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133:
416:(Automoribund) – his life in exile was one of pathetic isolation and increasing poverty, neither of which were helped by the knowledge that he had left behind (and in 1947 donated to the Spanish State) the painting of the Pombo Tertulia by Gutiérrez-Solana (now given pride of place in Madrid's
360:), his exaltation of trivial everyday objects, his emphasis on eroticism, his exuberant self-projection and exclusive dedication to art, his playful humour, his contemplative secular mysticism, and above all his cult of the image, especially witty surprising images.
439:
in 1967: 'Para mí es el gran escritor español: el
Escritor o, mejor, la Escritura. Comparto la admiración, el fanatismo, de Larbaud: yo también habría aprendido el español sólo para leerlo’ (For me he is the great Spanish writer:
404:
Gómez's lack of commitment during the
Republic, followed by his declaration of support for Franco after self-exile to his younger, Jewish wife's flat in Buenos Aires at the outbreak of civil war, led to ostracism and neglect.
428:(which was lost during the civil war, but has apparently resurfaced). On 13 January 1963 Gómez died from natural causes. In a letter to one of his companions, he mentions acknowledging his imminent death and welcomed it.
296:
Born into an upper-middle-class family, Gómez de la Serna refused to follow his father into law or politics and soon adopted the marginal lifestyle of a bohemian bourgeois artist, writing for the journal
672:
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452:(Selected Works) (1971) claimed that 'la gran figura del surrealismo, entre todos los países, ha sido Ramón' (the major figure of surrealism, in any country, has been Ramón).
276:
in comedy. The
Gregueria is especially able to grant a new and often humorous perspective. Serna published over 90 works in all literary genres. In 1933, he was invited to
239:
421:
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356:(The Circus) – illustrate most of his main characteristics: his search for a new fragmentary genre of short prose poems (giving them the arbitrary name of
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628:
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35:
603:, no. 3 (Summer 1995), 51–53, ed. by Jeremy Stubbs and Andrew Hussey, and published in the Department of French, University of Manchester.
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These abound in all his works, especially his many, utterly idiosyncratic and textually pleasurable novels, such as the first real one
685:
444:
Writer, or rather, Writing. I share
Larbaud’s admiration, his fanaticism: I also would have learned Spanish just to read him), and
661:
408:
Despite still producing some of the most original works in
Spanish of the twentieth century – the existential-surrealist novel
455:
His works have been published in 20 volumes by Círculo de
Lectores/Galaxia Gutenberg (Barcelona), edited by Ioana Zlotescu.
310:
During the First World War, Gómez became Spain's chief exponent of avant-garde writing, establishing a base in the literary
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Tras el velo de las apariencias: La desmitificación del progreso en El caballero del hongo gris de Ramón Gómez de la Serna
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Within Spain, though his work often provoked controversy and sometimes hostility, one of his most eminent defenders was
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An earlier version of this article by Alan Hoyle first appeared in a special number ('Marginals and
Megalomaniacs') of
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Ramón Gómez de la Serna en Buenos Aires: Un vanguardista español en la ciudad más interesante y cortés de América
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La galería comercial de Ramón Gómez de la Serna en El hombre de la galería: modernidad y la experiencia urbana
230:
831:
367:(The Black and White Widow), written in 1921, inspired by his relationship with the early feminist writer,
503:, trans. by Angel Flores (New York: Macaulay, 1930; new edition: Arlington, MA: Tough Poets Press, 2022)
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Despite the decline in Gómez's reputation, two notable voices in particular declared their admiration:
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303:, funded by his father between 1908 and 1912. In April 1909 Gómez de la Serna published the
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479:, trans. by Miguel Gonzalez-Gerth (Pittsburgh: Latin American Literary Review Press, 1989)
8:
299:
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Beyond the
Boundaries of Interference: Ramón Gómez de la Serna and the Radio Revolution
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Autobiography and the Task of the Writer: The Case of the Young Ramón Gómez de la Serna
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281:
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368:
782:, 1906–1967, SC.1967.04, Special Collections Department, University of Pittsburgh
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The
Dilemma of Modernity: Ramón Gómez de la Serna and the Spanish Modernist Novel
561:
The
Banquet Years (The Origins of the Avant-Garde in France: 1885 to World War I)
491:, trans. by Herlinda Charpentier Saitz and Robert L. Saitz (New York: Lang, 2005)
396:
379:
318:
262:
810:
793:
The Ramón Gómez de la Serna Papers collection at the University of Pittsburgh
529:"A Translation of Whitman Discovered in the 1912 Spanish Periodical Prometeo"
509:, trans. by Helen Granville-Barker (New York: printed by Rudge's Sons, 1944)
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273:
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425:
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204:
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A Labyrinth of Imagery: Ramón Gómez de la Serna’s ‘novelas de la nebulosa’
269:
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432:
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El desafío de la incongruencia: la literatura de Ramón Gómez de la Serna
258:
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Bronze bust of R. Gómez de la Serna. Detail of the monument to him in
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The six or so remarkable books he published from 1914 to 1918 –
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La 'Teoría del disparate' de Ramón y la experiencia del absurdo
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Writing the Self: What Gómez de la Serna Learned from Nietzsche
250:
235:
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Spanish people of the Spanish Civil War (National faction)
577:. Special Collections Department, University of Pittsburgh
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in the magazine which was translated by him into Spanish.
272:", a short form of poetry that roughly corresponds to the
497:, trans. by Philip Ward (Cambridge: Oleander Press, 1982)
495:
Greguerías: The Wit and Wisdom of Ramón Gómez de la Serna
382:, who in the 1920s soon had him translated into French.
389:. Subsequently, unorganized consensus in mainstream
317:This was Spain's most famous contribution to what
268:Ramón Gómez de la Serna was especially known for "
615:RAMÓN: A Study of Gómez de la Serna and his Works
526:
808:
485:, trans. by Nicholas Fry (New York: Park Lane, )
84:but its sources remain unclear because it lacks
842:20th-century Spanish dramatists and playwrights
215: and the second or maternal family name is
724:(Madrid: Ediciones Clásicas/del Orto, 2010).
412:(The Lost Man) (1947) and his autobiography
393:deemed Gómez's work to have been overrated.
249:(July 3, 1888 – January 13, 1963), born in
50:Learn how and when to remove these messages
741:
544:
435:, who wrote the following in a letter to
188:Learn how and when to remove this message
170:Learn how and when to remove this message
115:Learn how and when to remove this message
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229:
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837:Spanish male dramatists and playwrights
572:
563:, rev. edn (London: Cape,1969), p. 315.
809:
378:that first attracted the attention of
253:, was a Spanish writer, dramatist and
314:he founded at the centre of Madrid.
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56:
15:
13:
852:Burials at Cementerio de San Justo
746:. Translated by Hughes, Victoria;
622:Studies on Ramón Gómez de la Serna
607:
601:Aura: A Journal of the Avant-Garde
575:"Ramón Gómez de la Serna's Papers"
142:tone or style may not reflect the
14:
863:
847:20th-century Spanish male writers
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527:Kelly S. Franklin (Summer 2017).
448:, who in his prologue to Ramón's
257:agitator. He strongly influenced
31:This article has multiple issues.
226:Ramón Gómez de la Serna, ca 1928
152:guide to writing better articles
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61:
20:
779:Ramón Gómez de la Serna Papers
39:or discuss these issues on the
744:Narratives from the Silver Age
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280:. He stayed there through the
247:Ramón Gómez de la Serna y Puig
1:
800:, hosts the internet journal
533:Walt Whitman Quarterly Review
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627:Fernández-Medina, Nicolás. "
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291:
207:, the first or paternal
7:
655:Bulletin of Spanish Studies
288:till the end of his life.
10:
868:
706:Gardiol, Rita (Mazzetti),
573:de la Serna, Ramón Gómez.
471:Translations into English:
202:
774:Free University of Berlin
678:Cincinnati Romance Review
666:Revista Hispánica Moderna
624:(Ottawa: Dovehouse, 1988)
340:(The Improbable Doctor),
742:Sáenz, Paz, ed. (1988).
713:Gonzalez-Gerth, Miguel,
710:(New York: Twayne, 1974)
617:(New York: Torres, 1957)
458:
70:This article includes a
798:Ramón Gómez de la Serna
766:Ramón Gómez de la Serna
717:(London: Tamesis, 1986)
708:Ramón Gómez de la Serna
657:XC.7 (2013): 1105-1120.
546:10.13008/0737-0679.2267
437:Papeles de Son Armadans
365:La viuda blanca y negra
99:more precise citations.
738:(New York: Lang, 2007)
422:cubist portrait of him
420:), in addition to the
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243:
227:
646:52.3 (2012): 301-309.
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338:El Doctor Inverosímil
305:manifesto of futurism
233:
225:
620:Dennis, Nigel, ed.,
387:José Ortega y Gasset
832:Writers from Madrid
772:, Professor at the
668:62.1 (2009): 25-39.
635:39.1 (2014): 61-82.
424:painted in 1915 by
374:It was in fact the
336:(The Flea-Market),
323:"the banquet years"
750:. Madrid: Iberia.
613:Cardona, Rodolfo,
418:Reina Sofia Museum
402:
284:and the following
244:
228:
72:list of references
748:Richmond, Carolyn
734:McCulloch, John,
681:32 (2011): 31-43.
410:El hombre perdido
282:Spanish Civil War
213:Gómez de la Serna
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146:used on Knowledge
144:encyclopedic tone
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369:Carmen de Burgos
329:has explained).
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33:Please help
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822:1963 deaths
817:1888 births
770:Ronald Daus
433:Octavio Paz
348:(Breasts),
321:has called
263:Luis Buñuel
261:film maker
255:avant-garde
97:introducing
811:Categories
730:8479234415
514:References
376:greguerías
358:greguerías
342:Greguerías
259:surrealist
36:improve it
594:Citations
501:Movieland
477:Aphorisms
391:Hispanism
334:El Rastro
292:Biography
274:one-liner
270:Greguería
42:talk page
764:Thesis:
465:El circo
354:El circo
312:tertulia
300:Prometeo
242:, 1972).
240:E. Pérez
203:In this
160:May 2021
105:May 2021
400:ca 1931
209:surname
93:improve
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695:---. "
684:---. "
671:---. "
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251:Madrid
236:Madrid
768:, by
459:Works
350:Pombo
346:Senos
78:, or
776:1970
752:ISBN
726:ISBN
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217:Puig
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