A book reveals the traces that classical and modern authors left in the creative process of the poet from Orihuela (Alicante).
Few poets of the 20th century felt so acutely ‘La ansiedad de la influencia,’ as Miguel Hernández. Literary critic Harold Bloom entitled one of his canonical books with this ‘anxiety of influence.’ This anxiety, together with his genius, enabled him, in little more than ten years, from apprentice to placing himself at the head of the poetry of his time.
'In this process he had a series of literary masters, both classical and modern, which he read and transformed in the way that best suited his lyrical worldview,' explains Professor Rafael Alarcón, who has coordinated the work ‘Llamo a los poetas: Miguel Hernández y sus maestros literarios,’ published by the University of Jaén (UJA). In this Spanish province is where the legacy of the poet from Orihuela (Alicante) is preserved, which the Diputación de Jaén acquired in 2014 (a part is preserved in Quesada, where Josefina Manresa, the poet's wife, was from). It consists of more than 5,000 documents, manuscripts and personal objects of the author, and other works such as ‘El rayo que no cesa.’
