“Crimen” by Agustín Espinosa

Lately I have been writing about several books that don’t really follow a storyline. We can think of “Impresiones y Paisajes” by Lorca, or “Lancelot 28°-7” by Agustín Espinosa. “Crimen” (1934), also by the Canarian author Agustín Espinosa, doesn't have a complete storyline. It’s possible that this kind of books can seem boring, but in this case the reader has to focus on something else, and not just paying attention to the plot. It is crucial to understand that during the first half of the 20th century many intellectuals tried to experiment with literature, and the way a text is written. I love giving the example of “Cazador en el Alba”, by Francisco Ayala, because it focuses on the style and not that much on the story.

“Crimen” is the perfect book to understand Surrealism in literature. The person that tells the story confesses that he killed his wife during the honeymoon, throwing her through the train window. Killing her hunts him, and affects him mentally. Most of this book shows a subconscious that cannot forget this murder, and expresses it through dreams, nightmares and a strong imagination.

This is a very short book, but very useful if the reader wants to approach surrealist and experimental writings. Without knowing that the person who is talking murdered his wife, we cannot understand anything. Knowing what happened allows us to comprehend each text in the book. It is very easy to read, and somehow keeps us entertained by trying to put all pieces together, and interpreting it. Like always, Espinosa’s writing is very poetic, and uses images that are very significant through the entire book. In this case the sea is crucial. But also his selection of words is unexpected, and shocking. The use of words like excrements, masturbation, or vomit are used many times:

“Ella se masturbaba cotidianamente sobe él, mientras besaba el retrato de un muchacho de suave bigote oscuro”

But this is something I believe we can expect in many surrealist texts, like in “México y Viaje al País de los Tarahumaras” by Antonin Artaud.

“Lancelot 28°-7” by Agustín Espinosa

Agustín Espinosa (1897-1939) was a very active member of the avant-garde (Surrealism) in the Canary Islands during the late 20’s and all 30’s. At the time, he was well known for two major works, “Lancelot 28°-7” (1928), and “Crimen” (1934). Sadly he has been forgotten and nowadays his name doesn’t ring a bell to many people. But his work is, without a shadow of doubt, one of the best representations of the Surrealism in the Canary Islands. Agustín Espinosa played with images in a magical way, giving them new complete meanings. “Lancelot 28°-7” is an excellent example of this.

This book doesn’t have a story line, because it doesn’t tell a story in itself. It is prose poetry, filled with powerful images. The target is to rediscover Lanzarote, one of the Canary Islands. What I mean is that Agustín Espinosa tries to redefine this island through the reconceptualization of symbols that characterize this insular space. Examples are the palm trees or the wind. By doing so, Espinosa shapes a Canary identity that differs from the rest of Spain. Lanzarote is Africa… the Canary Islands are Africa, but place in a global and modern context. The Canary Islands culture feeds from the world, and it is modern. An example is Puerto de Naos:

“Tú- hombre del siglo XIX; cazador de lo pintoresco-: esquiva puertos de esta clase. Este Puerto no se parece ya a tus puertos románticos. Aquí todo está ordenado. Clasifiado. Los barcos parecen más papeletas de un fichero que aventureros del océano.” (91)

Every Canarian should read this book, because gives a perspective on our own identities. It pushes us to think of ourselves in a healthy way, as Canarians, Spaniards, Europeans, Africans, and citizens of the World. It is a shame that this book is not read in the schools at the islands. I hope that some day that will change, and High Schools will offer a class in Canary culture.