Dies Ramon Hernandez, distinctive Spanish fabulator | Culture | EUROtoday

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Ramón Hernández portrayed in the Puerta de Toledo.
Ramón Hernández portrayed within the Puerta de Toledo.VALERIE DE LA DEHESA.

The author Ramón Hernández (1935-2024) has died in Madrid on the age of 89. Technical Engineer in Agricultural Operations, govt secretary of the Collegiate Association of Writers of Spain, visiting professor at a number of American universities such because the Mid-America State Universities Association Visiting Scholar or the Taft Honor Lecturer, director of the magazines Republic of Letters y Wild lifefrom the ICONA Library, awarded with literary awards, Hernández was thought of above all a superb man.

For Hernández, actuality and creativeness have been the 2 broad routes of entry to the literary universe. Through them, genuine creators face the human future. The actuality It gives components that join with the merciless perplexity and injustice that accompanies us; the creativeness, For its half, it makes perceptible what’s transcendent, on a regular basis and inconsequential about human existence when, by way of inventive creation, we handle to surpass the frontiers of information inherent to the vast and overseas world. Hernández achieved what he stated and continues to realize within the 24 novels revealed by, amongst different publishers, Seix Barral, Argos Vergara, Planeta, Mondadori, Anaya, Plaza & Janés, Espasa (a number of have been additionally translated into English). He wrote heterodox tales the place the obvious absurdity of life turns into vital phrases of poetic roots (allow us to bear in mind, to provide solely two paradigmatic examples, everlasting reminiscence y Curriculum vitae). In the particular case of an apparently infantile narrative like Caramarcadathe work turns into an surprising real crime novel and a legit bildungsroman.

In Hernández's novels the boundaries between literary genres are questioned. He additionally composed historic novels about King Alfonso XIII and two extra concerning the nice admiral, Christopher Columbus. The shortest, Young Colombo, the tutorial Manuel Alvar reminded us that “it is very beautiful, it is gracefully told and has a rigorous temporal development. It is the novelist who knows about time more than we do, like an omniscient maker for whom chronology does not exist… It is not the logic of discursive time, but the metalogic that we discover in a dream world… The language that has been used is a language foreign to everyday uses: it belongs to the world of the stories to which they give life… The novelist has written beautiful, very beautiful paintings, and makes us believe that this is how the Genoese slums at the end of the 15th century must have been. ”.

Additionally, Hernández was and is a good storyteller (see Diaspora) and poet (learn Capri Aquarium). He additionally cultivated the essay (allow us to recall his texts in The Impartial and his biography of Ángel María de Lera). Despite what was stated, public recognition was considerably elusive. In the fraternal phrases of Eugenio Rivera, the “little current recognition of his work” has been disconcerting contemplating that he has been – and I quote Rivera once more – “one of the most original novelists of the so-called Spanish post-war generation, marked by social realism, a mold from which, however, our author's narrative departs with an imaginative poetics of a universalist nature that tends towards the dreamlike.

Ramón Hernández left us on May 19, the same day that José Martí (1853-1895) died more than a century ago. This coincidence allows us to evoke some judgments by the Argentine writer and Harvard professor, Enrique Anderson Imbert. Like the poet and apostle of Cuban freedom, Hernández “belongs to us even to those of us who are not [españoles]. Se salt of [Europa]…it is one of the luxuries that the Spanish language can offer to a universal audience.” Rest in peace, my pricey Ramón; You haven’t given greater than we have been in a position to offer you.

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