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SPANISH FACE OF THE WEEK

ARCHAEOLOGY

Is 400 year Cervantes mystery solved?

Four hundred years after he died a pauper in near obscurity, archaeologists announced that they may have solved the mystery of his final resting place. Meet our Spanish Face of the Week, Miguel de Cervantes.

Widely considered to be the forerunner of the modern novel, Don Quixote is thought to have sold more than 500 million copies worldwide making it the second best selling book after the Bible. In fact, so great is his influence that Spanish is often referred to as “the language of Cervantes”.

But while William Shakespeare, who coincidentally died within a day of Cervantes – April 23rd, 1614 –  was afforded fame and fortune in his lifetime and a rather elaborate memorial above his tomb at his local church in Stratford-upon-Avon on his death, the bones of Miguel de Cervantes have lain, almost forgotten, in an unmarked grave.

Until now, that is.

A team of archaeologists announced recently that they believe they have located the grave of Spain´s most celebrated writer  – in an alcove in the crypt of the church of a convent in the centre of Madrid´s historic literary quarter, the Barrio de Las Letras.

With much fanfare the team of researchers revealed that they had discovered a coffin that was “very likely” to contain the remains of the creator of the delusional knight-errant and his hapless sidekick Sancho Panza.

They knew this, they said, because embossed on the side of the old decayed wooden coffin were his initials crudely made out with metal tacks.

"Remains of caskets were found, wood, rocks, some bone fragments, and indeed one of the fragments of a board of one of the caskets had the letters 'M.C.' formed in tacks," forensic anthropologist Francisco Etxeberria, who is leading the search, told a news conference last Saturday.

This discovery came after what could almost be described as a quixotic quest in its own right. After years of negotiation with Madrid City Hall and Church authorities to get funding and access to the site, the historian Fernando Prado was finally given the green light for his project last April.

Ground penetrating radar, infrared cameras, 3D scanners were all employed to help trace the likely resting place of Cervantes, who requested in his will that he be buried in the convent of the Barefoot Trinitarians, a religious order that helped pay a ransom to release him from slavery after he was captured by Moorish pirates.

The project has raised a few eyebrows – not least at the wisdom of spending some €100,000 of city funds on finding a grave that everyone knows is there.

It has always been known that Cervantes was buried somewhere within the walls of the convent, although the exact location of his grave had been lost in the annals of the time as the church building was extended and remodeled and records were mislaid.

And there was no mystery surrounding the demise of Cervantes, whose death was recorded as a result of cirrhosis of the liver.

He lived to what in those times would have been considered the fairly grand old age of 68 by which time he had only six teeth in his head and a back stooped over with degenerative joint disease.

This information, which Cervantes revealed in one of his last known letters, and the fact that he suffered from several distinctive war injuries will help the next stage of the process – to definitely determine whether the bones belong to the author.

Cervantes was shot twice in the chest and once in his left hand during the 1571 naval battle of Lepanto, he survived the injuries but was left with a withered arm and scarred torso, characteristics which should prove invaluable to forensic archaeologists.

He had been forced to flee Spain and take refuge in Italy when he was only 21 following a dual but was there enlisted as a soldier for the Spanish-led fleet defending the Mediterranean from Ottoman invaders.

Authorities have yet to announce what plan, if any, they have for the great man´s earthly remains but what physical memorial could ever possibly rival that of his extraordinary literary legacy?   

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HISTORY

‘Lost’ manuscript of pro-Nazi French author published 78 years later

A book by one of France's most celebrated and controversial literary figures arrives in bookstores this week, 78 years after the manuscript disappeared

'Lost' manuscript of pro-Nazi French author published 78 years later

It is a rare thing when the story of a book’s publication is even more mysterious than the plot of the novel itself.

But that might be said of Guerre (War) by one of France’s most celebrated and controversial literary figures, Louis-Ferdinand Celine, which arrives in bookstores on Thursday, some 78 years after its manuscript disappeared.

Celine’s reputation has somehow survived the fact that he was one of France’s most eager collaborators with the Nazis.

Already a superstar thanks to his debut novel Journey to the End of the Night (1932), Celine became one of the most ardent anti-Semitic propagandists even before France’s occupation.

In June 1944, with the Allies advancing on Paris, the writer abandoned a pile of his manuscripts in his Montmartre apartment.

Celine feared rough treatment from authorities in liberated France, having spent the war carousing with the Gestapo, and giving up Jews and foreigners to the Nazi regime and publishing racist pamphlets about Jewish world conspiracies.

For decades, no one knew what happened to his papers, and he accused resistance fighters of burning them. But at some point in the 2000s, they ended up with retired journalist Jean-Pierre Thibaudat, who passed them – completely out of the blue – to Celine’s heirs last summer.

‘A miracle’
Despite the author’s history, reviews of the 150-page novel, published by Gallimard, have been unanimous in their praise.

“The end of a mystery, the discovery of a great text,” writes Le Point; a “miracle,” says Le Monde; “breathtaking,” gushes Journal du Dimanche.

Gallimard has yet to say whether the novel will be translated.

Like much of Celine’s work, Guerre is deeply autobiographical, recounting his experiences during World War I.

It opens with 20-year-old Brigadier Ferdinand finding himself miraculously alive after waking up on a Belgian battlefield, follows his treatment and hasty departure for England – all based on Celine’s real experiences.

His time across the Channel is the subject of another newly discovered novel, Londres (London), to be published this autumn.

If French reviewers seem reluctant to focus on Celine’s rampant World War II anti-Semitism, it is partly because his early writings (Guerre is thought to date from 1934) show little sign of it.

Journey to the End of the Night was a hit among progressives for its anti-war message, as well as a raw, slang-filled style that stuck two fingers up at bourgeois sensibilities.

Celine’s attitude to the Jews only revealed itself in 1937 with the publication of a pamphlet, Trifles for a Massacre, which set him on a new path of racial hatred and conspiracy-mongering.

He never back-tracked. After the war, he launched a campaign of Holocaust-denial and sought to muddy the waters around his own war-time exploits – allowing him to worm his way back into France without repercussions.

‘Divine surprise’
Many in the French literary scene seem keen to separate early and late Celine.

“These manuscripts come at the right time – they are a divine surprise – for Celine to become a writer again: the one who matters, from 1932 to 1936,” literary historian Philippe Roussin told AFP.

Other critics say the early Celine was just hiding his true feelings.

They highlight a quote that may explain the gap between his progressive novels and reactionary feelings: “Knowing what the reader wants, following fashions like a shopgirl, is the job of any writer who is very financially constrained,” Celine wrote to a friend.

Despite his descent into Nazism, he was one of the great chroniclers of the trauma of World War I and the malaise of the inter-war years.

An exhibition about the discovery of the manuscripts opens on Thursday at the Gallimard Gallery and includes the original, hand-written sheets of Guerre.

They end with a line that is typical of Celine: “I caught the war in my head. It is locked in my head.”

In the final years before his death in 1961, Celine endlessly bemoaned the loss of his manuscripts.

The exhibition has a quote from him on the wall: “They burned them, almost three manuscripts, the pest-purging vigilantes!”

This was one occasion – not the only one – where he was proved wrong.

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