Koło nr 65

[karimamarika456]

The war is coming to an end. Miguel tours defeated Madrid and discovers in the streets and squares the scars of a city devastated after two and a half years of blood and fire. He goes in search of a new identity before the imminent entry of the nationals. He burns compromising documents and papers, but keeps in his wallet the photograph of a foreign woman, blonde, with very short hair, who asked him for a pencil in the lobby of the Florida Hotel and whom he later led with other correspondents through the trenches to make her work as a photojournalist. Miguel learns that she died in July during the Republican retreat from the Battle of Brunete . In one of the stories in Capital de la gloria (Alfaguara, ), “Ruinas, el journey: Guerda Taro” (with the Castilianized name), Juan Eduardo Zúñiga contrasts the flight and moral degradation of his fictional character, Miguel, with the construction of the heroic destiny of a real woman who lost her life in her youth.

Gerda Taro seems like fiction in the face of the deep humanity and compassion that the novelist shows towards his imaginary characters, and in fact it has been to a large extent. His death and burial in Paris were surrounded by all the militant attention that the case aroused at the time, but he fell into oblivion until his figure grew parallel to the B2B Email List fame of his colleague Robert Capa , considered the father of modern photojournalism. The couple's turbulent romantic relationship and the common use of a shared pseudonym – Photo Capa, Robert Capa – fueled the legend of the subjugated woman who breaks the dependency and dies alone in Brunete. While one is shedding his past to survive, the other acquires the symbolic value of the struggle and supports the ideals that are about to disappear. “What we have experienced will seem like a dream, and it will be a time that should not be remembered,” writes Zúñiga, whose work lies precisely in rescuing the memory of the defeated.



The journalist – real in this case too – José Luis Gallego argued that as a document it was poor because it only reproduced a moment of an immense reality that changes incessantly, but Taro responded that “photography was not a pure mechanical fact: it required a formed conscience.” to choose what should be captured and that would thus be recorded as the moment equivalent to what the eyes see for an instant, and for which they consider themselves informed.” They could bear witness to what happened, even if they were isolated scenes. “He also came to say,” continues Zúñiga, “that years would pass and everything would be forgotten, what happened would be a confusing memory, but one day those photographs would serve to judge the barbarity and cruelty of some bloody years.
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[Opolatonicek22]

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