![]() With this work Miguelanxo Prado reveals his technical mastery in the use of colour. Drawing on Anne Whitehead's recent discussion of modes of inscription and collective memory, this article explores the representation of memory and the fantastic in Miguelanxo Prado's 2012 graphic novel Ardalén, noting the strong implications of Ardalén's main character's incapacity to distinguish between what he lived and what he heard in the context of the Recovery of Historical Memory in Spain's early 21st century. Artist Miguelanxo Prado Original title Ardaln 'Ardaln' is a fascinating graphic narrative dealing with remembrance and memory, and teeming with unforgettable characters. Blurry margins exist metaphorically in the book's story as well as visually in its images, both within its panels and in its gutters. ![]() Appropriate to its title, this winner of the 2012 National Spanish Comics Prize blurs lines between the real and the imaginary, between self and other, between land and sea, and between life and death. O lapis do carpinteiro (1998) by Manuel Rivas, the film Sempre Xonxa by Chano Pieiro (1989) and the graphic novel Ardaln by Miguelanxo Prado (2012). In the fictional tale, this sea breeze carries with it not just air and smells, but also stories, as well as living sea creatures. Harris (Bennington College) explains how the blurred lines between real and imaginary, self and other, in Miguelanxo Prados Ardaln allude to the Recovery of. ![]() ![]() The title of Miguelanxo Prado's Ardalén is a word invented by its author, but which refers to a real phenomenon: a long-distance wind that carries the scent of salt and sea far inland from the coast. ![]()
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