Status
Available
Call number
Collection
Publication
Parma, Guanda
Description
In the final moments of the Spanish Civil War, fifty prominent Nationalist prisoners were executed by firing squad. Among them is the writer and fascist Rafael Sanchez Mazas. As the guns fire, he escapes into the forest, and can hear a search party and their dogs hunting him down. The branches move and he finds himself looking in the eyes of a militiaman, and faces death for the second time that day. But the unknown soldier simply turns and walks away. Sanchez Mazas becomes a national hero and the soldier disappears into history. As Cercas sifts the evidence to establish what happened, he realises that the true hero may not be Sanchez Mazas at all, but the soldier who chose not to shoot him. Who was he? Why did he spare him? And might he still be alive?… (more)
Media reviews
The Spanish civil war is staggering to its inevitable conclusion. After the fall of Barcelona, the remnants of the Republican army flee towards the French border. An order comes for them to execute their nationalist prisoners, among them Sanchez Mazas, one of the ideologues whose inflamed rhetoric
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brought catastrophe to Spain in the first place.
Some 50 of the prisoners are lined up. Mazas hears the shots but, realising he has only been wounded, escapes into the woods. He is discovered by a republican militiaman, who stares him in the face, and then spares his life, shouting to his companions that there is no one there. For several days, the Falange leader hides out in the forests, helped by some deserters from the Republican side, and then is rescued by Franco's troops. He is received as a hero, and feted throughout the newly nationalist country.
He is made a minister in the first Franco government, but quickly becomes disillusioned with the grubbiness of everyday politics, so far from his early high poetic ideals. He inherits money, and lives out his days as a frustrated writer, pursued by dreams of glory and heroism, so lacking in his own life.
Mazas's story is the central panel of Javier Cercas's tryptich. In the first part, we meet the narrator, also called "Javier Cercas", who disarmingly admits from the start that he is a failure as husband and writer. He hears of the story of Sanchez Mazas from the Falangist's son, and the fact that he has just lost his own father sets him on a journey to rescue the forgotten writer from oblivion, in the hope that he might also rescue his own career.
The narrator is fascinated by the way memory congeals into history: the insidious process by which personal narratives become part of a past that can no longer be verified, and is therefore taken to be the truth, even though it is only one possible version of what actually happened. As Cercas points out, the events of the Spanish civil war, which took place only a generation earlier, are becoming as distant and fixed as the story of the soldiers who fought the Persian fleet at Salamis more than 2,000 years earlier.
The narrator is at pains to stress that he is telling a "true story". But from the very outset of Soldiers of Salamis it is plain that this is a literary quest, the hope being that the fictional invention will be more convincing in the end than any biographical memoir. A vital part of the attempt to keep the past as living memory rather than dead history is to investigate individual motives, and the story of Mazas revolves around a central question: what exactly makes a hero? Is it someone like Mazas, who proclaims the glory of violence and the need for radical change, but never actually fights for it; or is heroism something different entirely?
Cercas's response comes in the third section of the novel. This is an account of how the narrator manages to track down the person who might have been the republican militiaman who spared Mazas's life. This man, Antoni Miralles, will not say straight out whether he was the man or not. But talking to him in an old people's home on the outskirts of Dijon, in France, the narrator becomes convinced he is the real hero, "someone who has courage and an instinct for virtue, and therefore never makes a mistake, or at least doesn't make a mistake the one time when it matters, and therefore can't not be a hero".
The book ends with the narrator triumphantly certain that, whether or not Miralles was the man in question, on the level of his own fiction he is the perfect fit to help "complete the mechanism" of his book, and in so doing rescue from oblivion all the "soldiers of Salamis" - the warriors who were heroes despite knowing they were fighting an already lost cause.
Cercas's book has created a sensation in Spain. Whereas in Britain it is easy enough to know who the heroes were - the ones who fought and defeated fascism - the situation in Spain is very different. Not only was the country split in two during the civil war, but there followed 40 years of rule by one side that sought to deny any virtues to its adversaries. As Cercas tells us, "there is a monument to the war dead in every town in Spain. How many have you seen with, at the very least, the names of the fallen from both sides?"
Yet at the same time, Franco and his supporters "won the war but lost the history of literature". Internationally, it is the republicans who are seen as heroes, whether the writer is Hemingway, Orwell or André Malraux. In the end, Soldiers of Salamis remains firmly in this tradition, while offering a gentle and often moving reassertion that individual lives and actions matter most, however overwhelming the historical circumstances may seem.
Nick Caistor is the translator of Juan MarsË's Lizard Tails. Show Less
Este libro, que se jacta tanto de no fantasear, de ceñirse a lo estrictamente comprobado, en verdad transpira literatura por todos sus poros. Los literatos ocupan en él un puesto clave, aunque no figuren en el libro como literatos, sino en forma de circunstanciales peones que, de manera casual,
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disparan en la mente del narrador la idea de contar esta historia, de hacerla avanzar, o la manera de cerrarla. La inicia Sánchez Ferlosio, revelándole el episodio del fusilamiento de su padre, y, cuando está detenida y a punto de naufragar, la relanza Roberto Bolaño, hablando a Javier Cercas del fabuloso Antoni Miralles, en quien aquél cree identificar, por un pálpito que todo su talento narrativo está a punto de convertir en verdad fehaciente en las últimas páginas del libro, al miliciano anónimo que perdonó la vida a Sánchez Mazas. Este dato escondido queda allí, flotando en el vacío, a ver si el lector se atreve a ir más allá de lo que fue el narrador, y decide que, efectivamente, la milagrosa coincidencia tuvo lugar, y fue Miralles, combatiente de mil batallas, miliciano republicano en España, héroe anónimo de la columna Leclerc en los desiertos africanos y compañero de la liberación en Francia, el oscuro soldadito que, en un gesto de humanidad, salvó la vida al señorito escribidor falangista convencido de que, a lo largo de la historia, siempre un pelotón de soldados 'había salvado la civilización'. Show Less
User reviews
LibraryThing member AnnieMod
Most novels written nowadays have a somewhat linear plot - even when there are a lot of them, each plot will be linear - and the novel seem to have a focus and a destination. Cercas' "Soldiers of Salamis" starts as a comic story about an unsuccessful author, goes through being a historical novel
The unsuccessful author is named Javier Cercas and while reading you slowly realize that on top of everything else, the novel is also pseudo-authobiographical (how pseudo is open to interpretation). He is back to being a journalist after giving up on his carrier as a novelist (after only 2 books) and while covering the cultural section, he meets Ferlosio who has a very interesting story to say about his father. That puts Javier on the path to research and to writing a book called "Soldiers of Salamis".
The novel is chock-full of real Spanish literary and political figures and untangling the truth from the fiction is impossible if you do not have a very solid knowledge in Spanish history (which I do not). But you do not really need to untangle it - it does not matter what really happened and what might have happened - because in the narrative of the book it did happen. Or at least so it seems until you learn something new.
The comical tone never leaves the novel (Conchi is downright hilarious) but the topics that get covered cannot be more serious. In an article and a book (because the middle part of the novel is the book that the fictional Cercas writes), the life of Rafael Sánchez Mazas comes to life and especially the way he survived the war. This is the point where the novel changes it pace more than once - from comical to serious, from optimistic to cautious, from a book about a man to a book about heroes and war. Because Cercas returns to that moment more than once in an almost Quixotic quest for the truth of what really happened in a forest at the last days of the war that Mazas helped happen. And that quest will lead to an old notebook, a long conversation with Bolaño (yes, the same one), a few survivors from the war and a story of courage and human persistence in the face of obstacles that makes you wonder if you are still reading the same book. And at the end of the book, all these subplots and threads, all the unrelated events, all the possible truths culminate into a tale of heroism and war, of history and reality, of what it is to be a writer and what it is to be human. It is a novel about politics (because what Miralles is and what Sánchez Mazas is is important; the war happened for a reason and that reason should not be forgotten) but at the same time it is about the people behind the political faces and ideologies.
It's not an easy novel to read - the three parts are so different that chances are that people won't like at least one of them. But at the same time, a different structure probably would have left the story flat. And the long paragraphs and winded sentences are all there (especially towards the end of the book) - they seem to be a trademark of Cercas. And as in "The Anatomy of a Moment", he manages to insert his favorite "it happened or could have happened" or something close enough to that - bringing the novel closer to a biography than to a work of fiction but without crossing the border.
And over the whole story lingers the ghost of a certain paso doble. How very Spanish!
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and ends up as a philosophical novel about the nature of heroism. And the most surprising thing is that at the end it works. The unsuccessful author is named Javier Cercas and while reading you slowly realize that on top of everything else, the novel is also pseudo-authobiographical (how pseudo is open to interpretation). He is back to being a journalist after giving up on his carrier as a novelist (after only 2 books) and while covering the cultural section, he meets Ferlosio who has a very interesting story to say about his father. That puts Javier on the path to research and to writing a book called "Soldiers of Salamis".
The novel is chock-full of real Spanish literary and political figures and untangling the truth from the fiction is impossible if you do not have a very solid knowledge in Spanish history (which I do not). But you do not really need to untangle it - it does not matter what really happened and what might have happened - because in the narrative of the book it did happen. Or at least so it seems until you learn something new.
The comical tone never leaves the novel (Conchi is downright hilarious) but the topics that get covered cannot be more serious. In an article and a book (because the middle part of the novel is the book that the fictional Cercas writes), the life of Rafael Sánchez Mazas comes to life and especially the way he survived the war. This is the point where the novel changes it pace more than once - from comical to serious, from optimistic to cautious, from a book about a man to a book about heroes and war. Because Cercas returns to that moment more than once in an almost Quixotic quest for the truth of what really happened in a forest at the last days of the war that Mazas helped happen. And that quest will lead to an old notebook, a long conversation with Bolaño (yes, the same one), a few survivors from the war and a story of courage and human persistence in the face of obstacles that makes you wonder if you are still reading the same book. And at the end of the book, all these subplots and threads, all the unrelated events, all the possible truths culminate into a tale of heroism and war, of history and reality, of what it is to be a writer and what it is to be human. It is a novel about politics (because what Miralles is and what Sánchez Mazas is is important; the war happened for a reason and that reason should not be forgotten) but at the same time it is about the people behind the political faces and ideologies.
It's not an easy novel to read - the three parts are so different that chances are that people won't like at least one of them. But at the same time, a different structure probably would have left the story flat. And the long paragraphs and winded sentences are all there (especially towards the end of the book) - they seem to be a trademark of Cercas. And as in "The Anatomy of a Moment", he manages to insert his favorite "it happened or could have happened" or something close enough to that - bringing the novel closer to a biography than to a work of fiction but without crossing the border.
And over the whole story lingers the ghost of a certain paso doble. How very Spanish!
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LibraryThing member Gypsy_Boy
Cercas uses metafiction—a technique in which the author focuses as much on a work’s own structure (regularly intruding the remind the reader that he is reading fiction) as on its story—as a way of analyzing the relationship between literature and reality or between life and art. The
(P.S. I have just read a fascinating essay on the book which suggests, quite plausibly, that the middle third of the book, the "report" resulting from part one, is intentionally boring and tedious. By writing it that way, Javier Cercas the author (as opposed to Javier Cercas the character) demonstrates that the writer's block is still there and only when the new "assignment" that is part three of the novel comes about does Cercas the character succeed...on multiple levels. The analysis makes great sense and, after further reflection, I have decided to raise my rating.)
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ostensible subject of the book is an investigation (by a novelist/journalist named Javier Cercas) into an incident that took place during the Spanish Civil War: a founder and key thinker in the Falangist (fascist) party miraculously escapes execution only to be found by a Republican soldier who unaccountably spares his life. The Fascist becomes a national hero under Franco; the soldier is forgotten. Cercas, the character, suffers from career-ending writer's block, but hopes that by discovering what “really” happened, he may be able to resuscitate his novelistic career. The book is divided into three parts: the first part is the story of his research; the second part is the story resulting from the first part. Had the book ended here, it would have been mildly interesting but, ultimately, tedious. Too much detail, far more than you are likely to want to know about this Falangist hero. Ah…but the third part: this is the key. This is where story and history intertwine, where memory and forgetting become an inescapable part of the meaning of life and death. This last part is riveting and beautifully told. The book is even more complex than I suggest and worthy of a graduate school seminar to unpack its meanings. Whether you’ll have the patience for it only you can say. But if you make it to the end, I think you’ll agree it was time well spent. (P.S. I have just read a fascinating essay on the book which suggests, quite plausibly, that the middle third of the book, the "report" resulting from part one, is intentionally boring and tedious. By writing it that way, Javier Cercas the author (as opposed to Javier Cercas the character) demonstrates that the writer's block is still there and only when the new "assignment" that is part three of the novel comes about does Cercas the character succeed...on multiple levels. The analysis makes great sense and, after further reflection, I have decided to raise my rating.)
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LibraryThing member franoscar
An interesting and very well-written novel about Spain and 20th century Spanish thinking. I'm not sure I agree with his ideas but it is thought-provoking. I don't know how much is true -- it is a noel about a journalist (the "I") writing about an incident involving one of the original Falangists
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during the Civil War -- with an outer shell of him narrating his research and an inner shell of a short story. In the end, the Republican soldier who fought through the war & then with the French in exile in Africa is the moral center. Plus a lot of attention to the question of why a solider/prison guard let the Falangist live & escape instead of killing him; the narrator, late in the book, identifies as a fascist. Show Less
LibraryThing member Jargoneer
Rafael Sánchez Mazas, writer and leading Falangist, is standing in a field with 49 in Northern Catalonia with 49 other prisoners waiting to be executed. When the firing starts he manages to escape into the forest. Tired and dirty, hidin in a ditch, he is found by a young Republican soldier, who
This is the true story that inspires Cercas’ novel. Despite the premise and the blurbs on the cover, readers expecting a Spanish Civil War novel will be disappointed, Soldiers of Salamis exists in that grey area between fiction and fact: as much an essay on literature, truth, and memory, than a traditional novel.
The novel is split into three sections, which could almost be read individually – although they are linked both by the Sánchez Mazas incident, and thematically.
The first section, comic in tone, deals with Cercas, a jobbing journalist and minor (retired) novelist, hearing the story of Sánchez Mazas failed execution by the Republicans, and his tracking down of the family of the men who helped him survive until the Nationalists arrived. At first it remains an idea for an article but gradually becomes an obsession with Cercas – one not shared with his girlfriend, who can’t understand why he would be interested in a “fascist shit".
The middle section is a novelistic recreation of the failed execution and it’s aftermath, that slowly expands into an essay on Mazas as a writer and politician. As a leader of the Falange Mazas certainly helped to create the environment that led to war, using his literary talent to create a 'revolutionary fervour', and can be heard partly responsible for the death of thousands, the deplacement of many others, and the divisions that still haunt modern Spain. On the other hand, as a politican he used his power to save those, and their families, who protected him; he did not use it for revenge or self-advancement - he can’t even be bothered to turn up to cabinet meetings and retires to write romantic, pastoral novels. (It is interesting that this is the response of so many authors over the last two centuries – frightened to face the reality of their world writers look backward to an illusory Arcadia). The achievement of Cercas is to create sympathy in the reader for Mazas: the reality is that he never achieved his literary ambition, that he sold his talent to write words that led to misery and death but was not a cruel man, just a fool.
In the final section Cercas tracks down, with the help of the great Chilean writer Roberto Bolano, a Republican soldier who he believes may be the one that spared Sánchez Mazas life. It turns out that this man, Enrico Miralles, is a hero - perhaps not the hero of the Sánchez Mazas incident but a man who fought for democracy at home; with the Free French in North Africa against Mussolini; in Normandy and Germany against Hitler.Sánchez Mazas propagated the fascist myth of the squad of soldiers who saved civilisation at the 11th hour, like the Athenian soldiers at Salamis, but in reality this squad was made up of men like Miralles who fought against everything the Falangists believed in. This section returns, intially, to the comic tone of the first section but ultimately moves beyond it, becoming both profound and moving.
Soldiers of Salamis is, in turn, comic and serious, thought-provoking, and, ultimately, moving.
Recommended ****
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turns and shouts, “There is nothing here”.This is the true story that inspires Cercas’ novel. Despite the premise and the blurbs on the cover, readers expecting a Spanish Civil War novel will be disappointed, Soldiers of Salamis exists in that grey area between fiction and fact: as much an essay on literature, truth, and memory, than a traditional novel.
The novel is split into three sections, which could almost be read individually – although they are linked both by the Sánchez Mazas incident, and thematically.
The first section, comic in tone, deals with Cercas, a jobbing journalist and minor (retired) novelist, hearing the story of Sánchez Mazas failed execution by the Republicans, and his tracking down of the family of the men who helped him survive until the Nationalists arrived. At first it remains an idea for an article but gradually becomes an obsession with Cercas – one not shared with his girlfriend, who can’t understand why he would be interested in a “fascist shit".
The middle section is a novelistic recreation of the failed execution and it’s aftermath, that slowly expands into an essay on Mazas as a writer and politician. As a leader of the Falange Mazas certainly helped to create the environment that led to war, using his literary talent to create a 'revolutionary fervour', and can be heard partly responsible for the death of thousands, the deplacement of many others, and the divisions that still haunt modern Spain. On the other hand, as a politican he used his power to save those, and their families, who protected him; he did not use it for revenge or self-advancement - he can’t even be bothered to turn up to cabinet meetings and retires to write romantic, pastoral novels. (It is interesting that this is the response of so many authors over the last two centuries – frightened to face the reality of their world writers look backward to an illusory Arcadia). The achievement of Cercas is to create sympathy in the reader for Mazas: the reality is that he never achieved his literary ambition, that he sold his talent to write words that led to misery and death but was not a cruel man, just a fool.
In the final section Cercas tracks down, with the help of the great Chilean writer Roberto Bolano, a Republican soldier who he believes may be the one that spared Sánchez Mazas life. It turns out that this man, Enrico Miralles, is a hero - perhaps not the hero of the Sánchez Mazas incident but a man who fought for democracy at home; with the Free French in North Africa against Mussolini; in Normandy and Germany against Hitler.Sánchez Mazas propagated the fascist myth of the squad of soldiers who saved civilisation at the 11th hour, like the Athenian soldiers at Salamis, but in reality this squad was made up of men like Miralles who fought against everything the Falangists believed in. This section returns, intially, to the comic tone of the first section but ultimately moves beyond it, becoming both profound and moving.
Soldiers of Salamis is, in turn, comic and serious, thought-provoking, and, ultimately, moving.
Recommended ****
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LibraryThing member usnmm2
A Spanish journalist is ask to write an article for the 60 th anniversary of the Spanish Civil War. He writes a story of the last days when 1000's of Republicans were fleeing to France for exile, and a mass execution of Fascist leaders. Several people escape the firing squads and become leaders in
Sanchez Mazas a founding member Franco's Fascist party is one of these people. He tells the story of his escape and how when his hiding place is discovered his life is spared a 2nd time by a soldier that found him and let him go.
The journalist becomes intrigued with the story. One - is the story true? and if it is why did the soldier let Sanchez go.
The book is in three parts. First is about the journalist and what he learns. Second part is told thought the eyes of Sanchez Mazas. And the third part is about the soldier.
What makes this book so interesting is that all the people and events are real. Although concidered a novel it reads more like history. The journalist in the book refers to it as a tale.
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Franco's government.Sanchez Mazas a founding member Franco's Fascist party is one of these people. He tells the story of his escape and how when his hiding place is discovered his life is spared a 2nd time by a soldier that found him and let him go.
The journalist becomes intrigued with the story. One - is the story true? and if it is why did the soldier let Sanchez go.
The book is in three parts. First is about the journalist and what he learns. Second part is told thought the eyes of Sanchez Mazas. And the third part is about the soldier.
What makes this book so interesting is that all the people and events are real. Although concidered a novel it reads more like history. The journalist in the book refers to it as a tale.
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LibraryThing member eairo
In The Soldiers of Salamis by Javier Cercas an unsuccessful writer Javier Cercas is writing a book titled Soldiers of Salamis, which is not about the battle of Salamis but about an incident that happened a long time ago during last few weeks of the Spanish Civil War.
One of the main ideologists and
Sánches Mazas had told this story over and over, and his son years later tells it to Cercas (the author in the book, who may or not be the author of the book) who becomes intrigued: what happened? Why? Who? And could this story become the book that saves his literary career?
Cercas starts working on the story, he finds people who were there, he finds more stories, some answers and many more questions. Or that's what I found in this book.
One of the main ideologists and
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founding members of the Falange (the Spanish fascist party later hijacked by Franco), poet and author of a few novels Rafael Sánches Mazas -- "a good but not great writer" says Cercas, by the way --, manages to escape the firing squad and hide in the forest. He is found but the militia man who finds him lets him go -- they look into each other's eyes, and the soldier turns away.Sánches Mazas had told this story over and over, and his son years later tells it to Cercas (the author in the book, who may or not be the author of the book) who becomes intrigued: what happened? Why? Who? And could this story become the book that saves his literary career?
Cercas starts working on the story, he finds people who were there, he finds more stories, some answers and many more questions. Or that's what I found in this book.
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LibraryThing member librisissimo
May be a literary triumph, but I found it confusing to follow and somewhat boring. Did not finish it.
LibraryThing member eachurch
My son gave this book to me to read after he read it for a course on the Spain Civil War. I thoroughly enjoyed Cercas' exploration of the writing process, how history is done, and memories are made. I wish I knew more about what was fact and what was fiction--I think it would have given me a deeper
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appreciation for what Cercas was doing. Show Less
LibraryThing member thorold
Looking at the cover image, I was afraid that this would turn out to be a gritty war story, but actually it turns out to be a complicated, rather ironic, meditation about why wars are fought and how we deal with the memory of war. Setting our normal preconceptions back-to-front, he takes an
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intellectual from the nationalist side and a "simple" soldier from the republican side as his central characters, and sets both their stories against the comic tale of the naive and slightly clumsy journalist, "Javier Cercas", who is attempting to gather material for a book called Soldados de Salamina. It's very cleverly set up, with Cercas spending the first two-thirds of the book feeding you the information you need to understand the last part, giving you just enough to keep you interested whilst letting you work out for yourself that there's still something important missing from the mixture. Show Less
LibraryThing member Paulagraph
I enjoyed this novel (true tale) but haven't much to say about it. I was particularly intrigued when Cercas or the character named Cercas meets up with the Chilean writer Roberto Bolano or the character named Roberto Bolano, who is living in exile in Spain. After interviewing Bolano, Cercas shifts
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his quest from investigating the writer Sanchez Manzas (chief rhetorician of the Falange that instigated the Spanish Civil War in the 1930s) to seeking out Miralles, pasa doble aficionado & possibly the Republican soldier or volunteer who spared Manzas's life when the losing Republican forces were in retreat at the end of the war & executing fascist prisoners such as Manzas. The character Cercas is throughout writing the novel Soldiers of Salamis. Show Less
LibraryThing member soylentgreen23
A highly-celebrated work, though I had to wonder why - perhaps my understanding of Spanish history is not sufficient to appreciate the deeper aspects of this historical work. The whole story is outlined early on, and though there are expansions to the structure offered in the remainder of the book,
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I didn't feel like I gained much for the reading. Show Less
LibraryThing member berthirsch
Cercas is now established as a writer with a unique approach. Much like the work of Truman Capote and Tom Wolfe he fictionalizes real life events and characters. In Soldiers of Salamis he relates the story of the well known Falangist, Rafael Sanchez Mazas, " a good minor writer", who served as an
Cercas sets out to write about Mazas but his book hits a roadblock and it is only after he interviews the novelist Roberto Bolano that his imagination is reawakened by Bolano's recounting of a Republican fighter he had once known several years ago. Cercas takes out after this man, Miralles, who turns out to be one of the unsung heroes of both the Spanish Civil war and World War II. The book is ultimately about both writing stories and heroes.
Familiar with Cercas from his lesser known work, The Anatomy of A Moment, his work is engrossing and highly entertaining. He is able to describe real life events with a novelist's talent and imagination.
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apologist and propagandist for the Franco regime. In the last days of the Spanish Civil War, escaping from a firing squad his life is spared by an unknown Republican militiaman. Cercas sets out to write about Mazas but his book hits a roadblock and it is only after he interviews the novelist Roberto Bolano that his imagination is reawakened by Bolano's recounting of a Republican fighter he had once known several years ago. Cercas takes out after this man, Miralles, who turns out to be one of the unsung heroes of both the Spanish Civil war and World War II. The book is ultimately about both writing stories and heroes.
Familiar with Cercas from his lesser known work, The Anatomy of A Moment, his work is engrossing and highly entertaining. He is able to describe real life events with a novelist's talent and imagination.
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Subjects
Awards
Grinzane Cavour Prize (2003)
Independent Foreign Fiction Prize (Winner — 2004)
Ciutat de Barcelona (2001)
Language
Original language
Spanish
Original publication date
2001
2003 (English translation)
ISBN
9788882467661