A MOVING CHRONICLE OF CHILDHOOD ACTIVISM SET AGAINST THE BACKDROP OF THE SPANISH CIVIL WAR
“A gorgeous and ambitious story about the Basque land and language.”
—PUBLISHERS WEEKLY, starred review
David Imaz, the protagonist in
The Accordionist’s Son,
was raised in the village of Obaba and is now living in exile on a
ranch in California. Nearing fifty and in failing health, he decides to
write the story of his youth, a narrative that takes the reader from
1936 to 1999. David’s pastoral childhood in Obaba is ruptured when, as
a teenager forced to learn the accordion (like his father), he finds a
letter implicating his father in fascist activities during the Spanish
Civil War, including the execution of local republican sympathizers.
This letter leads to other discoveries—like the fact that David’s uncle
opposed his father’s activities—and Obaba’s history slowly cracks open
to reveal to David the political tensions still raw beneath the
surface, and the long shadow cast by the war. With
The Accordionist’s Son, Atxaga delivers a politically charged and deeply personal novel —It is his finest work to date.
“
The Accordionist’s Son at first beguiles us with its
leisurely flow like a late summer river, but it is a dark river with
streaks of blood seeping from the muddy banks of the past. The
undercurrents of class divisions, very personal politics and the sins
of the fathers pull us deeper. It is a disturbing story about good and
evil embedded in the struggle to save a language and culture, a
struggle that metamorphoses into terrorism.”
—ANNIE PROULX
“A fresh voice in Basque and Spanish literature…
The Accordionist’s Son, first published in the Basque language in 2003, is [Atxaga’s] most accomplished novel.”
—THE INDEPENDENT
“Each character is a world, a story marvelously integrated into the
whole… A master storyteller has become a fabulous chronicler of
reality. . .
The Accordionist’s Son charms and moves us.”
—LA VANGUARDIA
“The first great Basque novel.”
—TIMES LITERARY SUPPLEMENT
One of the “21 top writers for the 21st century.”
—THE OBSERVER