JUAN LARREA: BIOGRAPHY, STYLE AND WORKS - HISTORY - 2025

Juan Larrea Celayeta (1895-1980) was a Spanish writer, outstanding in the genres of poetry and essays, whose work was produced mainly during exile. His poetic production was characterized by being framed within the trend of Avant-garde.

Regarding Larrea's work, Max Aun commented at that time that the writer was "the purest exponent of the isms in Spain." Larrea's literary creation was also linked to ultraism, surrealism and creationism, a product of the experiences obtained in his travels through Europe and Latin America.

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Most of Juan Larrea's poetic work was written in French, due to the poet's ease with the Gallic language and the influence of the environment during his stay in France. Although his literary creation was profuse and profound, it was initially ignored in Spain, even when Gerardo Diego made an effort to translate it and make it known.

Despite the fact that many specialists strive to include his work within the growing group of authors of the Generation of 27 and the surrealist current, Larrea himself expressed that what best fit his literary form was the label of ultraist.

Biography

Birth and family

Juan Larrea Celayeta, as was his full name, was born in Bilbao, Spain, on March 13, 1895. His parents were Francisco Larrea and Felisa Celayeta, a Basque and a Navarrese of wealthy economic position and very believers. The writer had a total of six siblings.

Studies

The comfortable economic position of the family allowed them to guarantee the writer a good education. During the first years of his life he was sent to live in the house of Micaela, his aunt, in Madrid. The young man lived in the Spanish capital until 1902, when he returned to Bilbao with the aim of being enrolled in the Pious Schools to study.

Later, the young Larrea entered the Colegio de los Sagrados Corazones for elementary school, while he attended high school in Miranda de Ebro. After having studied there, the poet attended the University of Deusto, where he studied philosophy and letters.

Return to Madrid and travel to Paris

In 1921 Larrea made a trip to Madrid, where he worked in the National Historical Archive. It was in this period when she met Vicente Huidobro and Gerardo Diego, achieving a great friendship with both. After a few years the poet traveled to France and settled in the capital.

While in Paris, Larrea had direct contact with the works of the avant-garde current, especially with those concerning the Dadaist and Surrealist movements.

Start of poetic activity in Paris

The influence of the Avant-garde did not take long to be noticed in the literary performance of Larrea, who in a short time in the French capital began to write continuously. It was not difficult for the writer to become familiar with the French language, much less to write in that language, in fact, much of his poetic work was written in Gaulish.

César Vallejo, Larrea's friend. Source: Juan Domingo Córdoba, via Wikimedia Commons

Among the writers Larrea had contact with during his stay in Paris was César Vallejo, a poet for whom he had special admiration. Both, in 1926, founded the magazine Favorables Paris Poemas.

Larrea's marriage and abandonment of poetry

In 1929, three years after founding his first magazine, the young poet married Marguerite Aubry. After their marriage, the newlyweds resided in Peru between 1930 and 1931.

Just three years after being married, the writer temporarily ceased his poetic production and preferred to devote himself fully to prose. However, thanks to the wisdom of his friend Gerardo Diego, his poems were translated into Spanish and published.

Gerardo Diego and his role in the life of Larrea

The publication of Larrea's poems was made in the Carmen magazine, also in the work Antología (1932 and 1934), by Gerardo Diego, in honor of the Generation of 27. Thanks to Diego, Larrea's poetry had its place in Mexico, in the work Dark domain (1935).

The presence of the influence of ultraism, surrealism and creationism in Larrea's poetic work was notable, as well as a unique spark of creativity. Diego noticed it right away, and that is why his interest in translating and perpetuating his friend's writings.

Franco's victory and exile in Mexico

After the victory of Francisco Franco in the Spanish Civil War, Larrea decided to go into exile in Mexico. In the Aztec country, the poet directed the magazine España Peregrina, and also was in charge of founding the Spanish Cultural Board. There the poet, led by León Felipe, participated as a watchman in the projection of Cuadernos Americanos.

Divorce, departure to the USA and subsequent transfer to Argentina

After spending a few years in Mexico, Larrea divorced and moved to the United States, he did so in the mid-1940s. While on North American soil, he resided in New York, where he lived until the mid-1950s and then went to Córdoba, Argentina, where he served as a university professor until the end of his days.

Death of Larrea

After a productive life of poetic and essay creation, having been a participant in the foundation of magazines and in the training of a considerable number of citizens, Larrea died in Córdoba. Death came from natural causes on July 9, 1980, at the age of 85.

It is due to José Fernández de la Sota one of the most important biographical works made on the life of this exceptional Spanish writer.

Style

The style of Larrea's poetic and essay work, as he himself put it, is framed within ultraism. The use of metaphors by the author was marked, as well as the elimination of any adornment that hindered the development of the literary plot. Clean verses were sought, and direct lines.

National Historical Archive of Spain, temporary workplace of Larrea. Source: Luis García, via Wikimedia Commons

Regarding the use of links and adjectives, Larrea tried to be as explicit as possible, but without abusing this resource. Less was more. The synthesis played a leading role, both in her poetry and in her essay, which facilitated the potentiality of the suggestive in her work.

There was a marked lack of rhyme in his poetic style, which was also characterized by bringing out the current, singing to everyday innovations, both technological and thought.

Plays

Poetry

- Dark domain (Mexico, 1934).

- Celestial version (1970).

Test

- Peruvian Art (1935).

- Surrender of Spirit (1943).

- Surrealism between Old and New World (1944).

- The Vision of the «GÜernica» (1947).

- The Religion of the Spanish Language (1951).

- The Sword of the Dove (1956).

- Reason for Being (1956).

- César Vallejo or Hispanoamérica en la Cruz de su Razón (1958).

- Teleology of culture (1965).

- From surrealism to Machu Picchu (1967).

- GÜernica (1977).

- Cara y cruz de la República (1980).

- To the love of Vallejo (1980).

- Rubén Darío and the New American Culture (1987).

- Poetic Diary

- Orb (1990).

Film script

- Illegible, son of flute (1927-1928, was a surrealist work believed to have been lost during the Cilvil War).

References

1. Juan Larrea Celayeta. (2019). Spain: Wikipedia. Recovered from: es.wikipedia.org.
2. Juan Larrea. (S. f.). Cuba: EcuRed. Recovered from: ecured.cu.
3. Juan Larrea. (S. f.). (N / A): In a low voice. Recovered from: amediavoz.com.
4. Rodríguez Marcos, J. (2009). The mystic of the generation of 27. Spain: El País. Recovered from: elpaís.com.
5. Bernal Salgado, JL & Díaz de Guereñu, JM (2014). Gerardo Diego and Juan Larrea. France: Bulletin Hispanique. Recovered from: journals.openedition.org.