The first literary manifestations to emerge in the context of the Spanish Civil War endeavored to create a legitimizing discourse for each of two contending Spains, the National Spain and the Republican Spain, by means of poetic appropriation of urban spaces. Nevertheless, this was not a Spain divided only in two, between leftists and rightists or Socialists and Cedistas, but rather a territory comprised of many parallel wars sparked prior to 1936. According to historian Enrique Moradiellos, the nuclei of three disparate and opposing political agendas arose from the physical foundation of these two Spains, ‘the reformist-democratic, the reactionary-authoritarian and the revolutionary-collectivist [agendas] that responded to the same triad of models that emerged in Europe in the wake of the devastating impact of the Great War of 1914 and that competed to achieve political and institutional stabilization’ (2004: 125). This ‘reform, reaction and revolution’ triangle that acted as the protagonist of the Great War would also settle into the fratricidal spaces of Spain and its cultural products. In this context, my essay will analyse the mechanisms of appropriation of Madrid’s spaces employed by each of these three political agendas as they are presented in Madrid, de Corte a Checa (1938) by Agustín de Foxá. Following the map of the capital we will see how both, the agenda of a modern anti-traditional space driven by the Second Republic and the anti-bourgeois revolutionary agenda that stood for the destruction of the status quo and the implementation of a Communist Orthodox regime, present a threat to the conservative ideal that represented the monarcho-Catholic centralism of the third agenda. This threat is manifested in the dismantling of Madrid through the ‘de-Hispanicization’ (Foxá) of the mythical spaces of the sacred (churches and convents), historic (statues and palaces) and domestic (house interiors) cityscapes.
Editorial
