Gabriel Miró

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Gabriel Miró (Alicante, 1879 - Madrid, 1930). Most critics believe that Gabriel Miró's literary maturity begins with Las cerezas del cementerio (1910), whose plot revolves around the tragic love of the super-sensitive young man Félix Valdivia for an older woman (Beatriz) and presents—with 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 tradition and progress, the pressures of one’s environment, and above all, a meditation about time.

One year later, Figuras de la Pasión del Señor (1916-17) was published, formed by a series of scenes about the last days of Jesus. Also in 1917, Miró began his autobiographical-style works with Libro de Sigüenza, in which Sigüenza 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 Años y leguas (1928), which again uses the character of Sigüenza as a protagonist, are of a similar nature.

In 1921, he finished two more books: El ángel, 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 Gullón has described the Miró'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 Miró'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 Azorín before him, the senses are a form of creation and knowledge in Miró's work, hence