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Gabriel MirGabriel Mir (Alicante, 1879 - Madrid, 1930). Most critics believe that Gabriel Mir's literary maturity begins with Las cerezas del cementerio (1910), whose plot revolves around the tragic love of the super-sensitive young man Flix Valdivia for an older woman (Beatriz) and presentswith an atmosphere of voluptuousness and lyrical intimism--the themes of eroticism, sickness, and death. In 1915 he published El abuelo del rey, a novel that tells the story of three generations of a tiny Levantine town, for the sake of presenting, and not without a little irony, the struggle between traditional and progress, the pressures of ones environment, and above all, a meditation about time. One year later, Figuras de la Pasin del Seor (1916-17) appeared, formed by a series of scenes about the last days of Jesus. Also in 1917, Mir began his autobiographical-style works with Libro de Sigenza, in which Sigenza is not only the heteronym or alter-ego of the author, but the author's own lyrical self, which gives unity to the scenes which comprise the book. El humo dormido (1919), about time, and Aos y leguas (1928), which again uses the character of Sigenza as a protagonist, are of a similar nature. In 1921, two more books appeared: El ngel, el molino, el caracol del faro, a book of scenes, and the novel Nuestro padre San Daniel, which is part of a series with El obispo leproso (1926). Both play out in the Levantine city of 'Oleza, a reflection of Orihuela, in the last third of the 19th century. The city, submerged in lethargy, is seen as a microcosm of mysticism and sensuality, in which the characters debate between their natural inclinations and social repression, and intolerance and the religious resistance to progress to which they are submitted. Ricardo Gulln has described the Mir's stories as lyrical novels. They pay more attention to the expression of feelings and sensations than the simple act of listing events. The hallmarks of Mir's work are: - fragmentarism (a literary technique using the fragmentary nature of thought)
- The use of the ellipsis and
- The structuring of the story in disparate scenes, joined by reflection and memory
Impermanence is the essential theme of the author, who incorporates the past into a continuing present, through sensations, evocation, and memory. Like Azorn before him, the senses are a form of creation and knowledge in Mir's work, hence - the vivid style of his work,
- the use of synthesis and sensory images
- surprising adjectives and
- a lavish vocabulary
Mir, Gabriel Mir, Gabriel Mir, Gabriel
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