Gabriel Miró

Most critics believe that Gabriel Miró's literary maturity begins with Las cerezas del cementerio (Cemetery cherries) (1910), whose plot revolves around the tragic love of the super-sensitive young man Félix Valdivia for an older woman (Beatriz) and presents—with an atmosphere of voluptuousness and lyrical intimism—the themes of eroticism, illness, and death.

In 1915 he published El abuelo del rey (The King's grandfather), a novel that tells the story of three generations of a tiny Levantine town, for the sake of presenting, and not without a little irony, the struggle between tradition and progress, the pressures of one's environment, and above all, a meditation about time.

One year later, Figuras de la Pasión del Señor (Characters from Our Lord Passion) (1916–17) was published, formed by a series of scenes about the last days of Jesus.

The city, submerged in lethargy, is seen as a microcosm of mysticism and sensuality, in which the characters debate between their natural inclinations and social repression, and intolerance and the religious resistance to progress to which they are submitted.

The hallmarks of Miró's work are: Impermanence is the essential theme of the author, who incorporates the past into a continuing present, through sensations, evocation, and memory.