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Subseries 2. Novels

Scope and Content Notes:

This subseries documents Ramón’s work as a novelist. It is divided into sections to reflect a specific subgenre, such as short stories (novelas cortas), or a specific work.

Section: Novelas Cortas

Scope and Content Notes:

This section contains a collection of the author’s published short stories, most of them in form of clippings of the original pages of the paperback first editions.


Box 6
Folder 1 "La abandonada en el Rastro"
Folder 2 "Aquella novela"
Folder 3 "La donna de Kikir" (Italian Version of "La Fúnebre")
Folder 4 "Los dos marineros"
Folder 5 "Ella & Ella – El & El"
Folder 6 "La fúnebre"
Folder 7 "La gallipava"
Folder 8 "La gangosa"
Folder 9 "Leopoldo y Teresa"
Folder 10 "El joven de las sobremesas"
Folder 11 "La malicia de las acacias"
Folder 12 "Maria Yarsilovna"
Folder 13 "El miedo al mar"
Folder 14 "La mujer vestida de hombre"
Folder 15 "El olor de las mimosas"
Folder 16 "El regalo al doctor"
Folder 17 "A ruiva" (Portuguese Version of "La roja") translated by Rogerio García Pérez
Folder 18 "La saturada"
Folder 19 "La tormenta"
Folder 20 "El turco de los nardos" and "El vegetariano" (title page only)

Section: Hombre de alambre

Scope and Content Notes:

This section contains drafts, fragments, and notes for the until recently unpublished novel El Hombre de alambre illustrating the early stages of Ramón’s creative process. Most of the drafts form a complete narrative or dialogue in themselves but the linking material and the development of the novel as a whole are still lacking. The central character is an old and lonely emigrant whose personality is constructed through the metaphor of wire. Disillusioned, he metaphorically transforms his essential being into wires in order to make himself immune to sorrow. As death approaches, he begins an interior dialogue in which he finds the meaning of life and reconciles himself both to himself and to the idea of death, finally dying in a state of peace.

Folder 21 "Hotel Faraón"
Folder 22 "Alambre"
Folder 23 "Diálogo con el errante Yaquito"
Folder 24 "Llega la niña que quiere entrar"
Folder 25 "Sobre la Novela"
Folder 26 "Anden de Francia"
Folder 27 "Cajón de Embalaje"
Folder 28 "Mujeres de los alrededores de la casilla"
Folder 29 "Viviendo en mi castillo"
Folder 30 "Porque se convierte en alambre"
Folder 31 "Como era lo casilla"
Folder 32 "El secreto de la vida o lo que es vivir"
Folder 33 "Principio-Porque se volvió de alambre (Final/Sensación Buenos Aires)"

Box 7
Folder 1 "Vivir en las afueras"/"De su vivir en la casilla"
Folder 2 "Lo que es el alambrismo—Principio"
Folder 3 "Prólogo”/“Vuelta a la ciudad"
Folder 4 "Mujeres"
Folder 5 "Pesimismo emigrante"
Folder 6 "Cancer"
Folder 7 "Asaltante"
Folder 8 "En el palacete prestado"
Folder 9 "Escena en el café"
Folder 10 "El hombre de alambre"
Folder 11 "El hombre que fue una S de hierro"
Folder 12 "El palo blanco"
Folder 13 "Final"
Folder 14 "Vistas increíbles" (Part of "El hombre que fue una S")
Folder 15 Unidentified Fragment
Folder 16 Unidentified Fragment
Folder 17 Unidentified Fragment (related to folder 7-10)
Folder 18 Unidentified Fragment (pulled from folder “Cajones y sillas”)
Folder 19 "Alambrismo," by Ramón Gómez de la Serna, Cutting from Saber Vivir, 1956

Section: Los muertos

Scope and Content Notes:

The manuscripts and clippings comprised in this section were most likely compiled in preparation for the novel Los muertos y las muertas ( Espasa Calpe, 1961, Madrid, 3rd ed.), representing reflections on death with a mixture of wit, anguish and stoicism, providing an interesting addition to the author’s frequent treatment of the theme. Most of the notes probably belong to the mid and late 1950s, though some are earlier and several might have been written in the last two or three years of his life.

Folder 20 Loose Notes
Folder 21 Loose Notes
Folder 22 "Muertos (archivado)"
Folder 23 "Calavera"

Box 8
Folder 1 "Loose Notes"
Folder 2 "Esqueletos"
Folder 3 "Los muertos y las muertas"
Folder 4 "Calavera—Greco o muerto"
Folder 5 "Cosas de cementerio"
Folder 6 "Sobre la cremación"
Folder 7 Published Clippings, Mostly on Epitaphs, by Unknown Authors
Folder 8 Published Clippings, Mostly on Epitaphs, by Unknown Authors

Section: El corral del matarife

Scope and Content Notes:

These are fragments for a novel or short story entitled “El matarife” that was never completed. About half of the fragments can be placed with certainty in the author’s period in Buenos Aires. The story is a piece of expressive, often macabre realism set in a Castilian village where the local butcher is found to have committed several atrocious murders. There are partial sketches of two village characters, of a coalman who has converted a palace into a coal shed, of the slaughterer’s yard contrasting against the otherwise peaceful setting, and a piece on public executions.

Folder 9 "El artesonado de la carbonería"
Folder 10 "El corral del matarife"
Folder 11 "El deudor" (Fragment)
Folder 12 "El papus del pueblo"
Folder 13 Unidentified Title
Folder 14 Published Clippings

Section: 5: Novela América—Novela conquista: "Los adelantados"

Scope and Content Notes:

Notes for a novel about the conquistadors. The author sympathizes with the idea of Spanish patriots far away from Spain. This project seems to have been abandoned after 1949.

Folder 15 "Los adelantados"

Section: Toros–Páramo

Scope and Content Notes:

This section comprises articles on the subject of bullfighting in general as well as material for a novel on bullfighting. There are three manuscript articles: “Toreros de paso”; a lecture given in the Club Taurino of Caracas; and the third, “Tarde de toros,” is possibly a radio script and was also published as an article in Peru in 1945, and probably again later in “Temas,” N.Y. Most of the above material was written no later than 1945, although parts of the first article are later, but certainly before 1949. The theme is an exaltation of the bullfight, which is justified in terms of heroism, tragic catharsis, and religious symbolism. Noticeable is an implicit Spanish patriotic attitude, adding a forced, exaggerated tone. The material for the novel El torero Páramo represents an attempt at a continuation of El torero Caracho (1926), at the end of which Páramo appeared as the promising new matador. He has developed mystical tendencies and saintly habits and wished to retire and devote himself to the priesthood. The Catholic tone of ascetic renunciation contrasts strongly with the earlier novel.

There are many sheets of completed narrative and also notes, some of them written after 1952, but the majority are previous to 1949. Finally, there are two unique manuscript sheets sketching out a plan for part of the novel, in the form of a brief episode for each chapter up to the 6th. This plan, however, together with the sheets of finished dialogue involving a dispute between two rival woman, do not refer to the religious motif, but recall rather the situation of El torero Caracho, thus probably belonging to an earlier date.

Folder 16 Loose Notes
Folder 17 "El secreto de volver a torear"
Folder 18 "Tarde de toros"
Folder 19 "El torero Páramo"
Folder 20 "Toreros de paso"
Folder 21 Unidentified Title (Dialog)
Folder 22 Unidentified Title (Lecture)
Folder 23 Unidentified Title
Folder 24 Published Clippings

Section: Las tres gracias

Scope and Content Notes:

This section comprises the handwritten drafts for the novel Las tres gracias (novela madrileña de invierno), published by Editorial Perseo, Madrid in 1949.

Folder 25 Original Cover
Folder 26 "Preludio"
Folder 27 Chapter 1
Folder 28 Chapter 2-5
Folder 29 Chapters 6-7
Folder 30 Chapters 8-9
Folder 31 Chapters 10-15

Box 9
Folder 1 Chapters 16-18
Folder 2 Chapters 19-20
Folder 3 Chapters 21-23
Folder 4 Chapters 24-30
Folder 5 Chapters 31-34

Section: Zoo

Scope and Content Notes:

This section contains impressions about the zoo and its animals both in form of manuscripts and clippings of published articles by the author. Many of the drafts are ideas or narrative fragments for the chapter of a novel to be set in a zoo. This proposed novel is entitled Vida, pasión y muerte de un humorista. Listed among Ramón’s works as early as 1923, it was never published and it seems he was still working on it in the 1950s, although most of the material here is probably from the early 1940s or earlier. Some of it was also destined for another chapter in which the protagonist “Ramón” investigates the world of fish and includes a humorous, fantastic episode involving his own pet goldfish. It is possible that the plans for the novel had been abandoned and the material was then consolidated to eventually produce a book on the zoo.

Folder 6 Original Cover
Folder 7 "Peor escultor del mundo"
Folder 8 Loose Notes
Folder 9 Loose Notes: "Pez"
Folder 10 "Compañeros de jaula"
Folder 11 "La ex-cebra"
Folder 12 "Paseos por el zoo"
Folder 13 "Peces"
Folder 14 "Robo de colmillos"
Folder 15 "Voy a hacerme foca"
Folder 16 Unidentified Fragment ("El humorista en el parque zoológico")
Folder 17 Unidentified Fragment ("Peces")
Folder 18 Unidentified Fragment ("Peces")
Folder 19 Unidentified Fragment ("Peces")
Folder 20 Unidentified Fragment ("Humorista")
Folder 21 Unidentified Fragment ("Humorista")
Folder 22 Unidentified Fragment ("Pez")
Folder 23 Unidentified Fragment
Folder 24 Published Clippings
Folder 25 Animal Photo Clippings
Folder 26 Typed Letter from Carlos Marelli, Zoo Director, to Dr. Pablo González Escarrá, Minister of Public Works, 1942