For little Daniel,
drawing light eyes breasts
Sin voluntad de clasificar ni de limitar su compleja personalidad intelectual y artística, sino con la intención de situar esta en el contexto histórico y en el campo cultural que le son propios, es preciso hacer explicitas las coordenadas en las que se movió el escritor Cándido Fernández Mazas, en especial por aplicación de una perspectiva sociológico-cultural que ofrezca un plano mínimo de referencias y de tomas de posición, tanto de las compartidas como de las individuales. Tal plano tendría alguna validez si fuese capaz de informarnos, por ejemplo, de qué supusieron las propuestas del autor en relación con la tradición inmediata y con las líneas dominantes en la producción literaria del momento, tanto en el horizonte español como en el gallego. Al lado de quién se situó y frente a qué tipo de actitudes e intervenciones operó? Continue reading “Category, myth and truth.
An aesthetic reading of poetry and narrative Fernandez Mazas
“In fact, almost everything we are we owe to Dichi". For his aphoristic court, this sentence the same could be a statement of principle that the key response to an interview question about generations, so the use, or -why not- the beginning of a story of intrigue. Actually, it was not sincere if belated act of contrition I heard from the mouth of Ernesto Gómez del Valle in late 1960, I think in Los Milagros, where at that time lived for about a year convalescing from a serious operation, for responding to my utter perplexity "And who is the Dichi?Ernesto said, among other things, that years ago, during one of his crisis, Cándido Fernández Mazas, the Dichi, had been as well Los Milagros. Continue reading “This absence
Julio López Cid”
Poetics Fernández Mazas
And hurry indecision is annihilating: Top latter.
Matisse was born from this destruction.
In the background, or in the shape, we look footprint; what is really an artist in his work. Their concerns, their life paths. A pulse, a heartbeat, a way to proceed in reality. If we stuck only his graphic work, his drawings, engravings or paintings, despite the discontinuous vocation of his work, of missing parts of it, we would have the possibility of a plausible portrait of Cándido Fernández Mazas. Continue reading “The art of dying
Óscar Rodríguez de Dios”
The title of my article expresses the feeling I have in relation to Cándido Fernández Mazas. All I knew about it was what I heard more than once Eugenio Granell say: it was he who taught him the first copies of the magazine Minotaur and she introduced him to avant-garde art. I then engaged in granelliana more work, I did not find out more. Moreover, and in view of what little remains of his work (did much to what little he lived), how difficult it has been to assemble it and covered it was his memory, it was not easy to know. Continue reading “A poet (dramatic) lost in the fog
Javier Navarro de Zuvillaga”
I was very fortunate having been a friend of Fernández Mazas. I met him in Madrid. Had just arrived from France, their friendship was a vital jackpot lottery, which is enough to feel proud of my time on earth. Many times I crossed my pension in Madrid from Atocha to List where Mazas lived in studying Arbós, that when he left in the summer Mazas continued occupying during the first months of the war. Continue reading “Mazas, creator poet of friendship
Eugenio F. Granell”