CANDIDATURE
OF FRANCISCO AYALA
FOR THE NOBEL PRIZE FOR LITERATURE IN THE YEAR 2004
The most honorable Don Francisco Ayala y García Duarte
is once again nominated as a candidate for the Nobel Prize for
Literature in the year 2004 for three main reasons: 1. his steadfast
defense, during his many long years of life and in the totality
of his vast literary output, of the humanistic values of liberty,
democratic co-existence, and peace based on justice; 2. the exceptional
artistic quality of an innovative, elegant, and absolutely personal
prose by which he gives shape, in narrative creations of different
genres, to his view of the essential reality mankind; and 3. his
interpretation, in brilliantly penned essays, of the course of
the problematical universal history of the twentieth century,
to which he himself has been an active witness. The author's aforementioned
extensive writings as well as his steadfast civic conduct have
been exemplary from both an aesthetic and moral point of view.
As a whole, is abundant opus contains essential intellectual keys
to the intelectual understanding, interpretation, and construction,
from a profoundly human perspective, the current, ever-accelerating
process of planetary integration
Francisco Ayala (Granada, Spain, 1906) was destined to be born
and to live during a critical period in universal history with
singular consequences in the history of his native land. Like
every great modern creative artist, he began by emulating the
classics, into whose ranks he has since been incorporated, thereby
offering, in the most exalted humanistic tradition, his own vision
of the new realities that in his lifetime have opened up towards
the future.
Seldom does one find in contemporary literature such an intense
equilibrium between the pursuit of the eternal on the one hand
and, on the other, fidelity to the specific historic moment from
which such a pursuit is realized.s These characteristics are already
evident in his first two novels, Tragicomedia de un hombre sin
espíritu (Tragicomedy of a Man without Spirit, 1925) and
Historia de un amanecer (Story of a Sunrise, 1926). Soon thereafter,
the author's literary voice would erupt with exceptional vitality
and originality in the dazzling poetic narrations contained in
his books El boxeador y un ángel (The Boxer and an Angel,
1929) and Cazador en el alba (Hunter at Dawn, 1930), composed
at the moment in the experience of modern times in which the historic
vanguard movements played a leading role. These texts constitute
an outstanding aesthetic contribution to European literature:
beneath the superficial appearance of youthful verve and in a
playful tone, the author's sensitivity reveals, prophetically,
a tragic dimension of human existence soon to be confirmed by
the series of events leading up to the Spanish Civil War and to
the universal catastrophe of the Second World War.
After having discharged, in support of the Second Spanish Republic,
important diplomatic and political assignments in favor of a just
peace that unfortunately would prove impossible to attain, Francisco
Ayala went into exile in the Americas, where he proceeded to elaborate
his social thought in important volumes of essays while simultaneously
revealing a new phase in his creative originality in works of
fiction such as "El Hechizado" ("The Bewitched"),
described by Jorge Luis Borges as "one of the most memorable
stories in Hispanic literatures." In Los usurpadores (Usurpers,
1949), the compilation of tales to which this text belongs, the
idea that "power exercised by man against his fellow man
is always a usurpation" is embodied by different historically
inspired illustrations that having been transformed into fiction
thus acquire a universal ethical dimension transcending their
factual origins. Ayala's narratives have the power to make us
feel close to real situations whose imaginary dimensions inevitably
lead one towards the most profound human reality. This would also
be the case in the five exemplary novels that make up La cabeza
del cordero (The Lamb's Head, 1949), all of which, while having
to do with the Spanish Civil War, are essentially concerned with
the situation of the individual who is debased on account of confrontations
of an intransigent nature. For this reason the content of this
volume is greatly enhanced when read together with that of Los
usurpadores. In these books, as well as in many other of his works,
Ayala continually advocates critical reflection as to the circumstances
leading to the use of violence and tyrannical rule while defending
a society in which consensus between free human beings serves
as the standard for social conduct.
During the period between 1950 and 1966, years dedicated to teaching
in different North American universities, Ayala enlarged the configuration
of his fictional universe, which became increasingly coherent,
complex, and complete. From these years date Historia de macacos
(A Monkey Tale, 1955), a collection of short stories set in Africa
or South America in which irony serves as a tool for a brilliant
portrayal of reality, and the well-known pair of complementary
novels, both considered twentieth-century classics, entitled Muertes
de perro (Death as a Way of Life, 1958) and El fondo del vaso
(The Bottom of the Glass, 1962), set in an imaginary Central American
country, which re-create the good and bad sides of political institutions,
whether despotic or democratic, in a similar atmosphere. Also
dating from this period are the collections El as de bastos (The
Ace of Clubs, 1963) and De raptos, violaciones y otras inconveniencias
(On Abductions, Rapes, and Other Inconveniences, 1966), whose
tone tends more towards sarcasm than irony, a clear reflection
of the disillusioned view of the world that was troubling their
author at that time.
To the surprise of many, Ayala presented his readers, almost half
a century after those youthful contributions of his to the historic
vanguard movements, innovations of another sort that would once
again position him in the forefront of twentieth-century narrative
fiction: now, in El jardín de las delicias (The Garden
of Delights, 1971, 1978, 1990, 1999), he conceived a new way of
relating fragmentary pieces to the whole. In this unusually vivacious
work, characterized by a vibrant authorial voice imbued with poetic
inspiration, the boundaries between concrete reality and imagination
almost vanish-or even entirely disappear-at the same time as the
importance of the traditional confines of genre is diminished.
This new way of writing thus combines the seriousness of the essay,
narrative sequence, autobiographical materials, graphic illustration,
and free and spontaneous intellectual digression so as to actively
involve the reader with the author, thereby transforming the latter
into the true protagonist of its total composition.
At the same time that this outburst of fictional creativity was
taking place Ayala was revisiting objective reality from a different
angle, this time by dedicating himself to the traditional genre
of the memoir, to which he would impart a brilliance transformed
by his prose into something unique, as unique as the vision shed
therein on the world that he had lived in. Since its initial publication
Recuerdos y olvidos (Things Remembered and Things Forgotten, 1982,
1983, 1988) has been considered an insuperable testimony of its
period, evoked with the most rigorous objectivity by a voice that
vibrates still with the subjectivity of life's experience. In
language of an exceptional literary value, anecdote is transcended
so as to admit fulminating reflections about some of the fundamental
political, cultural, or artistic events and personalities of the
twentieth century. In this work, as in the sui generis compilation
entitled De mis pasos en la tierra (Of My Steps upon the Earth,
1998) and in his numerous contributions to the media, Ayala does
not confine himself to being an articulate witness, critical as
well as hopeful, of harsh historical reality; he also involves
himself actively in an inexorable assessment of today's world.
Throughout almost an entire century which his lifetime spans Don
Francisco Ayala has journeyed with self-assured serenity through
joyous territories and ominous terrains. From the time he was
a child in his native Granada; the years spent midst the frenzy
of Berlin in the early 1930s; those of Republican Madrid; those
of his subsequent exile in Argentina, Puerto Rico, Brazil, and
the United States; and finally, since the 1960s, from the time
of his return to a highly problematical Spain, he has been able
to impassively observe both the bright and the dark sides of life.
That is precisely the dialectic of El jardín de las delicias,
a work in which the "Diabolical World" ("Diablo
mundo") is contrasted to the world of "Happy Days"
("Días felices"). A Writer in his Century (the
title, by the way, of one of his books), Ayala has reflected both
aesthetically and ideologically, with the rigor of the finest
intellectuals and the sensitivity of the finest artistic creators,
the condition and the destiny of humankind. Never, not even in
his most difficult days, has he needed to be encouraged by means
of praise that would do justice to his merits, nor has the unrelenting
integrity of his course in any way been altered by the wealth
of recognitions that he has justly received. Among these, his
election as a member of the Spanish Royal Academy (1983); the
National Prize for Literature (1983); the National Prize for Spanish
Letters (1988); the Prize for Andalusian Letters (1989); honorary
doctorates from Northwestern University (1977), the Complutense
University of Madrid (1988), the Universities of Seville and of
Granada (1994), the University of Toulouse-Le Mirail (1995), the
National University for Long-Distance Education (1996), and the
Charles III University (2001); Gold Medals from his native city
of Granada (1987), the Circle of Fine Arts of Madrid (1991), the
International University of Menéndez y Pelayo (2001), and
the Royal Academy of Fine Arts of Granada (2002); his designation
as Honorary Member of the Association of the Press of Madrid (2002);
of the Association of the Press of Granada (2003); and, recently,
as Honorary Member of Círculo de Lectores (2004).
As the culmination of all of the above we should mention the Cervantes
Prize for Literature, in 1991, which underscored in Ayala's creative
writings his Cervantine heritage and his significance, like that
of the author of the Quijote himself, as that of an author of
recognized universal stature. The many translations of his work
to major languages vouch for this fact. In 1998 he was awarded
the Prince of Asturias Prize for Letters and in the year 2002
the prestigious Fernando Abril Martorell Prize for his contribution
to liberty, democracy, and co-existence among Spaniards. Recently
the Spanish Government granted him the Medal for Merit in Work
for his exemplary labor throughout an entire lifetime.
In addition to being one of the major contemporary literary theorists
and critics, Francisco Ayala is also a theorist of the art and
the technique of translation and a distinguished translator into
Spanish from the German, French, English, Italian, and Portuguese.
An essayist with a splendid sociological formation, as evidenced
by his indispensable Tratado de sociología (Treatise on
Sociology, 1947) as well as his Introducción a las ciencias
sociales (Introduction to the Social Sciences, 1952), he has demonstrated
a constant interest in the technological innovations of our time,
from the birth of the so-called Seventh Art--his Indagación
del cinema (An Inquiry into the Cinema, 1929), was the first book
of cinematographic criticism published in Spain-up to the most
recent contributions of modern technology. This is attested to
by the titles of some of his most widely disseminated works of
non-fiction: Razón del mundo (The World Explained, 1944,
1962); El escritor en la sociedad de masas (The Writer in Mass
Society, 1956); Tecnología y libertad (Technology and Freedom,
1959); Contra el poder y otros ensayos (Against Power and Other
Essays, 1992); El escritor en su siglo (The Writer in His Century,
1990); El tiempo y yo o El mundo a la espalda (Time and I or Leaving
the World Behind, 1992); En qué mundo vivimos (What a World
We're Living In, 1992); etc. In these and other writings of his
the transparency and quality of Ayala's prose serve as a vehicle
of expression of an analytical and prophetic vision of the crisis
of modernity in which he offers keys for the construction of a
future cemented in liberty.
For the literary, intellectual, and living trajectory of a man
whose activity spans nearly an entire century-at the present moment
preparations are underway at the national level in Spain for the
celebration of the centennial of this lucid and engaged writer-and
whose life and work constitute a reflection of his time, we hereby
reiterate once again our request that Francisco Ayala, who has
received so many qualified letters of support in years past, be
awarded the Nobel Prize for Literature for the year 2004.
January 2004