Searching in the darkness of memory, “where the sun of the dead shines so many times”, of the war in Cuba Bonafoux account that he, a journalist who lives by pen, is about to lose work and bread because other journalists, “who live on baseness and shenanigans,” ask “by order” to be suppressed.
– I did not wait to die to do me justice. And alive, strong and spiteful, I continue …
What could Ruano say? Foxá’s “departure” (“I do not forgive the communists for having made me a Falangist”) seems made for him.
At 31 Ruano is a Republican and recounts with glee in the “Herald” the burning of churches. While, Juan Ignacio Luca de Tena, accused of murdering a taxi driver who refused to shout Long live the King! is imprisoned; the judge only has to dismiss the case, but Luca de Tena is held as a government prisoner, and ABC, of which he is owner and director, suspended indefinitely.
–One day –Luca de Tena says– a visit was announced to me. It was Ruano.
«I didn’t know you personally then. I knew you were a Republican. Your first wish was to tell me that day of my detention coincided with the day that you stopped being a republican. Because you had been a Republican, you told me, because you were a liberal. The same reason that I had never been. During the months that I spent behind bars I didn’t miss a single day for you friendship and company. And you, blessed paradox, who belonged to the group of winners, from those conversations with a jailed journalist you went to the group of the defeated. Unlike so many others, you became a monarchist when the monarchy fell. It was when, in the visits to the romantic cemeteries with Foxá, you shouted before the open coffin of a French viscount, who died in Madrid after the Revolution: «Viscount, I am going to give a live that will shake your bones. “Monsieur le Vicomte, long live le Roi!” »
“Why does everyone come back from Ruano, and he doesn’t come back?” Threshold wonders. Caesar was greatest writer than anyone, from Ramón, pure writer. It’s a simplicity between Azorín and Baroja, only with the added style that Baroja lacks and with the added grace that Azorín lacks. I had the secret of the article, just like Pemán. The only ones.
In the “cypress shadow” of Ruano (“which was good, which nobody suspects”) on Teide Ullán receives the poetic sign of the script for his José-Miguel.