MORANI C best of all your recognized
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that got me right there
that was really original
how he gotOS
the highestáiFirst
life time
how he've come
how we've evolved the world
and precisely because of this extra action,
the representative to the final,
the president.
And as I said,
because I have a very practical,
very focused,
and even in the present,
there are no four days in the organ
that are present to the president
and that the president knows,
and I have told you that
the organ,
what I have said,
is that it is something
maximum, a medium,
a medium,
and that it is reserved
for the final.
I am going to talk
as they are announced
in the most practical way
of the Spanish novel with temporanes.
But perhaps
it would have been more precise
to calculate the conference
in this other way.
The Spanish novel
has no problem.
Because it is not that the Spanish novel
with temporanes has problems,
but that it, in itself,
is a problem.
The story of the Spanish novel
is a pre-greet story
that is characterized
by its lack of continuity.
We have a singular thing
that we have
in the organ
of having invented the modern novel.
It is an invention
that corresponded
to such a level of disturbance
that, as a result
of a long evolution
of a series of materials
and of a series of styles,
at first,
in 17th century,
it wrote the book,
which continues to be
the best novel in the world.
From the last novel
to the Picarezca,
to the mid-17th century,
until the first romantic narration
has entered the century of the 19th century.
There are almost two centuries
in which,
in France,
in England,
the modern novel
developed,
the novel that is designed.
In England,
from the small part of the film,
until the end,
until the end,
in France,
from the Madame,
through all the novelties,
the 18th century,
until the standard
of the modern novel.
Well,
during the two centuries
in Spain,
there is no novel.
There is a Cicarezca narration,
there is a bad novel
of the Father Isla,
the world of camps.
But the Spanish that read
and that need novel,
are a three of translations,
French or English.
And only with the romantic novel
reappears the Spanish narrative.
But
related to Walter Scott,
related to the romantic novelties,
not with the romance,
not with the Spanish novelties.
The first Spanish novelist
that really has to see
the romance, direct and indirectly
from the two.
That is, the insolence of the romance
through the English,
from the French,
to the alphabet,
and directly through the knowledge
and study of the German.
There is a group
that constitutes the novel
of the naturalist,
and the two,
Clarín,
with some romantic
and classic,
contemporary,
Valera,
and then another one.
The novelist of the 18th generation,
Valle Clan,
Baroja,
A Torín.
It appears
as opposed
to renovations
and as a negator
of the realist aesthetic
concretely as enemies
of Galdóz and his schools.
And these novelists
with Perra Yala,
with Miró
and the novelist Menores,
cover the first third
of the 20th century
and produce
another yacht
with the 27th generation
which is a generation
of poets
that start recharging the theatre,
recharging the novel
and that reaches the theatre
with a little bit of gold
with a delay,
but that they do not reach the novelist.
In this generation,
if there is any list
as per standard,
the traditional
and poetic nutcle
has always considered
to be the market
and, indeed,
has developed its work
to the market
aesthetically and sociologically
of the work of the great poets
of the 20th generation.
Then, then,
it appears
to us writers
with a clear vocation
for the novel
and for the theatre.
Apart from
the poets' groups in Spain
and in the Middle East,
in Spain, always in the poets.
Not like that, in other mature
not like the novelists.
Well,
these novelists
who appear after the year 40
have a different
characteristic of their predecessors.
Valle Enclan,
Azorín,
Baroja,
Unamuno,
appears as he said
against realism,
negating a tradition.
And, as I like
Camilo José Cela,
I
and others, in my time,
what we are looking for
is a tradition.
We pretend
to write novels
when we have 30 years
by picking
us up from some way
above the war,
above this that has happened in Spain
that has brought us to a certain point
that has been
deeply removed,
looking for a
filial relationship
with all those who had not previously been there.
For example, and in Asia, you like
to be able to relate
to Galdós.
And for example, Cela
can relate not only to the
tradition of Picaresca
but also to the most immediate tradition
of Baroja and even of Valle Enclan.
It is to say that our attitude
is a little disempowered
because after the war
we find ourselves
in Spain there are no big figures,
everyone is dead,
we seek, anxiously,
parents, literary
and we seek where we find them.
Now, well,
it is necessary that you
when you study
or when you study
the Spanish literature
of the war
have certain
conditions
that do not
condition us.
Obviously,
when we
have to talk about
a small difference
between the ones that we had
formed before the war
and then we form later.
In the six years that
I have separated from Cela, for example,
it means
that I attended a university
where I did
normally in my studies
and I
could read
the 26 years
everything I wanted.
I have realized
that from 1920, for example,
the information
that is in Spain
about the universal literature
is complete.
For example,
young writers
surprise themselves
when I, or a person,
said to them,
naturally,
Prus,
we were family,
we met
in French productions,
etc.
Well, this knowledge
is the day
of the writers of my age
I say a little
of the lack of
universal information
of those that are
six years younger.
And above all,
there is a problem
not literary
or at least
not fundamentally literary
that is not equal.
It is the problem of the
Spanish situation.
The situation that is
a part of
isolation.
During the war
of the 39th
it is very difficult to have books.
The Spanish editor
is dedicated to
publicizing
writers in the second
third of fourth class.
And the English,
French,
are difficult to obtain.
It is easier to obtain
German books,
but in Germany
there is nothing
literary that interests us.
And this,
the philosophy
but also the literary
that is the existentialist.
That
we know that there is
but we cannot
know his work, his fruits.
Second,
the censorship.
The censorship that
is not only
favoured
by the establishment
but also
a crytory
of parents
and rich and
convinced
the spiritual element of the Spanish.
I could tell you
things
funny,
especially
in the 40s
50s.
I will read to you
the book
is presented
to the manuscript
and in this manuscript
it is said that
the protagonist
took out
the three of the morning.
The teacher
takes this phrase
and says
they put the 12 of the night
because a woman
defends herself
and she shows
her very important
that she is
affecting me
and that she serves me
but I write my first novel
the present
to the censorship
to read a friend
and tells me
she comes and she changes the
sentence.
So I
translated myself
as a book
in the past year
I was
20 days in the library
The censorship
represents
a co-action
that is going to be
all in video.
We do not know
what it is
it is possible
to call
what you call
here in the exhibition.
That is
about the great
manuscripts.
For example
the difficulty
that comes from the first edition
of the Pascual Duarte
that is more or less
published by the same time
and many books
that
come to us.
I must tell you
that this
situation
the existence of the censorship
has created in
Spain a very curious
writer.
The writer who takes
30 years
saying that he does not publish his works
because he does not leave the censorship
but when he disappears
the censorship will
be published
and this writer does not write
this writer
is maintaining
a kind of
artificial fame
by spreading the censorship.
The day that the censorship
will be seen that these
writers are
totally empty.
Well
the censorship
was to say
that after the catastrophe
of the civil war
the vitality in Spain
pushed us
and took us to work
and
towards 1950
the situation is
the situation
and practically
appears
or are
the most important writers
like the censorship
has
high and low
favorable
favorable
there are
writers who take
favorable times to publish
their books
in the 30 years
there is a number of works
that are there
that remove the
sensors, think that they would
be able to
and therefore
we must recognize
that the damage
has not been absolutely
that is to say that after the censorship
there is a poetry, there is a theatre,
there is a novel
and there is a tool
in a way
we recognize
that our
activity is
devoid of difficulties
but most of us
have sought
the way
of
authoritarian
and we have learned
to say things
in a way that the censorship
is not realized
but an electrician
maybe following the
concept of Nietzsche
that says that where
he learns
the writer always seeks a exit
and if
it is not directly
he always says the truth
now the different
difficulties
then
I want to say that I want to
be
or
that the deficiencies
of the Spanish literature
are
as cause
of the censorship
because
from the term of war
the difficulties
that we had before
to have books
have been
faulatimally
this morning
explained
the private
to
the professors
and I think
there was someone
who was here
and the difference
of the criteria
of the teachers
is that of the problems
for example
in the book of Madrid
in any book
they find the complete
and they enter the book
of the free love
or explaining the problems
of the new equality
that is, it is very difficult
to have a book
of thinking
not to be able to read in Spanish
in fact
for example
all Marx
is translated
and explained in Spanish
but
then they could not read the books
in which they understand
that is, the pecado is forbidden
to the Spanish, not to the foreigner
then all the pecados
of the foreigners
can read
in the condition of not repeating
this is, if you want
a comic, but it responds to a reality
not so
the problem of the Spanish novel
is not
the problem of the Spanish novel
my husband
is
he did not find the Spanish
his way
or if they want
you
he did not invent the Spanish
novel
no of the new
currents of the literature
there has been a novel
existentialist
now there is a novel
structuralist
between one and the other
and another what is called
France, the new novel
in New Gotham
Italy, there has been
neo-realism
and all these are
the same
and how you do
always a little behind
that is, a little
retarded
then, naturally
the real terms of the problem
are the real terms of the problem
are to find an orientation
and manifest a capacity of invention
and this is to the point
is true
that the great collective
of the last years
is the complete inferiority
of the Spanish writers
of the Spanish narrators
before
this phenomenon
is being studied
and almost today
universal that is the success
of the novel and the US
you know
that the Spanish are
soberbios and sometimes
infantilmente soberbios
and despite Rubén Barillo
and despite
of many American writers
like Spanish-speaking
and they have shown us
the Spanish
is believed to be
superior to the US
and suddenly
it is found that there are
some writers
who are American
who are read in Spain
quantitatively
more than any novelist
Spanish
and that in addition,
they are read in the world
that is, they are translated
we find with
facts how
the students of the
Jewish University
of Israel
that is the Nobel Prize
in March
that is, for the Spanish writers
it is a situation
of stupid action
why these gentlemen
who write in the same language
why these gentlemen
who read the same books
who we have
more success than us
so
the answer
the explanation of this phenomenon
that many Spanish
do not accept but that
we must accept
humildement is a lie
in the effect
Cortazar or Garcia Marque
or Carpentier
or any of the
Colombian, Colombian,
Argentinian, Mexican
write in the novel
they have read
the same authors
who read in the Spanish
have read in the novel
have read in the Jewish
have read in the Caucasus
with a difference
and that they have read
as read an apprentice
studying
for example,
Vargas Llosa
is a man who
studies the technique
of ancient writers
and allows himself
to publish a prologue
to a castellan edition
of Tiran Lo Blanc
book that no Spanish writer
has ever read
and many less studied
that is, the American writers
have had a multitude
of humildes
before the great masters
and the Spanish writers
with very slight exceptions
have read in a
way
arrogant
worried not
to create
within this tradition
a new tone
a new accent
if not to follow the last way
that in general
is the last French mode
when the writer has a lot of talent
as is the case of
Sanchez-Rlocio
then writes a book
like the Jaram
which is the master's work
of the new accent
but it has passed
the time of the new accent
and Sanchez-Rlocio
has not yet written a book
when the verbal talent
has a path
it follows its path
and it is a path
individual
and if it is part of it
then the book
is low on quality
but when the cello
is not, it is not, it is Sanchez-Rlocio
what is done is
and it is reflected
in procedures
that can ensure a book
the critique of friends
and even an
amplified
of certain types of stories
that prefer a problematic
certain type of story
for example, the penance
of the Spanish novel
the Spanish novel
that begins
after the 55th
that contain
a series of young writers
that have undoubtedly
talent
but that writes a type of novel
that was already
dead
following a more aesthetic
aesthetic
a political
which I have recently
reflected
there is a very curious episode
all these writers
are guided
by a critical catalan
called José María Castellella
which is a very intelligent
but very versatile
that constantly changes the idea
in all of José María Castellella
it publishes a book
that is called the time of the actor
in which all these
young writers
find inspiration
and day
and in the end of a few years
José María Castellella
says that no of the novel
of this
valid orientation
are provincial novel
that is, the same as
the imposter
puts the thought and the focus
a little more
so
towards 1964-65
the writers
who had 35 years
did not know what to do
did not know what to do
and some of them
follow without knowing what to do
those who had talent
are looking for paths
this year
we will see and find it
but
most of them
have even reacted
without elegance
before the boom
of the American novel
reacting without elegance
I want to say
with this that they have denied
the importance
of this
movement of the writer
and the talent of each
the writers
that, evidently,
have shown us
a series of possibilities
of paths
perfectly modern
and perfectly necessary
with no one of which
we had
drawn in the sky
so
for me, the thing has
been
telling
some of
for the novel.
The fact that there is a servant, the fact that there is a dog, the fact that there is a
baroque, the fact that there is a horse, can be and my Jewish are
phenomena on the sides.
Because what we do not find in Spain, neither before nor now, is a continuity,
a homogeneity, as what is given in England, as the city in France, as the
city in Russia, countries where, evidently from a certain moment, a
substantive series of novelists creates a tradition, creates a school, creates a
system and manifests that effectively this society needs the novel and that
is able to produce its novelists.
Why?
The schools are common, but within a school, for example, of realism, each country,
gives its mattices, we cannot compare realism with the devil's
balsac nor the devil's balsac with the Jewish one,
that is, within the general marble of realism, each country,
the writer has given.
A differential note, important.
The problem is that we, following the common paths,
that are the style of the time that is carried out, we are able, in a collective way,
and according to the aptitude and the necessity of our society, to give our own
differential note, in a sufficient way and above all, in a way, as God, for example,
balsac in his time.
That is, if the novel is fundamentally an imaginative genre, it will not be that
the Spanish do not have the necessary dots to cultivate it, but I said to you that
it is not about the problems of the Spanish novel, but of the Spanish novel as
a problem.
Now that we hope that the Spanish literature instead of offering a continuity, or
Fredka, with this characteristic that he wrote, he was called the same as the Spanish
culture, or Fredka of the Pronto of the fact of a great novelist, that appears and disappears
as a poet, that leaves him astros, that does not believe in school, that sustains the envy
and resentment of others.
I do not know if you know that in 1901, I think it was, he was going to give to
the young man to give the first novel to the second.
And in Spain, there was a collective movement so that he does not give it.
The red you think about this, and in this collective movement, they took a very important part
and above all very destacable, very illustrious writers.
That is, Spain is a problem and within this general problem that Spain, the novel,
is a partial problem.
Our society now, at this moment, needs the novel and the proof that the novel needs
is that he is much more...
...for a part of the imaginative process, for another part of the novel.
With few elements imaginative, and with a great artistic conception, with a great
composition, you can make a good novel, and you can make a great novel.
In general, the Spanish writers are in the case, talking bad about one of us, and saying
that he was a bad marketer, when they know that it is good, when the law is hidden, with great envy.
This is real, but surely you do not experience it.
You feel angry, and do not realize that what he has done, he has done what he has done,
he has done it, they have done it, because he has exactly the same elements that he has
done, he has done it.
It is defined with the censorship, no one is defined with the censorship.
Although this moment of censorship is very serious, at this moment I have a novel that
possibly, among us, is that a process for the script, right?
But yes, this is a thing imaginative.
The fact is that the arrest, this tremendous arrest of this new one, is one of the causes
of our poverty, narrative.
But it is very curious that this poverty is narrative, and also this wall, we find it
in the writers of immigration.
It has been as you know in a massive immigration writer who has worked in exile, in
exile he has written great books.
Professors who lived in America here in this country have written great books.
Albert has written great poems.
Casona developed all his other, which is not great, but is there.
In exchange, nobody wrote a great novel in exile.
The success of a teacher, yes.
Novela with a documentary value, yes.
But art works as independent of the resistance that they have given to the children or not.
It means that the Spanish of exile have the same effects that we have been given to the children.
They had freedom, they could read everything, they had no censorship on the top.
But they had nostalgia, it has been very serious, and I have also experienced it, that is what I know.
But in all ways, the community of effects was such that it was possible, even the writers
of the arrival of the important immigrants in exile.
I don't know if this can have a remedy.
The young writers think in a revolving, and when they say that they want to say revolving,
they think that something breaks this hardening of the Spanish tabloos that is that light
of the vitality of our people.
Now, immediately I don't think this has been the case, the appearance of a great literature,
because in these occasions what appears is a revolutionary literature,
a literature that serves the appropriate immediate revolution, but it does not have to be good,
and it is almost the same.
As part of our evolution of our civilization, it is opposed to art,
as it is very possible that within 50 years, the men do not need to stop the novel,
the theater or poetry.
I really think that all this will disappear, that becomes an anti-war.
It is very possible that the Spanish people decide to give us the means of literature,
not to take me to the professionalism, I have my reasons to tell you,
maybe you too,
say the man who consumes six hours of his life and to give television,
having books to read, he wants to say that he doesn't give books,
he wants to say that television is investigating.
Anyway, I think I have reached a moment when I am mixing too many things
and starting to make a little bit of the topic,
but if you think about it too, it has to do with a relationship,
it means that there is no great hope for the writers,
and although the Spanish people are a little archaic, there are always these phenomena,
they will happen with delay.
What I mean is that we are waiting for the appearance of a writer
that gives us in pujon, that we need to see when,
that we open that path, that we meet, that we understand that light,
that at the moment it is paid and that before we give ourselves,
we lift ourselves from this small complex of imperity,
that perhaps one to one we have, but collectively yes,
knowing that we have not invented any of the modern literary careers,
although we could have invented some of them because there are precedents in literature,
and the one that we go a little bit behind what inventes, especially the French,
that is the literature that we can imitate more comfortably,
because in Spain more or less everyone knows French.
Yes, instead of knowing French, it is a language that perhaps the philosophy of the Spanish literature is another.
But as we know French and what we have to say about that French,
then immediately there is a Jewish-speaking country,
today in Madrid, and before the impossibility of personal creation,
the path of the imitation is going to be the most difficult.
Naturally, I cannot do the process because the processes are null.
I cannot say that tomorrow a writer is going to die,
seeing that path, observing light, I do not know.
What is the negative part of the question,
what is the right of Spanish has a great influence in this situation,
what is what we would wish to invent, but we do not know.
And we do not know because we are not able to make the effort that is more imaginative,
necessary for invention.
So, what is our narrative currently?
A series of good works in Spain, there are good works, no?
Some are very good, but none has created a school,
none has given the world the world, none will give as a model
or as a expression of a given moment of the life of man.
Novelas are good, but none has nothing else.
There is nothing that can be compared with Bayon Clan,
there is nothing that can be compared with the two,
although there are some perfect novels.
And a series of exceptional books,
of great quality, here, there, there, this author, the chronic of the Alba de Gendar,
the children of Ana María Matute,
who was the Pasqual Duarte de Zela,
the Alfanui de San Tezarróxio,
very important works, what is in the embargo?
They are a little known,
maybe because they have not had an ex-spanian success,
they had to go and therefore they have not had an ex-spanian effort.
Now, they are a very isolated works,
works that form a set of statistics,
they did not even have a set of historical,
nor did they even have appeared at the same time.
They all have all appeared in Spain because the descendants that were there,
that is, an organization, an inquiry,
that, to me, that I am European,
I am just,
because in front of our inquiry,
contemporary, for example, the deep coherence of the French literature,
where there is not much time in a great work,
it is curious, but the last important novel that described in France
was published in 1934,
and it is a author called Selim,
and his title is the Voyage of the Nuit,
since then in France, it has not been published at all important,
there in America and England, there are many more important things.
Therefore, it is a fascinating result,
the one that follows the French literature, coherence,
if you want, but it is not brilliant,
the Spanish writers follow and they miss this lesson,
what is in France,
what is in France is not, in a somewhat in-eal way.
Maybe, as I said before,
the one that we learned in English, instead of learning French,
would be healthy for the March of our literature.
So, what does it mean? It does not mean power.
It is always in Spain and a power that we have.
It is in Spain and a good, political power,
that with this style or with the other, with this theme,
with the other,
it is a figure.
But, I have to admit that poetry,
when it is not brilliant,
it is a minor art.
It is much more important in the novel.
And the novel is the theme that does not pass the literature,
does not pass the history,
it passes with really modest mentions.
I think you can ask about this
and if it does not decide,
because it starts with questions from some of these gentlemen,
Maisla,
I figure he will respond to those questions.
Is this a matter of question?
What is the oath of celle is an unexfficial one?
It is a great airport that could quickly get any excpletion.
There were no excuses, few foul fans were hit,
until that moment that the reservers attended the same repeated events,
when all have disappeared.
They know who are they.
I wrote another book.
Celan, he was published, of course,
that was published at the last,
in January 19th or 17th,
San Camilo, Julio de 19th or 13th,
and Celan.
It's the last big book.
I'm very proud of it because I'm a very good book.
Look at you.
Martin Santos.
Today, I started to be a Spanish-speaking.
After ten years,
I was a figure in discipline.
I died too young.
I had published a single novel.
Possibly I had been a good novelist.
Obviously, Martin Santos had read
the great modern novelists.
And he had collected his collection,
because in the time of silence we found very clearly
parts where he was born,
parts where he was born,
parts where he lived,
but for these years,
we have left this story for the British
ancestors of these limitations,
without realizing the real substance of the novel.
And today, the perspective has changed,
and we started realizing the substance of the novel,
and then the result of silence is,
not least, a social diet,
with abortion and puñalada.
That is to say,
what is Martin Santos's point of view in the novel,
and for example,
makes this point a favor of the chapter
in which he makes a caricature of a birthday conference
and he is very brilliant and something else.
But what is about a novelist intention,
we are saying, a character is a subject,
it is very poor.
Yes, but very poor.
Life is much richer,
even the bad life of the motherland is much richer,
and for another part,
the novel had a clear social intention
of accusation.
But what happens is that,
the silence is still in any world,
including Moscow.
It is not worth accusation against a specific society,
because it is something that can happen in any part.
And it is curious because the first thing that broke the egg
against Martin Santos,
is a writer who now is trying to know
what he is doing,
what is he doing?
What is he doing?
He is really doing talent.
He is really doing talent.
And he is emergencies.
For me, he has no more than a defect,
which is a little boring.
But he has a very new technique,
that a world of
the city is invented by the region,
in which the whole planetary system has been
put into circulation.
It is a writer,
another young,
who has been in the 40s for so many years,
who possibly
has a reality,
not an Esperanza,
has published his fourth novel,
approximately a month ago.
He is still not known in that country.
But I hope he knows it.
Although,
sometimes it is a news that is not associated,
because the criticism that
has been very important in Spain,
the criticism of the sociological type,
especially the criticism of the director of the Marxist,
he fights a lot,
he fights very violently,
using the criticism of the film.
I have a long thought that it is a news of the problem.
But now it is a little bit inside the people,
but it is not the case of the French people's presence.
But it is not a bad influence,
it is not a problem.
How do you see the situation in which you can?
Look at you,
go to the ground.
Go to the ground.
The novel began,
I am writing novels,
bad writing.
The novel that you had a great success
that your producer, the French,
was very good.
And I am one of those who only said it.
So, I learned to write,
I have only been writing today.
There is something very special in a novelist,
that is when he does the same theme.
One is the theme when he begins.
Everything is not ready,
he will start with a rather old topic.
But it is also for where he ends.
When he gets used to it,
the talent creator returns to his own experience.
And then he has two last works of course,
which are called identity signs
and the one called the Don Julien,
which are very well written
and one and another are the technical arts.
They are self-sufficient.
The second one is not even a novel.
I tell you a story talking with Castellet
and he says, no, you are not good.
This is not a novel, it is a pamphlet.
A political pamphlet.
And I recognize that it is like this.
There are very beautiful things,
very well done things,
and things that show that it is a writer who works
with a strange thing,
but I have to say that what is missing is already imagination.
I am saying that it is a bad thing.
As you can see, there is a question
that is present
and that is what it is.
What is the prosciutto of this novel
within the problem of getting the pamphlet?
The same novel.
You are
very good.
Well, let's see if it is capable of doing something.
About this,
with the words of the very first.
Well, I have three novelties,
the novel is abstract.
What are the embargoes?
They have...
First of all, the intention of having certain values.
And the first novel,
which is a novel of religious theme,
can be considered as an anticipation
of the Nabilistic and Greyhounder.
My second novel,
which is called the State of the World,
which is called the State of the World of the Humanity.
It is not what it seems,
it is the study
of a myth.
It is how it appears a political myth.
This has not seen any criticism,
because it is too clear.
As critics always want to look for such a new idea.
They have not realized what is the issue of the novel
and what is the pretext of a revolution
in an American country,
to describe how a myth is formed,
a political myth,
a pathology,
with the complete development of the myth
of this or that of the appearance.
But the lack of exquisite,
this novel,
I will continue with this.
The third one,
which has not been published,
but has been published for 54 years.
It is a world modern critic,
a fantastic critic.
As then,
the modern world was not yet
a critic,
as now,
the editors rejected it.
I am trying to make a reactionary work.
Now it is a current work,
and perhaps the public.
It is not very long ago that I have not read it,
maybe it has been too bad.
After a small novel,
which is called Titenia,
which is more or less contemporary
than a theater work,
which is called the Return of Ulysses,
and both have a very current influence in the field.
Very current,
but then,
it is not,
it is the exquisite.
But there are two works,
which are exquisite two myths.
In one of them,
the exquisite one,
and in another one,
the exquisite one,
the two are margues,
as oristic,
and in a certain way,
but of course,
there are two published works,
published in one of them,
those themes were not interested,
and therefore, they passed a certain period.
I saw what I thought
would not dedicate myself to literature,
and I did not dedicate myself to the critics.
But,
for an incident series,
I had to write novels.
So I had to propose this problem,
how could I make a novel reality?
I mean, if the realism
had developed,
instead of interrupting,
instead of directing to psychologists,
to all these natural civilizations,
all these derivations of the realist,
how did the realist work?
And where did I write a novel very large,
between Thomas,
between Parse,
and the gentleman arrives,
where he returns to the island,
the peace of the world,
and that they published,
the 57,
the 60 and the 61.
The first part,
published 57,
nobody made it to the case.
Both were in two years,
they had sold 600 dollars.
But,
these things,
really casual,
or aparosis,
this novel,
was given by a head.
For a jury,
very competent,
I don't know why I had
the experience of getting my work done.
So, people who have been very busy,
people who have been very busy,
but Google actors,
who were already there,
I have been forced to continue to finish it,
and so I published
the 60 and the 32nd part,
and the 32nd part.
It became very good,
but the critics didn't say a thing,
because I was a critic.
So, the next novel,
that doesn't appear in anything,
this is a fantastic intellectual novel,
I planted it on the side of the side of the side.
That is, they give it
a technological vision,
but modern,
of the side of the side.
The side of the side is true.
Doing a game of time,
passing and present,
that is, a very complex novel of technique,
although the technique is a source,
not only of the feet,
it is written with many insurgents,
and,
as you can see,
all my own,
a very humorous novel.
I had a critic,
more than the other,
but not very following.
And it was a novel that was deeply written,
because,
in the first place,
the vision that I played,
that was an exhibition,
a workshop or a store for Spanish,
it is the sense of being a topic.
