Social Realism in Spanish Literature: A Post-War Movement
Social Realism: A Post-War Literary Movement in Spain
Cela and the Dawn of Social Realism
In 1951, Camilo José Cela published La Colmena (The Hive) in Buenos Aires, circumventing censorship issues in Spain. This work heralded the social novel of the 1950s, offering a stark portrayal of post-war Madrid. Cela uses the city as a metaphor for a hive, where individuals inhabit small cells and fulfill specific social functions.
La Colmena features a complex narrative with around 300 characters struggling to survive in a bleak and morally gray world. The chapters are structured as loosely connected scenes, creating a mosaic of different social classes. Characters are depicted as defeated, disillusioned anti-heroes: the moonlighter, the prostitute, the widowed mother, the poor, and the homeless. Even the wealthy are tainted by social hypocrisy.
Cela presents a diverse society filled with beaten-down, passive individuals whose lives are permeated by apathy and boredom. The narrative employs multiple perspectives, with the same story recounted by different characters in varying ways. The narration shifts between first and third person, incorporating abundant dialogue and an implied narrator who shapes the reader’s perception of the characters and events.
La Colmena was groundbreaking for its innovative approach to the realistic novel of the war. It is considered the immediate predecessor of Social Realism due to its use of collective characters and its focus on a limited space (Madrid) and time (three days). It stands as one of the first post-war novels to confront the harsh realities of Spanish society with a critical and denunciatory intent.
Another novel published in the same year, La Noria (The Ferris Wheel) by Luis Romero, winner of the Nadal Prize, was influenced by Cela’s work, although it is considered to be of lesser literary quality. It centers on the lives of 37 characters in Barcelona, representing the collective experience of society through 37 distinct stories. Romero utilizes the technique of interior monologue to delve into the characters’ inner lives.
Both La Colmena and La Noria paved the way for the Social Realism of the 1950s and served as precursors to the new generation of writers who emerged in that decade.
The Social Realism of the 1950s
The writers associated with this movement grappled with the memory of the war, disillusionment with the present, and hope for a better future. Having experienced the war as children, they were often referred to as the “Children of War.” This generation of writers included prominent figures such as Juan Goytisolo, Ignacio Aldecoa, Ana María Matute, Rafael Sánchez Ferlosio, Jesús Fernández Santos, Juan Marsé, Carmen Martín Gaite, and José Manuel Caballero Bonald.
These writers shared a sense of cultural rupture, feeling disconnected from Spain’s literary past. They embraced a realist narrative style, often infused with social criticism and political protest. They viewed literature as a powerful tool for social change, a “weapon loaded with the future.” Primarily from the middle class, they rejected traditional academic paths and identified as self-taught intellectuals.
The emergence of this type of novel in Spain during this period was facilitated by several factors: the gradual decline of the oppressive atmosphere of the 1940s, a rise in the standard of living, the influx of foreign influences, and a relaxation of censorship, which allowed for previously unimaginable freedoms.
Social Characteristics of the Social Realist Novel
The Social Realist novel aimed to provide a témoignage of the social and political realities of Spain. The working class and the bourgeoisie were the primary subjects of these narratives. Workers were often depicted as inherently good and exploited, while the bourgeoisie was portrayed as evil and exploitative. Extraordinary or heroic narratives were eschewed in favor of portraying the everyday struggles of ordinary people.
- Shift in Focus: The individual protagonist lost prominence, replaced by a focus on the community and collective experiences.
- Limited Psychological Depth: The characters’ inner lives were not explored in great detail; the emphasis was on their social circumstances and external actions.
- Objectivism and Behaviorism: The narrative style was characterized by objectivity, with the author seemingly absent from the story. This approach has also been termed “behaviorism,” as the focus was on recording the characters’ actions and dialogue, minimizing the narrator’s presence.
- Dialogue-Driven: Short, quick dialogues were frequently used to reveal character and advance the plot.
- Reductionism: This technique reflected an economy of time and space. The vocabulary was often limited, creating what has been called an “aesthetic of poverty.” Writers focused on a fragmented view of history, depicting a specific chronological period. Space was also limited, often creating a sense of claustrophobia.
- Implicit Critique: The novels offered a critique of contemporary Spanish society, inviting the reader to draw their own conclusions.
- Linear Structure: The narratives were typically linear, although flashbacks were sometimes employed.
- Simple Language: The language was characterized by short, simple sentences and a limited vocabulary. The sociocultural level of the speaker was generally not reflected in the language used (with the exception of Cela’s work).
Themes and Works of Social Realism
a) Apathy and Disorientation: Some novels explored the themes of apathy and conformity among young Spaniards, reflecting their disillusionment and lack of direction. Juan Goytisolo’s La isla (The Island) is a notable example.
b) Rural Life and Social Conflict: Novels set in rural areas often depicted the clash between two opposing forces: the priest, the mayor, the landowner, or the Civil Guard on one side, and the peasants on the other. The perspective was typically that of the peasant, highlighting their poverty and exploitation in contrast to the wealth of the landowners. Jesús Fernández Santos’s Los bravos (The Braves) and José Manuel Caballero Bonald’s Dos días de septiembre (Two Days in September) are representative works.
c) The Working Class and Labor Conditions: These novels focused on the harsh living and working conditions of industrial workers and employees, exposing the injustices they faced. They often reflected the class struggle and social inequalities of the time. Examples include Central eléctrica (Power Plant) and La mina (The Mine).
d) Housing and Urban Migration: These novels addressed the housing shortage caused by the rural exodus to cities. In the 1950s and 1960s, numerous apartment buildings were constructed to accommodate the growing urban population, while many buildings damaged during the war were demolished. Fernando Avalos’s Dentro (Inside) is a notable example of this theme.