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Camba: chronic parliamentary artist's puppy

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Camba: chronic parliamentary artist's puppy

The editorial Renaissance brings toger for first time political texts with which writer gallego fired his career.

When Julius Camba landed in Madrid, with 19 years, it was more or less 1905. Came expelled from Argentina, by anarca. He had escaped from home of parents (Villanueva de Arosa, Pontevedra) to 13-year stowaway on a merchant ship with destination to Buenos Aires. When he returned, he was ready to blow up Madrid with a wad of paragraphs. For this purpose he founded a newspaper in mood of guerilla, The Rebel, toger with his friend Antonio Apollo. Up here existence of Camba non-marring those guys with appetite of his own name that huroneaban by editors of newspapers in madrid.

In those days lived fortune of Spain, which was fibrilando, with end of Restoration, and arrival to Government of Antonio Maura. Fashion policy were crisis ministerial continuous and disunity of parliament. And Julio Camba re, sure of being able to hunt moments precise and definitive with a chronic angry in which not disguised ir disaffection for almost everything, by almost everyone. With that trail of young fierce was doing site. Ahead of schedule, articles pajariteaban halls and cheap cafés of city, calling attention.

one writer even in raw re is not much of a trace. The Camba who dwells among us is, above all, strong, firm, flyer, sulphur dioxide and biting of maturity. But stage of fry is principal to understand what he did by writing, to understand it all. This galician tart that opened a hole on nudges found in newspapers, your niche exactly. The folio pasao, where he left an ironic and disillusioned and a skepticism without cracks that kept him away of naiveté.

In pages of Spain New, shot to tie by director Cristóbal de Castro, inaugurated in 1907, a series of chronicles in parliament than y were, mostly, yellowed files and archives. is Some parts excellent and full of challenge and self-control, humor, and paradox, of distance and piss take. He entitled series " Diary of a skeptic and soon became birdseed most sought after of press. A prose extremely subtle and effective where Camba showcases delicious sensation of a man misplaced, that everything is observed as for first time: parliamentary debates, meetings of minutes, galleos, intrigues, betrayals, nothing and everything.

The editorial Renaissance brings toger for first time this material to full in its collection The four winds, along with or articles dispersed about same time. David Gistau trace a prologue for sure, and charge of edition, and introductory study is José Miguel González Soriano.

The Julio Camba was a journalism steppe is alien to that or of coba that massages politician, powerful businessman. he Fled from face of palique and cambalache sneaky. "Poetry in a flow full of disappointments and many hopes dead," points out González Soriano. "But he was still voice of his first fervores revolutionaries". That distinguished him from some peers who also nailed chronic parliamentary, as Azorín. Or that y were correct in interpretation of facts of his time, such as Benito Pérez Galdós. Or that y understood world for its small details, such as Luis Bello. Something n he would take witness Wenceslao Fernández Flórez.

despite his apparent indolence, Camba threw in each article a arponazo not for sake of revenge, but with desire to be distinguished by side of "not". Because "yes" sum, but "not" multiply. The target of ir attacks is president Antonio Maura. "Represented for him", says author of this edition, " visible head of a parliamentary regime and a State model is already outdated. The rhetoric huera, arbitrary power, catholic moral repression, electoral manipulation". And hence what he writes in one of his dinamiteras chronicles: "you Have three means, lord, for desembarazaros of us. One consists in prendernos; or in being excommunicated; or to kill us [...] But will sincere, conscious, strong."

These chronicles first appeared in may 13, 1907. Camba decided to work only with pleasures of an intelligence that is sarcastic. And carried high chronic parliamentary from a certain degree of sadness without a will, that ended up turning into laughter. "I am a skeptic of joyful character which will not create a big deal in usefulness of strife of parliament, but who is willing to admire all ingenuity, all grace and all skill that y put", he wrote.

Although not given many options to find that "grace". Perhaps moment of greatest excitement of his adventure as a chronicler parliamentary (a little less than two years old) came with speech of president of I Republic, Nicolás Salmerón, June 19, 1907. "I have right to admire ir words by ir courage and by your openness: two things which occur rarely in this place of lies and conventions called by Congress". Or, as always.

his way, he set on foot a way of writing journalism. Manifest different. Of focus with optical own removing splinters of any suit. These texts do not betray young man, but that advertise your talent cornered. "A chronicler parliamentary", he wrote, "must be absolutely impassive and impeccable, and this supreme science no one can learn more by that of macer. macer are stoics; y are fully convinced of banality of thing to public and not lose ever, dignity of continent by very unleashed to walk passions on floor." Because re are sessions that are best explained from details of anyone who looks oblivious to everything. A sergeant-at-arms, a reporter, a former deputy in forum of former deputy. There looks like Julio Camba. And from this place of no one explains soul of sites.

One day, got bored of making Congress, he left Spain New and was installed in Heraldo de Madrid. Also for a short time. He soon joined The World of Santiago Mataix, which propelled him to win with section Words of a mundane. Then he was sent to Turkey, because yes and began to baste his legend of cosmopolitan. Account of TWENTIETH century with true hedonism disgusted. Years later, when war, it will be taking in Paris, London or New York as trenches. That is also its exoticism, its strangeness and its lesson: do not count things as y seem, but as paradox of what it seems that you are.

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