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An open-minded and clear-eyed reexamination of the cultural artifacts of Franco's fascist Spain
True, false, or both?
Spain's 1939-75 dictator, Francisco Franco, was a pioneer of water conservation and sustainable energy.
Pedro Almodóvar is only the most recent in a line of great antiestablishment film directors who have worked continuously in Spain since the 1930s.
As early as 1943, former Republicans and Nationalists were collaborating in Spain to promote the visual arts, irrespective of the artists' political views.
Censorship can benefit literature.
Memory is not the same thing as history.
Inside Spain as well as outside, many believe-wrongly-that under Franco's fascist dictatorship, nothing truthful or imaginatively worthwhile could be said or written or shown. In his groundbreaking new book, Franco's Crypt: Spanish Culture and Memory Since 1936, Jeremy Treglown argues that oversimplifications like these of a complicated, ambiguous actuality have contributed to a separate falsehood: that there was and continues to be a national pact to forget the evils for which Franco's side (and, according to this version, his side alone) was responsible.
The myth that truthfulness was impossible inside Franco's Spain may explain why foreign narratives (For Whom the Bell Tolls, Homage to Catalonia) have seemed more credible than Spanish ones. Yet La Guerra de España was, as its Spanish name asserts, Spain's own war, and in recent years the country has begun to make a more public attempt to "reclaim" its modern history of fascism. How it is doing so, and the role played in the process by notions of historical memory, are among the subjects of this wide-ranging and challenging book.
Franco's Crypt reveals that despite state censorship, events of the time were vividly recorded. Treglown looks at what's actually there-monuments, paintings, public works, novels, movies, video games-and considers, in a captivating narrative, the totality of what it shows. The result is a much-needed reexamination of a history we only thought we knew.
- Sales Rank: #1363844 in Books
- Brand: Brand: Farrar, Straus and Giroux
- Published on: 2013-08-13
- Released on: 2013-08-13
- Original language: English
- Number of items: 1
- Dimensions: 9.17" h x 1.24" w x 6.40" l, 1.24 pounds
- Binding: Hardcover
- 336 pages
- Used Book in Good Condition
From Booklist
Literary scholar Treglown, author of acclaimed biographies of Roald Dahl, Henry Green, and V. S. Pritchett, here offers a thoughtful, erudite hand grenade of a book that takes issue with contemporary narratives about Spanish cultural life during the Franco dictatorship (1939–75). Examining various works of fiction, journalism, and art, as well as public controversies about museums, graveyards, and other centers of historical gravity, Treglown argues that our understanding of culture under Franco has (ironically) been muddied by efforts to cultivate cultural memory of the period. Such efforts have, he suggests, been weakened by “sentimental politicization, escapism, complacency, and ignorance” as well as the general unreliability of memory, and the result is (again, ironically) both a persistent cultural amnesia and an unhealthy fixation on the past. Whether or not they share his concerns about cultural memory, readers interested in postwar Spanish art, literature, or politics will appreciate and likely learn from Treglown’s deep knowledge of these subjects. --Brendan Driscoll
Review
“A discerning, provocative book, part travelogue, part reflection on how memory passes into history, and part cultural narrative, Franco's Crypt establishes that much more was going on during Franco's regime than is usually credited. Touching on prickly issues with the pragmatic detachment of a foreigner, Mr. Treglown shows that subversive elements were at play in art, literature and cinema, and that a cautious yet irreversible process of modernity had begun long before Franco's death . . . Franco's Crypt [is] an unflinching addition to the literature on contemporary Spanish history and a cautionary tale about the nature of the beasts invoked by the political manipulation of bad memories. It also serves as a thought-provoking study on artistic expression under authoritarian regimes.” ―Valerie Miles, The New York Times
“Franco's Crypt . . . provides by far the best, and most objective, brief introduction to Spain's memory wars to be found in any language . . . Mr. Treglown offers a stimulating new reading of the chief milestones of Spanish culture since 1939. In doing so, he highlights the vitality of the country's artistic activity under Franco, subjecting the standard leftist narrative of a culturally stale Francoist Spain to sharp contradiction.” ―Stanley Payne, The Wall Street Journal
“[Treglown] brilliantly captures the ways that circumstances affect writers' lives and work in accounts of his own visits to gravesites, in his stories of monuments and archives, and in profiles of novelists, historians, filmmakers, and architects grappling with an autocratic regime . . . Behind the lines, Treglown observes, many artists and writers refused both to act as propagandists or to be silenced. This is where his book is especially powerful. His inquiries into the Spanish past recover experiences and efforts that don't fit neatly into the rival rhetorics. Franco's legacies had deep effects throughout Spain but were more complex than has been acknowledged . . . Franco's Crypt questions both the fabrication of Franco's legitimacy and the one-dimensional view that his regime crushed all creative voice and expression . . . [Treglown] is unsparing in his indictments of the regime, but this does not prevent him from showing how Spaniards created art and literature even in the depths of the dictatorship, with much independent work accomplished before Franco's death. Treglown's account overturns the conventional view that the transition to democracy had to wait until Franco's death.” ―Jeremy Adelman, The New York Review of Books
“Franco's Crypt, the latest book by the British literary critic Jeremy Treglown, is so refreshing. In his focus on the surprising richness of Spanish culture since the war, Treglown pushes back against a knee-jerk pro-Republican perspective--not by apologizing for the Nationalists but simply by abstaining from projecting his own moral stance on the culture of the period . . . To explain how the Spanish have come to terms with the war and Franco's rule, Treglown narrates a series of personal encounters with people and places in contemporary Spain, weaving them together with his examinations of cultural artifacts, including public works, paintings, movies, and novels. His analysis is anything but simplistic. He shows how the day-to-day cultural reality of the Francoist period was much more complex and less planned from above than most portrayals suggest.” ―Victor Pérez-Díaz, Foreign Affairs
“Jeremy Treglown is an accomplished editor and literary critic, who has published three splendid biographies . . . He approaches his subject with the affectionate enthusiasm of an outsider--curious, well-informed, but not deeply entangled in the political struggles he describes with admirable evenhandedness . . . Treglown raises some important questions about historical memory and introduces readers to a number of neglected writers and filmmakers. Those who want to know more about Spain's troubled past and challenging present will find a great deal of useful and interesting material in this book.” ―James J. Sheehan, Commonweal
“Jeremy Treglown's Franco's Crypt: Spanish Culture and Memory Since 1936 is such a necessary book: it is the first--at least in English--to investigate Spain's attempts "in recent years . . . to ‘reclaim' its modern history.” ―James McAuley, The Daily Beast
“Treglown studies the Spanish art, literature and public works produced during and just after Franco's rule and which he rightly thinks have been neglected by critics and journalists outside Spain . . . Treglown is right . . . that ‘memory politics' is essentially an open front in the country's ongoing culture wars, and that disenchantment and opportunism have festered because of unique historical circumstances.” ―Jonathan Blitzer, The Nation
“[Treglown] argues, in a forthright and original analysis, that Spanish culture and the memory of war have been steadily colonised and manipulated by the demands and pressure of international ideologies . . . The conventional view of the Franco years is that they were a time of sterility, when artistic expression was censored and opponents of the regime were arrested, tortured and imprisoned . . . By painstaking inquiry he shows that the psychological wounds of the battlefield were in fact a powerful inspiration for writers, artists and film-makers, and that much of the work published or exhibited was a direct challenge to the values of Franco's regime. He concludes that popular mythology has exaggerated the extent to which this work was ever subject to dictatorial control . . . One of the many pleasures of Franco's Crypt is that it draws our attention to a long list of Franco-era writers and film-makers whose work is unfamiliar or forgotten but who deserve to be translated or re-screened today.” ―Patrick Marnham, The Spectator
“An ambitious study of seven decades of Spanish 'culture and memory' . . . Treglown's interplay of history with personal narratives is skilful and incisive. Equally perceptive is his illustration of the ways artists and writers were able to circumvent the constraints of censorship during the 36 years of Franco's dictatorship. Indeed, his book amply demonstrates that 'any notion that Franco's Spain was an artistic desert is the opposite of the truth' . . . Humans, Treglown reminds us, negotiate present and future, even when the ghosts of the past come back to haunt the living.” ―Mercedes Camino, Times Higher Education
“At the heart of this enthralling book is the exhumation of a Spanish culture far too recent to have been forgotten, and too rich to have been dismissed out of disdain for the dictatorship. Whilst Treglown has much to say on the way the period has been recalled by more recent writers such as Javier Cercas and Antonio Muñoz Molina, his great accomplishment is the reinstatement of what went before . . . Close in its engagement and alive to the complexity of its subject matter, Treglown's book reminds us just how reductive we are being when we talk of ‘Franco's Spain'.” ―Michael Kerrigan, Financial Times
“Spain under Nationalist dictator Francisco Franco was not a mute, traumatized wasteland, but a country with a complex, imaginative culture that deserves to be remembered, according to this probing study. Treglown surveys an eclectic range of cultural artifacts from the Spanish Civil War, the Franco period, and Spain's modern democratic era--everything from monuments and hydro-electric dams, to video games and the latter-day movement to unearth the mass graves of Republican opponents shot by Nationalist forces. He unflinchingly registers the crimes of the Franco government, but argues that sophisticated, even subversive voices were tolerated and at times nurtured by the regime: novels with ambivalent attitudes toward the war and the sides that fought it, challenging art, films that satirized Franco-ite mores. Treglown presents subtle and perceptive critical readings of unjustly neglected works, showing how far they depart from the caricature of bland conservatism that some apply to the culture of the Franco era. But he also advances a deeper argument about modes of historical awareness, contrasting the confrontational and sometimes simplistic commemorative politics of democratic Spain with the oblique, symbolic but still rich expressiveness of the more repressed Franco period. Treglown's elegant and thoughtful meditation shows us that authoritarian power is neither monolithic nor immune to the soft power of civil society and individual creativity.” ―Publishers Weekly
“This is an erudite and at the same time pleasurable and intriguing book about Spain's historical memory that gives the best and most thought-provoking portrait of the culture of the Franco era and its aftermath. Jeremy Treglown shows the reader poignant examples of commemoration of atrocities and their erasure--bland assurances of reconciliation and durable antipathy. Informative, searching, and disturbing, Franco's Crypt updates what V. S. Pritchett called ‘the Spanish temper.'” ―Paul Freedman, Chester D. Tripp Professor of History, Yale University
“Franco's Crypt is the most comprehensive, most perceptive book on Spain I have read in a long time. I'm full of admiration for the scale of Jeremy Treglown's undertaking, for its fine balance between storytelling and reflection, and for its subtle and deep political and aesthetic judgments, which touch on practically everything that irritates or pains me most about my country. Normally these matters are presented abroad with exasperating stereotypes, and at home with intolerable factionalism. Spain, so obsessed with memory, is extraordinarily forgetful. This is a book that must be read, in Spain and abroad, by anyone who wants to understand the country's history, her present, and her future.” ―Antonio Muñoz Molina, author of Sepharad and two-time winner of Spain's Premio Nacional de Narrativa
“How should a country remember civil war and dictatorship? Or is it better to forget? Jeremy Treglown has written an insightful and deeply humane account of Spain's attempts to dig up its past both literally, by searching with backhoes for mass graves, and imaginatively, through novels about survivors, films about tango, and paintings of screams. Franco's Crypt is an indispensable guide to Spanish culture in the twentieth century, and a provocative reflection on the ambiguities of truth-telling.” ―Caleb Crain, author of Necessary Errors
“A thoughtful, erudite hand grenade of a book that takes issue with contemporary narratives about Spanish cultural life during the Franco dictatorship (1939–75). Examining various works of fiction, journalism, and art, as well as public controversies about museums, graveyards, and other centers of historical gravity, Treglown argues that our understanding of culture under Franco has (ironically) been muddied by efforts to cultivate cultural memory of the period . . . Whether or not they share his concerns about cultural memory, readers interested in postwar Spanish art, literature, or politics will appreciate and likely learn from Treglown's deep knowledge of these subjects.” ―Brendan Driscoll, Booklist
“Anyone who admired Pritchett's writing will find Treglown's book astute, incisive (sometimes to the point of being trenchant), and extremely valuable in the effort to hold this great writer's life up to art's defiant reflection.” ―Richard Ford on V. S. Pritchett: A Working Life
About the Author
Jeremy Treglown is a British writer and critic who spends part of every year in Spain and has written about the country for Granta and other magazines. His previous books include biographies of Roald Dahl, Henry Green (which won the Dictionary of Literary Biography Award), and V. S. Pritchett (which was short-listed for the Whitbread Biography Award and the Pol Roger Duff Cooper Prize). Formerly the editor of The Times Literary Supplement and a fellow of the New York Public Library's Dorothy and Lewis B. Cullman Center for Scholars and Writers, he has taught at Oxford, University College London, Princeton, and the University of Warwick, and has written for The New Yorker and The New York Times Book Review.
Most helpful customer reviews
9 of 11 people found the following review helpful.
History and Memory
By A. Wilde
This is one of those welcome cases in which publisher-provided reviews are accurate. This book is passionate, thoughtful and honest, a rare combination on this subject. Treglown is a foreigner who has expressed his manifest love for Spanish culture, history and people in a series of carefully considered essays in light of current battles over national memory. His perspective is that of an "insider-outsider," sympathetic and deeply-informed but also capable of taking some distance from contemporary polemics. His analysis of many decades of cultural production - novels, films, histories - is revisionist and calls to mind to Henry Rousso's magisterial study, The Vichy Syndrome. I would not have chosen to call it "a hand-grenade of a book," like one of the reviewers. That's Hollywood hype and the author's intent is much more serious. But it IS stimulating and provocative throughout; more a sophisticated guide through a mine-field.
6 of 8 people found the following review helpful.
Incredible work
By Caroline Angus Baker
When opening this book, a reader could easily expect to sit down an examine Franco’s effect on Spanish art during his dictatorship. Instead, this book extends far further, into many aspects of the Franco period, so much so that art ends up being only a fraction of the story.
The first part of Franco’s crypt gives a clear introduction to the Franco period. The book titles refers to Valle de los Caídos, where Franco is buried outside Madrid, and his behemoth is discussed, along with other monuments to the time period. The book talks about Spain’s left and how the crypt is a symbol for all things horrid, while also managing to be a figure for the Spanish right, their religion and their vast power under Franco. The opening of the book delves into the subject of bodies buried in unmarked mass graves throughout Spain, and goes through the reality of digging up such a grave. The section is laced with a feeling of resignation; that after all this time, whose bodies are they and the reasoning behind digging is uncertain.
The author gives a feeling that ‘memory’ is not such a simple beast; rather that the name encompasses many things. This could be certainly true, as memories and history are merely a recollection of the winners in a heated battle. With Spain being divided, by being its own enemy, all ideas, social and cultural norms, politics and attitudes are up for debate.
One chapter is dedicated to dam building in Spain under Franco. The voice of the book pulls back and forward between talking of the need to progress and the results of such ambitious, and sometimes failed, projects as well as the reality of what it did to the poorer people, who saw no benefit of the projects. This back-and-forward feeling in opinions distinguishes itself throughout the book.
What this book does do is lay out all the various elements of life under Franco, and how it is perceived in modern times. There can be no one element which accurately portrays Francoism and its effects, rather embracing that all walks of life, levels of wealth and social standing, and everyday opinion shape what is called ‘history.’ Treglown takes a (well-needed) swipe at the Spanish Biographic Dictionary, done by the Royal Academy of History in 2011. The glaring pieces of detail left out, and the additions and exclusions in this so-called encyclopaedia of Spain’s history is the perfect analogy for how Spain is viewed today.
This book does tell much of arts during Franco’s reign. To say Franco suppressed the arts is an unfair comment. The book talks of great artists such as Joan Miró, Antoni Tàpies and Antonio Saura. It talks of Spanish art making its way around the world, to be seen by overseas audiences more so than ever before. Writer Camilo José Cela won the Nobel Prize for literature. Filmmakers Pedro Almodóvar and Luis Buñuel were able to produce their films in Spain (though Buñuel, fresh from exile, had his work again banned). The book makes little mention of artists whose arts was not selected for greatness, and why, and a recurring theme throughout the book is that women barely managed to scrape their way into the history books. While Spain had its own share of female painters and writers, it seems fair to say women were not able to make much headway in the art houses of Spain. Treglown touches on the fact a feudal system still persisted among artists; not many artists were working class, no doubt out of the need to earn a living as best they could. While notable exceptions to this class divide are celebrated, it does highlight the inequality of the age.
Franco’s Crypt, page 102 – ‘Besides, while in the nineteenth century all the talent painters had to emigrate, in the Franco period they were once again living on the Peninsula. Did the unexpected development occur because of or despite the regime?’
Treglown answers that the regime did neither or both. Franco allowed Spanish artists to speak and their word spread worldwide, thus creating an image of Spain. Whether Franco liked it or not, we will never truly know. The book does not dwell much on drama or performance art, or on poetry, which is a shame.
One area of considerable divided option is the author’s chapters on the transition to democracy in the 1970′s. Opinion (or propaganda) tends to say that the left were hushed up during this period, and that the voices of the people went unheard during this period. Treglown gives examples of media accounts, historical studies and publications and documentaries which spoke out in this period against Franco, and of past crimes. He also shows that opinions of leftist Spain did have a voice. However, the so-called ‘pact of forgetting’ does remain in place, and those guilty were never tried for crimes, so to what effect these limited voices had is questionable. A roll-call of those in power after the transition says a lot of the effect of leftist ideas for change.
The reality of the era is that Franco modernised his country. After war in the 30′s, the violence of the 40′s and the struggling 50′s, Spain did begin to prosper in the 60′s, by becoming a US ally, with all important tourism and through economic growth. The book does its best to sit on the fence in the opinions of Franco and his regime, in an effort to tell truths otherwise hidden. However, it shows without doubt that Spain lacked any decent authority figures for a long period. Some argue the Catholic right-wingers lost much of their hold on Spain towards the end of Franco’s reign, but a quick look who has influenced Spain since Franco, and at the laws being created in Spain in 2013 by the PP government, suggests an evil seed has been allowed to flourish. Liberalism have have got hold for some time, but the future remains murky for Spain.
Treglown should be praised for putting together a book so laden with information. This is no summer-sun read, but if you want to learn about Spain, understand the country you have moved to, or wish to make sense of a divided nation, this is the best book written with an unbiased prose in a long time. I can’t be certain it shows that Franco wasn’t the oppressor he was made out to be, but it shows that despite the regime, creativity and the human spirit continued to fight back. I am a unashamed leftie and won’t praise anything Franco achieved, but this book does its best to take on both sides of the divide.
0 of 0 people found the following review helpful.
Reflections on Spain’s “Memory Wars”
By Albert A. Nofi
A summary of the review on StrategyPage.Com
'British biographer Treglown addresses two interrelated subjects in this work, remembering and memorializing the Spanish Civil War, and the Spanish art and culture of the Franco and post-Franco eras. Reflecting recent trends in scholarship on Spain, Treglown avoids knee-jerk criticism of Franco and the Nationalists, and, despite clear sympathies, criticizes the Republic and the Loyalists when appropriate. The book is divided into two parts with the first part, “Sites and Sights,” covering physical manifestations of the war and the regime, such as graves, memorials, graphic art, and even dams. Treglown covers the meaning and symbolism involved, and the importance of the recent increase in the search for mass graves (though noting that there seems little interest in mass graves left by the Republicans) and the monumental crypt in the Valle de los Caídos, in which Franco actually takes second place to José Antonio. The second and longer part of the book, “Stories and Histories,” looks at commemoration in literature and film. Of particular interest here is that despite the Franco regime’s opposition to modernism or realism, a surprising number of writers, artists, and several film makers did some excellent work, but received little international recognition due to overall hostility to anything emanating from “Fascist” Spain. While the book throws little light on the Civil War proper, it’s certainly a useful read for anyone interested in Spanish history in the twentieth century, or in issues of memory and commemoration.
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