Crear entre mundos: Nuevas tendencias en la metaficción española ed. by Iana Konstantinova and Sabrina S. Laroussi Olga Bezhanova Konstantinova, Iana, and Sabrina S. Laroussi, editors. Crear entre mundos: Nuevas tendencias en la metaficción española. Albatros, 2021. Pp. 283. ISBN 978-84-7274-386-2. Studies of Spanish metafiction tend to concentrate on the novel, and the value of the collection of essays Crear entre mundos: Nuevas tendencias en la metaficción española edited by Iana Konstantinova and Sabrina Laroussi resides, to a large degree, in the meticulous attention that it pays to a variety of genres that use metafictional techniques. To reflect its openness to different kinds of metanarrative, the volume is divided into two parts. The first analyzes audiovisual narrative and contains three articles dedicated to film and one each to television and photography. The second part addresses literary narrative and includes two chapters on short story, four articles dedicated to the novel, and two that address metafictional elements in contemporary Spanish theater. Between the two parts, the editors placed a section titled “Interludio: Entre mundos” that echoes the title of the volume and invites us, through the two chapters that compose it, to explore works of art that bring together the literary and the audiovisual. The first chapter is authored by Samuel Amago, the author of two foundational volumes on metafiction in Spanish literature, and film and is titled “Estéticas reflexivas en el cine español contemporáneo.” Amago’s exceptionally well-structured and densely packed essay points to a variety of potentially fruitful veins of analysis of self-reflexive cinema in Spain. One of the most intriguing [End Page 142] suggestions that Amago makes relates to a contrast between, on the one hand, movies created by Spanish film-makers to explore the complexities of the country’s historical legacy and current socio-political troubles and, on the other, American movies filmed in Spain that tend to advance the intellectually and historically hollow vision of ‘Spain as a brand,’ a marketing concept that has been particularly useful to justify the neoliberal austerity measures after the crisis of 2008–09. Critical studies of metafiction often suffer from an excessive degree of self-referentiality, concentrating on whether a specific work of art can be considered an example of metafiction. Of particular interest among the chapters of Crear entre mundos are those that step outside the confines of the debate about the definition of metafiction and, instead, explore the ways in which self-reflective art invites us to consider crucial political and social questions of the day. Joanne Britland’s “El Selfie de la España poscrisis: Una autorreflexión a través del mockumentary,” for instance, argues that self-reflexive narratives are of great value at a time when Spaniards need to reflect on how to process the consequences of the economic crisis of 2008-9. Vilma Navarro-Daniels’ exceptionally well-argued chapter, “‘Sobreviviremos como dos robinsones’: La pérdida de referentes sociopolíticos como disolución del sujeto en ‘La muerte mientras tanto’ de Ignacio Martínez de Pisón” demonstrates that the metafictional elements in a short story by Martínez de Pisón allow the author to refer to and question the political and social consensus of the Spanish Transition. The careful structuring of the volume allows the editors to weave together, in a coherent and meaningful fashion, valuable studies of different forms of artistic expression while maintaining the critical thrust signaled in the introduction. In the part of the volume that is dedicated to the audiovisual arts, a chapter titled “Cinematic Intertextuality and Self-Reflexivity in El Ministerio del Tiempo” by Linda Bartlett discusses a popular Spanish TV series and questions the ways in which Spanish identity is articulated in the globalized world, echoing the considerations articulated by Amago in the first chapter. In the part that explores literary narrative, Mónica Botta closes the volume with an insightful article titled “Indagaciones sobre el acto de lectura en El chico de la última fila de Juan Mayorga” that elegantly brings the readers back to Amago’s observations on the complex and fruitful interplay between metafiction and reality. Several of...