The task of art is to create memories and remembrance that come very close to reality,” he adds.

The sensory force

Lázár stands out for its sensory power (smells, the texture of food, sex scenes, the landscape). There are some borrowed moments. The kidneys that taste like pee are a reference to Ulysses by Joyce, and while writing, the author claims he was reading a lot of Marcel Proust. “Memory does not appear only through language, but also through the senses, which make you return to childhood. That is why this novel had to be very sensory,” he says.

This journey into the past ends up dialoguing with the current world: “The more you write, the more parallels you find. For example, I was writing about the Red Army and the Russians advancing to the west, and then I would watch television and see that the situation was repeating itself. There is an unconscious influence of current events, without it being my intention.”

The novel deals with quite sensitive topics in Germany, where it has had a great reception, such as Nazism and Stalinism. "In politics, we see a constant rewriting of history, as is currently happening with options like the AfD in Germany. History is never closed. That is why I believe that in these times it is important to use art and literature to fight against this false historiography and keep memory rooted in the consciousness of the population. Although it is saddening to see the strength that these false narratives have on the masses, this must be a stimulus to act and not a reason to be discouraged," says Nelio Biedermann, who is already writing a new novel. But he does not want to say anything about it. Not even to his family.