The life and work of poet Ángel González are celebrated in Oviedo 100 years after his birth.

▲ The poet was born in Oviedo to a Republican family; he died in Madrid on January 12, 2008. Photo taken from the Instituto Cervantes website.

Reyes Martínez Torrijos

La Jornada Newspaper, Monday, September 8, 2025, p. 4

The centenary of the birth of Asturian poet Ángel González, who believed in poetry that illuminates and is necessary for understanding existence, was celebrated on September 6th. He was commemorated with tributes in his native Oviedo and publications celebrating his life and work, full of commitment, love, and irony.

The Spanish publishing house Nórdica is publishing the poetry anthology Eso era amor (That Was Love) in celebration of the anniversary. The text was illustrated by Pablo Auladell, with an introduction by journalist and filmmaker Javier Rioyo, and Verónica Ruiz included the selection of poems.

On the exact date of González's birthday (1925-2008), the Oviedo City Council installed a commemorative plaque at 8 Fuertes Acevedo Street, the poet's birthplace. It reads: "Word upon word, he left us a better world."

Later, the Philharmonic Theater in that town hosted the poetry recital Ángel González, Poetry and Life, with narrator Jordina Biosca and guitarist David García.

The author, winner of the Prince of Asturias Award for Literature in 1985 and the Queen Sofía Award for Ibero-American Poetry in 1996, is considered part of the Generation of 50, a generation marked by the dictatorship of Francisco Franco and his heirs in Spanish society and the arts.

After having actively participated in the clandestine struggle against the dictatorship, within the Communist Party, he went into exile in New Mexico in 1972.

In an interview with La Jornada , the writer emphasized his focus on the use of language, from which he draws his work from the colloquial side, "because I like simplicity and clarity, since it's harder to write clearly than to do so in the dark, like other poets, who cultivate secrecy, and neither they know what they mean nor the reader can make sense of it. I've always strived for simplicity, even if it wasn't conscious of it at first."

Irony was important in his work, because, "for poets of my generation, it was a means of evading Franco's censorship, but over time I realized that irony expresses the ambiguity of the world; that is, irony allows you to say yes and no at the same time."

González was born in Oviedo to a Republican family tormented by their country's civil war. He studied law in that city and journalism and teaching in Madrid. In 1954, he joined the central government. In the Spanish capital, he met the group of writers that included Juan García Hortelano, Gabriel Celaya, and José Manuel Caballero Bonald.

González's first book was Rough World Away (1956), which he wrote while he was close to death from tuberculosis. This was followed by Without Hope, with Conviction (1961) and Word Upon Word (1965), which earned him a prominent place in his generation.

During his residency in the United States, he taught at the universities of New Mexico, Utah, Maryland, and California at Irvine. There, he wrote Otoños y otras luces (Autumns and Other Lights) (2001) and the posthumous Nada grave ( Nothing Serious ) (2008).

The author wrote essays on the poets who most influenced him, such as Juan Ramón Jiménez, Antonio Machado, the Group of '27, and Gabriel Celaya. In 1997, he joined the Royal Spanish Academy with a speech dedicated to Antonio Machado, a poet whose 150th birthday was commemorated this year.

Ángel González died in Madrid on January 12, 2008. The writer Benito Taibo called him then “poet, teacher, party animal, tireless conversationalist, singer, professional night owl, close friend, journalist, Machado expert, insatiable drinker, caring, after having lived 82 years as he pleased, ignoring medical advice and leaving us all a little orphaned without the clarity of his word.

“Here we all are, my parents, Paco and Paloma, Carlos and Piyú, Marina and José, Imelda, Mr. Seltzer and Mr. Walker, Luis Rius and Pilar, the Serafíns, Rosita, Quevedo, Joaquín Sabina and Jimena, Luis García Montero and Almudena, Góngora, Santiago Genovés and hundreds more waiting for González to open his mouth and write poetry.”

Ángel González had presented the book One Hundred Flying Out of Fourteen, in 2001, by Joaquín Sabina, whom he called a “true and lasting poet.”

The singer and composer dedicated the song Menos dos alas to him, which acknowledged: “González was an angel minus two wings / González was a saint in civil terms / A dandy with one eye on the grave / So red, so Oviedo and so rascal // (...) Green because of the shame he didn't have / He even helped Charon burn his ships / He said that dying wasn't so serious / And he agonized in a low voice out of courtesy.”

▲ The show is presented by the Beznei collective and includes a tribute to teacher Hebe Rosell, recognition of the founders of La Rueca, and a group of searching families will receive a percentage of the box office proceeds. Photo: Lorenzo Gatto and Rodrigo de la Cruz

Daniel López Aguilar

La Jornada Newspaper, Monday, September 8, 2025, p. 5

The memory of the women who came before us takes shape, voice, and movement in Gruta, a creation by the Beznei Collective, which begins performances on September 12 at the Hellenic Cultural Center.

Featuring dance, theater, live music, and circus, the work pays homage to women's history and offers a sensorial journey in which echoes of the past converse with the audience, who are engaged in the ritual on stage.

In an interview with La Jornada, director and playwright Sandra Govill explained that "this initiative emerged from a collective, intergenerational process and represents a mature phase of the production. We discover corners of the story we want to tell. There are moments of calm and others of intensity.

“The common thread is the life stories of our grandmothers, the building of community, and the water cycles: ice, water, and steam, which symbolize origin, shared bond, and transmutation.”

The voice of Lúa González, performer and singer, opens the journey with a song that evokes the strength of her predecessors. "It has been a first embrace that accompanies what is to come. Each performance seems to be reborn with new energy, connecting those who attend it. Participating in this experience involved a profound encounter with the community."

"I learned to share knowledge, to support and be supported by a diverse group, and to recognize the heartfelt stories of each of these women. It has been revealing and enriching."

Actress Valentina Becerril emphasized that "this project isn't just about us; we want to dedicate it to all women and all dissidents. The collective goes far beyond creation; we are present in every life, connected by the shared experience of being a woman in this country."

The drama reflects this diversity and is organized into 14 fragmented scenes, articulated in three movements inspired by the cycles of water. González explained that "ice symbolizes a dark thaw and resistance; water is celebration, movement, and a testimony to previous generations; and steam represents reintegration and unity, a tribute to life and death."

The Beznei Collective is made up of Alejandra Serrano, Eunice Guerrero, Liliana Abúndez, Lluvia de Anda, Lúa González, Natalia Todavía, Pilar Guzmán, Sabina León, Sabrina Gutiérrez, Sandra Govill, Silvia Mohedano, and Valentina Becerril, who are also members of the Gruta cast. The lighting design is by Balam Sánchez.

Govill emphasized that making these women visible means recognizing their lives, their creativity, and their struggle for the community. “Each member brings a unique story and way of inhabiting life: some come from theater, others from music, dance, biology, or the visual arts.

"Hebe Rosell, a teacher and mentor for several members, will be honored at the opening; Aline Menasse and Susana Frank, founders of Teatro Laboratorio La Rueca, will receive recognition during the second weekend; and Luciérnagas Buscadoras, a collective of families searching for missing persons, will receive a percentage of the box office proceeds."

For Lúa González, “each performance is a rebirth, as if the Grotto breathes with us and reminds us that time and memory are sustained by all those present. Dedicating the work to these women and dissidents recognizes an invisible thread that unites us: the experience of being a woman in this country, of resisting and creating as a community.”

The production maintains a feminine theme and an all-female creative team. “It's not just a show; it's a community experience. Elements are incorporated according to the venue and audience, making it a unique experience. All who wish to attend are welcome,” Govill said.

Gruta 's performances will be on Fridays at 8:00 p.m. and Saturdays and Sundays at 6:00 p.m. at the La Gruta Forum of the Helénico Cultural Center (1500 Revolución Avenue, Guadalupe Inn neighborhood, Álvaro Obregón borough). The season runs through September 28. Tickets cost 250 pesos.