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claimed Mexican artist and performer shares of her own nologies, and the Marketing of Literature,” Vincent More-
writing process of “La Genara.” Conde reflects as well upon no maintains that the full impact of the ways in which new
the development of her professional use of technology, as literatures are created, read, and circulated has not yet been
she learned how to use her own blog for promotion of her determined, but there are already identifiable new ways
work. From an intellectual perspective, the piece was less of legitimization, promotion, and circulation. He discuss-
satisfying because it seemed to simplify the complicated no- es how and why Nocilla Dream became a commercial and
tion of the digital world by reducing it to its utilitarian val- critical success, and demonstrates how the media and new
ue as a promotional tool. media advance the entrance of this generation in the liter-
The second section of Hybrid Storyspaces, “Technolo- ary field.
gies of Production and Consumption,” opens with an es- In “The Art of Seduction: Truth or Fanfiction in the World
say by the Spanish Mutant Generation writer and physicist of Lucia Etxebarria’s Online ‘Friends’ and the Blogosphere,”
Agustín Fernández Mallo. In “Topological Time in Proyecto Virginia Newhall Rademacher discusses the role of social
Nocilla [Nocilla Project] and Postpoesía [Post-poetry] (and media in Etxebarria’s self-promotion and in readers’ con-
a brief comment on the Exonovel),” Fernández Mallo of- tributions to these (auto)biographical projections offering
fers a particularly astute analysis of the relationship of writ- a keen analysis of both Extebarria’s novels and her online
ing to the web. His literature, he claims, doesn’t tell a story presence. In a poignant conclusion, Rademacher recogniz-
in time, but rather constructs a story in space. He suggests es the potential, but very real, ephemerality of social media
that the temporal model worked for the analog world when and how the influence it brings can dissipate as quickly as
we understood literature according to its place in history. it builds.
Contrastingly, he proposes, a spatial model is more appro- The next article of the second section is written by José
priate to study the digital world. Fernández Mallo devel- Enrique Navarro, a lawyer and Hispanic Studies doctor-
ops his ideas on topological time from theories of the art- al student. In “You’ll Never Write Alone: Online Sharing
ist Robert Smithson and the anthropologist Claude Lévi Economy and the New Role of the Reader,” he leaves hy-
Strauss. Fernández Mallo concludes with an interesting re- permedia novels aside. Instead, Navarro focuses on online
flection on the internet as an Exonovel: “that which sustains interactions between author and reader that lead to tradi-
a novel, providing internal solidity and protection, without tional publication of books. He offers a succinct but useful
which the novel itself is not possible” (68). Overall, this history of the roles of the author, the reader, and their rela-
piece is thought-provoking, well-articulated and aided by tionship in order to lead up to the how the Internet chal-
helpful illustrations. lenges traditional modes of production and reception of lit-
In the volume’s third article about Spain’s Mutant Gener- erary works. He concludes that online reading and writing
ation, “Breaking the Code: Generación Nocilla, New Tech- will be faster and more fragmentary but that, ultimately,
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Revist a de alces XXI Número 1 , 2013
