Spanish Post-War Novel: From Existentialism to Social Realism
The Post-War Literary Landscape in Spain
In the immediate postwar period, a natural breakdown of literary evolution is evident. The novel could not connect with the social narrative of the 1930s, banned by the dictatorship, nor with the dehumanized aesthetic of the 1920s. In this scene of confusion, three types of stories abounded, all in a traditional style: ideological, realistic, and humorous. The 1940s did not mark the start of the 1950s renewal. There were only exceptional and isolated cases, such as C. José Cela, Miguel Delibes, and Carmen Laforet.
- 1942: The Family of Pascual Duarte, by Cela C.J.
- 1944: Nada, by Carmen Laforet (Premio Nadal)
These two novels share a bleak and existential tone, which contrasts with the triumphalism or evasive nature of the successful novels of the immediate postwar period. These new voices were joined by others shortly after, such as Miguel Delibes and Ana Maria Matute. In general, these novelists agreed to reflect the bleak postwar world from a pessimistic, existential perspective. Their stories abound with confused, sad, and frustrated characters.
The Family of Pascual Duarte: A Controversial Novel
The Family of Pascual Duarte, by Cela, caused controversy surrounding its alarmism. It was accused of distorting reality by highlighting the most unpleasant aspects. In 1942, it was a shock because the truculence and the gloomy vision of the world contrasted with a triumphalist narrative. The novel tells of a host of crimes and atrocities that seem plausible for the type of character and the environment. As a new rogue, Pascual Duarte tells his biography to understand how he has become a death sentence. Pascual’s intellectual limitation, the fate that seems to dominate the play, and the barbarous and unjust environment make this creature a murderer victim. The work reflects a radical pessimism, close to existentialism. The publication of such a torn novel at a time of political censorship and strict moral standards can only be explained by Cela’s veteran status with Franco and because the events are set in post-war Spain. All his work reflects pessimism in the world and humans (P. Baroja). His tone is detached and derisive, with black humor, torn and cruel. It reflects a distorted view of the world.
The Shift Towards Social Realism in the 1950s
With the Cold War in the 1950s, Spain began to emerge from isolation and joined several international organizations in the U.S. orbit. The incipient development of tourism and industry led to some economic recovery and changes in lifestyles, such as the migration of peasants into cities and the tight integration of these people in urban slums. At the same time, young people who had experienced war as children or adolescents considered the war and postwar country from another perspective and were critical of the power and social division between winners and losers. These positions were manifested mainly in workers’ and university circles.
Social Realism: A New Literary Current
One of the cultural currents was social realism. The Spanish novel of this decade reflected the new social concerns quickly and left behind the existential vision of the previous decade. In 1951, The Hive by Cela was published, with a critical and testimonial tone and a large collective character. Throughout the decade, social realism intensified, and in 1954, it reached its peak. Several books of this type were published by Ana Maria Matute, Ignacio Aldecoa, Jesus Fdez Santos, Juan Goytisolo, Rafael Sanchez Ferlosio, Carmen Martin Gaite, and Juan García Hortelano. The theme of the novel was Spanish society: the harshness of rural life, the difficulties of the transformation of peasants into industrial workers, the exploitation of the proletariat, and the banality of bourgeois life. The style of the realistic novel was simple, both in language and in narrative technique, to reach a wide audience. Testimonial or critical content was more important.