Neither there is tomorrow nor what was written yesterday seem true: first of all, in literary historiography, where there are countless angles devoid of light and a few corners still wrapped in dense shadow. Therefore, the salvage and publication of authors and texts who contributed to illuminating almost unknown literary creations is as necessary as it is laudable. With the poetic work of Rafael Azuar (Elche, 1921-Alicante, 2002), two brilliant young scholars – Rául Molina Gil and Manuel Valero Gómez – did this: a compilation made with the greatest possible care and presenting an interesting case. his attention focused on the early post-war Alicante core (Vicente Ramos, Manuel Molina, painters Sempere and Azuar), his journals Renacer del Silencio, Arte Joven and Intimidad Poética, and especially the versatile creative personality of Rafael Azuar. The manuscript is collected, interpreted and analyzed.
Known above all as a novelist – his novel Teresa Ferrer (1954) shared the same vote as another Ignacio Aldecoa in the La Novela del Sabado competition; another, Los zarzales (1959) was a finalist for the Planeta Prize; and Modorra (1970) won the Café Gijón Prize-, Azuar is the author of an important didactic work, as well as a series of essays on different aspects of the novel that have proven his solidity as a theorist. However, this important and valuable aspect of him did not prevent him from continuing his poetry, although he did not publish much between 1955 and 1975 and maintained an almost absolute silence, interrupted only by his collaborations with the magazines. His devotion to the novel undoubtedly limited his poetic production; however, it has not completely disappeared, although it has been reduced to a relatively parallel function; According to the editors, the meaning that determines the collection of his poems in collections rather than books is the anthologizable meaning. Studyed by philologists such as Manuel Alvar, José María Balcells, Javier Carro, José Ferrándiz Lozano, Vicente Ramos, Manuel Ruiz-Funes and Manuel Valero Gómez, Rafael Azuar’s poetry began under the influence of German (Hölderin) and English (Keats). romance. , Shelley) and the poem V appearing in “Vivamos” by Catullus.
His first book, Pearls of Silence (1944), deals with mythological themes and rehearses laments and self-portraits in his work “Soledad sin luz”. Poemas (1950) deserves special attention because of the symbolist meaning of the book, understood as an organic unit, its introduction to biblical prose poetry—39 and its articulation in two clearly separated and defined parts depending on its form. form. in prose or verse. Where in the former the neo-romantic echo predominates, in the latter the influence of the sensuality of the first Juan Ramón is very evident, providing first glimpses of his worldview (“Man is the word; the world is matter”), rehearsing romanticism and dialogic poetry, as in “Maya”, Lorca’ He pays a personal tribute to either and points to an increasingly succinct expression (“Flor de la nada, perfume del silencio…”), which culminates in “Me sobra con.” la faith”. In La Lucha Elemental (1955) he chooses the sonnet and the lyre – the one under the influence of Cervantes; this, under Fray Luis de León and San Juan de la Cruz, with echoes of Gerardo Diego, “to Josefina The letter seeks language economy with hits such as “not daring to be” from “-,”. light rose of the wandering day” and his tribute to Alicante, which he calls “the capital of the foam/ and the swallows”. His sonnet “Because you came to see me with two wings” comes to the fore, under the influence of Miguel Hernández, and denounces the oppression he suffers “under the captivity and under the gag.” The history and songs that follow (1975) is an existentialist book that thematizes the “sea of absolute nothingness,” followed by Unamuno and Camus, with poems such as the “Naked” sonnet. He also uses the chaotic ordering of what he is going to theorize. Diario in front of the sea (1985) is as broad as it is heterogeneous: in it, returning to the prose poetry that he had originally developed, he achieves “Cañaveral” and “7”, “10” and “11”; and innovates with a series of prose compositions that open up the possibilities of poetry, as in “Neruda”, “Gil-Albert” or “Jorge Guillén,” which are more literary texts of criticism than lyrical portraits. Look for the words “song of things”.
It is without a doubt the best and most ambitious of his books, but it is also the one with the least unity and the most thought on Ken Russell’s cinema, even if the author is included. the mechanisms common to dreams and cinema, their reflections on the short story, or what he calls “the novelist’s tragedy”, which, however clear our understanding of the literary genre may be, is far from being poetry. Finally, Victoria del amor (1995) contributes little other than the sonnet “Gris” and its tribute to Alicante. Rafael Azuar was a poet who suffered the consequences of living in the black state and thus being a kind of exile in a country where everything was extremely centralized.