By David Henn
This can be the 1st book-length examine of the six go back and forth narratives released by means of the 1989 winner of the Nobel Prize for Literature.
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Additional info for Old Spain and New Spain: The Travel Narratives of Camilo Jose Cela
When I married we bought a house near Ma´ laga and from it we watched the confusion and horror of the opening phases of the civil war. 9 Brenan goes on to state that his return to Spain in 1949, after an absence of thirteen years, was intended to answer certain questions concerning the nature of Spain and its culture and civilization. However, he found himself reluctantly dragged into political and social considerations, the reflections of which become an important feature of his account, and he spends the remaining three-quarters of his preface on an assessment of the plight of contemporary Spain and a discussion of the possible solution to this unhappy state of affairs.
IV, 28) [In the Alcarria I was constantly jotting down in a notebook everything I saw, and these notes served as the canvas for the book. In the whole trip I did not see anything strange nor anything really shocking—a murder, the birth of triplets, somebody possessed, nothing like that—and I am happy about this because, since I intended to relate what I had seen (for this book is not a novel, but rather a geography book), if when I wrote it I started describing awful things, people would say I was exaggerating and nobody would believe me.
On the open road or in a village, the traveler is almost constantly seen in the middle ground or in the foreground—as part of a setting and part of an environment. This framing of the traveler-protagonist does, however, start to break down toward the close of Viaje a la Alcarria, as does the consistency of use of the present tense. With the last chapter, the Pastrana episode, and despite the restrictions of third-person narration, the traveler is becoming quite noticeably transformed into the concerned voice and opinion giver that the reader would associate with the traditional, firstperson narrator of a travel work.