Fiction, Fakery, and Factory Farming

Spanish novelist Munir Hachemi talks about Living Things

Detail from <em>Still Life with Grapes and Game</em> (c. 1630) by Frans Snyders (National Gallery of Art)
Detail from Still Life with Grapes and Game (c. 1630) by Frans Snyders (National Gallery of Art)

It’s the summer after graduation, and Munir Hachemi and his friends G, Ernesto, and Álex leave Madrid for an idyllic summer picking grapes in the French countryside—because, as Munir writes in the sixth edict of his “decalogue of decalogues about experience as literary capital”: “What sets a novelist apart is having a unique worldview as well as something to say about it. So try living a little first. Not just in books or in bars, but out there, in real life. Wait until you’ve been scarred by the world, until it has left its mark.” But the scars end up a little deeper than Munir anticipated. There’s no grape harvest—thanks to climate change—and the four friends end up working alongside the “etcetera of Europe” at a series of nightmarish factory farms where they do everything from injecting monstrous chickens with mysterious vaccines to artificially inseminating genetically modified corn. At least, that’s the premise of Hachemi’s 2018 novel, Living Things, published earlier this year in an English translation by Julia Sanches. But how much of this tale is really fiction? And what’s the point of fiction in an inhumane world anyway? Munir Hachemi joins us in the studio to talk about storytelling, machismo, and going vegan.

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Stephanie Bastek is the senior editor of the Scholar and the producer/host of the Smarty Pants podcast.

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