Azorín

Azorín
Portrait of Azorín by Isidro Fernández Fuertes "Gamonal" (La Esfera, 1914).
Born	José Martínez Ruiz June 8, 1873 Monóvar (Spain)
Died	March 2, 1967 (aged 93) Madrid (Spain)
Occupations	Novelist, essayist and literary critic
Writing career
Movement	Generation of '98

José Martínez Ruiz, better known by his pseudonym Azorín (Monóvar, June 8, 1873 – Madrid, March 2, 1967), was a Spanish writer, a member of the Generation of '98, whose work spanned various literary genres. He wrote essays, novels, journalism and literary criticism. To a lesser extent, he also devoted himself to theater.

Beyond his literary side, Azorín was a man committed to Spanish political life. During the Restoration, he held a seat as a Deputy to the Cortes on five occasions, and was twice Undersecretary of Public Instruction.

Biography

Born in the Alicante town of Monóvar on June 8, 1873, his full name at birth was José Augusto Trinidad Martínez Ruiz. His father was a native of Yecla (Murcia) and a member of the Liberal-Conservative Party (he became Mayor, deputy and a follower of Francisco Romero Robledo). He practiced as a lawyer in Monóvar and owned a substantial estate. His mother had been born in Petrel. It was a traditional, well-off bourgeois family. Azorín was the eldest of nine siblings.

He studied for his bachillerato as a boarder for eight years at the school of the Piarists in Yecla, a period reflected in his first two novels, which have a strong autobiographical content. From 1888 to 1896 he studied law in Valencia, where he became interested in Krausism and anarchism and gave himself over to feverish literary and political reading.

He began his journalistic activities using pseudonyms such as Fray José, in La Educación Católica of Petrer, and Juan de Lis, in El Defensor de Yecla. He also wrote in El Eco de Monóvar, El Mercantil Valenciano and even in El Pueblo, the newspaper of Vicente Blasco Ibáñez. He almost always wrote theater criticism of works with strong social content (praising the works of Ángel Guimerá and Benito Pérez Galdós or Juan José by Joaquín Dicenta), and his anarchist leanings were already evident. He translated the drama L'Intruse (La intrusa) by Maurice Maeterlinck, the lecture De la patria by the Frenchman A. Hamon, and Las prisiones by Kropotkin. In 1895 he published two essays, Anarquistas literarios and Notas sociales, in which he presented the main anarchist theories to the public.

Photographed around 1914 by Campúa.

He sat examinations in Granada and Salamanca, but he was more of a student than a scholar, and more attentive to literary gatherings, journalism, theater and literature than to law. Having arrived in Madrid on November 25, 1896 to continue his studies, he started out, amid great privations, in republican journalism, in papers such as El País (1896), from which he was dismissed, or El Progreso (1897), the newspaper of Alejandro Lerroux, receiving support only from Leopoldo Alas, Clarín, in one of his Paliques; there he worked as a critic under the pseudonyms Cándido (in honor of Voltaire), Ahrimán (the Persian god of destruction), Charivari and Este, among others.

Little by little his name appeared more and more often in magazines and newspapers such as Revista Nueva, Juventud (signing with Baroja and Maeztu as the Group of Three), Arte Joven, El Globo, Alma Española, España, El Imparcial and ABC. At the same time he was publishing pamphlets and books. He wrote a trilogy of autobiographical novels from which he would take his definitive pseudonym, "Azorín", which he began to sign with in 1904: La voluntad (1902), Antonio Azorín and Las confesiones de un pequeño filósofo.

From 1905 onward Azorín's thought and literature were firmly rooted in conservatism. He began contributing to ABC, where he took an active part in political life. Antonio Maura and above all the minister Juan de la Cierva y Peñafiel became his foremost patrons.

Caricature by Tovar published in El Liberal on November 11, 1908, showing Azorín and Maura.

Between 1907 and 1919 he was five times a cunero deputy and, for two brief spells (in 1917 and 1919), Undersecretary of Public Instruction. Critical in his early years of the political system of the Restoration, which he regarded as corrupt, he eventually became part of it.

He already had a long career in the Madrid press when he joined La Vanguardia as a literary critic. Thanks to the efforts of its editor, Miquel dels Sants Oliver, Azorín published nearly two hundred articles in this paper between 1914 and 1917. It is not surprising that a conspicuous representative of Castilian culture should publish in the pages of a Barcelona daily such as La Vanguardia, since Barcelona was one of the main centers from which the Generation of '98 was promoted and made known.

He traveled tirelessly throughout Spain and delved deeply into the reading of the classics of the Golden Age. The military directorate of Primo de Rivera cooled Azorín's public activity, and he declined to accept political posts from the dictator. In 1924 he was elected a member of the Royal Spanish Academy.

When the Civil War broke out, he fled the Madrid of the Popular Front and took refuge in France with his wife, Julia Guinda Urzanqui (1876–1974). Years later, in 1966, as a fruit of his stay in Paris during the conflict, he wrote the essay París, with his impressions of the French capital.

Once the conflict was over, he was able to return to Spain thanks to the help he received for that purpose from the then Minister of the Interior, Ramón Serrano Suñer, to whom years later (1955) Azorín dedicated, "with deep gratitude", his work El pasado (Biblioteca Nueva, Madrid). In 1946 he was awarded the Grand Cross of the Order of Alfonso X the Wise.

In his final years he was a passionate and assiduous moviegoer. For his work as a writer of articles on the subject, the Círculo de Escritores Cinematográficos awarded him in 1950 the Medal for the best literary work. On July 5, 1963 he was named an adoptive son of Alicante. He died at his home at number 21 Calle de Zorrilla, in Madrid, on March 2, 1967.

Work

Portrait of Azorín with Ávila in the background by Juan de Echevarría (1922, Museo Nacional Centro de Arte Reina Sofía).

For some decades now, literary criticism has placed his work, like that of the rest of the Generation of '98 (to which he belongs), within the great literary renewal of European Modernism. This movement should not be confused with Hispanic modernismo, a literary current initiated by the Nicaraguan poet Rubén Darío. The renewal pursued by the authors of '98 is so evident that, for many scholars, 1902 becomes a fundamental year for Spanish and European literature, since in that year four profoundly innovative novels were published that would have a decisive influence in the years to come. In that year Baroja published Camino de perfección; Unamuno, Amor y pedagogía; José Martínez Ruiz (Azorín), La voluntad; and Valle-Inclán, Sonata de otoño. The first three novels were published by the Barcelona publishing house Henrich y Cía, in the collection Biblioteca de Novelistas del Siglo XX.

His literary output falls essentially into two major sections: the essay and the novel. He also wrote some experimental plays, which had little success.

Azorín's literary output also has great stylistic value. His very distinctive way of writing is characterized by the use of short sentences with simple syntax, by the frequent use of a castizo vocabulary, and by series of two or three adjectives joined by commas. Although there is some debate among critics, the characterization of this style as a symbolist impressionism is gaining ground, rooted in French-language symbolist literature, both French (Joris-Karl Huysmans, Baudelaire) and Belgian symbolism (Rodenbach, Maeterlinck). Among his most innovative literary techniques is the use, in the manner of Virginia Woolf, of characters who live at the same time in several periods of history, such as Don Juan or Inés, fusing at once myth and eternal return.

Essay

As an essayist, he devoted special attention to two subjects: the Spanish landscape and the impressionist reinterpretation of classic literary works.

In the essays devoted to the Spanish situation, one can observe the same evolutionary process that marked the whole Generation of '98: whereas in his first works he examines specific aspects of Spanish reality and analyzes the serious problems of Spain, in Castilla (1912) his aim is to delve into the Spanish cultural tradition (reflections that arise spontaneously from small observations of the landscape), in addition to incorporating a sense of cyclical time inspired by Nietzsche.

Among Azorín's literary essays, Ruta de Don Quijote (1905), Clásicos y modernos (1913), Los valores literarios (1914) and Al margen de los clásicos (1915) stand out. In them, his intention is not to make a detailed study of the texts, but to awaken curiosity and interest by offering an impressionist reading of them that highlights only their most significant elements for the personality of the writer. He therefore limits himself to expressing his personal impressions and reflections on Spanish literature. La Andalucía trágica also stands out. It is an essay added to the work Los pueblos (1914 edition). Azorín went to Andalusia and traveled through the area of Seville. At first he sent chronicles to El Imparcial, and the Government was annoyed, so the newspaper's editor asked him to send no more. He nevertheless published an interview that cost him his expulsion from the newspaper and led him to work at ABC. La Andalucía trágica dates from 1904 to 1905, earlier than Los pueblos, and was added later.

Novel

Azorín caricatured by Bagaría (España, 1915)

Azorín's sixteen novels could be classified as lyrical novels, a literary subgenre characteristic of modernity (though rooted in German Romanticism and French symbolism), widely cultivated by some of the authors of the Generations of '98 and '14. The lyrical novel represents a fusion of the novelistic and poetic genres. These are novels that make a sharp break with the novelistic canon of nineteenth-century literature. According to some authors (such as Martínez Cachero), his novels could be divided into four stages, according to the evolution of his style, although they maintain a certain unity among them:

• The first stage shows a predominance of autobiographical elements and of impressions prompted by the landscape. The protagonist is Antonio Azorín (from whom he would take his pseudonym), a fictional character who becomes the conscience of his creator. These novels are a pretext for developing the author's life and cultural experiences. To this stage belong Diario de un enfermo (1901), La voluntad (1902), Antonio Azorín (1903) and Las confesiones de un pequeño filósofo (1904). The last three are regarded by José María Martínez Cachero (in his work Las novelas de Azorín) as the Antonio Azorín cycle, since in all three the protagonist is that fictional character. The author subsequently adopted that pseudonym in 1904, after the publication of Las confesiones.
• In the second stage, Azorín abandons autobiographical elements, although he continues to reflect his own concerns in the characters: fatality, the obsession with time, destiny, etc. Novels of this period are El licenciado vidriera (visto por Azorín), from 1915 (also known as Tomás Rueda), and, especially, Don Juan (1922) and Doña Inés (1925), very personal literary re-creations of the literary myth of Don Juan. Both novels are regarded by Martínez Cachero as the peaks of Azorín's novelistic output.
• To the third stage belong Félix Vargas (1928), Superrealismo (1929) and Pueblo (1930). These are strongly experimental novels. In fact, Azorín, who was over fifty when these works were published, was regarded by the group of young avant-garde writers as one of their own, because of how perfectly these works fit the rupturist vision characteristic of the avant-gardes. Indeed, Vargas Llosa considers Pueblo one of the best novels by the Levantine writer.
• In the fourth stage, after a period of relative silence deeply marked by the civil conflict, Azorín returned to narrative with El escritor (1942), El enfermo (1943), Capricho (1943), La isla sin aurora (1944), the romance novel María Fontán (1944) and his last novel, Salvadora de Olbena (1944).

Theater

Portrayed by Sorolla (1917)

Azorín always had a great fondness for the theater; however, his works did not enjoy popular favor. From his pen came Old Spain (1926), Brandy, mucho brandy (1927), Comedia del arte (1927) and the trilogy Lo invisible, linked to the aesthetics of Expressionism, which comprises La arañita en el espejo, El segador and Doctor Death, de 3 a 5, regarded by some critics as his best dramatic work.

Francisco Ruiz Ramón summarizes Azorín's theatrical proposal as follows:

1. Azorín points out the importance and creative freedom of the stage director and the actors.
2. He draws attention to the new relationships between cinematic technique and theatrical technique.
3. He emphasizes the appearance of the world of the subconscious on stage.
4. The new reality of the theatrical work, in keeping with the needs of the new society and with the rhythm of modern life, must be "quick, tenuous and contradictory".
5. Stage directions must be eliminated or reduced to a minimum.
6. It is the inner world, the world of ideas and of the problems of the spirit and the imagination, that must supply the playwright with his materials.

Azorín's intention is to free the Spanish theater from all provincialism and to raise it to the category of European theater. But the Spanish mentality was not prepared to take on these new dramatic proposals. Hence Azorín's theater, like that of Ramón María del Valle Inclán and Miguel de Unamuno, had rather scant success.

List of works

Compiled mainly from the list collected by E. Inman Fox, Azorín: guía de la obra completa (Madrid, Castalia, 1992).

It should be noted that Azorín is the main pseudonym of José Martínez Ruiz, who also published under his own name, as well as under the pseudonyms Cándido or Ahrimán. For that reason, in the case of those books he did not sign as Azorín, the name under which they were published has been indicated.

• (Cándido), La crítica literaria en España (discurso pronunciado en el Ateneo Literario de Valencia en sesión del 4 de febrero de 1893), Valencia, Imprenta de Francisco Vives Mora, 1893.
• (Cándido), Moratín (Esbozo), Madrid/Valencia, Librería de Fernando Fe, 1891.
• (Arhimán), Buscapiés (Sátiras y críticas), Madrid/Valencia, Arhimán, 1894.
• (José Martínez Ruiz), Notas sociales (vulgarización), Madrid/Valencia, José Martínez Ruiz, 1895.
• (José Martínez Ruiz), Anarquistas literarios (Notas sobre la literatura española) Madrid/Valencia, José Martínez Ruiz, 1895.
• (José Martínez Ruiz), Literatura, folleto primero, Madrid, José Martínez Ruiz, 1895.
• (José Martínez Ruiz), Charivari (Crítica discordante), Madrid, 1897.
• (José Martínez Ruiz), Bohemia (cuentos), Madrid, V. Vela Impresor, 1897.
• (José Martínez Ruiz), Soledades, Madrid, Librería de Fernando Fé, 1898.
• (José Martínez Ruiz), Pécuchet, demágogo (fábula), Madrid, Bernardo Rodríguez, 1898.
• (José Martínez Ruiz), La evolución de la crítica, Madrid, Librería de Fernando Fe, 1899.
• (José Martínez Ruiz), La sociología criminal (Prologue by F. Pi y Margall), Madrid, 1899.
• (José Martínez Ruiz), Los Hidalgos (la vida en el siglo XVII), Madrid, Ricardo Fe, 1900.
• (José Martínez Ruiz), El alma castellana (1600-1800), Madrid, Librería Internacional Fernández Villegas y compañía, 1900.
• (José Martínez Ruiz), Diario de un enfermo, Madrid, Est. Tip. de Ricardo Fé, 1901.
• (José Martínez Ruiz), La fuerza del amor (Tragicomedia) (with a prologue by Pío Baroja), Madrid, La España Editorial, 1901.
• (José Martínez Ruiz), La voluntad, Barcelona, Henrich y Cía., Biblioteca de novelistas del siglo XX, 1902. (In the second edition, of 1913, Renacimiento, Azorín already appears as the author.)
• (José Martínez Ruiz), Antonio Azorín. Pequeño libro en que se habla de la vida de este peregrino señor, Madrid, Viuda de Rodríguez Serra, 1903. (In the second edition, of 1913, Renacimiento, Azorín already appears as the author.)
• (José Martínez Ruiz), Las confesiones de un pequeño filósofo, Madrid, Librería de Fernando Fé, 1904. (Expanded in 1909 and in successive editions.)
• Los pueblos (Ensayos sobre la vida provinciana), Madrid, Biblioteca Nacional y Extranjera, Leonardo Williams, Editor, 1905.
• La ruta de Don Quijote, Madrid, Biblioteca Nacional y Extranjera, Leonardo Williams, Editor, 1905.
• El político, Madrid, Librería de los Suc. de Hernando, 1908.
• España. Hombres y paisajes, Madrid, Librería de Francisco Beltrán, 1909.
• La Cierva, Madrid, Librería de los Suc. de Hernando, 1910.
• Lecturas españolas, Madrid, Imprenta de la "Revista de Archivos", 1912.
• Castilla, Madrid, Tip. de la "Revista de Archivos", 1912.
• Clásicos y Modernos, Madrid, Renacimiento, 1913.
• Los valores literarios, Madrid, Renacimiento, 1914.
• Un Discurso de La Cierva, Madrid, Renacimiento, 1914.
• Al margen de los clásicos, Madrid, Publicaciones de la Residencia de Estudiantes, 1915.
• El Licenciado Vidriera (visto por Azorín). En el tricentenario de Cervantes, Madrid, Publicaciones de la Residencia de Estudiantes, 1915.
• Rivas y Larra. Razón social del romanticismo en España, Madrid, Renacimiento, 1916.
• Un pueblecito (Riofrío de Ávila), Madrid, Publicaciones de la Residencia de Estudiantes, 1916.
• Parlamentarismo español (1904-1916), Madrid, Casa Editorial Calleja, 1916.
• Páginas escogidas, Madrid, Casa Editorial Calleja, 1917.
• Entre España y Francia (páginas de un francófilo), Barcelona, Bloud y Gay editores, 1917.
• El paisaje de España visto por los españoles, Madrid, Renacimiento, 1917.
• Madrid. Guía sentimental, Madrid, Biblioteca Estrella, 1918.
• París, bombardeado (mayo-junio 1918), Madrid, Renacimiento, 1919.
• Fantasías y devaneos (Política, literatura, naturaleza), Madrid, Rafael Caro Raggio: Editor, 1920.
• Los dos Luises y otros ensayos, Madrid, Rafael Caro Raggio: Editor, 1921.
• Don Juan (Novela), Madrid, Rafael Caro Raggio: Editor, 1922.
• De Granada a Castelar, Madrid, Rafael Caro Raggio: Editor, 1922.
• El chirrión de los políticos (Fantasía moral), Madrid, Rafael Caro Raggio: Editor, 1923.
• Una hora de España (1560-1590), Madrid, Rafael Caro Raggio, 1924.
• Racine y Molière, Madrid, Cuadernos Literarios de "La Lectura", 1924.
• Los Quinteros y otras páginas, Madrid, Rafael Caro Raggio: Editor, 1925.
• Doña Inés (Historia de amor), Madrid, Editorial Caro Raggio, 1925.
• Old Spain, Madrid, Editorial Caro Raggio, 1926.
• Brandy, mucho brandy, Madrid, Editorial Caro Raggio, 1927.
• Comedia del Arte, Madrid, Prensa Moderna, 1927.
• [With Pedro Muñoz Seca], El Clamor, Madrid, Sociedad de Autores Españoles, 1928.
• Lo invisible (Trilogía), Madrid, Prensa Moderna, 1928.
• Félix Vargas (Etopeya), Madrid, Biblioteca Nueva, 1928.
• Andando y paseando (Notas de un transeúnte), Madrid, Biblioteca de Ensayos, 1929.
• Blanco en Azul (Cuentos), Madrid, Biblioteca Nueva, 1929.
• Superrealismo (Prenovela), Madrid, Biblioteca Nueva, 1929.
• Maya, Madrid, La Farsa, 1930.
• Angelita (Auto sacramental), Madrid, Biblioteca Nueva, 1930.
• Pueblo (novela de los que trabajan y sufren), Madrid, Biblioteca Nueva, 1930.
• Cervantes, o la casa encantada, comedy in three acts and an epilogue, 1931.
• Lope en silueta (con una aguja de navegar Lope), Madrid, Ediciones del Árbol, 1935.
• La guerrilla, Madrid, La Farsa, 1936.
• Trasuntos de España (páginas electas), Buenos Aires, Colección Austral, 1938.
• Españoles en París (1939), Buenos Aires, Colección Austral, 1939.
• En torno a José Hernández (Nueve fantasías acerca del autor de "Martín Fierro"), Buenos Aires, Sudamericana, 1939.
• Pensando en España (Cuentos o evocaciones del pasado español, escritos en París, 1939), Madrid, Biblioteca Nueva, 1940.
• Valencia, Madrid, Biblioteca Nueva, 1941.
• Madrid (La generación y el ambiente del 98), Madrid, Biblioteca Nueva, 1941.
• El Escritor (Novela), Madrid, Colección Austral, 1942.
• Cavilar y contar (cuentos), Barcelona, colección Ánfora y Delfín de la Editorial Destino, 1942.
• Sintiendo a España (Cuentos), Barcelona, Biblioteca de Autores Hispánicos de la Editorial Tartessos, 1942.
• Farsa docente, comedy in three acts, 1942.
• El Enfermo (Novela), Madrid, Colección La Tortuga en las Ediciones Adán, 1943.
• Memorias, in Obras Selectas, Biblioteca Nueva, 1943.
• Salvadora de Olbena (Novela romántica), Barcelona, Edit. Lara 1944; Zaragoza, Ediciones Cronos 1944.
• París, Madrid, Biblioteca Nueva, 1945.
• Memorias inmemoriales, Madrid, Biblioteca Nueva, 1946.
• Con Cervantes, Buenos Aires, Colección Austral #747, Espasa Calpe, 1947.
• Con permiso de los cervantistas, Madrid, Biblioteca Nueva, 1948.
• Con bandera de Francia, Madrid, Biblioteca Nueva, 1950.
• El cine y el momento, Madrid, Biblioteca Nueva, 1953.
• El oasis de los clásicos, Madrid, Biblioteca Nueva, 1952.
• Pintar como querer, Madrid, Biblioteca Nueva, 1954.
• El pasado, Madrid, Biblioteca Nueva, 1955.
• Escritores, Madrid, Biblioteca Nueva, 1956.
• Dicho y hecho, Madrid, Biblioteca Nueva, 1957.
• La isla sin aurora, Madrid, Biblioteca Nueva, 1958.
• De un transeúnte (1958).
• Agenda, Madrid, Biblioteca Nueva, 1959.
• Pasos quedos, Madrid, Escelicer, 1959.
• De Valera a Miró, Madrid, Afrodisio Aguado, 1959.
• Ejercicios de castellano, Madrid, Biblioteca Nueva, 1960.
• Postdata, Madrid, Biblioteca Nueva, 1961.
• Mis Mejores Páginas, Barcelona, Editorial Mateu, 1961.
• Varios hombres y alguna mujer, Barcelona, Aedos, 1962.
• Historia y vida, Madrid, Colección Austral #1314, Espasa Calpe, 1962.
• En lontananza, Madrid, Bullón, 1963.
• Los recuadros, Madrid, Biblioteca Nueva, 1963.
• [With Jorge Campos], Conversaciones con Azorín, Madrid, Taurus, 1964.
• España clara, Madrid, Doncel, 1966.
• Los médicos, Valencia, Prometeo, 1966.
• Ni sí, ni no, Barcelona, Destino, 1966.
• París, Madrid, Biblioteca Nueva, 1966 (second edition, with a foreword by the author).
• Teatro de Azorín, Madrid, Escelicer, 1966.
• Ultramarinos, Barcelona, Edhasa, 1966.
• La amada España, Barcelona, Destino, 1967.
• Crítica de años cercanos, Madrid, Taurus, 1967.
• Tiempo y paisaje. Visión de España, Madrid, AECI, 1968.
• El artista y el estilo, Madrid, Aguilar, 1969.
• Lo que pasó una vez, Barcelona, Lumen, 1970.
• Tiempos y cosas, Barcelona, Salvat, 1971.
• Artículos olvidados de J. Martínez Ruiz, Madrid, Narcea, 1972.
• El caballero inactual, Madrid, Espasa Calpe, 1972.
• Rosalía de Castro y otros motivos gallegos, Lugo, Celta, 1973.
• Cada cosa en su sitio, Barcelona, Destino, 1974.
• Y pudo ser así, Almacenes Generales de Papel, 1974.
• Las Terceras de ABC, Madrid, Prensa Española, 1976.
• Un hidalgo, Ediciones de Arte y Bibliofilia, 1976.
• Yecla y sus hombres en mi memoria, 1979.
• Política y literatura, Madrid, Alianza, 1980.
• La hora de la pluma: periodismo de la dictadura y la república, Valencia, Pre-Textos, 1987.
• Azorín-Unamuno: cartas y escritos complementarios, Generalitat Valenciana, 1990.
• Fabia Linde y otros cuentos, Ateneo Literario de Yecla, 1992.
• Artículos anarquistas, Barcelona, Lumen, 1992.
• Saavedra Fajardo, Murcia, Academia Alfonso X el Sabio, 1993.
• Ecos del tiempo: textos breves, Alicante, Aguaclara, 1993.
• Judit: tragedia moderna, Alicante, Caja de Ahorros del Mediterráneo, 1993.
• Páginas escogidas, Alicante, Aitana, 1995.
• Cinematógrafo: artículos sobre cine y guiones de películas (1921-1964), Valencia, Pre-Textos, 1995.
• Los norteamericanos, Instituto Alicantino de Cultura Juan Gil-Albert, 1999.
• Cuentos y memorias, Madrid, Ediciones de la Torre, 2000.
• La bolita de marfil: cuentos, Madrid, Biblioteca Nueva, 2002.
• Andalucía: cinco miradas críticas y una divagación, Sevilla, Fundación Juan Manuel Lara, 2003.
• Lo que lleva el Rey Gaspar: cuentos de Navidad, Madrid, Clan, 2003.
• El buen Sancho, Madrid, Biblioteca Nueva, 2004.

Azorín in film

• Badaezpada: El vecino afectuoso (2007), directed by Pello Varela, with actors Txema Blasco and Rafa Martín.

Bibliography

• Ayala, José Antonio (1980). "Azorín y Juan de la Cierva (Historia de unas elecciones)" (PDF). Murgetana (in español) (59): 57–81. ISSN 0213-0939.
• Fernández Almagro, Melchor (1959-03-04). "Ecos de la vida literaria. Artículos de "Azorín"". La Vanguardia Española (in español) (28.846). Barcelona: 9. ISSN 1133-4932.{{cite journal}}: CS1 maint: date and year (link)
• Ferrándiz Lozano, José, Azorín, testigo parlamentario. Periodismo y política de 1902 a 1923, Madrid, Congreso de los Diputados, 2009.
• Fox, E. Inman, Azorín: Guía de la obra completa, Madrid, Castalia, 1992.
• Hernández Valcárcel, María del Carmen and Escudero Martínez, Carmen, La narrativa lírica de Azorín y Miró, Alicante, Caja de Ahorros del Mediterráneo, 1986.
• López García, Pedro Ignacio, Azorín, poeta puro, Alicante, Instituto Alicantino de Cultura Juan Gil-Albert, 2006.
• Lozano Marco, Miguel Ángel, Imágenes del pesimismo, Alicante, Universidad de Alicante, 2000.
• Martínez Cachero, José María, Las novelas de Azorín, Madrid, Ínsula, 1960.
• Payá Bernabé, José and Rigual Bonastre, Magdalena. Azorín y los libros. Madrid, Ministerio de Cultura, 1993
• Riopérez y Milá, Santiago, Azorín íntegro, Madrid, Biblioteca Nueva, 1979.
• Risco, Antonio, Azorín y la ruptura con la novela tradicional, Madrid, Alhambra, 1980.
• Valverde, José Mª, Azorín, Barcelona, Planeta, 1971.
• Villanueva, Darío, Valle-Inclán, novelista del modernismo, Valencia, Tirant Lo Blanch, 2005.
• Villanueva, Darío, La novela lírica I: Azorín y Miró, Madrid, Taurus, 1983.
• Yurkevich, Gayana, In Pursuit of the Natural Sign: Azorin and the Poetics of Ekphrasis, Bucknell University Press, 1999.

Salvador Pavía Pavía. "Orígenes literario Azorín"

External links

• Online works by Azorín in the Biblioteca Virtual Cervantes
• Digitized works by Azorín in the Biblioteca Digital Hispánica
• Azorín on the TVE program Imprescindibles.
• Fernando Lázaro Carreter, Review of El cinematógrafo, ABC Literario.