Generation of 98 Novelists: Techniques and Authors

Introduction to the Novel of the Generation of 98

In the novelists of the century, observation leaves a clear suppression and renovation of the realism techniques: subjectivity, the novel ceases to be an instrument solely for knowledge of the medium, converting into an expression of the author's thought and sentiment (Unamuno). We see the narration by imagination and expression (Valle-Inclán), the loss of importance of the argument which decomposes into scenes (Azorín), and the landscape framework which ceases to be a mere setting to convert into a symbol (Azorín).

Miguel de Unamuno

Miguel de Unamuno, with his rebellious, contradictory, and unorthodox spirit reflected in his works, proposed to awaken the consciences of his countrymen. His stories center on the problems of human existence. He renewed the novelistic genre, inventing the word nivola to denominate his narrative models (expressive nudity, without descriptions or costumbrism, focusing instead on an intimate drama, the importance of dialogue, the presence of a strong individual protagonist in conflict against death, mixing real characters with fiction, and an open structure with internal monologue).

Major Works of Unamuno

• Peace in the War: Deals with the Carlist Wars and has an autobiographical background.
• Love and Pedagogy: Tells the story of Don Avito Carrascal, who failed in the attempt to educate his son preferentially using modern pedagogical theories.
• Fog: Focuses on the existential problems of Augusto Pérez, who, overwhelmed by his failures in love, wants to commit suicide and communicates this to Unamuno (who appears as a character in the novel). Discovering his fictitious nature, Augusto begs Unamuno not to kill his creator.
• Abel Sánchez: Explores Cainite envy.
• The Aunt Tula: Explores the frustrated maternal sentiment.
• Saint Manuel Bueno, Martyr: Deals with the crisis of faith of Don Manuel Bueno, a rural priest who secretly preserves his goodness while feigning faith for his parishioners.

José Martínez Ruiz (Azorín)

Born in Monòver (Alicante), Azorín began writing novels of an autobiographical character where he appeared as a character under the name Antonio Azorín (The Will, Antonio Azorín, The Confessions of a Little Philosopher). Later, he wrote novels expressing the preoccupations of the authors of '98 (destiny, time, fate) and applied innovative narrative techniques (Doña Inés, surrealism, etc.). His style is sober, precise, with very short or extended phrases, and a carefully chosen vocabulary. He highlights environments and characterization through a slow and meditative pace.

Pío Baroja

Pío Baroja is undoubtedly a leading novelist of his time. Born in San Sebastián, he practiced medicine before abandoning it to dedicate himself to literature. A solitary character with an underlying emotional tenderness, he maintained a pessimistic radical view on human nature and condition. Following Eugenio's classification, we can distinguish three stages in his production:

Stages of Pío Baroja's Work

• First Stage (1900 to 1910): Includes The Quest, the trilogy The Dislocated by Life (Looking, Bad Weeds, and Red Dawn), The Tree of Knowledge, and Zalacaín the Adventurer. These novels clearly express the spirit of the Generation of 98 and the crisis of the turn of the century. The protagonists try to find meaning in their existence; some are in conflict with themselves and their environment, eventually succumbing, while others are men who dream of liberty.
• Second Period (1913 to 1936): A decadence stage in his creative capacity where Baroja repeats previous molds and hampers his narrations with abundant ideological divagations (Memoirs of a Man of Action).
• Third Stage (1937 to 1956): His memoirs stand out, such as From the Last Lap.

Baroja defended the idea that the first novel should have a minor rhetorical tone (short paragraphs, brief phrases, general-purpose vocabulary, scarcity of syntactic nexus). Although some critics perceived this as a careless writing form, contemporary critics appreciate this style for bringing light to his concept of the novel. He defended the open genre, advocating for the absolute liberty of the novelist. He considered the principal qualities of a novel to be naturalness, amenity, dynamic ambient uptake, and avoiding precise structures, clear progressions, or clear action denouements. He composed his narrations from dispersed episodes centered around a central figure. His characters are often misfits, opposed to the social environment in which they live, lacking the sufficient energy to carry out their desires. The pace of his work remains fast and agile.