Writing with hunger: three decades of The art of escape, by Sergio Pitol

Sergio Pitol’s El arte de la fuga, published by Era Ediciones three decades ago, has become one of the most celebrated works in his literary career. The book, composed of 27 texts divided into four major sections, blends journalistic techniques with personal essays to offer readers a deeply introspective look into the writer’s journey toward becoming a novelist. It is regarded by many as Pitol’s finest work, offering both practical advice and philosophical insights into the art of storytelling. The book includes reflections on the challenges he faced during his early years as a writer, including periods of extreme poverty and hunger, which he endured without ever abandoning his craft. Pitol recounts his time in the early 1970s in Barcelona, where he met Federico Campbell, another aspiring writer who would later become a mentor and close friend. Both men were struggling to make ends meet while pursuing their passion for literature. They often went days without eating, relying solely on water to avoid discomfort. Despite these hardships, they continued working on their novels, driven by an unwavering commitment to their art. Their financial situation was precarious, with neither having steady income. To cope, they struck a deal: whoever received payment first would invite the other to dinner. These experiences, though painful, became foundational moments in Pitol’s life and are reflected in the raw honesty of El arte de la fuga. The book also serves as a guide for aspiring writers, drawing on Pitol’s deep knowledge of literary traditions. He dissects the works of authors such as William Faulkner, Thomas Mann, Jane Austen, and Henry James, offering nuanced analyses that reveal how these writers shaped his own approach to narrative. At the same time, Pitol shares personal anecdotes that illustrate the emotional and psychological toll of the creative process. For instance, under the title “¡Y llegó el desfile!” he reproduces entries from his diary from 1980, detailing his attempt to write a detective novel. He outlines the initial ideas, gradually shaping them into a coherent structure, and eventually refining the tone and mood. This manuscript, titled El desfile del amor, won the prestigious Herralde Prize for Fiction and is considered a classic within the noir genre in Spanish. Another standout section of the book is titled “La marquesa nunca se resignó a quedarse en casa.” In this piece, Pitol passionately defends the novel as a literary form, arguing against its frequent dismissal in modern times. His arguments are rooted in his own experience, demonstrating how the novel can serve as a powerful vehicle for exploring complex human emotions and societal issues. Through this essay, Pitol not only reaffirms the value of the novel but also positions himself as a defender of the genre. Beyond its literary analysis, El arte de la fuga also provides glimpses into Pitol’s broader life and influences. It includes a collection of dream journals, which offer insight into his imaginative processes and subconscious thoughts. Additionally, the book features accounts of real-life events, such as a trip to Chiapas in early 1994, shortly after the Zapatista uprising began. These narratives highlight Pitol’s ability to blend personal reflection with historical context, creating a rich tapestry of experiences that inform his writing. The book also touches on Pitol’s time in Warsaw in 1965, when he had been living there for two years. During this period, he encountered a range of cultural and intellectual influences that would shape his future work. These experiences, along with his struggles in Barcelona and his later successes, contribute to the depth and authenticity of El arte de la fuga. The book stands as a testament to Pitol’s resilience, creativity, and dedication to the written word.