Recuerdos de una mujer de la Generación del 98 (review)

Arizona Journal of Hispanic Cultural Studies 295 lenian office worker. The story constantly weaves into and out of the worlds of the real and the fantastic, often sporting the most eccentric of characters in the most realistic of situations, such as Matias's boss, Castro, or the retired torch singer/actress, Finita de la Cruz. The characters thus reflect the structure ofthe work itself; the dichotomy that exists between life's daily routine , whether for the well-off MatÃ-as or for the poor—Martina and her neighbors—is clearly parallel to the structure ofthe novel, which is built upon the constant alternation of illusion and reality. Illusion's defeat, in both cases, may very well represent a sad commentary on the part ofthe author with regard to the fate of the contemporary human being. There are constant suggestions of transcendental importance in Landero's novels —the love theme in itself, for example, whether it be Matias's attraction for the adolescent Martina or Amalias more perverse but equally gripping passion for the young Luciano in CabalUros de fortuna— but in the end personal illusions disappear, fantasies subside, and novels come to a conclusion , often with no special justification for their existence other than their having been enjoyable reading material. Landero is not the first author to master this approach . In the contemporary Spanish novel, Alvaro Pombo and Javier Marias may be considered as especially important in this category of a discourse that is so well composed that it captivates the reader while not seeking to create a significant connection to or statement about a given referent. And this is especially true of El mágico aprendiz, where nothing comes to fruition, everything comes to an end, and illusion is shown to be nothing more than that. The end of fiction is the last page ofthe novel, the end of an entertainment that, in this case, most readers should find quite enjoyable. William M. Sherzer Brooklyn College and the Graduate Center ofthe City University of New York Recuerdos de una mujer de L· Generación del 98 Tusquets, 1998 By Carmen Baroja y Nessi Edited by Amparo Hurtado Carmen Baroja's memoir, written in the 1940s, languished in a trunk until Amparo Hurtado had the perseverance to track it down, sort out the jumbled pages, and edit it for publication. The memoir, which had been in the possession of Carmen's sons Julio and PÃ-o Caro since her death in 1950, is a treasure of information about how an intelligent woman negotiated the patriarchal structures in early twentiethcentury Spain. It also contains fascinating material on the Spanish intellectual world during the "Silver Age" as well as valuable insights into the character of Carmen's most famous brother PÃ-o. The work is not a full-blown autobiography ; rather, Carmen Baroja focuses on key moments in her own and her family's life in the context of an exciting intellectual and political age. Although she was born in 1883, the reminiscences begin in 1898, a year full of meaning for Spanish history and culture. It is also the year she, her mother, and brother PÃ-o moved permanently to Madrid. Carmen experienced many of the same formative influences as her brothers in the capital city—reading, literary gatherings in their home, contacts with many of the major literary, artistic, and intellectual figures ofthe day—but she did not have the same freedom of movement as her 296 Arizona Journal of Hispanic Cultural Studies brothers nor the opportunities to develop her own talent for artistic pursuits. She was particularly interested in metal working, and she made objects such as lamps in a work space she set up in her brother Ricardos painting studio. She found herself in constant tension with her mother over her extra -domestic ambitions. She lived a schizophrenic existence between domestic expectations and the artistic world she only partially shared with her brothers PÃ-o and Ricardo. Her character turned pessimistic and resigned over the frustrations that naturally arose from her situation. In 1913 Carmen married Rafael Caro Raggio, whose editorial house became a major publishing venue for PÃ-o Baroja and his friend Azorin. The memoir reveals...