Baroja, Pío 1872–1956
Baroja, Pío 1872–1956
(Pío Baroja y Nessi, Pío Baroja y Nessi)
PERSONAL: Name pronounced "pee-oh bah-roh-hah"; born December 28, 1872, in San Sebastián, Spain; died October 30, 1956, in Madrid, Spain; son of Serafín Baroja y Zornoza (a mining engineer) and Carmen Nessi y Goñi (a homemaker). Education: University of Valencia, M.D., 1891; University of Madrid, Ph.D., 1894.
CAREER: Physician and author. Also once worked as a bakery manager.
WRITINGS:
El tablado de arlequín, F. Sempere (Valencia, Spain), 1890.
La casa de Aizgorrí, novela en siete jornadas, B. Rodríguez Serra (Madrid, Spain), 1900.
Loa amores tardíos, Caro Raggio (Madrid, Spain), 1900.
La ciudad de niebla, T. Nelson (London, England), 1900.
Camino de perfeccíon, Andueza (Madrid, Spain), 1901.
Idilios vascos, B. Rodriguez Serra (Madrid, Spain), 1901.
Tierra vasca (also see below), Renacimiento (Madrid, Spain), 1903.
Los últimos románticos, Sucesores de Hernando (Madrid, Spain), 1906.
Las tragedias grotescas, Sucesores de Hernando (Madrid, Spain), 1907.
La raza, R. Rojas (Madrid, Spain), 1908.
La dama errante, R. Rojas (Madrid, Spain), 1908.
El mundo es ansí, Renacimiento (Madrid, Spain), 1912.
El escuadrón del brigante, Renacimiento (Madrid, Spain), 1913.
El aprendíz del conspirador, Renacimiento (Madrid, Spain), 1913.
Los caminos del mundo, Renacimiento (Madrid, Spain), 1914.
Con la pluma y con el sabre; crónica de 1820 a 1823, Renacimiento (Madrid, Spain), 1915.
Los recursos de la astucia, Renacimiento (Madrid, Spain), 1915.
La ruta del aventurero, Renacimiento (Madrid, Spain), 1916.
La dama de Urtubi: novela inédita, [Madrid, Spain], 1916.
Nuevo tablado de Arlequín, Caro Raggio (Madrid, Spain), 1917.
La feria de los discretos, Fernando Fé (Madrid, Spain), 1900, translation by Jacob S. Fassett, Jr., published as The City of the Discreet, Knopf (New York, NY), 1917.
La veleta de Gastizar, Caro Raggio (Madrid, Spain), 1918.
Las horas solitarias: notas de un aprendíz de psicólogo, Caro Raggio (Madrid, Spain), 1918.
Los caudillos de 1830, Caro Raggio (Madrid, Spain), 1918.
El cura Santa Cruz y su partida, Caro Raggio (Madrid, Spain), 1918.
Páginas escogidas, Calleja (Madrid, Spain), 1918.
Idilios y fantasías, Caro Raggio (Madrid, Spain), 1918.
Aventuras, inventos y mixtificaciones de Silvestre Paradox (also see below), B. Rodriguez Serra (Madrid, Spain), 1900, reprinted, Caro Raggio (Madrid, Spain), 1919.
César ó nada, Renacimiento (Madrid, Spain), 1910, translation by Louis How published as Caesar or Nothing, Knopf (New York, NY), 1919.
La Isabelina, Caro Raggio (Madrid, Spain), 1919.
Momentum catastrophicum, Caro Raggio (Madrid, Spain), 1919.
La caverna del humorísmo, Caro Raggio (Madrid, Spain), 1919.
Cuentos, Caro Raggio (Madrid, Spain), 1919.
La lucha por la vida, Caro Raggio (Madrid, Spain), 1900, reprinted, 1920.
Juventud, egolatría, Caro Raggio (Madrid, Spain), 1917, translation by Jacob S. Fassett, Jr., and Frances L. Phillips published as Youth and Egolatry, Knopf (New York, NY), 1920.
Divagaciones apasionadas, Caro Raggio (Madrid, Spain), 1920.
Las figuras de cera, Caro Raggio (Madrid, Spain), 1920.
Los contrastes de la vida, Caro Raggio (Madrid, Spain), 1920.
La sensualidad pervertida: ensayos amorosos de un hombre ingénuo en una época de decadencia, Caro Raggio (Madrid, Spain), 1920.
Divagaciones sobre la cultura, Caro Raggio (Madrid, Spain), 1920.
La canóniga, Cosmópolis (Madrid, Spain), 1920.
Escuelas germánicas, retratos, medias figuras, Caro Raggio (Madrid, Spain), 1921.
El sabor de la venganza, Caro Raggio (Madrid, Spain), 1921.
Obras maestras de la pintura: escuela italianas, retratos, medias figuras, Caro Raggio (Madrid, Spain), 1921.
Las furias, Caro Raggio (Madrid, Spain), 1921.
El amor, el dandysmo y la intriga, Caro Raggio (Madrid, Spain), 1922.
La leyenda de Juan de Alzate, Caro Raggio (Madrid, Spain), 1922.
El árbol de la ciencia, Las Americas Publishing (New York, NY), 1900, translated as The Tree of Knowledge, Knopf (New York, NY), 1922.
La busca, Fernando Fé (Madrid, Spain), 1910, translation by Isaac Goldberg published as The Quest, Knopf (New York, NY), 1922.
Mala hierba, Fernando Fé (Madrid, Spain), 1900, translation by Isaac Goldberg published as Weeds, Knopf (New York, NY), 1923.
Crítica arbitraria (theater reviews), La Lectura (Madrid, Spain), 1924.
La nave de los locos, Caro Raggio (Madrid, Spain), 1925.
El mayorazgo de Labraz, Henrich (Barcelona, Spain), 1903, translation by Aubrey Fitz Gerald Bell published as The Lord of Labraz, Knopf (New York, NY), 1926.
El horroroso crimen de Peñaranda del Campo, La Novela Mundial (Madrid, Spain), 1926.
La casa del crímen, [Madrid, Spain], 1926.
Las máscaras sangrientas, Caro Raggio (Madrid, Spain), 1927.
Humano enigma, Caro Raggio (Madrid, Spain), 1928.
La senda dolorosa, Caro Raggio (Madrid, Spain), 1928.
El nocturno del Hermano Beltrán, Caro Raggio (Madrid, Spain), 1929.
Los pilotos de altura, Caro Raggio (Madrid, Spain), 1929.
Los confidentes audaces, Espasa Calpe (Madrid, Spain), 1931.
Aviraneta; o, La vida de un conspirador, Espasa Calpe (Madrid, Spain), 1931.
Intermedios, Espasa Calpe (Madrid, Spain), 1931.
El cabo de las tormentas, Espasa Calpe (Madrid, Spain), 1932.
La familia de Errotacho, Espasa Calpe (Madrid, Spain), 1932.
Los caminos del mundo, Espasa Calpe (Madrid, Spain), 1933.
Juan van Halen, el official aventurero, Espasa Calpe (Madrid, Spain), 1933.
Siluetas románticas y otras historias de pillos y de extravagantes, Espasa Calpe (Madrid, Spain), 1934.
Las noches del buen retiro, Espasa Calpe (Madrid, Spain), 1934.
Elizabide el vagabundo, Navarro y del Teso (San Sebastián, Spain), 1935.
Vitrina pintoresca, Espasa Calpe (Madrid, Spain), 1935.
El cura de Monleón, Espasa Calpe (Madrid, Spain), 1936.
Rapsodias, Espasa Calpe (Madrid, Spain), 1936.
Locuras de carnaval, Espasa Calpe (Madrid, Spain), 1937.
Tierra vasca: Zalacaín el aventurero: historia de las buenas andanzas y fortunas de Martin Zalacaín de Urbia, Espasa Calpe (Madrid, Spain), 1937.
Susana, B.I.M. (San Sebastián, Spain), 1938.
Ayer y hoy, Ercilla (Santiago de Chile, Chile), 1939.
Los judíos son unos corderos, Talleres Gráficos "La Mazorca" (Buenos Aires, Argentina), 1939.
Historias lejanas, Ercilla (Santiago de Chile, Chile), 1939.
El tesoro del holandés, Editorial Catolica-Española (Seville, Spain), 1939.
Laura; o, La soledad sin remedio, Editorial Sudamericana (Buenos Aires, Argentina), 1939.
Los espectros del Castillo y otras narraciones, Pal-las Bartrés (Barcelona, Spain), 1941.
Fantasías vascas, Espasa Calpe (Buenos Aires, Argentina), 1941.
Chopin y Jorge Sand, y otros ensayos, Pal-las Bartrés (Barcelona, Spain), 1941.
Las veleidades de la fortuna, Caro Raggio (Madrid, Spain), 1926, reprinted, Epasa Calpe Argentina (Buenos Aires, Argentina), 1942.
El diablo a bajo precio, Pal-las Bartrés (Barcelona, Spain), 1942.
El estanque verde, La Novela Actual (Madrid, Spain), 1943.
Pequeños ensayos, Editorial Sudamericana (Buenos Aires, Argentina), 1943.
El escritor según el y según los críticos, Biblioteca Nueva (Madrid, Spain), 1944.
Canciones del suburbio, Biblioteca Nueva (Madrid, Spain), 1944.
El puente de las animas, La Nave (Madrid, Spain), 1945.
El hotel del Cisne, Biblioteca Nueva (Madrid, Spain), 1946.
Obras completas, Biblioteca Nueva (Madrid, Spain), 1946.
Galería de tipos de la época, Biblioteca Nueva (Madrid, Spain), 1947.
Reportajes, Biblioteca Nueva (Madrid, Spain), 1948.
Los enigmáticos, Biblioteca Nueva (Madrid, Spain), 1948.
La intuición y el estilo, Biblioteca Nueva (Madrid, Spain), 1948.
Bagatelas de otoño, Biblioteca Nueva (Madrid, Spain), 1949.
Ciudades de Italia, Biblioteca Nueva (Madrid, Spain), 1949.
El cantor vagabundo: saturnales novela, Biblioteca Nueva (Madrid, Spain), 1950.
Tríptico, Editorial Sudamericana (Buenos Aires, Argentina), 1950.
La obsesión del misterio, Rollan (Madris, Spain), 1952.
Yan-Si-Pao; o, La esvástica de oro, Prensa Moderna (Madrid, Spain), 1928, reprinted, A. Aguado (Madrid, Spain), 1953.
Intermedio sentimental, A. Aguado (Madrid, Spain), 1953.
Los amores de Antonio y Cristina, [Madrid, Spain], 1953.
El país vasco, Ediciones Destino (Barcelona, Spain), 1953.
El capitán Mala Sombra, A. Aguado (Madrid, Spain), 1953.
El poeta y la princesa; o, El "cabaret" de la cotorra verde, A. Aguado (Madrid, Spain), 1953.
La obra de pello Yarza y algunas otras cosas, Espasa Calpe (Buenos Aires, Argentina), 1954.
Los contrabandístas vascos; Las hermanas Mac-Donald; Los amores de Antonio y Cristina; Los amores de un médico de aldea, Biblioteca Nueva (Madrid, Spain), 1954.
Paseos de un solitario; relatos sin ilación, Biblioteca Nueva (Madrid, Spain), 1955.
Memorias, Ediciones Minotauro (Madrid, Spain), 1955.
Mis mejores páginas, Editorial Mateu (Barcelona, Spain), 1961.
La decadencia de la cortesía, y otros ensayos, Ediciones Raid (Barcelona, Spain), 1956.
Las inquietudes de Shanti Andía, Renacimiento (Madrid, Spain), 1911, new edition, edited by Laurence Deane Bailiff and Maro Beath Jones, University of Chicago Press (Chicago, IL), 1930, translation by Anthony Kerrigan published as The Restlessness of Shanti Andía, and Other Writings, University of Michigan Press (Ann Arbor, MI), 1959, translation by Anthony and Elaine Kerrigan published as The Restlessness of Shanti Andía, and Selected Stories (includes "The Cabbages in the Cemetery" and "The Charcoal Maker"), New American Library of World Literature (New York, NY), 1962.
Pío Baroja: estudio y antología, Compañía Bibliográfica Española (Madrid, Spain), 1963.
Cuentos, Alianza Editorial (Madrid, Spain), 1966.
El gran torbellino del mundo, Caro Raggio (Madrid, Spain), 1926, published as Agonías de nuestro tiempo: el gran torbellino del mundo, Planeta (Barcelona, Spain), 1967.
Crónica escandalosa, Planeta (Barcelona, Spain), 1967.
Pío Baroja: antología, Coculsa (Madrid, Spain), 1969.
La venta de Mirambel, Espasa Calpe (Madrid, Spain), 1931, reprinted, Planeta (Barcelona, Spain), 1970.
Desde el principio hasta el fin, Espasa Calpe (Madrid, Spain), 1935, reprinted, Planeta (Barcelona, Spain), 1970.
Desde la última vuelta del camino: memorias, Planeta (Barcelona, Spain), 1970.
El mar (collection; includes "Las inquietudes de Shanti Andía" and "Los pilotos de altura"), Circulo de Lectores (Barcelona, Spain), 1970.
Un prince, 1939, reprinted, Losada (Buenos Aires, Argentina), 1972.
Escritos de juventud, edited by Manuel Longares, Editorial Cuadernos para el Diálogo (Madrid, Spain), 1972.
Hojas sueltas, Caro Raggio (Madrid, Spain), 1973.
Paisaje y paisanaje: artículos y ensayos, Talleres gráficos edigraf (Barcelona, Spain), 1973.
La selva oscura, Caro Raggio (Madrid, Spain), 1974.
La familia de Errotacho, Caro Raggio (Madrid, Spain), 1974.
Entretenimientos, Caro Raggio (Madrid, Spain), 1926, reprinted, 1976.
El caballero de Erláiz, La Nave (Madrid, Spain), 1943, reprinted, Caro Raggio (Madrid, Spain), 1976.
Allegro final, y otras cosas, A. Aguado (Madrid, Spain), 1957, reprinted, 1976.
Arlequín, mancébo de botica, o Los pretendientes de Colombina, Editorial Siglo XX (Madrid, Spain), 1976.
El dolor: estudio de psico-física, Real Academia de Medicina de Salamanca (Salamanca, Spain), 1980.
Final del siglo XIX y principios del XX, Biblioteca Nueva (Madrid, Spain), 1945, reprinted, Caro Raggio (Madrid, Spain), 1982.
Aurora roja, Fernando Fé (Madrid, Spain), 1904, translation by Isaac Goldberg published as Red Dawn, Knopf (New York, NY), 1924, reprinted, 1983.
Paradox, rey (also see below), Sucesores de Hernando (Madrid, Spain), 1906, translation by Nevill Barbour published as Paradox, King, Wishart (London, England), 1931, reprinted, 1983.
Mari Belcha y otros cuentos, Ediciones de la Torre (Madrid, Spain), 1988.
Personajes con oficio, Editorial Popular (Madrid, Spain), 1989.
Cuentos a contratiempos, Editorial Popular (Madrid, Spain), 1989.
El pasado, Fernando Fé (Madrid, Spain), 1905, reprinted, 1990.
Comunistas, judíos y demás ralea, Ediciones Recon-quista (Valladolid, Spain), 1938, published as Judíos, comunistas y demás ralea, B.R.L. (Barcelona, Spain), 1993.
Itinerario sentimental: guía de Iztea, Iruña (Pamplona, Spain), 1995.
Zalacaín el aventurero (also see below), Ediciones Hispania, 1900, translation by James P. Diendl published as Zalacaín the Adventurer: The History of the Good Fortune and Wanderings of Martin Zalacaín of Urbia, Lost Coast Press (Fort Bragg, CA), 1997.
Cuentos de amor y muerte, Clan (Spain), 1997.
Cuentos de fantasmas, Acento (Madrid, Spain), 1997.
Vídas sombrías (title means "Somber Lives"), Antonio Marzo (Madrid, Spain), 1900, new edition, Biblioteca Nueva (Madrid, Spain), 1998.
Aquí París, [Madrid, Spain], 1955, reprinted, Caro Raggio (Madrid, Spain), 1998.
Epistolario (1933–1955), Edicions Vicent Llorens (Valencia, Spain), 1998.
Obras selectas, Espasa Calpe (Madrid, Spain), 1998.
Silvestre Paradox; y Paradox, rey, Consejería de Educación y Cultura, Comunidad de Madrid (Madrid, Spain), 1998.
Desde el exilio: los artículos inéditos publicados en la Nación de Buenos Aires, 1936–1943, Caro Raggio (Madrid, Spain), 1999.
El laberinto de las sirenas, Caro Raggio (Madrid, Spain), 1923, new edition, Tusquets Editores (Barcelona, Spain), 2000.
Opiniones y paradojas, edited by Miguel Sánchez-Ostiz, Caro Raggio (Madrid, Spain), 2000.
Libertad frente a sumisión: las colaboraciones peri-odísticas publicadas en España durante 1938, Caro Raggio (Madrid, Spain), 2001.
Los pilotos de altura, edited and with introduction and notes by Juan María Martín, illustrated by Tino Gatagán, Anaya (Madrid, Spain), 2002.
La estrella del capitán Chimista, Caro Raggio (Madrid, Spain), 1930, new edition edited and with notes and introduction by Juan María Martín, illustrated by Tino Gataán, Anaya (Madrid, Spain), 2003.
Baroja's works have been translated into many languages, including Basque, Chinese, Czechoslovakian, Dutch, English, Esperanto, French, German, Korean, and Russian.
SIDELIGHTS: Pío Baroja was considered one of the most prolific novelists of twentieth-century Spanish literature, writing over sixty novels during his lifetime, including several trilogies. His work belongs to the group of writers known as the "Grupo '98," whose members were concerned with the social problems that arose in early twentieth-century Spain due to political and colonial changes and to rapid industrialization. Baroja, however, did not think of himself as a member of that illustrious group of writers, which included such people as José Azorín, Benito Pérez Galdós, and Miguel de Unamuno.
The work of Baroja typically describes the hypocrisy, poverty, and injustice that plague the lives of working-class people. John Dos Passos commented in Rosinante to the Road Again that the scenes of Baroja's works are "dismal, ironic, the streets of towns where industrial life sits heavy on the neck of a race as little adapted to it as any in Europe. No one has ever described better the shaggy badlands and cabbage-patches round the edges of a city, where the debris of civilization piles up ramshackle suburbs in which starve and scheme all manner of human detritus."
Baroja was born in 1872 in the city of San Sebastián, located on the northern Basque coast of Spain. His father, a well-educated mining engineer, possessed an extensive personal library. He introduced Baroja, at a young age, to the world of literature. Throughout his life, Baroja included the works of Balzac, Dickens, Dostoevsky, and Poe among his personal favorites.
In 1887 Baroja began his medical studies at the University of Madrid. He continued his education at the University of Valencia, and four years later he earned a medical degree from that institution. In 1894, at the University of Madrid, Baroja presented his doctoral thesis on the psycho-physical aspects of pain. Upon the completion of his degree, Baroja practiced medicine in the town of Cestona for less than a year. From that brief period as a practicing physician, however, came the short story collection Vídas sombrías. Baroja then left Cestona and returned to Madrid, where he worked as the manager of his aunt's bakery and continued to write.
In 1899 Baroja traveled to Paris, where he became acquainted with important members of the literary world, including Oscar Wilde and the Spanish poets Antonio and Juan Machado. It was during this visit that he encountered the pessimistic philosophies of Nietzsche and Schopenhauer. Baroja returned to Spain with the resolve to devote himself completely to a literary career. Soon after, he published a collection of short stories titled Vídas sombrías, described as "a melancholy book, full of delicate feeling poetically expressed" by Beatrice P. Patt in her book titled Pío Baroja. These short stories came to the attention of the writer José Azorín, who was so moved by the work that he requested to meet Baroja. This meeting subsequently developed into a lifelong friendship between the two men.
Baroja showed more concern for the content of a piece rather than for following a particular stylized form, and it was well known that he wrote spontaneously and very rarely revised his work. His novels are filled with graphic "street" language, which Salvador de Madariaga, in The Genius of Spain and Other Essays on Spanish Contemporary Literature, stated was indicative of Baroja's "tendency to strike the world by saying unusually hard things in an unusually hard way." However, Madariaga also remarked that Baroja actually "gained a freer scope for the intensity and power of his vision" by ignoring the more socially polite, restrictive and traditional literary styles of language. As a result, the critic considered that Baroja's work "is a writing which for directness and simplicity has no rival in Spain."
Shortly after the publication of Vídas sombrías, the novel La casa de Aizgorrí, novela en siete jornadas saw print. This book is part of the trilogy "Tierra vasca." The most popular and beloved novel of the trilogy is Zalacaín el aventurero, in which the hero Martín Zalacaín pursues the limits of his destiny. He is a man of action, not an intellectual, who is involved in many adventurous situations, often humorous, from smuggling to kidnapping to spying. He usually manages to escape a predicament only at the last possible moment. Sherman H. Eoff commented in The Modern Spanish Novel: Comparative Essays Examining the Philosophical Impact of Science on Fiction that although Zalacaín el aventurero is an adventure novel, one can sense Baroja's philosophical ideas "hovering over the whole like an invisible cloud."
Between 1904 and 1905 Baroja published his highly regarded trilogy "La lucha por la vida," consisting of the novels La busca, Mala hierba, and Aurora roja. The trilogy focuses on the problems of city life in modern times. Throughout these works, Baroja describes the effects of the advent of capitalism and industrialization on the underclass of Madrid. Patt observed that Baroja's attitude towards the masses in "La lucha por la vida" "is compassionate and humane, yet at the same time puritanical in its insistence on morality, work and steadfastness."
El árbol de la ciencia, a partially autobiographical novel, is generally regarded as the work that is most highly representative of Baroja's life and philosophy. Patt believed that it "is Baroja's most authentic novel," while Robert W. Hatton in Hispania called it "an extension of [Baroja's] own personality." El árbol de la ciencia is filled with characters based on people Baroja had known during his younger years. The chief protagonist, Andrés Hurtado, is a physician searching for the sense and meaning of life's injustices. He is unable to find either a satisfying love relationship or a meaningful life for himself, and he finally commits suicide.
Inspired by family stories about one of his distant relatives, Eugenio de Aviraneta, Baroja began to research the history of his relative's life and times. That research resulted in the twenty-two-volume "Las memorias de un hombre de acción." These historical novels, which were published between 1913 and 1935, depict the life of a romantic idealist who is actively engaged in the nineteenth-century Spanish war of independence against France.
Although Baroja was particularly fond of the genre of fiction, he also wrote in other genres as well. Throughout his life he published numerous articles and essays on literary, social, and political themes. These articles appeared in many of the widely read and influential newspapers of Latin America and Spain. As with his other work, in these articles Baroja remained individualistic and highly critical of the bureaucratic intricacies of Spanish politics. In July 1936, at the onset of the Spanish Civil War, Baroja was incarcerated as "an enemy of tradition." Luckily, a member of the army recognized the famous author and released him the following day. As a result of that incident, Baroja went into self-imposed exile in France and did not return to Spain until the end of the civil war.
BIOGRAPHICAL AND CRITICAL SOURCES:
BOOKS
Dictionary of Hispanic Biography, Thomson Gale (Detroit, MI), 1996.
Dos Passos, John, Rosinante to the Road Again, Doran (New York, NY), 1922.
Encyclopedia of World Biography, 2nd edition, Thomson Gale (Detroit, MI), 1998.
Encyclopedia of World Literature in the Twentieth Century, 3rd edition, St. James Press (Detroit, MI), 1999.
Eoff, Sherman H., The Modern Spanish Novel: Comparative Essays Examining the Philosophical Impact of Science on Fiction, New York University Press (New York, NY), 1961.
Hispanic Literature Criticism, Volume 1, Thomson Gale (Detroit, MI), 1994.
Madariaga, Salvador de, The Genius of Spain and Other Essays on Spanish Contemporary Literature, Oxford University Press (New York, NY), 1923.
Patt, Beatrice P., Pío Baroja, Twayne (New York, NY), 1971.
Twentieth-Century Literary Criticism, Volume 8, Thomson Gale (Detroit, MI), 1982.
PERIODICALS
Comparative Literature Studies, fall, 1984, Helga Stipa Madland, "Baroja's Camino de perfeccion and Schnitzler's Lieutenant Gustl: Fin de Siècle Madrid and Vienna," pp. 306-322.
Hispania, May, 1971, Robert W. Hatton, review of El árbol de la ciencia, p. 414; December, 1971, Evelyn Rugg, review of El mundo es ansi, pp. 987-988.
Library Journal, February 1, 1998, Jack Shreve, review of Zalacain the Adventurer: The History of the Good Fortune and Wanderings of Martin Zalacain of Urbia, p. 109.
Modern Language Journal, February, 1972, Jorge R. Ayora, review of El mundo es ansi, p. 102.
Modern Language Notes, March, 1987, Gonzalo Navajas, "La jerarquía, la letra y lo oral en Paradox, rey, de Pío Baroja," pp. 255-273.
Translation Review Supplement, July, 1998, review of Zalacain the Adventurer, p. 22.