Gertrudis Gómez de Avellaneda by Hugh A. Harter (review)

BOOK REVIEWS63 response theory, he stresses the dynamic flexibility of the literary object. With Don Quijote and Unamuno's Niebla — which unite the novel and theory ofthe novel — as implicit models, works such as Ei caballero inactual (1928) synthesize process and product, creation and self-examination, objective and subjective realities. In the later fiction, Azorín confronts the "eternally unknowable" to assert that nothing is more life-sustaining than belief and that dreams and illusions constitute the superior reality. Glenn's study is most impressive in its elaboration ofAzorin's literary orientation and development. Biographical material and commentary on the complete works never detract from consideration of specific texts, and these texts are presented clearly and from a sharp critical perspective. Throughout the book, Glenn demonstrates a comprehensive grasp of the material, and her skill at selection and annotation is commendable. Onecould perhaps wish for more extensive comparison with other writers of the Generation of'98, especially Unamuno, whose treatment of history, identity, and narrative self-consciousness must certainly have influenced Azorín. More significantly, the presentation of literary language needs amplification ; the brief discussion of style would lead the uninitiated reader to expect few of the complex linguistic features ofAzorin's works. These elements notwithstanding, the study is a valuable introduction to Azorín and a fine companion piece to Glenn's The Novelistic Technique of Azorín (Madrid, 1973). EDWARD H. FRIEDMAN, Arizona State University Hugh A. Harter. Gertrudis Gómez de Avellaneda. Boston: Twayne, G.K. Hall, 1981. 182 p. Although perhaps the most well-known female literary figure of the nineteenth-century Spanish language, Gertrudis Gómez de Avellaneda has not received much critical attention recently. This is most probablydue to the nature of her literary output. A woman of her times in many ways, her works are essentially Romantic and consequently limited in their appeal to modern readers. Nonetheless, as Harter correctly points out, she was widely acclaimed in her day, compared (favorably!) to Sor Juana Inés de la Cruz and to other greats of Spanish literary history. Given this fact, along with the undeniable revisionist tendency of today which attempts to integrate female authors fully into the literary canon, it seems appropriate that a full-length study should appear now dedicated to this woman and her works. Harter's book follows the well-known scheme of the Twayne World Author Series; from a general introduction of the figure and her times he proceeds to a discussion of her individual works. In this case, there is a great deal of information included about the life of the author herself. This very complete biographical sketch is of prime importance to the study, for Harter's approach is essentially biographical. He relates the works of this author to the events of her personal life, demonstrating that in many cases Avellaneda scarcely bothered to conceal her private feelings and emotions when she translated them into public works of art. Harter supports this thesis with evidence from the author's correspondence with her long-standing lover, Ignacio de Cepeda. Many of the same sentiments (sometimes whole passages verbatim) are expressed in these letters as in her public works. Following this introductory chapter, Harter begins his analysis of specific works, dedicating one chapter each to the three principal genres which Avellaneda utilized. Starting with poetry, Harter classifies her output according to the predominant themes manifested, signalling as principal subcategories of her poetic works 64ROCKY MOUNTAIN REVIEW the following: 1) The theme of Cuba, 2) The theme of love, 3) The theme of poetry, 4) Meditations and philosophical speculation, 5) Religious poetry, and 6) Other thematic tendencies. In addition he includes discussions of "Neoclassic Forms and Romantic Content" and "Plenitude of Romanticism." As should be evident, there is a problem ofconsistencyin this thematic breakdown, a problem which Harter freely confesses; but for convenience the scheme is retained. The plays and novels Avellaneda wrote are dealt with individually, with commentary once again primarily relating the works to the private life and views of the author. Particular attention is given to her abolitionist novel Sab. The study ends with a brief chapter on shorter prose works, including, along with an essay on...