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LEÓN, T. Manuel Alcántara y La Pasión Poética Del Articulista
LEÓN, T. Manuel Alcántara y La Pasión Poética Del Articulista
Manuel Alcántara había nacido en Málaga treinta años antes de iniciarse como
articulista, en 1928. Como ‘niño de la guerra’, se le despliega una infancia jalonada
en escenarios de impresiones intensas. En estos años, hay tres impactos clave en su
existencia: el descubrimiento de la poesía; la afición al boxeo en la vecindad de su casa,
que contribuirá años más tarde a que se convierta en uno de los cronistas de mayor calidad
en la tradición española; y el instinto rebelde, con inclinación a las tabernas, que traslada
a la vocación literaria innegociable que determinará toda su vida. Tras examinarse de
reválida en Granada, a los diecisiete años sigue a su padre a Madrid, donde abandona los
estudios de Derecho y se coloca con él en una oficina de Renfe. Esos años difíciles de la
posguerra tardía no le arredran al abandonar el empleo y dedicarse sólo a la literatura.
La vocación se impone y entra en contacto con los ambientes literarios de los cafés,
donde en apenas un trimestre se convierte en una figura habitual.
En los dos años posteriores, desde que contrae matrimonio en 1953 hasta el
nacimiento de su única hija en 1955, se atenúa esa actividad aunque concurre a concursos
literarios—los denominados ‘juegos florales’- y se estrena con ‘Alforjas
Manuel Alcántara and the Poetic Passion of the Columnist
Teodoro León Gross
Translated from the Spanish by Mark C. Aldrich
Manuel Alcántara is one of the great literary columnists from a country in which
the presence of literature in the press has a long tradition, stimulated by the absence of
T. Gross / 81
freedom for long periods in the contemporary age. Following in the tradition of Larra,
Alarcón, Camba, and Pla, the author’s work is characterized by literary reasoning.
Humor is a substantive trait, but the dominant characteristic in his columns is its strong
poetic presence.
In fact, going back to the Semanario Patriótico generation in the first years
of the XIX century and up to the present, the “poet columnist” is not an exceptional
figure, but none of the numerous predecessors makes the newspaper column his most
characteristic genre, unlike Alcántara, whose formidable work over the course of fifty
uninterrupted years exceeds fifteen thousand articles. In 1958, when he began to write his
columns, he had already won some recognition and was a singular figure in “Bohemian
Madrid.” Six years earlier, he had initiated his public literary activity in the literary
cafés where he acquired an early prestige; and in the same year he would be a finalist
for the National Poetry Prize, which he won in 1962. In recent decades, associated with
the regional press group Correo/Vocento, he has moved away from Madrid while at
the same time becoming the most widely read columnist in Spain, and above all he has
become a columnist with a dedicated readership and to whom there is a constant flow
of prizes and homages.
Manuel Alcántara was born in Malaga thirty years before initiating his career
as a columnist, in 1928. A “niño de la guerra,” as his childhood unfolds it is marked
by intense impressions. In these years, there were three key impacts on his life: the
discovery of poetry; the interest in boxing in his neighborhood, which will contribute
years later to making him one of the best chroniclers of boxing in the Spanish tradition;
and an intense rebelliousness, with a leaning towards taverns, which transfers to the
non-negotiable literary vocation that will orient his whole life.
comienza a publicar artículos en secciones tipo ‘Nuestra columna’ o ‘Una vuelta por los
tópicos’. El director de ese diario le tienta entonces para pasarse a sus páginas.
T. Gross / 83
tours, and he initiated collaborations with La hora, where the great intellectuals of the
time were writing. There he became popularly known as “the penultimate Bohemian
poet of traditional Madrid.” In Juventud, edited at the newspaper Arriba, he began to
publish articles in sections such as “Our column” or “A look at some clichés.” The editor
of this daily tried to get Alcántara to join his newspaper.
Having just turned thirty, Alcántara was a finalist for the National Poetry Prize
with his second book, Plaza Mayor, and he took over the column “Heart of the World,”
alternating with the other two authors. During these early years his columns have a
dense literary elaboration, even though for him it is still a secondary genre. In fact,
in 1961, when the new editor, a strict falangist by the name of Rodrigo Royo, decided
to eliminate Ramón Gómez de la Serna’s contributions, Alcántara decided to abandon
the paper as a show of solidarity. That year he published a new book of poetry, El
embarcadero, and began work on Ciudad de entonces while taking up again his recitals.
He accepted an invitation from Emilio Romero to write in the newspaper Pueblo, a daily
with a softer profile, and a few months later he was awarded the National Poetry Prize
for Ciudad de entonces.
la nostalgía del franquismo duro y las estrategias para rejuvenecer el diario. Alcántara
a pesar de sumar premios—incluyendo dos de los galardones de mayor prestigio, el
Mariano de Cavia y el González Ruano- pierde relieve al no ser un militante doctrinal y se
le deriva a un espacio menor, y aunque después le restituyen su lugar, en 1979 abandona
este periódico que no logra encontrar su rumbo en un kiosco donde el protagonismo
le corresponde a los nuevos títulos como El País o Diario 16, donde se abre paso una
generación más joven. En esos años, e incluso mucho tiempo después, Alcántara ha sido
injustamente identificado como un articulista del franquismo como si las circunstancias
biográficas se correspondiesen con una identificación ideológica inexistente: en los
diecisiete años que escribió columnas durante la dictadura, no hay una sola mención
a Franco, sino más bien una temática evasiva con inequívoco espíritu liberal, y tras el
franquismo ha escrito ya doble número de años.
En 1979, meses antes de regresar a Ya, se incorpora a La Hoja del Lunes. Se trata de
una publicación de éxito seguro al publicarse ese día sin más prensa; y allí, entre grandes
firmas, publica una columna sobre Deportes con la etiqueta de ‘Luz de domingo’, donde
despliega un cautivador equilibrio entre la temática popular y la recreación literaria,
aunque durante un tiempo se desplaza a la sección de Sociedad, donde escribe la serie
‘Punto cardinal’ durante dos años hasta que se inicia el ciclo crepuscular de este diario.
En este período de transición, vuelve a escribir poesía—entre 1983 y 1985, publica tres
nuevas colecciones de poemas: Anochecer privado; Sur, paredón y después y Este verano en
Málaga- y colabora ocasionalmente con diversas revistas, como Interviú o Dintel, antes
de convertirse en columnista de Época, revista creada y dirigida por Campmany entre
aquellas que, como Tribuna o Tiempo, marcan el relevo de las publicaciones gráficas del
tardofranquismo y la transición. Alcántara escribe una serie excepcional denominada
‘Galería’, donde retrata a los nuevos estereotipos levantando un retablo de orfebrería
literaria muy cuidada.
T. Gross / 85
even as late as 1970 he had not disconnected from the Alforjas Para la Poesía group.
The last years of the Franco regime turn into a convulsive period whose
uncertainties affect the press. Arriba went through changes in editorship, format,
contributors, fighting between nostalgia for Francoism and strategies for renewal.
Alcántara, in spite of all the awards—including two of the most prestigious, the Mariano
de Cavia Prize and the Gonazález-Ruano Prize—lost influence because he was not a
doctrinal supporter of the regime and he was given less prominent spaces, and even
though he later regained his space, in 1979 he left the newspaper, which could not find
its direction in a scenario led by new papers like El País or Diario 16, where a younger
generation of writers was making its name.
In these years, and even much later, Alcántara had been unjustly identified
as a Francoist columnist, as if biographical circumstances corresponded with a non-
existent ideological identification. In the seventeen years he wrote columns during the
dictatorship, there was not a single mention of Franco, but rather a kind of evasive
tendency with an unequivocal liberal spirit, and his writing since the death of Franco
encompasses a period more than twice as long as the Franco years.
In 1979, months before returning to Ya, he joined La Hoja del Lunes, a guaranteed
successful publication because it was published on that day when there was no other press.1
There, along with other important writers, he published a sports column with the label
“Luz de domingo” (“Sunday Light”) in which he would unleash a captivating balance of
popular topics and literary play, although during this period he was moved to the Society
section, where he wrote the series “Punto Cardinal” for two years, until the decline of this
paper was under way. During this transitional period he went back to writing poetry—
between 1983 and 1985 he published three new collections of poems: Anocher privado; Sur,
paredón y después, and Este verano en Málaga—and collaborated from time to time with
several magazines, such as Interviú or Dintel, before becoming a columnist for Época, a
magazine created and edited by Campmany, one of many, like Tribuna or Tiempo, that
characterized late Francoism and the Transition. Alcántara writes an exceptional series
called “Galería,” in which he profiled the new stereotypes, creating a panorama of finely
wrought literary craftsmanship.
Translator’s note: until the early 1980’s, Spanish dailies did not publish on Mondays.
1
impregnar el artículo con soluciones infrecuentes en el papel prensa como metáforas
audaces (‘invisible galope” para el viento, “antología del corazón” para los recuerdos,
“hacha traslúcida” para la helada; “altares verdes del domingo” para definir los campos
de fútbol…), una adjetivación acentuadamente literaria (“primavera zangolotina”,
“algas antologizadas”, “lluvia dactilógrafa”, “canarios apócrifos”, “encina
ensimismada”…, e incluso hipálages como “cordial madera del mostrador”, “mitología
T. Gross / 86
T. Gross / 87
daring metaphors (“the invisible gallop” for the wind, “an anthology of the heart” for
memories, “a translucent hatchet” for frost, “Sunday’s green alters” to identify football
fields…); markedly literary adjectivation (frenetic Spring,” “anthologized algae,”
“typing rain,” “apocryphal canaries,” “self-absorbed oak”… and even hypallages like
“the counter’s cordial wood,” or “the ring’s square mythology”); the frequent use of
intertextuality; a markedly apothegmatic style (“no one dies on the eve,” “suicide is the
only act that allows no regret,” “silence is the true universal language,” “beauty is a basic
necessity”…); several kinds of word play (“Spain is indifferent”, “the State follows us
closely, stepping on our financial heels,” “senile delinquency is not a problem,” “an
example not to follow,” “[23-F] looking to square a circle in the three-cornered hat”);
and delicious ironies, never without compassion—one of his most personal traits—and
which avoid the typically Spanish dogmatism of the pulpit, something the author avoids
at all costs (one of his defining characteristics)… all flow naturally in the text, weaving
an effect of literary enrichment free of excess and certainly without any extravagance.
At the end of the eighties, the crisis in Ya allowed Malaga’s Sur to negotiate the
publication of his column, which later spreads to the whole Correo Group, the company
with the largest readership in Spain, and from 1991 onward he has been the group’s
flagship columnist. By the time he turned sixty, his stays in Malaga had become ever
lengthier, and the city has become his year-round home. In these last decades of his life,
in spite of distancing himself from Madrid, living ever more withdrawn in his coastal
village, homages and prizes recognize the literary worth of his columns: the Unicef
Prize in 1993; the Díaz Cañabate Prize in 1994; the Mariano José de Larra and Juan
Valera Prizes in 1995; the Javier Bueno and Continente Prizes in 1997; the Pemán and
Bravo Prizes in 1999; the Parker Prize in 2001; the National Alarcón Prize in 2002; the
Wellington Foundation’s Torreón Prize and the Martín de Aldehuela Prize in 2005; the
Romero Murube Prize in 2009…; an honorary degree from the University of Malaga;
Gold Medal of Andalusia, Favorite Son of Malaga and Gold Medal from the Atheneum,
among many others. These prizes and homages recognize a magnificent and extensive
work (in the press alone they add up to nearly fifteen thousand articles) which is aimed
at a younger generation of writers—Antonio Muñoz Molina, Ignacio Camacho, Arturo
Pérez Reverte, David Gistau—who acknowledge his standing as one of the greats.