José Martínez Ruiz, Azorínhe published more than 5,000 articles and a hundred length of books, covering all literary genres, in a life that lasted beyond 90 years (Monóvar, Alicante, 1873-Madrid, 1967). Outstanding figure of the generation of 98, together with Baroja and Unamuno among others, Azorín went from being anarchist in his youth to conservative for years, later Republican and, finally, Francoist in his old age. A recent biography, Azorín Classic and modern (Editorial Alliance), by historian Francisco Fuster, reveals the keys to the immense changes in the literature and in the policy of an intellectual that the biographer describes as “compendium of the Spanish twentieth century.” “Azorín,” says Fuster, “has had bad luck because today reads little and keeps Franco’s label for his last stage.”
Far from ignoring or disregarding the trajectory of the Alicante writer for his contradictions, Fuster emphasizes that they are precisely the transformations of Azorín that make him an attractive character, despite his image of a boring, routine and outdated guy. “It’s true,” says Fuster, professor at Contemporary History at the University of Valencia, “who did not have a novel life, rather he was a lonely author to social events. As examples he could contribute that he was a collaborator of the ABC newspaper for six decades and that he had dinner and he always got used early and the same time. Now, he wrote several masterpieces like The will either Don Quixote’s routecreated a sober and elegant style and also risked with innovative proposals both in the novel and in the trial or theater. In fact, he published rare books and never followed literary fashions. ”
In Azorín, his amazing versatility surprises, the passion for writing from a confessed graphomania that made incursions into all genres. In any case, the author uses journalism as a means of life rather than literature. In his facet of columnist and not as a reporter he found, therefore, economic income after leaving the law career. On the other hand, his numerous journalistic collaborations became the basis of his essays from compilations that he later published as books. In his biographer, the format of journalism fell short of an intellectual who read a lot, especially the Spanish classics, and who wrote daily. It was in his plays (Old Spain, Brandy, a lot of brandy either Art comedy) where Azorín opted for symbolism and avant -garde instead of bourgeois theater that prevailed in his time. But in that genre it failed. However, Pedro Ojeda, a professor of literature at the University of Burgos and a specialist at the Alicante author explains that “all the writers of the 98 failed in the theater, even the acclaimed Valle Inclán who cost him a lot to succeed.” “So,” adds Ojeda, “neither businessmen nor actors companies dared to take such experimental pieces on stage.”
Both Fuster and Ojeda agree that Azorín broke into the press when a modern journalism began to take shape that opened the doors to literary essays. Thus, after the articles there were essay constructions. As a firm present in ABC and other Spanish and Latin American media for a long time, Azorín witnessed major changes in the press that included increases in the number of pages, hollow and photos in Spain in the twenties and thirty of the last century while increasing literacy and political polarization. Nor did José Martínez Ruiz rule the autobiographies or travel books and memories such as those dedicated to Valencia, where he studied; to Madrid where he lived for decades; Oa Paris where he exiled during the civil war. As a thread of his literature, the landscape also appears despite the fact that, according to his biographer, he did not go from short trips in Spain. Anyway books like Castile They stand out in their abundant work.
Political side changes
Born in a bourgeois family of Monóvar, son of a lawyer and politician of the restoration, Azorín aroused politics when he had already turned 30 and joined the conservative party. Friend and follower of Antonio Maura, leader of that training, the already writer was elected deputy in five legislatures between 1907 and 1919. Moreover, he even held another political position as Undersecretary of Public Instruction. Opposition during the dictatorship of General Primo de Rivera (1923-1930), joined the ranks of the intellectuals who spoke for a moderate republic in the line of José Ortega y Gasset or Gregorio Marañón. Disenchanted later with the radicalism of the left, he traveled with the banker Juan March, one of the financiers of the coup against the Republic. Fearful to be attacked by the left by its conservatism and by the Francoists, for his previous defense of the Republic, he decided to exile in Paris at the beginning of the war along with his very traditional wife, Julia Guinda, with whom he had no children.
“It is very true,” explains the biographer Francisco Fuster, “that many reproached Azorín for his continuous sigo changes, although he described him as changes in opinion. The accusations against him for opportunistic were frequent throughout the different stages of his life. Thus, after the victory of the Francoists in the war he was forced or to maintain his exile in Paris or to return to Spain and accept the dictatorship. Azorín approached 70 years and needed to continue writing and publish.
Many reproached Azorín for his continuous side changes, although he described him as changes in opinion. The accusations against him for opportunistic were frequent throughout the different stages of his life
Francisco Fuster
– Historian
Francisco Fuster, a young professor of contemporary history and expert in the generation of 98, believes that the left always contemplated with many misgivings the authors of that time and, in the case of Azorín, he labeled it directly from Franco. Craed those of the 98 of Spanish nationalists and carcas, this biographer believes that Azorín’s immense work goes far beyond his last years and the clichés. “It was classic and modern at the same time,” Fuster emphasizes remembering the title of his book, “very curious and always open to novelties. Good proof of this refers to his late fans for the cinema, which he considered an art and not just a show and that also served him to break his methodical daily life limited to the military-library of his house in the center of Madrid from which he was barely left.”
At present, Azorín, who reached literary glory in life and was a read and respected author, a member of the Royal Spanish Academy and awarded prizes and distinctions in various periods, is barely known by literature fans. “His books are no longer read in Baccalaureate and little in the Faculties of Letters,” summarizes Professor Ojeda. “Spain is a dismembered country,” he adds, “and Azorín also had a very obvious and clear style for today’s public. But, ultimately, literature is gradually disappearing from the cultural landscape.”
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