Narrator and Spanish writer, born in Alicante on July 28, 1879 and died in Madrid on May 27, 1930. His life was a contrast between the exquisite artist delivered to his work, bright and colourful, not exempt from some layer of melancholy, always full of sensitivity, and the Gray man who has to take a bureaucratic job to survive. Their devotion and their low participation in the social life enabled him to cultivate beautiful books, captured with an impeccable, lyrical style and Ionians nuances in their intimacy.
He studied in a Jesuit College in Orihuela, town that sheltered years later the setting of his novels. In 1896, he studied law in Valencia, and concluded the race in Granada with the turn of the century. It opositó without success to judiciary on two occasions; in 1906 he accepted an administrative position at the Civil Hospital of San Juan de Dios de Alicante.
In 1909 he was appointed official chronicler of the villa Alicante. He started to publish, in 1911, articles in the press of Barcelona (La Vanguardia, Diario de Barcelona), collected later in a book entitled book of Sigüenza. He moved permanently to Barcelona in 1914 with his wife and daughters. The project of publishing Vecchi and Ramos published a great "Holy Catholic Encyclopedia" was carried out by Gabriel Miró, and it was delivered diligently until in 1915 was suspended the plan of work; not everything was wasteland task, since the documentation gathered during this time served to set his book figures of the passion of the Lord (1916).
Through mediation of Antonio Maura, in 1920 he got a job in the Ministry of labour in Madrid, and in 1922 the Ministry of public instruction. Not already abandoned the capital, where he died at the age of 51 after an operation for appendicitis.
The frustrated attempt to be elected academician of the SAR in 1927 resulted in his main supporter, Azorín, refused to back the Academy forward.
Women Ojeda and, in 1902, published in 1901, basting of scenes, works of low value that the author himself rejected and that were not included in his complete works (1932-1949). A jury composed by Felipe Trigo, Valle-Inclán and Pío Baroja writers rewarded his short novel nomad in the contest of the weekly story in 1908, giving him popularity and made to call the attention of the literary environments. He wrote stories and novels, as the live (1904), the novel by my friend (1908), the cherries of the cemetery (1910-11), smoke asleep (1919), novelistic culminating with our father Saint Daniel (1921) and its continuation, the leprous Bishop (1926), works in which satirizes the clerical world that so well knew.
He practiced other narrative genres, the online literary prints and the Chronicles. This cut are the titles of figures of the passion of the Lord (1916-17), the book of Sigüenza (1916) and Años y leguas (1928); the last two are born from the description of the landscapes seen and "felt" by Sigüenza, protagonist of the adventures and alter ego of the author.
It was formally started in the field of modernism, in the wake of decadent, richly ornamented, Dario Rubén and Valle-Inclán. Soon evolved into a more current issue, without abandoning the stylistic virtuosity of fulfilled cadente and poetic rhythm of metaphors and images of great plasticity, and her master's degree in the evocative recreation of the concrete. Gabriel Miró or creative contemplation; watchful eye, delayed prose. Look fly and stops, like a bird, sometimes lively, sometimes scared. It was Miro a contemplative and his prose, made sense through the word. Put all your senses to capture the reality, transforms this into a deep lyricism, smooth, dense with emotion. Prose both quiescent and running (will not be coincidence that one of his books is entitled sleeping smoke), a remansado supplier of images, a drip of heartfelt minutiae. And thus, an easy and hearty look metaphorical, intuitive and insightful, for example where works the gravedigger, a "garden of crosses" (article awarded the Premio Mariano de Cavia for Journalism organized by ABC).
As for sensory is housed in reality, Miró transmits it full of its smell, its taste, its sound, its color, sensitive suggestions seized in essence, spun with a rich range of associations Synesthesia, a Symphony for the senses:
"Purple grapes (...); its grains creak us cold and thin mouth, and the taste of large summer days spilled us."
And the landscape as a primordial element, always in the background, a landscape that becomes the reader, cala le, because it is a humanized landscape. Nature takes human life and their pain and their joy; We believe in trees, stones, in the villages, in all creation, see our brothers: "monte Ponoch, on whose shoulders wheel the old Sun", "fleshy clay", "a thin and sweaty locomotive", "seems to have come together the clarity of the morning and the evening, as two girls", "women call their booked so it is already collected", and come the mosquitoes chicks like guys who run whistling, with his hands in the pockets of the pants", etc.
Sometimes, against exhaustive style, absence of verbs; a noun and an adjective will suffice, as loose, impressionistic brushstrokes, and from them Miró revisits his thoroughness, his exact brush:
"Old mountains. Region descarnada. Planes, culminations and circles of red rocks. The trails are torrents of pedregal, pedregal of rock crushed for centuries. If you pass a herd, the din of hooves and stone extends the desolation. Stone and blue; "and goats, cropping is anchored and agile, looking at horizons, and when to disappear is set in the hills weather, no one, as if resumed an emotion of eternity."
Pictorial prose. Not in vain, the poet Jorge Guillén called "canvases" the texts of Miró, in which the movement is postponed for the description of the emotional background that permeates the feelings of the author. Does this mean Miró resign less friendly life motives or any hint of action. Aware that observe implies also a strong and raw images content, does not hesitate to trace your sketch:
"He climbed la molinera and aghast remained. A gorrino of the corraliza had come loose and was rosigando an ear of the kid. Cried the woman went her husband, pork is relamía and is steeper looking for more."
Gabriel Miró literary influences are coded in two key works: the Bible and Don Quixote. The clear similarities with the work of Marcel Proust does not obey a premeditated tracking, but a parallel course. Both writers, feeling and memory combine, because that that this is derived. The difference is that, in Miro, is it not "involuntary memory"; the remembrance is given in a place and for the cause in the same place.
Perhaps the best summary of the artistic work of Miró Ramón Gómez de la Serna, who defined it as a watchmaker from the words draw.