20th-Century Spanish Literature: From Novecentismo to Post-War
Novecentismo and Generation of ’27
In Spain, the generations of 1914 and 1927 pursued a renewal of literary forms and themes. Both were influenced by the European avant-garde, also called isms (Cubism, Futurism, Surrealism…), which developed between 1905 and 1930. The authors of 1914 advocated a pure and dehumanized literature, while the Generation of ’27 merged tradition and innovation in their art.
1. The Avant-Garde
Around 1910, the European artistic and literary avant-garde movements, or isms, emerged. These movements rejected traditional art forms and advocated experimentation, adopting new themes and forms of expression. The most important isms in the literary field were:
- Creationism (of Hispanic origin): sought to create reality within the work itself, using linguistic games.
- Surrealism (from France): aimed to express emotions and subconscious thoughts, using automatic writing, which resulted in irrational images.
1.1 The New Novel of the Century
The European novel model experienced a revolution in form and content.
- Marcel Proust (1871-1922), author of a group of seven novels grouped under the title In Search of Lost Time, dissected the psychology of a group of high-society characters.
- Franz Kafka (1883-1924) portrayed the anguish of human beings and the absurdity that governs social relations in works like The Metamorphosis and The Trial.
- James Joyce (1882-1941) wrote Ulysses, setting the plot of Homer’s epic in contemporary Dublin, using transgressive language and figures from other literary genres.
2. The Novecentismo
In the second decade of the 20th century, a group of writers emerged characterized by intellectualism, their European aspirations, and their search for pure art, meaning art free from ties with reality and any form of sentimentality. This group is known as the Generation of 1914 or Novecentismo.
The main representative of Novecentist poetry is Juan Ramón Jiménez. In prose, the authors cultivated the essay and the novel.
2.1 The Novecentist Novel
It is characterized by two features:
- Descriptive lyricism
- Nonfictionality: The presence of real places. What matters in these works is not action, but reflection and description of the characters and their environments.
Notable Authors
- Gabriel Miró (1879-1930): distinctly lyrical novels, such as The Leprous Bishop and Our Father San Daniel.
- Ramón Pérez de Ayala (1880-1962): evolved from the realism of his early works to the symbolism of Belarmino and Apolonio or Tigre Juan.
- Ramón Gómez de la Serna (1888-1963): the main introducer of the avant-garde in Spain and creator of greguerías (humor + metaphor).
2.2 The Novecentist Essay
- José Ortega y Gasset (1883-1955): The Dehumanization of Art. His thinking reveals the influence of the avant-garde, as he defends originality, the lack of sentimentality, anti-realism, and the predominance of the image.
3. The Generation of ’27
They are so called because this group of writers met in 1927 to commemorate the tercentenary of the death of Luis de Góngora. The authors of ’27 had a solid intellectual background, admired the poetry of Juan Ramón Jiménez and the ideas of Ortega y Gasset. However, they were not content to follow the model of dehumanized and pure poetry and art, but added new formal and thematic elements, merging modernism and tradition.
Outline of Authors and Works from ’27
- Pedro Salinas (1892-1951): The Voice Due to You. Reason of Love
- Jorge Guillén (1893-1984): Cántico (Canticle)
- Gerardo Diego (1896-1987): Manual de Espumas (Manual of Foams), Versos Humanos (Human Verses)
- Vicente Aleixandre (1898-1984): Destruction or Love, Shadow of Paradise
- Dámaso Alonso (1898-1990): Children of Wrath
- Federico García Lorca (1898-1936): Gypsy Ballads, Poema del Cante Jondo, Poet in New York
- Emilio Prados (1899-1962)
- Luis Cernuda (1902-1963): The Reality and the Desire
- Rafael Alberti (1902-1999): Marinero en Tierra (Sailor Ashore)
- Manuel Altolaguirre (1905-1959)
Authors and Stages (Deepening)
Juan Ramón Jiménez
His work is characterized by the pursuit of perfection. There are three stages:
- Sensitive Phase: Influence of modernism, sonority of verse, and presence of modernist symbols and motifs. Musicality and adjectives. Arias Tristes (Sad Arias), Elegías (Elegies), La Soledad Sonora (The Sonorous Solitude), Platero y yo (Platero and I) (elegy in prose).
- Intellectual Stage: It opened in 1916 with Diary of a Newlywed Poet. Formal simplicity and more complex themes. Themes of loneliness, death, eternity, creation. Diary of a Newlywed Poet, Eternity, Stone and Sky, Beauty.
- True or Sufficient Stage: Works written during his American exile. Transcendence, perfection, and beauty. Search for God. On the Other Side, God Desired and Desiring.
Federico García Lorca. Poetry
Two stages, separated by his trip to New York.
- First Stage: Gypsy Ballads. Popular poetry type. Desire, rebellion, death. Poema del Cante Jondo (Andalusian folklore), Romancero Gitano (Gypsy Ballads) (Roma as a mythical and virtuous people).
- Second Stage: Poet in New York. Influence of the avant-garde, especially surrealism. Irrational images. Emotions. Poet in New York.
Teatro: La Barraca Theater Company
Works: Symbolist text. Tragedies of great dramatic intensity. Blood Wedding, Yerma, The House of Bernarda Alba.
Post-War Literature (Franco)
In the 1940s, Spain went through a major economic crisis. Literature reflects the hardships of war. Social literature develops. Themes of poverty, hunger, and inequality.
From the 1960s onwards, there is a weariness of social literature. Search for new models. The Latin American Boom emerges in Latin America.
Rooted and Uprooted Poetry
- Rooted Poetry: Optimistic tone. Cultivated by Leopoldo Panero, Luis Rosales.
- Uprooted Poetry: Feelings of anxiety about life. Dámaso Alonso (Sons of Wrath), Blas de Otero (Angel Fiercely Human, Pido la paz y la palabra (I Pray for Peace and the Word)).
The uprooted poetry of the 1940s evolved into the social poetry of the 1950s.
Social Poetry of the 1950s
- Blas de Otero (1916-1979): Reports the situation in the country. Pido la paz y la palabra, Que trata de España (Which Deals with Spain).
- Gabriel Celaya (1911-1991): ‘Poetry is a weapon loaded with the future’. An instrument of social transformation.
- José Hierro (1922-2002): Addresses social issues (Tierra sin nosotros (Land Without Us), Quinta del 42). Later works: very personal lyric, conceives reality as an enigma.
Generation of 1950
Deepening awareness of reality. Neglect of social poetry. Evocation of memories and personal experiences.
Jaime Gil de Biedma, Claudio Rodríguez, Ángel González, José Ángel Valente
The Novísimos
1970: José María Castellet published the critical anthology Nuevos poetas españoles novísimos (Newest Spanish Poets), with works of minor and aesthetic poets. Cultural references.
Guillermo Carnero, Félix de Azúa, Ana María Moix, Pere Gimferrer
The Novel of the 1940s
- Camilo José Cela: The Family of Pascual Duarte (1942). Introduces tremendismo, a movement that crudely addresses the most sordid aspects of reality.
- Carmen Laforet: Nada (Nothing) (1945). It addresses the meaninglessness of existence in a stifling, stingy environment.
The Social Novel of the 1950s
Description of settings and characters. Reproduction of conversations with objectivity. Critical intention. Collective protagonist.
- Camilo José Cela: The Hive (1951)
- Rafael Sánchez Ferlosio: El Jarama (1956)
- Miguel Delibes: The Rats, The Cypress’s Shadow Is Long
- Carmen Martín Gaite: Between Curtains
- Ana María Matute: First Report
The Experimental Novel of the 1960s
- Luis Martín-Santos: Time of Silence (beginning of the experimental novel)
- Miguel Delibes: Five Hours with Mario
- Camilo José Cela: San Camilo 1936
- Gonzalo Torrente Ballester: La Saga/Fuga de J.B.
- Juan Benet, Juan Goytisolo, Juan Marsé
The Novel in Latin America: The Boom of the 1960s
- Gabriel García Márquez: One Hundred Years of Solitude
- Mario Vargas Llosa: The Time of the Hero
- Ernesto Sabato: The Tunnel
- Julio Cortázar: Hopscotch
* Magic Realism
Theater in Franco’s Era
Intellectual bourgeoisie humor. Close to the European trend of the absurd.
- Enrique Jardiel Poncela: Eloísa está debajo de un almendro (Eloise Is Under an Almond Tree)
- Miguel Mihura: Three Top Hats, Maribel and the Strange Family
1950s: Social Theater
It reflects the country’s problems.
- Antonio Buero Vallejo: Historia de una escalera (Story of a Staircase) (1949)
Buero Vallejo’s stages:
- 1st Stage (social and existential drama): Story of a Staircase
- 2nd Stage (historical drama): The Sleep of Reason, Las Meninas
- 3rd Stage (explicit social criticism): The Foundation
During the 1960s-1970s: experimental stage. Spectacle and interaction with the audience. Fernando Arrabal. Groups: Els Joglars, La Fura dels Baus