Today that is national holiday of this federal district without attributes is a good time to remember that at one time Madrid was called Madriz. This is name that a group of pioneers led by Felipe Hernández Cava put a comic magazine sponsored by city of tender Galván. Like everything that happened in this Poblachón manchego, news soon arrived in provinces, which were filled with fairs of fanzine and comic and Urban publications, in imitation of one in which y drew consecrated and young people like Carlos Giménez , PAHO (anor of names of El Roto), Victoria Martos, LPO, Ana Juan, Asun Balzola, Raúl or Fernando Vicente.
Seen from periphery, Madriz captured so well spirit of times that it seemed to have always been re. The truth is that it lasted three years: from 1984 to 1987. It came to sell 15,000 copies and to create school, but voyage had its episodes of municipal surrealism. At height of number four, Popular alliance (anor of names of PP) requested its withdrawal. On one hand, promising Alberto Ruiz-Gallardón, n 26-year-old councillor, considered that a comic book of Ceesepe ridiculed Franco. On or, no less promising José María Álvarez del Manzano, who came to mayor, stressed that magazine was full of "allusions to world of drugs." "Disgusting, blasphemous and contrary to family" are some of qualifiers that y dedicated to him. They did not know that, as Woody Allen would say, with those three ideas as a campaign slogan anyone would be elected president of France.
When Madriz first came to kiosks, she was also accused of unfair competition: advantage of public money. His promoters responded that y did nothing but fill gap left by ir illustrious colleagues, who gave little court to Spanish cartoonists. The fact is that y also contributed to fill anor gap: that of experimentation. Sometimes of clear line, sometimes of Chunga line, transvanguardist or expressionist as it were agreed, its pages were skipped narrative conventions to approach territory of poetry.
One of authors flagship of that magazine and that spirit was Federico del Barrio, able to cite Pessoa without squeaking vignette. Some of m discovered Portuguese poet in his drawings and in scripts of Elisa Gálvez. When he started Madriz, neighborhood was 27 years old but had already collaborated in French Pilota and in Spanish Totem, Rambla and Cimoc. Although in Nineties he published several albums with screenplay by Hernández Cava himself — with which now, under pseudonym of Cain, he publishes daily on third page of reason — his stories of Madriz had remained on shore, a book of 1985. That is why it is a small event that Cordelia's kingdom collect those days in volume time that lasts this clarity. Fragile and insecure, taciturn in a time of talkative, characters who populate it — some men, many women — live with suitcase made. They are ones who always want to leave and always stay, sad ones of party.