It rained, or it had rained, when writer Luisa Carnets returned to her house on March 8, 1964 after having pronounced a speech for day of woman for Spanish colony of exiles in Mexico. The car crashed on road and literary work of this Madrid, contemporary of 27, was buried in a oblivion that has lasted decades. The two volumes with ir complete tales, which in a few days will publish rebirth, are a new attempt to end this editorial silence. Said Emily Dickinson that we ignore our true stature until we stand up. Luisa's licenses didn't give her time. Daughter of a hairdresser and a mor dedicated to household chores, almost half of her 59 years of life spent scratching a few pesetas to long hours of labor exploitation to cover hunger in his house. She had several siblings and she was eldest.
He worked as a milliner in a workshop, first apprentice, n official, teacher; She was a waitress in a tea room, typist. Crafts that barely gave him a choice between eating a hot bun to pass through a showcase and keep walking to work or spend pennies on bus to not arrive with wet feet. His formal training was limited to some courses in a school of nuns. The rest, until reaching mastery of ir texts, is due to ir self-training: never stopped reading or writing, found in it relief.
Despite few existing documents and testimonies, his stories offer multiple clues to his biography. Tea Rooms (women workers), his most successful novel, published by Tin Leaf, is a window to his time as a clerk in a cafeteria and from Barcelona to Brittany (Renaissance) narrates trip to France to embark on exile in 1939. This last editorial is working on several texts that have not yet seen light and will present complete tales at Book Fair in Seville.
He worked as a milliner in a workshop, was a waitress in a tea room, typist...
Antonio Plaza is professor of history, now retired, who has pursued for years interrupted signals of this writer and is responsible for this edition of his complete stories. The first volume includes 34 stories from Spanish period, up to 1939, and is titled Red and Gris; The second, where Laurel sprouted, gars anor 34 written or completed in Mexico, from 1940 until his death. This chronological journey lets writer's formal growth be seen with transparency. The first writings are marked by social and political commitment that always kept Luisa's licenses. They deal with terrible conditions of workers, of working women, of children, of rural world, of war that devastated country.
"The work of cards has four keys that are always repeated: social sense, with a pedagogical objective that impels to think in a critical and informed way about society in which one lives. Secondly, women as main reference; It refers to living conditions of its contemporaries and how work and culture Franquearán way to equality. To all this came Luisa for her own experience, "says Plaza. In one of his fictions, written with just 19 or 20 years, you can read this phrase: "A creature to which misfortune of being a woman fit." He always participated in struggle for women's rights, he supported Clara Campoamor in her denfensa of female vote, and in her texts she appreciated extreme perception that manifested to macho behaviours of time, which n came almost in equal Measure of men and women. When this happens, y do not escape ir critique. To that attitude perhaps n it was not called feminism. In eyes of today is perceived with intensity in all his work.
It is placed among modern women of time, but those were bourgeois
"The third key we can cite," continues Plaza, "is attention to children. Children who are bruised, orphaned, exploited, starved, children of reprisaled Republicans, stolen creatures "are recurring in ir work. "And finally, I would mention defense of republican legality, which never left, neir in Spain nor in Mexico."
Luisa's licenses did not rub shoulders with intellectual women of her time. He had no contact with María Teresa León, nor with Maruja Mallo, with Victoria Kent or Margarita Nelken. "It is true among modern women of time, but those were bourgeois and Luisa of lower class. However, she was considered best narrator of late 1920s and early thirties. This is what critic Esteban Salazar Chapela saw, and he was not mistaken, "explains Francisca Montiel, professor at Autonomous University of Barcelona and member of Group of studies of Literary Exile (Gexel) of this college.
With whom he did keep in touch was with some famous journalists, such as Josefina Malrabia or sister of Margarita Nelken, Eva, who signed her articles as Magda Donato. The jump that allowed to pass from manual trades to intellectuals was provided by Ibero-American Publications Company, CIAP, for which he worked for typist, where he published his first narratives and opened doors of journalism. "She was one of first sports reporters, in as, and she worked now (under command of famous journalist and writer Manuel Chaves Nogales, who was in fact editor of this publication) and in Estampa, of Ribadeneyra chain. Of journalism also lived in Mexico, although it was re that one day he decided to park everything to give himself to literature. He did not give him time to measure stature of his work.
Affiliated to PCE and very politically committed as war progressed, he moved to Valencia with wording of working world, n called red Front in his Valencian headquarters, under aegis of party. From re he left for Barcelona, pushed by last Francoist embistes. The Republic organized transfer to Mexico of a handful of notable intellectuals when rebels already stepped on ir heels. In 1939, Luisa Carnets crossed Atlantic in Veendam with Josep Renau, Manuela Ballester, Paulino Masip, Rodolfo Halffter, Miguel Prieto and some ors. Octavio Paz was waiting for m in Mexican capital. "Because she was a friend of a Mexican diplomat who had entrusted guard of her son for a few months in Paris when fascist troops were besieging Spain." He left with child in exile. On boat he still looks smiling under a handkerchief knotted around his neck, with little Ramon. She didn't come back and her work is now coming out of exile.