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Calila: The Later Novels of Carmen Martín Gaite explores the last six novels by Spain´s most honored contemporary woman writer. Its scholarship is enriched by the voice of Calila herself—as Brown called Martín Gaite, who was a dear friend—as they conversed and exchanged letters during the composition of the novels. The book opens with an introduction to Martín Gaite´s life and literature and ends with a consideration of her legacy. Each central chapter analyzes a later novel in its historical, biographical, and critical contexts. From the young adult fantasy Caperucita en Manhattan (Red Riding Hood in Manhattan) to the post-Transition epistolary masterpiece Nubosidad variable (Variable Cloud), the Transition-era saga La Reina de las Nieves (The Farewell Angel), the Proustian reminiscence Lo raro es vivir (Living’s the Strange Thing), the narrative tapestry Irse de casa (Leaving Home), and the memoir of family secrets Los parentescos (Family Relations), these fascinating novels evoke themes that resonate today.
 

Returning to Spain after fighting in the Battle of Lepanto and other Mediterranean campaigns against the Turks, the soldier Miguel de Cervantes was captured by Barbary pirates and taken captive to Algiers. The five years he spent in the Algerian bagnios or prison-houses (1575-1580) made an indelible impression on his works. From the first plays and narratives written after his release to his posthumous novel, the story of Cervantes's traumatic experience continuously speaks through his writings. Cervantes in Algiers offers a comprehensive view of his life as a slave and, particularly, of the lingering effects this traumatic experience had on his literary production.

No work has documented in such vivid and illuminating detail the socio-political world of sixteenth-century Algiers, Cervantes's life in the prison-house, his four escape attempts, and the conditions of his final ransom. Garces's portrait of a sophisticated multi-ethnic culture in Algiers, moreover, is likely to open up new discussions about early modern encounters between Christians and Muslims. By bringing together evidence from many different sources, historical and literary, Garces reconstructs the relations between Christians, Muslims, and renegades in a number of Cervantes's writings.

The idea that survivors of captivity need to repeat their story in order to survive (an insight invoked from Coleridge to Primo Levi to Dori Laub) explains not only Cervantes's storytelling but also the book that theorizes it so compellingly. As a former captive herself (a hostage of Colombian guerrillas), the author reads and listens to Cervantes with another ear.

Cervantine Futures places the writings of Miguel de Cervantes into conversation with some of the most pressing issues in cultural studies, critical theory, and sociopolitical discourse of the last decade. Assembling a diverse range of prominent and emerging scholars in the field, this volume stakes a claim for Hispanism’s place in the growing scholarly movement to vindicate pre- and early modernity for its incisive and often singular perspective on race, gender, ability, the body, affect, materialism, and other axes of timely debate.

To date, the writings of Miguel de Cervantes have been oddly sidelined from larger, ongoing scholarly projects to link premodern literature with the most recent analytics of critical theory and cultural studies. Cervantine Futures addresses this conspicuous gap by highlighting creative, forward-looking, and rigorous approaches that situate Cervantes in recent theoretical developments in critical cultural studies. Conceived under the rubric of “futures”—collective and capacious, yet also subjunctive and transtemporal—this book tasks the fields of early modern Iberian and Cervantine studies with adopting a more global approach to the early modern period that surveys the current and historical landscapes while charting new horizons. Crucially, Cervantine Futures reflects upon how early modern texts, cultural modes of expression, and visual ideations from Cervantes’s life and legacy resonate with contemporary debates on gender, race, ability, and other issues. The volume thus includes scholarly provocations that deploy feminist, queer, critical race, disability studies, and new materialist approaches to Cervantes’s oeuvre—tendentiously positioned as “canonical”—with the purpose not only of scrutinizing its sociopolitical meanings, but also of creating new archives that productively reframe and rethink early modernity.

In his first full-length translation, celebrated poet John Murillo (Winner of the Kingsley Tufts Award and the Four Quartets Prize) brings Rafael Alberti’s Concerning the Angels (Sobre los ángeles) to an English-reading audience. Murillo’s foreword introduces Sobre los ángeles as “a monument—albeit a severely neglected monument—of early twentieth-century literature.” Despite having “penned a masterwork of social and psychic malaise as deserving as any of its place in the global canon,” Alberti has disappeared into relative obscurity among readers of English language poetry, and Murillo’s crucial intervention allows the Spanish poet’s voice to once again echo prophetically from this book’s opening poem, “Paradise Lost”: “throughout the centuries, / through the nothingness of the world, / I, without sleep, search for you.” Insofar as the speaker addresses a figure named Shadow, he also seems to imagine us, his future readers, who need these prescient lyrics written in the time leading up to Spain’s civil war and ensuing decades of fascist rule. Bringing his signature gifts to translating from the Spanish, Murillo has given new life to what many consider Alberti’s magnum opus and delivered our marching orders for the resistance the future will require. “It is time you gave me your hand / and scratched into me the little light that catches a hole as it closes / and killed for me this evil word I plan to plunge into the thawing earth.” 
 

Susan McKenna presents the innovative narratives of Emilia Pardo Bazán, Spain's preeminent nineteenth-century female writer, in Crafting the Female Subject.