Album de Fotos


Laura Freixas (Barcelona, 1958) studied at the French School in her home city. She got a BA degree in Law in 1980 but she has always been dedicated to writing. She was first known in 1988 for her collection of short stories, El asesino en la muñeca (The Wrist Murderer). In 1997 her first novel Último domingo en Londres (Last Sunday in London) was published, followed by Entre amigas (Just between Friends, 1998), Amor o lo que sea (Love or Whatever It Is, 2005) and Los otros son más felices (Other people are happier, 2011). She has also published another collection of short stories (Cuentos a los cuarenta, Tales at the Age of Forty, 2001), an autobiography: Adolescencia en Barcelona hacia 1970 (A Teenager in Barcelona Around 1970, 2007), and two volumes of diaries: Una vida subterránea. Diario 1991-1994 (A subterranean life, 2013) and Todos llevan máscara. Diario 1995-1996 (They all wear masks, 2018).

Along with her contribution to fiction Laura Freixas has developed an intense work both as a scholar and a promoter of literature written by women. In 1996 she compiled and wrote the prologue for an anthology of short stories by Spanish contemporary female authors, Madres e hijas (Mothers and Daughters, which reached nine editions during its first year), and in 2000 she published the influential essay Literatura y mujeres (Women and Literature). In 2009, Cuentos de amigas (Women Friends), another anthology of similar characteristics was published, as well as the work La novela femenil y sus lectrices (Ladies’ Novels and Lady Readers, ‘Leonor de Guzmán’ Award). 

She has also worked as a publisher, a literary critic for El País and a translator. She was the first Spanish publisher of Amos OLz and Elfriede Jelnik, among other authors, and has translated Madame de Sévignés’s letters, André Gide’s and Virginia Woolf’s journals, and Elisabeth Smart’s novel By Grand Central Station I Sat Down and Wept. At present she teaches literature workshops for different institutions, she writes as a columnist for the newspaper La Vanguardia and does literary reviews for its supplement "Cultura/s". She is a contributor to literary magazines such as Mercurio, Letras libres, Revista de libros... 

She has been a lecturer or a writer in residence at a large number of Spanish and foreign universities (Stockholm, Nottingham, Budapest, Cornell, Rutgers, CUNY...) and taught different courses (“How to write a short story”, “Spanish autobiography under Franco”…) at the University of Virginia (UVA) in 2006, Darmouth College in 2010 and the University of Illinois at Urbana-Champaign in 2012.  

She has been the chair of the association Clásicas y Modernas for gender equality in Spanish culture since its foundation in 2009 until 2017. 

After living in France, as a student, and the UK, as a Spanish-language assistant at the Universities of Bradford and Southampton, she currently resides in Madrid. 

---- * ----


The Wrist Murderer (1988):

"A new narrative voice is born, mature and accomplished. With debuts such as this one, now we can really start to believe in the boom of young Spanish fiction."  (Juanjo Fernández, Diari de Barcelona)

"The ten short stories of The Wrist Murderer, first book of the Barcelona-born writer Laura Freixas , weave a delightful plot –a happy combination of freedom and rigor- that ends by becoming a monstrous spider's web." (Juan Antonio Masoliver Ródenas, La Vanguardia)

The Last Sunday in London (1997): 

"The novel is a combination of texts that are irresistible because of the transparency and freshness of a style in which what is seen is not the prose but the poetry. Poetry of anxiety, of rage, of desolation." (Pilar Castro, ABC

"The Last Sunday in London is a novel written with an artistic prose and a deeply felt emotion that expresses at the same time a searing pessimism and an exulting jubilation. Apart from the different scenes and the various conflicts, the voice we hear is the unmistakable voice of Laura Freixas, nourished by a disquieting and fruitful solitude." ( Juan Antonio Masoliver Ródenas, La Vanguardia

Just Between Friends (1998): 

"With confidence, clarity and economy, Freixas goes into the nuances of a story which is, to a large extent, the story of many of the Spaniards who are now between thirty-five and fifty. Freixas brings up many issues and leaves us, when all is said and done, with the suspicion that the losses of both the characters are probably the same loss, and that these two women who talk in Paris are debating, deep down, in the conscience of all of us.” (Juan Carlos Suñén, ABC

"Laura Freixas reconstructs the evolution of two lives of the leftist generation, unearths –with a gift for suspense- the inevitable secrets of the past, and with a tone which is light but never frivolous, puts forward some basic existential questions about love, friendship, marriage, children, etc. A good reading.” ( Sergio Vila-Sanjuán, La Vanguardia

"The author uses a very direct style, with simple structures and vocabulary, for a detailed description of feelings, reminding us of the first works by Soledad Puértolas or Carmen Martín Gaite.” (Juan Marín, El País

Literature and women (2000): 

"At long last, here is a book [for general readers that confronts a subject as reviled by some, as attractive for others, as is women and fiction. Questions such as: is there a literature that can be called feminine? Is it true that some critics see themselves as the bastion of literary values and therefore, impose their canon? Will the canon change when women enter the elite groups? Find an answer in this book. Laura Freixas confesses that she did not want to write it, but she has hit a raw nerve.” (Concha García, ABC

"This book was necessary, much more so than we thought. Literature and women offers a lucid global vision of what is happening in our country around that thorny little question posed to every woman who sticks her nose into the literary world.” (María Ángeles Cabré, La Vanguardia

" Laura Freixas ' book is enlightening, and the passion that comes to the surface in many pages does not detract from its clear-sightedness and truthfulness.” (Ricardo Senabre, El Cultural / El Mundo

Tales at the Age of Forty (2001): 

"There are some very good stories in this collection. Freixas has a direct style, which combines quite naturally narration and dialogue. Her stories display an attractive simplicity which will certainly attract many readers.” (Germán Gullón , ABC

Love or Whatever It Is (2005): 

"Laura Freixas's is one of the most important voices in recent Spanish fiction. (…) A voice which is tenacious, interesting, intelligent, true to her creative principles, demanding, with the purpose of uniting woman, life and literature. She has declared it in fiction, in essays, and she now declares it in Love or whatever it is." (Pilar Castro, El Cultural / El Mundo

"One more piece in a long and polymeric trajectory -including essays, short stories, novels and translations- in which the author confronts and questions women’s sentimental education. … This is a polyphonic novel in which different voices and experiences are linked through an umbilical cord, at the same time as they are fragmented. Through quick strokes, a diachronic portrait of women in distress* is created… A novel with psychological dimensions - born with the key and tonality of a sentimental chronicle - about the desire for knowledge and the ability to choose the life that one desires." (Gemma Casamajó, Avui

A Teenager in Barcelona around 1970 (2007): 

"[Freixas’s book has] an impeccable, pleasant and slightly ironic style, if not outright fun.” (Vicente Araguas, Revista de Libros) "The information regarding the last years of Francoism that the story includes about the education received in a bourgeois Catalan family and the portrayal of the customs of the time, make up an interesting frieze full of nuances. But the best thing about it is the subtle and gradual perspective it portrays (…) a lesser known text in the work of the author but great for its honesty, force and life” (Pilar Castro, El Cultural / El Mundo

"The book presents us with the experience of a woman who grew up in permanent divorce. And the book reflects lucidly about it. Perhaps because of the relevance of her profession, Freixas values the written word like she had never done before until now.” (Anna Caballé, ABC)

Other People Are Happier (2011): "

Without fraudulence of any kind, with a frank and direct voice and blunt resourcefulness (…) the writer Laura Freixas returns to the world of fiction. (…) Interest in her continues to grow and grow (…) A true pleasure.” (Pilar Castro, El Cultural / El Mundo

"An account that shares many traits with the Bildungsroman or coming of age tale (…). A novel that will help audiences discover (or remember) the magnitude of the profound social and familial metamorphosis of Spaniards from the times of the dictator to the present.” (J. M. Pozuelo Yvancos, ABC

"In this work of searching, looking and choosing autonomously is the secret line that animates a mature and careful tale, in which discovering the other—this other that we typically assume is happier— in the end, is a discovery of oneself.” (Rodrigo Pinto, El País)