1
Camilo José Cela, La rosa, Buenos Aires, Destino, 1979, p. 20. (N. from the A.)
2
Fernando Uriarte, «Apuntes sobre San Camilo, 1936», Papeles de Son Armadans, 59 (1970), 328 (see also pp. 324, 326, 334); Gemma Roberts, «La culpa y la búsqueda de la autenticidad en San Camilo, 1936», Journal of Spanish Studies: Twentieth Century, 3 (1975), 82; Angelines Echave, «Historia e intrahistoria en San Camilo, 1936 de Camilo José Cela», Dissertation Abstracts International, 41 (1980), 272-4. (N. from the A.)
3
Madeleine de Gogorza Fletcher, The Spanish Historical Novel 1870-1970, London, Tamesis, 1974, pp. 147-149, 152; Paul Ilie, «The Politics of Obscenity in San Camilo, 1936», Anales de la Novela de Posguerra, I (1976), passim, but especially pp. 28, 33, 34, 51. All future references to Ilie will be to this article unless otherwise specified. (N. from the A.)
4
Camilo José Cela, La colmena, ed. Raquel Asún, Madrid, Castalia, 1984, p. 105. (N. from the A.)
5
Ibid., «Nota a la tercera edición», p. 108. (N. from the A.)
6
See Echave, cited in n. 2 above. (N. from the A.)
7
My attention was drawn to this fact by Hayden White in a lecture delivered at Berkeley on May 6, 1980. For a fuller development of this point, see White's Metahistory: The Historical Imagination in Nineteenth-Century Europe, Baltimore, The Johns Hopkins University Press, 1973, especially «Introduction: The Poetics of History», pp. 1-38. On history's attempts to structure «the temporal flux» and on the reification, even deification, of history, see also Hans Meyerhoff, Time in Literature, Berkeley and Los Angeles, University of California Press, 1968, pp. 96-98. (N. from the A.)
8
See Roberts, p. 24. Janet W. Díaz, «Techniques of
Alienation in Recent Spanish Novels», JSST:TC, 3 (1973), 6-7, places
Cela's approach in the context of a trend in the contemporary novel. Gogorza
Fletcher notes that «Cela chooses to sink the major events history has
already sorted out for us back into the undifferentiated mass of trivia from
which they first emerged, to give the raw material of history, the unprocessed
daily events, in the way they appeared at the time»
(p. 149). This
critic, allowance made for her faith in history, clearly defines Cela's purpose
but condemns it because it does not agree with her view of what an
«historical novel» should be. For a stimulating discussion of
essentially the same problem with respect to an earlier time, see Stephen
Gilman, «A Generation of
Conversos»,
Romance Philology, 33 (1979), 87-101. (N. from the A.)
9
Paul Ilie, La novelística de Camilo José Cela, Madrid, Gredos, 1963, p. 130, emphasis added. (N. from the A.)
10
Pierre L. Ullman, «Sobre la rectificación surrealista del espejo emblemático en San Camilo, 1936 de C. J. Cela», Neophilologus, 66 (1982), 377. (N. from the A.)