Evolution of the Post-War Spanish Novel

The Immediate Post-War Novel

In the immediate post-war period, the novel reflected how the genre critically supported Falangism. The "novelists of empire" were young Falangists, consistent with the victors of the war system; they sought to record the victory as a heroic and saving event.

The Existentialist Novel (1942–1954)

The existentialist novel (realistic) does not adopt the torn and anguished tones of "uprooted poetry," but merely expresses the character's consciousness or individual vicissitudes in the struggle with fate or everyday circumstances. These are works that attempt a realistic way of renewal in the post-war period while still resorting to traditional narrative techniques.

The frame story typically focuses on the nearby Civil War or the gloomy, gray years following the conflict.

• Camilo José Cela: His ideas and worldview are alarmist, pessimistic, and existential, showing little faith in human nature. Highlights include his first existentialist stage with The Family of Pascual Duarte, his second stage with the realistic The Hive, and his third existentialist stage with Vespers, Feast and Octave of St. Camillus 1936.
• Miguel Delibes: True to his ideological beliefs and humanistic perspective, he focused on the analysis of the rural marginalized, the criticism of a carefree urban bourgeoisie, and the achievement of a somber, natural, and precise beauty. Highlights include the existential stage of Even is Day, the rural realism of The Road, and the urban environment of Five Hours with Mario.
• Gonzalo Torrente Ballester: Notable for The Saga/Fugue of J.B.

The Novel of Social Realism

The new novelists of the Generation of '50 objectively attempt to present testimony about memories of the war, the conflicts of Spanish collective life, individual work environments, professions, and life in the field or the city. Their creations require a change in society, utilizing a film technique. It aims to provide critical testimony and social withdrawal.

They use a hidden narrator (third person) acting as a film camera, which simply presents the facts and lets the characters act through constant dialogue.

The most important novel of this period was El Jarama by Rafael Sánchez Ferlosio.

• Jesús Fernández Santos: He inaugurated social realism with The Braves and drove the historical novel with Grand Sun.
• Rafael Sánchez Ferlosio: Mixed everyday reality and fantasy with poetic language in El Jarama.
• Carmen Martín Gaite: Author of The Back Room.
• Juan Goytisolo: The innovator, seeking new avenues for the novel in Juego de Manos.
• Ana María Matute: Combined critical realism with more fantastic views in Forgotten King Gudú.