Portal de Periódicos da CAPES

OUP accepted manuscript

2022; Oxford University Press; Volume: 58; Issue: 1 Linguagem: Inglês

10.1093/fmls/cqac004

1471-6860

C. Brian Morris,

Spanish Culture and Identity

Abstract When he signed the manifesto published in Tenerife in 1935 to mark the Second International Surrealist Exhibition, Pedro García Cabrera (1905–1981) ratified the fascination exercised on him by a movement that, he recalled in 1979, ‘representaba el descubrimiento del mundo interior del hombre’ [represented the discovery of man’s inner world]. That discovery generated three works: a story he categorized as a ‘narración surrealista,’ Los senos de tinta [Breasts of Ink; 1934], and two books of poetry that responded to Surrealism in different ways. By constructing the eight poems of Dársena con despertadores [Dock with Alarm Clocks; 1936] out of two lists of words he had assembled, he achieved what he called ‘un cierto automatismo síquico’ [a certain psychic automatism] and coined images ‘siguiendo los contornos de lo absurdo’ [following the contours of the absurd]. His experiments with words became a psychic imperative in Entre la guerra y tú [Between War and You; 1936–39], whose poems are like the ‘móviles delirios’ [mobile ravings] he mentioned in one of them, a phrase that evokes the mind that reacts to the disorder of war and imprisonment and the images generated by it.