ROJAS, CARLOS, 1928-
Carlos Rojas papers, circa 1969-1990

Emory University

Stuart A. Rose Manuscript, Archives, and Rare Book Library

Atlanta, GA 30322

404-727-6887

rose.library@emory.edu

Permanent link: http://pid.emory.edu/ark:/25593/8ztsv

Collection Stored Off-Site

All or portions of this collection are housed off-site. Materials can still be requested but researchers should expect a delay of up to two business days for retrieval.


Descriptive Summary

Creator: Rojas, Carlos, 1928-
Title: Carlos Rojas papers, circa 1969-1990
Call Number:Manuscript Collection No. 787
Extent: 4 linear feet (5 boxes) and 1 oversized papers box (OP)
Abstract:Papers of novelist and artist, Carlos Rojas, including manuscripts and typescripts.
Language:Materials in English and Spanish.

Administrative Information

Restrictions on access

Special restrictions apply: Collection stored off-site. Researchers must contact the Rose Library in advance to access this collection.

Terms Governing Use and Reproduction

All requests subject to limitations noted in departmental policies on reproduction.

Source

Gift, 2006.

Citation

[after identification of item(s)], Carlos Rojas papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University.

Processing

Unprocessed collection.


Collection Description

Biographical Note

Professor Carlos Rojas is known as a novelist, essayist, and scholar. Those who know him closely are also aware that he is an accomplished collage artist. He came to Emory University as an Assistant Professor of Spanish in 1960, after earning his PhD from the University of Madrid and teaching in Barcelona, Glasgow, and Rollins College in Florida. In 1968, he was promoted to full professor. That was the same year he published one of his best known novels, Auto de fe, and also the year he was awarded the National Prize for Literature in Spain. Other major literary awards were to follow: the Premio Planeta (1973), the Premio Nadal (1980), and the Premio Espejo de España (1984). In 1980, and in recognition of these and other achievements, Carlos Rojas was appointed Charles Howard Professor of Spanish Literature at Emory. And in 1987 he accepted the University Scholar/Teacher Award, which every year distinguishes a member of the faculty who has excelled as both teacher and scholar. After 35 years of service and scholarship at Emory, Rojas retired in the spring of 1995.

The Spanish Civil War (1936-1939), a historic event that Rojas experienced as a child growing up in Spain, constitutes one of the great themes of his essayistic and novelistic work. Some of Rojas' scholarly works that deal with this topic are Diálogos para otra España (1966), Diez figures ante la Gurra Civil (rev. ed. 1977), and his most recent publication ¡Muera la inteligencia! ¡Viva la muerte! Salamanca, 1936, which turns on the confrontation between Unamuno and the fascist general Millan Astray. The title of one of Rojas' best novels, El valle de los Caídos (1978), refers to the basilica and necropolis erected in 1959 outside Madrid to commemorate the victims of the war. This work (published three years after Franco's death) presents a bleak view of Spanish history supervised by the constant presence of Goya, whose macabre and grotesque etchings function as emblems of the irrational course history has taken in Spain between the Napoleonic invasion of 1808 and the Civil War. This is the author's most translated novel to date, having found a second life in several Slavic languages and in Hungarian.

Carlos Rojas is the author of over twenty novels (including Aquelarre [1970], El ingenioso hidalgo y poeta Federico García Lorca asciende a los infiernos [1980], El jardín de las Hespérides [1988], El Jardín de atocha [1990], and Yo, Goya [1990]) and of two books on Picasso and Dalí, the last of which appeared in English in 1993 with the title Salvador Dalí or the Art of Spitting on Your Mother's Portrait.

Rojas' work is an impassioned dialog with Spanish history, art, and literature, whose major figures--Cervantes, Charles II the Bewitched, Alfonso XII, Velásquez, Goya, García Loca, Dalí, Picasso, Unamuno, Azaña, Godoy--protagonize many of his novels. His writing is full of insights on the Spanish conditions. These insights build up from work to work and organize themselves into a generalized vision of Spain that is at once tragic and farcical, exasperated and devoted: passionate, in a word.

But Rojas' books go beyond any narrow engagement with a specific national tradition. His interests are ecumenical, his cultural references broad, and the themes of his novels universal. The rhetorical form of his novels, moreover, while partaking in the great Hispanic tradition of Cervantes, Calderón, Unamuno, and Borges, knows no national boundaries. The ambiguous density of Rojas' novels is due in no small measure to the rhetoric of mirrors, dreams, illusion, theatre, and to an unusually rich command of the Spanish language.

It should also be noted that although all but one of Carlos Rojas' books were written in Spanish, their author was born in Barcelona, in the Catalan-speaking region of Spain, In 1982, Rojas published La Barcelona de Picasso, a tribute to both the city and to one of its most famous citizens.

Professor Carlos Rojas is known as a novelist, essayist, and scholar. Those who know him closely are also aware that he is an accomplished collage artist. He came to Emory University as an Assistant Professor of Spanish in 1960, after earning his PhD from the University of Madrid and teaching in Barcelona, Glasgow, and Rollins College in Florida. In 1968, he was promoted to full professor. That was the same year he published one of his best known novels, Auto de fe, and also the year he was awarded the National Prize for Literature in Spain. Other major literary awards were to follow: the Premio Planeta (1973), the Premio Nadal (1980), and the Premio Espejo de España (1984). In 1980, and in recognition of these and other achievements, Carlos Rojas was appointed Charles Howard Professor of Spanish Literature at Emory. And in 1987 he accepted the University Scholar/Teacher Award, which every year distinguishes a member of the faculty who has excelled as both teacher and scholar. After 35 years of service and scholarship at Emory, Rojas retired in the spring of 1995.

The Spanish Civil War (1936-1939), a historic event that Rojas experienced as a child growing up in Spain, constitutes one of the great themes of his essayistic and novelistic work. Some of Rojas' scholarly works that deal with this topic are Diálogos para otra España (1966), Diez figures ante la Gurra Civil (rev. ed. 1977), and his most recent publication ¡Muera la inteligencia! ¡Viva la muerte! Salamanca, 1936, which turns on the confrontation between Unamuno and the fascist general Millan Astray. The title of one of Rojas' best novels, El valle de los Caídos (1978), refers to the basilica and necropolis erected in 1959 outside Madrid to commemorate the victims of the war. This work (published three years after Franco's death) presents a bleak view of Spanish history supervised by the constant presence of Goya, whose macabre and grotesque etchings function as emblems of the irrational course history has taken in Spain between the Napoleonic invasion of 1808 and the Civil War. This is the author's most translated novel to date, having found a second life in several Slavic languages and in Hungarian.

Carlos Rojas is the author of over twenty novels (including Aquelarre [1970], El ingenioso hidalgo y poeta Federico García Lorca asciende a los infiernos [1980], El jardín de las Hespérides [1988], El Jardín de atocha [1990], and Yo, Goya [1990]) and of two books on Picasso and Dalí, the last of which appeared in English in 1993 with the title Salvador Dalí or the Art of Spitting on Your Mother's Portrait.

Rojas' work is an impassioned dialog with Spanish history, art, and literature, whose major figures--Cervantes, Charles II the Bewitched, Alfonso XII, Velásquez, Goya, García Loca, Dalí, Picasso, Unamuno, Azaña, Godoy--protagonize many of his novels. His writing is full of insights on the Spanish conditions. These insights build up from work to work and organize themselves into a generalized vision of Spain that is at once tragic and farcical, exasperated and devoted: passionate, in a word.

But Rojas' books go beyond any narrow engagement with a specific national tradition. His interests are ecumenical, his cultural references broad, and the themes of his novels universal. The rhetorical form of his novels, moreover, while partaking in the great Hispanic tradition of Cervantes, Calderón, Unamuno, and Borges, knows no national boundaries. The ambiguous density of Rojas' novels is due in no small measure to the rhetoric of mirrors, dreams, illusion, theatre, and to an unusually rich command of the Spanish language.

It should also be noted that although all but one of Carlos Rojas' books were written in Spanish, their author was born in Barcelona, in the Catalan-speaking region of Spain, In 1982, Rojas published La Barcelona de Picasso, a tribute to both the city and to one of its most famous citizens.

Scope and Content Note

The collection consists of the personal papers of Carlos Rojas from circa 1969-1990, mostly containing manuscripts and typescripts of his writings.


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Container List

Box Folder Content
1 1 Typescript: Auto de fe (Novel), published 1968
1 2 Typescript: Auto de fe (Unpublished movie script) (2 copies)
1 3 Manuscript: El libro de los reyes (Novel)
1 4 Typescript of El libro de los reyes (Novel), published as Aquelarre 1970 Aquelarre 1970
1 5 Manuscript: Azaña (Novel)
1 6 Typescript: Azaña (Novel), published 1973
1 7 Typescript: Mein Fuhrer, mein fuhrer! El libro prohibido (Novel), published 1975
1 8 Typescript: Memorias inéditas de José Antonio Primo de Rivera (Novel), published 1977
1 9 Typescript: El Valle de los Caídos (Novel), Published 1978
1 10 Rey de Roma y otros relatos de Monseñor Jesus Hernandez, Published 1978
1 11 Typescript: King of rome and Other Stories of Monsignor Jesus Hernandez, (Unpublished translation of Rey de Roma…by Pedro F. Campa) Rey de Roma…by Pedro F. Campa)
1 12 Typescript: Conversaciones con Manuel Marià (Novel), published 1983
2 1 Typescript: El jardín de las Hespérides (Novel), published 1988
2 2 Typescript: Yo, Goya (Novel), published 1990
2 3 Typescript: El jardín de Jano (Novel), published as El jardín de Atocha, 1990 El jardín de Atocha, 1990
2 4 Typescript: Sa lvador Dalí, or, the Art of Spitting on your Mother's Portrait. Translation of El mundo mítico y mágico de Salvador by Carlos Rojas. Translation by Alma Amell. El mundo mítico y mágico de Salvador by Carlos Rojas. Translation by Alma Amell.
2 5 Untitled folder: "Indice" & "Calendario" on items
2 6 Untitled folder (appears to be an essay with footnotes)
2 7 Ortega
2 8 Machado manuscript
2 9 Machado
2 10 Untitled folder: "Dolores Ibarrurí, la Pasionaria" on item
2 11 La Pasionaria
2 12 Unamuno manuscript
2 13 Primo de Rivera
2 14 José Antonio
2 15 Honors (on item: "José Antonio Primo de Rivera")
2 16 Prieto manuscript
2 17 Prieto COP.
2 18 Picasso
2 19 Picasso
2 20 Machado notes
2 21 Companys
2 22 Azaña manuscript
2 23 Azaña
2 24 Abad de Santillan
2 25 Abad de Santillan
3 1 Bound Xerox copy of typescript: Proceso a Godoy (Novel), published 1992
3 2 Bound Xerox copy of typescript: Alfonso de Borbón habla con el demonio (Novel), published 1995
3 3 Bound Xerox copy of typescript: ¡Muera la inteligencia! ¡Viva la muerte! Salamanca, 1936, Unamonu y Millan Astray frente a frrente, published 1995
3 4 Novel: Aquelarre (1970)
3 5 Novel: El asesino de Cesar (1981), won Premio Ciudad de Barcelona
3 6 Novel: El jardín de las hespérides (1988)
3 7 Novel: Las llaves del infierno (1972)
3 8 Novel: El Valle de los Caídos (1978)
3 9 Art: La Barcelona de Picasso (1981)
3 10 History: Los dos presidents: Azaña/Companys (1977)
3 11 History: Machado y Picasso: Arte y muerte en el exilio (1977)
3 12 History: Prieto y José antonio: Socialismo y Falange ante la tragedia civil (1977)
3 13 History: Retratos antifranquistas (1977)
3 14 Critical edition: Twain, Adventuras de Tom Sawyer, Introduction by Carlos Rojas (1994)
3 15 Festschriften: En torno al hombre y a los monstrous, edited by Castro Lee y Soufas, Jr. (Essays in honor of Carlos Rojas 1987)
3 16 Short story translated into English: "Centaur," translated by Yulan M. Washburn, in Stylus (Vol. 3, no. 2, spring 1965), Washington Literary Society of Randolph Macon College
3 17 Short story translated into English: "Lazarus," translated in Almanac (Vol. 1, no. 1, March 1972), Emory University
3 18 Essay "Machado the Moralist," in The Emory University Quarterly, Vol. XXI, no. 1, spring 1965
3 19 Newspaper articles: A small collection of articles on various subjects written for various Spanish newspapers. In most cases, both manuscript and typescript are included. This is only a small sample of Carlos's contribution to the Spanish press. Nearly everything that he wrote after 1974 was tossed by him, although he retained the printed versions.
OP1 1 Collage: Rubendario, 2000
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