At the age of 35, according to biology, pregnant women are considered to be pregnant women of “advanced age.” At 35 years old, it seems like a T-Jove user would have to pay the price of a 50 year old adult. At the age of 35, Rimbaud, who wrote the bulk of his work between the ages of 16 and 20, nearly died in France after smuggling his arms into Ethiopia. When Millie Bobby Brown was 35 years old, in the 23rd year of her debut Strange things. I tanmatix, in literary Catalonia, 35 years is the minimum that separates youth from maturity: ara matix, someone who wrote in Catalan at the age of 35 (or menis) is officially the child of literature, a barbamec of lead, a prima facie promise more in favor of breastfeeding than arthritis. The Documenta Prize, now awarded by Irene Rubio, has celebrated 45 editions in search of “young talent”. Ambassador’s youth, is that it ends, the rules embrace a maximum of 35 years. Poetic justice in this case makes the history and list of award winners published by L’Altra work as an endorsement of a prestigious award.
In 2026, Documenta will not be the only award to promote youth. In a few moments of difference, two prizes for unpublished works with very similar characteristics were announced: La Magrana, in collaboration with Òmnium, announced the Lo Somni Prize “for narrative in Catalonia by first-time authors”, worth €10,000 and to be awarded during future Nit de les Lletres Catalans. This award has three elements: There are no age restrictions —iuvenes dom somos-, if they can provide first-time or published authors, they include the name of the work that Bernat Metge wrote when he was fifty-three, an age that did not represent adulthood in the fourteenth century. The other award will be published by Edicions 62 and, more concretely, the BBVA Sant Joan-Joves Talents Award, which in this case is limited to candidates aged 18 and –That’s va sans awesome— 35 years old, also given 10,000 euros.
In this sense, fiction author fever has also become a trend in the publishing industry. A noticeable part of the sector, both literary and commercial standards, seeks to give priority to “old novels” all the time, so that the creation of first introductions to new authors poses a threat to the repetition of the system, with the risk that the illustrator Vicens Bajès Jorda has done a good study: both the first book’s reception and media are necessarily worthy, but from the second (not the third) the road is expensive. The irony is that under normal circumstances, the writer’s work is more mature in the third or fourth title, and in return it is noted that it is more mature. History is full of novels that debuted at both awards and have been buried in obscurity, perhaps because belief in youthful promise generates unnecessary pressure. And why, in fonts, the greatest reward for someone starting out – amb 35 or amb 50 – is to be able to write freely and feel the siren songs of the industry.