"Cinco horas con Mario", by Miguel Delibes

Going back to the postwar literature, today I would like to talk about “Cinco horas con Mario” (1966), by Miguel Delibes. This is a very easy book to read, which combines perfectly the main character’s private life with social and political issues. Carmen’s husband, Mario, just died, and after his wake she spent five hours alone beside his corpse. During this time she talked to him non-stop about their life together.

The novel has 29 chapters; an omniscient narrator narrates the first and last one, and Carmen narrates the other 27 chapters in the middle. I agree with Alfonso Rey, who points out in a paper entitled “Forma y sentido de ‘Cinco Horas con Mario’” inserted in “Historia y crítica de la literature española” (1980), that Carmen does not talk in a monologue, but more like in a dialogue. Alfonso Rey’ reasoning for this is that Carmen was talking to a dead-Mario as if he was alive and listening. She is having a discussion with her husband, in which she tries to make several political, social and religious statements that make her a not impartial narrator. 

Through Carmen’s words the reader is able to access the conservative Regimen’s ideology, which makes a huge contrast with her husband’s life. The ideological differences between both of them are significant. Carmen criticized, even despised, her husband’s ideology. Thinking of herself as a victim, Carmen became a selfish person that did not love nor understood Mario.

"Fortunata y Jacinta", by Benito Pérez Galdós

Though usually Benito Pérez Galdós is studied as a 19th century author, I like thinking that he is a transition to the 20th century literature. That is why today I am writing about him.

Galdós’ books are a great way to learn about Spain’s history and society. An example is “Fortunata y Jacinta”, which is perfect to understand the Spanish political and social reality at the second half of the 19th century. This book shows the way the bourgeoisie and the poor class lived at that time, and constantly refers to the political environment. 

“Fortunata y Jacinta” was published in 1885 and 1887, but the story is set between 1869 and 1876. In 1868 the most important cities in Spain organized themselves against the central government, and soon the queen Isabel II had to leave the country. The new constitution of 1869 made important changes that were oriented to democracy and a very limited monarchy. Amadeo I de Saboya was chosen as the new king, but soon he resigned because of a very conflicted environment against the monarchy. The Republic is proclaimed in February of 1873, but it didn’t last for too long because of the regimen’s political weakness. “El carlismo” was one of the factors that brought down Amadeo I and, later, the Republic. This novel brings up “el carlismo” many times. Finally, in 1875, the monarchy was reinstated and the king Alfonso XII initiated the period known as “La Restauración”.

“Fortunata y Jacinta” tells us the story of two unhappy married women: Fortunata and Jacinta. To make a long story short, this is a very complicated plot in which Jacinta, Juanito’s wife, wishes to be a mother, but she is sterile. Fortunata, married to an impotent and ugly husband, is Juanito’s lover, wishes to be his wife, and becomes the mother of his son. At the end, Fortunata dies, leaving her baby to Jacinta. But this book is much more that the story. Galdós described every character in detail, presenting Madrid’s social life through all of them. I like imagining this book as a tree, in which every branch is the story of some secondary character, being all connected to the trunk or main plot. But Galdós’ universe is much bigger than that; he connected many of his books through common characters. As example, in “Fortunata y Jacinta” we can think of Torquemada. At the end we have a huge net of characters that is Galdós' universe.

This book is extremely large, but somehow Galdós keeps us interested from the first to the last page.  The way he writes is very oral, and some times the reader can have the impression of being listening to a friend. Galdós also uses humor to keep us engaged. This humor leans on caricature and funny comments. But humor allows him to use satire as a way of social and political criticism.

As a conclusion, Galdós is a genius because he was able to create a very commercial literature that at the same time was a piece of art.  

  

"Nada", by Carmen Laforet

Last week I read “Nada”, a novel written by Carmen Laforet. It was not the first time I have read this book, but I have to admit that this time I was able to pay more attention to the details.

“Nada” (1945), next to “La familia de Pascual Duarte”(1942), is one of the most important novels in the postwar Spain. The new Spain that Franco created broke drastically with the literature done before 1936, and culturally Spain was back in time looking for traditional forms. We can think of Juventud Creadora, the journal El Escorial, or the journal Garcilaso. The key word: realism. Far from any innovation, Franco’s Spain grew apart from “los ismos” or any desire to experiment. The books written, limited as they were, focused on: publicity of the new Regimen or escapism (trying to forget the war and its consequences). Social or politic criticism was out of the table because of “la censura” (censorhip). That is why “La Familia de Pascual Duarte” and “Nada” are so unique. Cela and Laforet found a way to overcome “la censura” and offer a critical view about Spain and, at the same time, be able to get published.  

“Nada” tells the story of a young girl, Andrea, which went to Barcelona to live with her extended family while studying at the university. Andrea found a completely dysfunctional family that was marked by the Spanish Civil War. She struggled with this family situation and the lack of food, to finally become a professional woman.

Other novel to have in consideration is “La plaza del Diamante” (1962), written by Mercè Rodoreda. This is the story of Natalia, a woman that got married to Qimet before the civil war. She experienced the limitations of been a woman, both, in her marriage, and later in Franco’s society. The main character developed her own voice through the novel, going from a submissive young girl to a woman that had learned how to listen to her own voice. After Qimet died in the Spanish Civil War as republican soldier, Natalia and her tow children starved almost to death. Finally she got married to an impotent man, Antoni, and little by little she healed from all the suffering she had experienced.

It is important to remember, before reading these two novels, that Franco’s Spain tried to destroy women as independent and active human been. Women had to be a submissive mother and wife, through which the Regimen could control the family values. Women were reeducated through La Sección Femenina and the Catholic Church. Though Carmen Martín Gaite’s “El cuarto de atrás” is a novel published in 1978, it can help to understand better this situation.

Neither Andrea, nor Natalia, were the ideal woman that Franquism wanted. But Carmen Laforet not only was able to publish in Franco’s Spain, but also was able to win the Nadal prize.