521

Concha Castroviejo, «La recuperación de un libro: libre entre las sombras», Pueblo, Madrid (8 diciembre, 1978).

 

522

Francisco Ferrándiz Alborz, «Entrevista sin palabras», El Día (suplemento), México D. F. (20 junio, 1954).

 

523

«Exile and autobiography are integrally related not only in their resistance to definition, but in their closeness to two other concepts -birth and death. As many exilic texts have shown, exile stands alongside death not as a copy or reproduction but as a distortion, a conscious rendering and alteration of death. In exile life ends, yet it continues; the effect is that the self is split by a notion of temporality which allows the present self to inspect and to re-create the former one, to give it a new birth. Autobiography is just it, a rendering, a recreaction of a self made possible by an essential split». Y sigue: «And although not all autobiographies contain or even hit at an ending -a death- the notion of beginning and finality is always implicit, if only in the very necessity for a commencement and an end to the text. The autobiographer is faced with a difficult task: the uniting of the birth and death of a life with those of a text. All of these issues are brought to light by both exile and autobiography, and the efforts of Spaniards who sought to record their lives and their journeys as a consequence of the Civil War are vital proof of their complexity», Michael Ugarte, Shifting Ground. Spanish Civil War Exile Literature, Durham / Londres, Duke UP, 1989, p. 82.

 

524

«The orderly and exact record of home is all such an exile can or will allow himself. The freedom of exile works paradoxically as a constraint, a commitment to create a fresh sense of identity through the record of home» (Andrew Gurr, Writers in Exile. The Identity of Home in Modern Literature, Sussex: The Harvest Press; New Jersey: Humanities, 1981, p. 15).

 

525

«The task for the exile, especially the exiled artist, is to transform the figure of rupture back into a figure of connection» (Michael Seidel, Exile and the Narrative Imagination, New Haven, Yale UP, 1986, p. X).

 

526

Julia Kristeva, Strangers to ourselves, New York, Columbia UP, 1991, p. 10.

 

527

«Free of ties with his own people, the foreigner feels completely free. Nevertheless, the consummate name of such a freedom is solitude (...). No one better than the foreigner knows the passion for solitude» (Kristeva, ob. cit., p. 12).

 

528

«The exile leaves on an impulse to escape, not to enjoy travel. In consequence his focus is on home, not the exotic, and he concentrates on the scrupulous depiction of his home in his art» (Gurr, ob. cit., p. 25).

 

529

Desde el punto de vista filosófico no se trata de una verdadera pérdida de la identidad personal visto que ésta, siendo la base de toda identidad percibida y concebida como tal, no puede perderse nunca: «L'identità personale, dice il Reid, è l'identità perfetta; (...) La nozione generale dell'identità deriva della credenza nella nostra identità personale» (C. Ranzoli, Dizionario di scienze filosofiche, Milán, Hoepli, 1943, p. 554). La identidad tampoco puede transformarse dado que las transformaciones de uno se perciben exactamente desde la constante de su identidad («Noi ci sentiamo cambiare, ma i cambiamenti li riferiamo sempre ad un medesimo essere (...). Tutti i miei me si sono trasformati; solamente il loro io è rimasto sensibilmente omogeneo a se stesso» (Enciclopedia filosofica, Florencia, Sansoni, 1967, vol. 3, p. 730). Las transformaciones se expresan, pues, en el concepto de las unidades que construyen la identidad. En vista de ello, la crisis de la identidad a la que me refiero en mi estudio de la literatura que la refleja significa una identificación de la unidad del pasado con la identidad, es decir, falta de reconocimiento de la nueva unidad (unidades) -la del exilio.

 

530

Rosa Chacel, Alcancía. I. Ida, Barcelona, Seix Barral, 1982, p. 32.