Showing posts with label guerra civil española. Show all posts
Showing posts with label guerra civil española. Show all posts

Saturday, July 6, 2013

Nada (1944) - Carmen Laforet


Sobre la autora y la obra
-          Laforet
o   Spain, 1921-2004
o   Wrote during the post-Civil War period of repression; writing reflected desire for change and liberty
-          This was her first novel and her most famous, considered her best
-          Testimonial novel genre (I think)
-          Influence of existentialism
-          A novel of female adolescent development, Nada is considered a classic in 20th century Spanish literature; in many respects, this novel is Spain's The Catcher in the Rye with regard to such universal themes as existentialism and the adolescent search for identity. (Wikipedia)
-          Nada es una novela de carácter existencialista en la que Carmen Laforet refleja el estancamiento y la pobreza en la que se encontraba la España de la posguerra. La escritora supo transmitir con esta obra, escrita con un estilo literario que supuso una renovación en la prosa de la época, la lenta desaparición de la pequeña burguesía tras la Guerra Civil. (Wikipedia)

Comps ideas to consider
-          La novela de posguerra: de la novela existencial a la novela realista: Camilo José Cela y Carmen Laforet

Secondary source – Cambridge Companion to Spanish Novel Chap. 11: Gonzalo Sebajano
-          Very negative tone (177)
-          Some traits of romance (177)
-          Use of memory (178)
-          Technique of expressing the narrator’s own feelings of empathy through the consciousness of a naïve, central character (178)
-          Neorrealismo (178)

Characters
-          Andrea – protagonist, recent orphan, novel focuses on her adolescence
-          Juan – Andrea’s uncle
-          Gloria – Andrea’s aunt (married to Juan?), somewhat promiscuous/shady
-          Román – Andrea’s uncle, was a spy during civil war, kind of a jerk
-          Angustias – Andrea’s aunt, eventually goes to live in a convent, very controlling
-          Abuela – talkative, devout churchgoer, relatively powerless
-          Ena – Andrea’s friend, who has a richer family; rather strong/active character
-          Jaime – guy that Ena wants to get with, Andrea and Ena hang out with him
-          Pons (& artist friends) – artist guy that Andrea sort of has relationship with and hangs out with some

Summary 
     Andrea comes to Barcelona to stay with her extended family because she has recently been made an orphan. Her family is quite strange: they’ve been altered by the war. Her uncles Juan and Román are very volatile: they fight with one another all the time. Román provokes Juan and his wife Gloria. Aunt Angustias is just very angry with everyone. Grandma doesn’t really do anything except talk. However, in spite of the disgusting state of their house, Andrea finds herself being taken in by them. She finds out a bit about what happened to them during the war. Román was a spy and Juan’s past is uncertain: Gloria learned about what was going on with them by listening through a keyhole. Román is unhappy that the two of them got married. Román’s work is unknown, and seems shady but lucrative. Juan’s work is unknown, and doesn’t bring in very much. Gloria brings in some money gambling at her sister’s bar, although Juan thinks she’s really a prostitute.
     Andrea becomes friends with a girl named Ena, whose family has money and often feeds Andrea dinner. Angustias leaves for a convent (Juan says that it’s because she’s too afraid to pursue the man that she’s had a long-lived affair with) and Andrea becomes less connected to the house. Román continues his hidden life (which is never fully explained), Juan has no money so Gloria has to play cards and sell furniture from the house to buy baby food. Andrea lives off a meager allowance and starts to get a little loopy from hunger. Gloria and Juan fight all the time, and Grandma always defends Juan. No one has enough to eat.
     For awhile, Andrea and Ena hang out with a dude named Jaime (who Ena is interested in), but the relationship eventually runs its course. Ena begins to hang out with Román, which bugs the heck out of Andrea, but she can’t stop her and the two of them drift apart. Andrea begins to hang out with a guy named Pons and his artist friends. The artist friends are super-pretentious (one of them thinks he’s a Romantic and at one point mentions ‘following the path of Béquer’) and super-spoiled by their rich parents. Pons shows some interest in Andrea, who sees him as an opportunity to escape from la calle Aribau, but they don’t work out. Ena’s mother tells Andrea how she was interested in Román once upon a time but that, in spite of his charms, he was a rotten person deep down, and lazy. Anyway, it turns out that Ena has just been seeing Román because she wants to learn who he is (after hearing stories about him from her mother) and ultimately break his heart, which she does. Román ends up killing himself (Gloria says that it’s because she called the cops on his smuggler ass and he was about to be busted, although who knows if she really did or not). Ena’s family leaves Barcelona soon after this, and Andrea rolls out eventually to live in Madrid with them.

Themes/ideas
-          Novela posguerra / Testimonial novel
o   Realistic image of what life was like after war
o   Depiction of hunger/near-starvation and poverty of normal society
o   Idea of the war’s lasting effect on Spain
-          Spanish identity (post-civil war)
o   Spain is a shadow of what it once was, has lost its former glory
-          Female adolescence, bildungsroman?
o   Idea of generational changes (between Abuela, Angustias, Gloria, and Andrea) – ej: when Angustias complains about what she could do when younger vs. what Gloria can do now
-          Family vs. friends
-          Importance of keeping up appearances
-          Symbolism of the house
o   House is messy, so the people that live in it have messy lives
o   House grumbles like an animal
-          Night vs. day
o   Danger of the night; monsters/hidden things emerge at night
-          Extremes
o   Andrea’s feast or famine mentality (whenever she has money, she splurges)
o   Angustias’s treatment of Andrea – kind or cruel/abusive
-          Existentialism
-          Social change
o   Old money (families like Andrea’s) is out, new money (families like Ena’s) is in
-          Microcosm of Aribau neighborhood

General Plot Notes
Part I:
1). Begins: "Por dificultades..." Many unknowns up on arrive. Blood flows with excitement. She's finally in the big city. Rides a horse carriage, setting is posguerra. Heads up to Aribau ($$ wealthy area of Barna) to live with relatives. Sees electric light! Big city charm. "I'm here. It's me, your granddaughter." I couldn't come this morning like I'd written. Uncle greets her her, but the scene is bleak. The women are fantasmales. She wants to take a shower (which becomes a baño de brujas). Tía Angustias is rough. Angustias dice "nunca duermo". Her bed=coffin.

2). First tranvías in the city. Wakes up and sees old portrait of her gparents. They came to the neighborhood when it was new, for descanso. Now, city had grown up around it (generational shift).  When abuelo died, gave up half the flat and what was left was desorden. Her tía thinks she needs to mold her somehow. La ciudad es un infierno. The city is dangerous. Aunt is awful to her...and then says, "Me lo pagan con ingratitudes." (she sounds like the absurd nun in Rosario Ferre's stories).

3). When Andrea is happy, Tía is humble. When she is sad, Tía is authoritarian. Made to wear awful blue hat when in city (keeping up appearances). Gloría, una graciosa who likes herself in a pleasant way, cuenta mentiras intercaladas a sucesos realies. Symbolism of house (house as messy, therefore people in in have messy lives.) Juan painting a nude. Then, one day, crying, "Román did something terrible to me." Roman says he read the card Gloria wrote to Angustias. City people as hiding emotion. Andrea as sentimentalista. Mentions to her how her mom got out, left the city for the country.  Only Angustías, Roman and Juan were stuck (so maybe the Big City ain't the promised land).  Andrea sees Gloría fleeing at night.

4). Cúantos días sin importancia! Autumn isn't beautyfull as expected, sino triste. Abuela (in a theatrical dialogue) explains how Juan and Ramón were close siblings, Abuelo was upset when Juan wanted to become artist. Abuela is upset when Juan wanted to become artist. Abuela is upsest becuase Román has kissed (affair?) with his brother's wife, Gloria [who says no one loved her, when Juan took care of her {?}} Revealed that Aungustias sheltered her boss Jerónimo during the war. Román is associated with the Rojos. He was a spy and spies are cowards. Gloria tells of her flight to Tarragona, how Juan fell in love. Nostalgia, perfection. Román trying to convince Juan to join nacionalistas. Abuela forgives him for that. Juan asks Román to bring Gloria to Barna. Asked to draw her nude. Abuela is more conservative. Román was furious when he found ou tGloria listend to their convos sneakily. Jerónimo and Angustias had a secret stash of food. Abuela was witty with republicanos who could've criticised her for her saints. Andrea is listening, but sick with fever.

5) Angustias, true to her name, keeps anguishing others. Andrea does well at university. One friend wants to meet their uncle because he was a musician.

6) Even little things were tragedies for people of Aribau. Makes friends with Ena, wealthy girl who invites her out a lot. Andrea begins to feel unequal. So she'd give her a handkerchief (one of her only possessions). Provides feeling of wealth and happiness. Juan/Gloria/Angustias: fight! Angustias accuses her of stealing hankie. Juan hits Ang. Juan calls Ang. out on her affair with her boss. Then, it's x'mas. Brief moment of peace. Andrea talks to Angustias very kindly (even though she doesn't deserve it). This family is broken.

7) Ang. packs up to leave. Jerónimo comes by for her new address. Then looking at family photos, Andrea sees one of her mom, Amalia, but abuela denies it's her. Román is now chasing her with afectuosidad. Andrea begins to sleep in. Angustia's room as the gran oreja de la casa, hears Gloria sneak out at night. Román tries to convince Andrea "You don't need friends, just family." Román, she is realizing, is just as bipolar as Angusty. R. says he controls others emotions- "Manejo a todos." He's kinda freaky. Ena calls.

8) Ang: Angry that abuela lets Gloria go out even though she never let  Angu. One day, Andrea wakes up with a strong feeling of rebellion towards Ang. Ang. says  "He cometido un pecado de soberbia y me voy para siempre." She's going to cloister, still thinks that there are only two honorable paths for women and since she's not married.... "Tú has sido mi última desilusión y último desengaño," (wanted to be like a mom to Andrea, yet reveals she'd prayed for her death [or salvation]). Lastly, Juan has abused Gloria.

9) Amigas de Angustias say her house has changed so much. Gloria doesn't know why Ang thinks she should be angry and not just leave with Don Jerónimo. Gloria pasa de los roolos de la familia y dice que va  a visitar a su herman de noche. Gloria says she never married because her father didn't like the guy...You're no saint!

Part II

10) Andrea walks at night to see cathedral, soledad. Scary figure comes out from shadows (night vs. day). It's the guy from Ena's house. Andrea says she now just wants to pay for her room, will eat outside house. Abuela doesn't want her to have to pay. Andrea keeps wanting to buy/compensate for Ena's friendship.

11) She  begins to try new foods, dry fruit. She would spend all her money at restaurant at the beginning of the month. Lived on bread at the end. Juan/Gloria, mother fight. So, Gloria sleeps with Andrea. Could I escape? One day he'll kill me!  Andrea is hungry and possessed by a feeling of bestialidad (the house is getting to her). Wants to eat Gloria. Juan comes in to get Gloria.

12) Ena talks to going to country; she's interested in Jaime. Ena says there's onlty one person she loves as much as Jaime and Andrea. One day, Andrea gets mad, harta de su sonrisa de autoridad. Then, Gerardo (Creepy guy) comes around and he kisses her. Then ena comes over to her house, but when Andrea arrives she leave.

13) Ena says she can't come around anymore. Gloria is worried she's pregnant again. She meets up with Pons in library. A friend of his wants to paint her. She calls for Juan. Action dies down. Andrea wants to go with Pons.

14) Andrea losing memory (?)  will ena and Román marry (?) Friendship with Ena is losing encanto. Ena confesses: she waited at ther house for 4 hours. Roman entertained her. Ena says taht she doesn't like that Andrea se avergüenza de su familia. Ena says she wanted to befriend Andrea b/c she seemed a little trastornada and that interested her and le conmovía. She's just fascinated.

15) Baby is dying. Juan fighting in street.

16) Román becoming señorito. Spending money on suits (where is this money coming from?) Gloria is worried that he likes other girls, even Andrea. Andrea thinks that is ridiculous (it's her uncle, after all)-she is clearly off her rocker. Mentions Angustias' beggar. Then Andrea warns Jaime, "I think Ena is desgraciada."

17) It's June heat. Chinches en casa. Tries to fight them, takes disinfectant baths. Román jokes that andrea will be a good housewife. Juan feels need to control the house. Pons invites Andrea to spend summer with family @ Costa Brava. Then, one night, again spying (which seems to be a family pastime), Román recalls good ol' days with Gloria. Gloria calls him out for being a traitor, because something happened with Gloria...she confesses she even denounced him to be fusilado!

18) Feels ternura for Juan. Feels like a princess, like Cinderella. Abuela sells some of her furniture. Pons' house, which is a happy and beautiful place (not messy and angry like hers). Pons compliments her and she doesn't know how to take it. Actually, she blows it! Like a Greek tragedy. Finally has an opportunity and loses it! Chapter ends with her seeing Ena.

Part 3

19) Ena's mom says andrea is E.'s only friend (which is surprising after she had despreciado a ella). Andrea has pride in her hair. Cuts in..."Orgullos humildísimo me corroía enteramente." (Cuts in for Román?)  e tells her she's worthless to him. Father doesn't like him. Andrea ends up marrying Luis. Ena's mom mentions she never wanted a child from her husband, yet she falls in love with the child and it opens her world.

20) Juan and Gloria are fighting because she's selling things for foor and he doesn't want her to. Very violent. Gloria says Andrea must know life is more beautiful than this. She's seen it. Gloria says Roamn does dirty work. G. mentions how her sister tired to set her up as "a lady of the night". Gloria has Jesus feet (sacrificial imagery).
Mentions Ena is coming to Roman's room. Andrea is mad because she thinks men and women can do more together tan be lovers. Andrea goes on walk, but goes home because she thinks Ena's there. Ena tells Román shes in her hands. The nightmare is over. then Andrea enters, feels like she sees Roman's gun and tells Ena to run....But nothing happens.

21) Hangs out out with Ena in Rain. Ena admits she was obsessed with Roman, but admits she loves Jaime too. Admits she was afraid of Roman. Ena's mom also had a moment with Roman. (Resulta que en a moment when Ena had made fun of Andrea, she had just had had a bad moment with Jaime)

22) Jaime, Ena and A. start hanging out again. Juan is dying-killed himself (not really??? I think it's just the other brother that dies).

23) Roman dies- suicide because he'd been denounced to police. The house is silent. Abuela's daughters blame abuela's unequal treatment to sons and daughters for this ending.

24) Andrea, two months later, feels death in the house. Juan goes away-Gloria wants him to go in manicomio, yet abuela still wants to protect him. Ena writes to Andrea from Madrid.

25) Gloria sells more things (decadencia). Andrea can go work/study in Madrid. And Ena will marry Jaime. Happy-ish ending.

Monday, June 3, 2013

Soldados de Salamina- Javier Cercas (2001)

(There's a movie!)

From article online:
A grandes rasgos, la novela de Cercas explora los complejos hilos que controlan los actos humanos, no como la armonía impuesta por una organización colectiva, sino por la voluntad y las motivaciones, muchas veces contradictorias, de los individuos

Rafael Sánchez Mazas, un hombre cultivado, aristocrático, poeta esteticista, intelectual, ha provocado, posiblemente, junto a sus compañeros fundadores de Falange, la guerra fraticida más “triste” de todas.
(Basically, how could a group of learned people essentially "create" Spanish Fascism?

-el surgimiento de la Guerra Civil se debió en gran medida a una revuelta de corte antisocialista: una alianza de Falange (movimiento minoritario animado por fuerzas monárquicas y de vieja estirpe aristocrática), con militares y agrupaciones políticas más conservadoras.

Rafael Sánchez Mazas= antihéroe, symbolizes los intelectuales y artistas que fascinados por el poder y guiados por una ambición política (extensión equivocada de la imaginación, realización que escapa a la literatura) contribuyeron en algún momento a crear o a justificar la barbarie


Another article:
Javier Cercas decidió que el libro que iba a escribir no sería una novela sino un relato real "cosido a la realidad, amasado con hechos y personajes reales que estaría centrado en el fallido fusilamiento de Sánchez Masas y en las circunstancias que le precedieron y le siguieron".
 relata paso a paso el calvario de Sánchez Mazas que se libró de la muerte, gracias a un miliciano que le miró fijamente, cuando apenas escondido en la maleza se negó a darle el tiro de gracia. 
Masas as first, most influential Spanish Fascist. 


The Book

Part I
Father died, wife left, dropped out of school-heard about R.S.M.'s fusilamiento. Starts to write for newspaper, interviewed Rafael Sánchez Ferlosio (mixture of "aristócrata castellano avergonzado de serlo" and "viejo guerrero oriental") He was cordial, but didn't want to answer interview ?s. Finally, talks about father's fusilamiento at the end of the war, '37, fled MAD, ended up in BCN. It was a mass execution, so republicans probs didn't know they were shooting on of the founders of the Falange. He was shot, but not killed and escaped into the forest. A guy found him, had a chance to kill him, but didn't. Around that time (of the interview), the trendy thing to do was to try to vindicate falangist writers. But, was vindicating a falangist the same as vindicating the falange? No. 
Anyhoo, he recalls that Machado and RSM died around the same time- simetría y contraste entre essos hechos terribles. Mentions news article he wrote about their experiences. One guys writes a card to the paper telling of another man who survived the fusilamiento, Aguilar. The card writer works for the ajuntament of the town Banyoles because of an enchufe he has. Says he's independentista. (Nacionalismo es una idealogía/independentismo es sólo una posibilidad." Aguirre says Republicanos probs DID know who they were shooting, mentions fusilamiento could've been ordered from Servicio de Inteligencia Militar. Mentions a specific masía where his father may have gone after shooting. Aguirre wants to know if he's planning to write a novel with this info. "No. I don't write novels. And besides, this isn't a novel; it's a real story." Finds out another guy has written almost the same story, except in one version the militiaman shrugs his shoulders before leaving, in the other, he looks him in the eye. Yet, this story goes against the traditional doctrine of war, e.g. never save the life of an enemy. 
Mentions his (mexican? or maybe it's just that he's about to go on vacay to Cancún.) girlfriend (who dresses like a hooker), Conchi. During that Cancún vacay, decides to write the book. Sánchez Mazas, que estuvo siempre al lado de José Antonio y desde ese lugar supo urdir una violenta poesía patriótica que inflamó la imaginación de centanares de miles de jóvenes y acabó mandándolos al matadero, es más responsable de la victoria de las armas franquistas que todas las ineptas maniobras militares. Discusses meeting with Figueras, whose father+father's brother+father's friend became republican deserters and hid in the forest when they knew they were losing the war. They found this half-blind man in the forest, RSM, who said he was the oldest Falangist in Spain. Fig.'s father ended up in jail and family asked him to ask RSM (now a ministro) for help to get out (o sea, que la gente sabía algo de su relación...) Fig. hands over what he thinks to be RSM's diary from the forest and offers to take him to place in forest where they were hiding. Tells him his tío is still alive and he could try to talk to him. Finds out a few things reading the diary- learns there was probably some kind of contract  "un modo de formalizar la deuda que RSM tenía con quienes le habían salvado la vida." (One page torn out which seemed to be the page where he thanked them for helping out). Looks for Pere Figueras' name among a list of prisoners-doesn't find it (he's trying to verify all the facts of the story). He's thinking it might not be true, that people have just invented a mostly-unverifiable story to help mythify themselves. BUT then, librarian locates his name (poorly transcribed). Maybe it was all true. Tells Conchi about it, she thinks it's a great idea to write a book. Goes to visit Figueras. Someone tells him, "now I remember. RSM was going to write a book about the event called Soldados de Salamina." Angelat doesn't know if he actually wrote the book or now, but if he did, he wants to see it because he's sure it would talk about him. Cercas is excited-he has a real story for the paper.

Part Two: Soldados de Salamina. 
27 abril 1939: Pere Figueras + 8 compis sent to prison in Girona, RSM named "consejero nacional de Falange Española + some other stuff). 
RSM: esquinado (prickly), soberbio, despótico. No: mezquino ni vengativo. So his office was full of ppl looking for intercession for their jailed familiares. Asks for Joaquín Figueras, padre de Pere and Joaquin (jr.) Tells him he'll get his son out of jail. RSM's max moment of power was in that role. Father was a military doctor, grandfather was the king's medic. RSM was an excellent writer (like Zorilla, Unamuno, etc), also licenciado en derecho. Had done reporting in war of Morocco. Married Catholic italiana. Then, became a Fascist- "el instrumento idóneo para curar su nostaliga de un catolocismo imperial" y "para recomponer por la fuerza las seguras jerarquías del antiguo régimen" A way to make his poetry REAL, an impossible paradisiacal world. War, in a sense, is the time, par excellence for heroes and poets, so RSM wanted war to break out, wanted a Spanish Mussolini (channeling the panic of countless traditionalists who feared the disappearance of the monarchy). 1st attempt with Primo de Rivera. RSM responsible for rhetoric/propaganda/symbols of the Falange (used yoke and arrows, like los Reyes Católicos). In the early days, intellectuals from the left and right could still meet up at the same bars in Madrid to engage in (relatively) friendly name-calling. Falange grew, then cut off by police in 1936. RSM went to jail, allowed to leave 3 days to see new baby. Someone warns him not to come back to the jail, so he flees to Portugal-or, tries to. Militiamen ask him for ID, which he says he doesn't have because he's on a secret mission. While verifying his story, the chief dude tells him to take refuge in the Chilean Embassy, where he'll stay for 1.5 yrs. In Fall of '37, tries to flee. Gets plugged in with a group called Quinta Columna. Later, jailed on a boat called Uruguay. Manages to avoid the death penalty and two days before Franco's troops arrive in BCN, doesn't know if he'll be freed or executed. In another jail. Food is scarce, conditions are bad. They're told they're going to work in an aviation field in Banyoles, but RSM think it's a cover. Realizes he can escape because he's 5th in line. Can't escape from behind because that's where the bullets will come from, nor the left nor the front, but sí a la derecha, en los pinos. He runs into the woods just a little bit and hides. He stands up and dum dum dummm, a soldier is looking at him. Without compassion or hate or disdain, the soldier doesn't shoot. Then, he goes looking for a more permanent shelter, ends up at masía. María, 26, farmer's daughter, sees him first, offers him food. He finds it more important to not die of food/cold than delación (denunciation). He tells them he's a leader of the Falange. They show him where he can stay, offer to feed him. Republican soldiers (the Figueras brothers + 1 other) come up to him...he tells him, yet again, the truth. A little bit of background about the Figueras (basically, they're tired of war...might be desertors, too). Basically, RSM says, you all help me now and when the nationalists win, I'll make sure you all are alright. One night, Angelats saw Joaquim sleeping, but not Pere or RSM. They were outside smoking. Blah blah. A few days later, nationalists arrive. RSM, thus, is in the clear. he refers to them as his amigos del bosque. María would keep writing to RSM, who always responded, interceding for her friends. RSM never saw Pere, Angelats, Joa again ...but they saw him. Falangist dreams become "aguachirle gazmoños, previsible, y conservador". flagrant discrepancy between vision and reality. RSM becomes leader of RAE. Dismissed because he wouldn't go to Franco's meetings. Imagen de hombre íntegro y reacio a las vanidades del poder. Lo más probable es que sea falsa. Basically, even though things don't pan out he says, "ni me arrepiento, ni me olvido." Rafael Sanchez Ferlosio, his son, wrote El Jarama (WOAH). Also, he was a member of a bourgeois upper class that he wanted to protect. He is rich. y punto. Died in 1966. "la literatura y la plentitud son incompatibles. Hoy poca gente de acuerda de él y quizá lo merece.". 

Part 3: 
Cita en Stockholm  
finished writing Soldados sooner than he expected. Thought the book would take a life of it's own bc "uno no escribe acerca de lo que quiere, sino de lo que puede", also thought RSM would be the nucleo of the book. I read the finished prouduct and it wasn't bad, it was just unfinished. Conchi gives a shallow response (in keeping with her hookeresque character)- "told you not to write about a facha!" Starts a job at the paper in which he interviews many ppl. Interviews Chilean writer who says Cercas isn't such a bad writer. This writer lived through Allende/Pinochet. First, he really hated Allende. Now, he thinks of him as a heroe, aka someone who thinks they're a hero and they're right or someone who understands that a hero is someone that doesn't kill or lets themself be killed. RSM never killed and sometimes he thought of himself as a hero. Bolaño says a decent person is not the same as a hero. There is something blind and irrational in a hero. Bolaño and Cercas meet for lunch the next day, keep talking (B invites him for lunch frequently). They have lots of deep convos about writers and writing and memory, etc. B. is diagnosed with fatal disease, tells Cercas this story about Miralles. Met this guy at a campsite (for "proletariats"). His body is covered in scars (it's 1978), got drunk frequently. Tells him in Fall '36, was in a Republican batallion (though before the war, he was a-political). He was ok with the anarchists at the beginning of the war, but the chaos they were creating wasn't helping the Republican side. So, in the summer of '37, the anarchists were "liquidated". In Feb. '39, M. crossed the border to France, where a concentration camp was awaiting them (WHAT?!?) So, he joined the French legion and went to Africa to fight against the Axis powers in WWII. Ends up joining Montgomery. Goes to Normandy, too. Strictly volunteer division- 7 años sin parar de luchar. Makes it through Austria/Germany. Steps on a mine...yet he didn't die! In the end, he becomes a French citizen with a pension for life. Got married/lived in Dijon. Had a daughter named María, who Bolaño met at the campsite. Miralles started to sleep with a prostitute named Luz, got so drunk/sad when she wasn't around. One night, B. hears soft music playing, gets up and sees Luz and M. dancing a sad paso doble. The summer ended, said their goodbyes and B never saw M again. Cercas wants to write down their story (as long as B. hadn't already, which he hadn't). Then, Cercas has the revalation he should ask Bolaño about RSM. Cercas wonders if Miralles could be the militiaman who saved RSM. Tries to call campsite to ask for his info; no dice. Makes more phone calls. Cercas now wants to talk to this guy even more than he wants to finish the book. Bolaño tells him it's better just to invent a Miralles. But, C is insistant and calls for info on 81 residencias. Finally reaches a man named Miralles. When he starts to question him, Miralles says, "no one ever thanked me for fighting for Spain. A war is a war." (basically, he's upset, maybe feeling accused). Miralles says "those historias aren't interesting" and gives Cercas a message for B to remember "stockton". B. explains the movie to C, "nosotros íbamos a acabar igual, fracasados y solos" like the characters in the movie. C. goes to Dijon.  Miralles starts to talk to C. about guarding the [enemy] men, "peces gordos". He knew RSM was there. Says if they would've been able to kill RSM, would'v have "ahorrado la guerra". FINALLY Miralles says that RSM survived thanks to a soldier of Lister. war as full of historias novelescas**(sounds like that other book- reality/fiction) Mir: "there are no heroes in times of peace. real heroes are born in the war and die in the war". Talks about his friends who died and gets sad. Miralles wants C. to come back and visit. Tells him RSM knew the soldier that saved him, yet still says it wasn't him. ends with Cercas on the train, reflecting about writing his book. 

Thursday, May 30, 2013

Cuarto de atrás (1978) - Carmen Martín Gaite


Sobre la autora y la obra
-          Martín Gaite
o   1925-2000
o   Married to writer Rafael Sánchez-Ferlosio
-          Genre of “novel of memory”

Comps ideas to consider
-          Las narradoras de la transición: Carmen Martín Gaite

Secondary source – Cambridge Companion to Spanish Novel, Chap. 11: Gonzalo Sebajano
-          One of the best examples of the “novel of memory” (184)
-          Creation of the figure of “the man dressed in black,” an intriguing example of an enigmatic being or the model of a phantom-like interlocutor (187)
-          Blends memory, metafiction and fantasy (189)
-          Idea of the loneliness that lies at the root of being and nurtures the desire for dialogical communication (190)
-          “Chapter I introduces the protagonist – Carmen Martín Gaite – in the solitude of insomnia; Chapter II to VI consist of dialogues; Chapter VII, the final one, returns to the protagonist, her solitude hardly interrupted” (190)
-          All the events of the novel happen in one night (190)
-          “the interlocutors of El cuarto de atrás do not occupy the same space (the world of fiction), but exist in two distinct realms: Carmen in her own lived reality, and her visitor in Carmen’s fantasy realm, each also existing in an intermediate zone between the bizarre and the marvelous” (190)
-          Woman receives an unexpected visit from a stranger (190)
-          The ‘man dressed in black’ represents an inner spirit or the hidden sounding board of Carmen’s own consciousness (190)
-          Man dressed in black helps Carmen to write this novel of memory (190)

Article: “War as a rite of passage in El cuarto de atras”
-          Book as
o   social commentary on Franco years
o   mystery story
o   -corpus of childhood memories
-          During night of insomnia, visited by man in black of ambiguous identity/questionable reality. Conversations with him reveal formative episodes from her past/sentiments/fears, etc. 
-          "nocturnal visitor personifies writer's sub-conscious"
-          civil war: disrupts childhood, loses hideaway (the "cuarto de atrás"), gains knowledge of deprivation, fear, death (rite of passage, childhood--> adulthood like Primera Memoria)
-          war as testing ground for child's survival instincts...finds "a room of her own" in literature, which becomes her new "cuarto de atrás"
-          As a child, C de A was a private realm, insulated from strictures of adult outside world, freedom, innocent pleasure, and fantasized romance were available.
-          Gaite excludes marriage from the novel, rejecting authoritarian imposition of marriage by the Franco regime as sole, predetermined path for women.
-          Carmen, protagonist, is able to foster inventive spirit kindled in her during the war and subvert some restrictions placed on females.
-          "Although her self-hood is achieved in her withdrawal from reality, in her refuge she assumes the active posture of the creator."
-          As a child, she is unable to understand or confront circumstances (related to the war)...Yet, innocence is shattered by knowledge of pain, injustice and the corruptability of society. Her playroom becomes a pantry.
-          As an adolescent, "brief but significant" escape in defiance of rules of proper female behavior...slept in a hotel room with her cousin, without parents, and go on a walk at night.
-          Writing becomes a refuge during the war.

Characters
-          Carmen – narrator and protagonist
-          “man dressed in black” (Alejandra) – Carmen’s dream interviewer
-          Carmencita Franco – Carmen’s daughter

Chapter-by-chapter summary 
Chapter 1: El hombre descalzo
     The narrator, named Carmen (appears to be the author herself), recalls the position in which she often sleeps and a dream that she often has of stars ascending up, and the sound of silence that accompanies them. However, she cannot sleep on this night and so she wanders around the house a bit. She goes out on the verandah and ends up in a room with a bunch of crap in it. She thinks about the pills that she could take to sleep. She looks at, and reflects on, some books (and how they temporarily inspired her to write), a painting (“Luther’s conference with the Devil”), the threadwork that her grandmother used to do, and a letter that she discovers that was written to her. Eventually she goes to sleep.

Chapter 2: El sombrero negro
     A man comes up to Carmen’s place to interview her. He has a black hat that she puts on a table that captures her attention for a moment. It’s a strange interview, as he doesn’t ask conventional questions or carry a recording device/pen and paper. Carmen is afraid of cockroaches because they are unpredictable and seem to be considering her as she considers them. As he asks her questions, the dialogue shifts to Carmen’s memories from the war period, when she was a young girl. The narration is difficult to follow because Carmen often shifts from one topic to another suddenly, moving from the present to the past to something mentioned earlier in the book, all without any sort of signposts of rhythm. She enjoyed the wartime years because she didn’t really understand what was going on: she thought it was all a game. They discuss the popular culture and hairstyles of the war years, and whether the young Carmen envied Franco’s daughter (which she only did for her hair. Otherwise, she felt bad for her because the girl seemed very bored).

Chapter 3: Ven pronto a Cúnigan
     As Carmen goes to the kitchen to prepare some iced tea, she mentally delves into some memories. The chapter focuses largely on Madrid, and how in Madrid her family would meet with many family friends (who didn’t have anything interesting to say to a young girl) and there was always a sewing apparatus in every house in those days. There is sort of a meditation on the modernization of industry for a minute. Then, she talks about “el cuarto de atrás” where, in Salamanca, she learned to read and write. There were other back rooms, but they were also sites of learning. Her mother was not a typical housewife, and she taught her daughter more about learning than about house maintenance. “Mujer que sabe latín no puede tener buen fin” (title of Rosario Castellanos’s collection of essays). In a propagandistic magazine of the day, Y, she read that she should aim to model herself after Queen Isabela, who was so self-sacrificing and religious. After her meditations, she takes the beverages and returns to the living room where the interviewer waits.

Chapter 4: El escondite inglés
     The chapter begins with Carmen being weirded out that the interviewer has changed seats: it appears that he has also messed with her room/a table full of papers. He claims he has not though. They drink their tea, and she admires his graceful movements. She explains to him about el escondite inglés (hide-and-seek) and then they go on to talk about her reactions to the death of Franco. She says that time moves like in el escondite inglés, where one is never sure how fast things are going to be counted off. When she saw the funeral procession of Franco on TV, she realized that her entire life, more or less, had transpired during his rule. He was the only sort of government that she had even known; she also sees how his daughter, Carmencita Franco, has aged. She was then inspired to write a book about her memories, although there were so many memoirs coming out at that time that she couldn’t bring herself to and, in spite of some early efforts, the project stalled. She wants her book of memories to be more than just a factual recounting, but something almost fantastic as well, something that captured the spirit of that age. She, thus, has returned to reading the romance novels of the time that occupied her as a young lady. The phone rings, and the interviewer says it might be for him and asks that Carmen say he is not around anymore.

Chapter 5: Una maleta de doble fondo
     This entire chapter consists of a conversation between Carmen and a woman named Carola (whose name is not revealed until the conversation is well along). Carola thinks that Carmen is someone that the interviewer in her house (whose name is revealed to be Alejandro) is having an affair with. While their conversation is going on, Carmen imagines how this would fit well into a story that she could have written when she was younger and in school. Her focuses wanders in and out of the conversation, and she wonders if that man really might have come into her room while she was making the tea. Carola thinks that Carmen has written love letters to Alejandro, and there are some crazy connections between the different situations, even though it becomes obvious that Carmen is not the mistress. Apparently, Alejandro is her man and he has been acting weird since he claimed to have received his inheritance from his father, which included a briefcase with a removable bottom (where he stowed the love letters that he received). Eventually, before being able to read Carmen one of the letters, Carola must go because a man named Rafael (whom she called for consolation before calling Carmen) has arrived.

Chapter 6: La isla de Bergai
     The whole phone conversation thing takes a backseat again once Alejandro and Carmen restart their discussion. Talking about her proposed book about her early years, Carmen mentions Bergai and begins to explain it. Also, there are hints dropped that Alejandro is no ordinary interviewer, but there is something supernatural to him. Bergai is an island born of the scarcity that followed the Civil War: it came from a friendship that a young Carmen had with a girl whose family strongly felt the boot of Franco’s repression. Carmen grew up with lots of toy and a room all to herself and her siblings where they could play as they wanted. However, that all changed after the war. So, after showing her friend a doll she wanted (thinking along the lines that she had as a young girl), Carmen is told about the benefits of inventing whole worlds (like in Robinson Crusoe). So, they create the island of Bergai (a combination of names) as an escape from the difficult world. They build the world up together by writing in notebooks about it. Then, Carmen is shocked by her deck door blowing open and Alejandro goes to shut it. After recovering from her shock, Carmen gets tired and falls asleep.

Chapter 7: La cajita dorada
     Her daughter comes in and finds Carmen asleep on her bed. She wakes her up (it’s 5 in the morning and she’s just come back from a party). Carmen doesn’t remember coming to her bed and so she’s kind of weirded out. Out on the table are a bunch of folders of writing and a decorated box (the one that Alejandro gave to her). Her daughter thinks she’s acting weird, but goes into the kitchen. She screams because she saw a huge cockroach, which she wants Carmen to kill so she can go to bed. Carmen doesn’t kill the roach, and her daughter is asleep by the time Carmen can bring her some water. On her bed, where earlier she had her book about writing fantastic fiction, there is a manuscript which is actually the text of this novel. She goes to sleep clutching la cajita dorada.


Themes/ideas
-          Novel of memory
-          Novela posguerra
-          Supernatural elements
-          Experimental style


General Plot Notes
I. El hombre descalzo
Talks about her little room, la cama turca, and how she liked to lay on it like the ladies in the magazines she read. She was independent there-could turn on the lights, take a bath, etc. without bothering anyone.
Black man, with camisa desabrochada, cuernos, pelo rizado, orejas puntiagudas (maybe an image on one of her books?) She's looking around in her room at stacks of books. General insomnia.

II. El sombrero negro
Telephone rings. It's 12:30 am. Someone's at the door and she goes down to let them in. She talks to the man/visitor about her writing. Offers to tell him what she's writing about as long as he doesn't remember any of it.
Talks about her beca de estudios to study in Coimbra.
"La literatura de misterio tiene mucho que ver con las cartas que reaparecen." The man seems to already know about her books. "[la novela] empezaba prometiendo mucho, pero luego tuvo ud miedo, un miedo que no ha perdido nunca, ¿qué le paso?" (when she was there, she looked in a mirror and saw a reflection that wasn't hers...) Talks about hearing about Hitler, didn't understand why Spain let him in the country....yet, she didn't believe history.
Mentions literature as an attempted refuge. Sees Franco once, imagine the boredom his daughter must've suffered. Mentions she envied her a little because she had curly hair, but her family "no eran franquistas".
"La felicidad en los años de guerra y postguerra era inconcebible, que vivíamos rodeados de ignorancia y represión..." (censura/fusilamientos..) pero, a pesar de todo, tiene recuerdos felices de su infancia.

III. Ven pronto a Cúnigan
(her writing has bits of songs/poems of various types-fado, foxtrot, etc)
Goes to the kitchen to make a tea for her guest. "Me horrrorizan las cocinas de ahora, asépticas, lujosas e impersonales, donde nadie se sentarías a conversar..." "no hay que tenerle tando miedo a la huella del tiempo."
..."he venido asociando la literatura con las brechas en la costumbre."
Talks about the past, how things have been modernized. A little bit like a memoir..."Cuando venían a coser a las casa, traín dulces o caramelos para los niños" etc. "A mí ir al teatro era lo que más me gustaba de todo lo que hacíamos en Madrid." "Yo soñaba con vivir en una buhardilla donde siempre estuvieran los trajes sin colgar y los libros por el suelo, donde nadie persiguiera a los copos de polvo..."
-criticizes the stories they sell (e.g. of a girl at university studying who falls in love with a professor and gets married)-why do they all have to have happy ending? no one tells you what happens after the wedding! "La retórica de la postguerra se aplicaba a desprestigiar los conatos de femenismo que tomaron auge en los años de la República y volvía a poner el acento en el heroísmo abnegado de madres y esposas...." "Las dos virtudes más importantes eran la laboriosidad y la alegría"

IV.
El escondite inglés.
Her drawing of Lutero becomes the subject of conversation.
They talk about fate & she remembers books about Isabel la católica (Spain's golden age) "donde cada paso, viaje, o decisión de la reina parecían marcados por un destino superior e inquebrantable."
Metafiction: "el libro sobre la postguerra tengo que empezarlo en un momento de iluminacion como el de ahora, relacionando el paso de la historia con el ritmo de los sueños>"
Hide and seek game: "uno, dos, tres, al escondite inglés."
She has notebooks, writes down lots of memories (but often misplaces her escrituras).
"quedarse, conformarse y aguantar era lo bueno...salir, escapar, y fugarse era lo malo" "yo pensaba que tambín podía ser heroico escaparse por gusto."
"Desde la muerte de Franco habrá notado cómo proliferan los libros de memorias, ya es una peste..."
Talks about her childhood-born during the time of Primo de Rivera. When she was 9, politics seemed like a game adults played. People in exile seemed like people in a deck of card (like the King of Hearts...) Yet, Franco era "unigénito, indiscutible....infiltraba en las casas, los cines" (he felt like a real Governor, and less like a romantic game piece).
Talks about books "rosas" she read- modernidad moderada "la protagonista podía ser no tan joven, era valiente y trabajadora, se había liberado económicaments, pero llevaba a cuestas un pasado secreto y tormentoso." Their convo continues. The phone rings.

V. Una maleta de doble fondo.
Talking on phone with a person. Saying "they're not here right now", yet the person wants to know the truth. Story about this guy, Alejandro... (I wasn't very engaged when I read this chapter...)


VI. La isla de Bergai

Going to go out with the hombre de negro. He advises her to put on a little makeup. Man tells her, re: book she's going to write, "creo que debe partir del tema de la escasez." "Está ud. hablando de las canciones de postguerra, de cómo todavía no se habían convertido en objetos de consumo." (because in times of escasez, you want to savor things, make them last as long as possible."  "Bergai fue mi primer refugio" (an invented name made by her friend and her.)
words like rationing, amortizar: tenían que ver con la necesidad y se oponían al placer.
Like article says, war divided her life into a before and after, childhood and adulthood.
Talks about the word "lesbiana"-how it never existed before. "expresiones como fornicar y desear la mujer de tu prójimo venían explicadas por medio de eufemismos que multiplicaban los rodeos."

VII. La cajita dorada
A young girl comes into her room. It's 5 pm. She's just waking up. She tells her, "Me preocupa que últimamente estoy perdiendo mucho la memoria, con la buena memoria que tenía yo." She's found the box with all of her notes. She begins to read a book (starts with the same words that were at the beginning of this book...circular, metafictive).