Alonso Guerrero was born in 1962. In 1982 he won the Felipe Trigo Prize for short stories with Tricotomía and in 1987 the Navarra Award for best novel with Los años imaginarios. He dappled further in short stories with El hombre abreviado (1998), Fin del milenio en Madrid  (1999), and De la indigencia a la literatura (2004).
Novel writing also induced him to experimentation with Los ladrones de libros (1991), El durmiente (1998), El edén de los autómatas (2004), Doce semanas del siglo XX  (2007) and the futuristic narrative Un palco sobre la nada (2012).
In 2004 he has published an essay on the writer’s trade entitled La muerte y su antídoto. His latest books include a novel on the 11 March  bombings in Madrid, Un día sin comienzo, and El mundo sumergido. He also authors book reviews and newspaper columns, while teaching Spanish Language and Literature at a secondary school in Madrid.



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El amor de Penny Robinson (Berenice, March 2018)

This novel tells a story with scantly any precedents: simply because he had been married to the woman who was to become the Queen of Spain, a man used to living his life on an even keel suddenly finds he is a media celebrity pursued by women’s magazines not only for what he can disclose but for who he is.
It happens that the protagonist is a writer. He has now described that experience and, more specifically, how he survived it. The novel is fiction that could have been autobiography, and at the same time autobiography that needs fiction to seem credible. Rarely are we witness to an incursion into the inexplicable and often ominous magic that changes a life chosen at random.
The author claims that he needed to urn his experience into a plot, but without disappointing readers seeking not just an account of events, but a work of literature.

El amor de Penny Robinson is la modern epic, with all its vested interests and mistakes. The author, i.e., the protagonist, shares his doubts with the reader, who could have been placed in the same situation. This endless escape narrates parts of the life recovered by the lead character, or rather served to him on a silver tray by circumstance. That is the sole compensation for someone who lives with the certainty that no matter what he does, he’s sure to go wrong.