Luis Rosales

His beginnings in literary training are related to the environment of artists from the Gallo magazine (although he never published in it), whose members —Enrique Gómez Arboleya, Manuel López Banús, Joaquín Amigo and Federico García Lorca, among others—, will become his great friends.

There he began his friendship with Pedro Salinas and Jorge Guillén, who introduced him to Los Cuatro Vientos, considered the last collective magazine of the group of poets of the Generation of '27.

In the second number of said magazine, in April 1933, they collaborate the great intellectuals of the time such as Miguel de Unamuno, Benjamín Jarnés, Manuel Altolaguirre, María Zambrano, Luis Felipe Vivanco, Leopoldo Vivanco, Claudio de la Torre, Vicente Aleixandre, Antonio Marichalar, Jaime Torres Bodet and Rainer María Rilke; and Rosales himself publishes his first poems: Eclogue of sleep and Ode of anxiety.

He also publishes his verses in Vértice and Caballo Verde para la Poesía, a magazine directed by Pablo Neruda in which poems by other writers such as Vicente Aleixandre or Miguel Hernández also appeared.

In the capital of Spain he met the Panero (Juan and Leopoldo) and Luis Felipe Vivanco, companions of what will later be called Generation of 36 (or of the War), of which Dionisio Ridruejo is also a part, and whose common axes, In addition to his affinity and camaraderie, were his intimate Catholicism and his social conservatism.

In 1937 he published in the newspaper Patria de Granada, the poem «The voice of the dead», probably one of the most important written during the civil war, it chose all the victims of both sides, in which any expression of triumphalism is excluded or exaltation.

Starting in 1978, he directed Nueva Estafeta, the only magazine of its time because it included among its collaborations works written in the different languages of Spain (Spanish, Catalan, Basque or Galician).

In 1962, he joined the Hispanic Society of America and the Royal Spanish Academy, although he did not read his entrance speech, Pasión y muerte del Conde de Villamediana, until 1964.

[3] He was an active member of the Privy Council of the Count of Barcelona, encouraging the left and right to join and support the restoration of the monarchy in Spain (first with the aforementioned, and later with Juan Carlos de Borbón).

Abril (1935), published immediately before the outbreak of the Spanish Civil War, connects with the style of poetry of the previous generation due to its aesthetic search and the importance of images, although without avant-garde pretensions.

Figuration in prose and verse (1939), written in collaboration with L.F. Vivanco, is an essay with a theme very typical of the time, imbued by the Falangist ideology and recalling past glories.

La casa encendida is a book-poem –written in free verse without stanzas– where Rosales mixes lyricism and narration, existentialism and imagination, rationality and irrationality, starting a new personal poetics that incorporates resources from César Vallejo and Antonio Machado.

Editorial Trotta has published his Complete Work in six volumes, and Félix Grande, who was a disciple and friend of Rosales, prepared the anthology Because death does not interrupt anything, with his selection and prologue, which appeared in the Biblioteca Sibila in 2010.