Javier Cercas - Soldiers of Salamis

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In the final moments of the Spanish Civil War, fifty prominent Nationalist prisoners are executed by firing squad. Among them is the writer and fascist Rafael Sanchez Mazas. As the guns fire, he escapes into the forest, and can hear a search party and their dogs hunting him down. The branches move and he finds himself looking into the eyes of a militiaman, and faces death for the second time that day. But the unknown soldier simply turns and walks away. Sanchez Mazas becomes a national hero and the soldier disappears into history. As Cercas sifts the evidence to establish what happened, he realises that the true hero may not be Sanchez Mazas at all, but the soldier who chose not to shoot him. Who was he? Why did he spare him? And might he still be alive?
'If you're seeking an example of commanding modern fiction that revisits the landmarks of modern history at the same time as it reveals their long aftermath in ordinary lives, you need look no further than Soldiers of Salamis. It is a novel that, with immense subtlety, humanity and wit, finds small mercies within the big picture of conflict and tragedy. . it does have an epic theme, and an epic sweep, but it achieves a touching and often comic intimacy as well. . Anne McLean's translation captures all the gravity and grace of a novel that crams a broad, rich canvas into a modest frame. Soldiers of Salamis is a study of memory and forgetting, of courage and delusion, as much as a straightforward narrative of wartime victors and victims. It is consistently moving, surprisingly funny, and utterly accessible. And it rewrites the headlines of history on behalf of all of us who will be remembered — if at all — only in the smallest of small print'
Boyd Tonkin, Independent 'It is understanding, intelligent, compassionate. It makes Hemingway'sFor Whom the Bell Tolls look like play-acting. . If you were required to read only one book about Spain and its civil war, this should be that book. It requires more than a single reading to value it truly, but that first single reading is marvellous. . this is a novel that will last, one of the few great books to have been made out of the madness of the mid-twentieth century. . written coolly, with wit and humour'
Allan Massie, Scotsman 'Splendid. . Soldiers of Salamis redeems the epic genre much neglected in our time'
Spectator 'Soldiers of Salamis offers a gentle and often moving reassertion that individual lives and actions matter most, however overwhelming the historical circumstances may seem'
Guardian 'Words such as "haunting", "original", "profoundly humane" are used too lightly. But in regard to Javier Cercas' novel, yet more than fiction, they truly apply. This is a masterly parable of political violence, of suffering, but also, and decisively, of the strange logic of compassion and healing. To use another often exploited term: Soldiers of Salamis, humour and all, should become a classic'
George Steiner 'With irresistible directness and delicacy, Javier Cercas engages in a quick-witted, tender quest for truth and the possibility of reconciliation in history, in our everyday lives — which happens to be the theme of most great European fiction. He has a fascinating tale to tell, which happens (mostly) to be true. He has written a marvellous novel'
Susan Sontag 'His thematic conclusions are powerful and humane. . its moral core is smart and compelling'
Publishers Weekly 'It lays bare the virtual impossibility of historical certainty, the whimsicality of fate, the unpredictability and unreliability of memory and the elusiveness of truth. . Cercas perfectly captures the uncanny ways in which a story evolves'
Houston Chronicle 'This book is magnificent… one of the best I've read in a long time'
Mario Vargas Llosa, El País

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'You don't know me, but I've been trying to track you down for ages,' I improvised, aware of a pulse in my throat and a tremor in my voice. To disguise them, I quickly told him my name and where I was calling from. Fortunately I added: 'I'm a friend of Roberto Bolaiño's.'

'Roberto Bolaiño?'

'Yes, from the Estrella de Mar campsite,' I explained. 'In Castelldefells. Many years ago you and he —'

'Of course!' I was grateful, rather than relieved, for the interruption. 'The caretaker! I'd almost forgotten him!'

While Miralles talked about his summers at Estrella de Mar and his friendship with Bolaño, I wondered how I would ask him for an interview; finally I resolved not to beat about the bush and to state the matter directly. Miralles didn't stop talking about Bolaño.

'So, what's become of him?'

'He's a writer,' I answered. 'He writes novels.'

'He wrote them back then, too. But no one wanted to publish them.'

'It's different now,' I said. 'He's a successful writer.'

'Really? I'm glad: I always thought he was talented, as well as an out-and-out liar. But I suppose you have to be an out-and-out liar to be a good novelist, don't you?' I heard a brief, dry, distant sound, like a laugh. 'Well, how can I help you?'

'I'm investigating an episode of the Civil War. The execution by firing squad of some Nationalist prisoners at the Sanctuary of Santa Maria del Collell, near Banyoles. It was at the end of the war.' In vain I waited for Miralles' reaction. Impulsively I added: 'You were there, weren't you?'

During the interminable seconds that followed I could hear Miralles' gravelly breathing. Silently, exultantly, I realized I had struck home. When he began to speak again, Miralles' voice sounded darker and slower: completely different.

'Bolaiño told you that?'

'I figured it out. Bolaño told me your story. He told me you spent the whole war with Líster, even retreating with him across Catalonia. Some of Líster's soldiers were at Collell just then, the same time as the execution. So you could easily have been one of them. You were, weren't you?'

Miralles was silent again; I heard his gravelly breathing again, and then a click: I thought he must have lit up a cigarette; a distant conversation in French fleetingly crossed the line. As the silence lengthened, I told myself I'd made a mistake, been too abrupt, but before I could try to rectify it, I finally heard:

'You said you were a writer, didn't you?'

'No,' I said. 'I'm a journalist.'

'Journalist.' Another silence. 'And you're planning to write about this? You really think any of your newspaper's readers are going to be interested in a story that happened sixty years ago?'

'I'm not going to write about it for the paper. I'm writing a book. Look, perhaps I've put it badly. I just want to talk to you for a while, so you can give me your version, so I can tell what really happened, or your version of what happened. It's not a question of settling scores, it's about trying to understand —'

'Understand?' he interrupted me. 'Don't make me laugh! You're the one who doesn't understand. A war is a war. And that's all there is to understand. I know all too well, I spent three years shooting off bullets for Spain, you know? And do you think anyone's ever thanked me for it?'

'Precisely because of that —'

'Shut up and listen, young man,' he cut me off. 'Answer me, do you think anyone's ever thanked me? I'll tell you the answer: nobody. No one has ever thanked me for giving up my youth, fighting for their fucking country. Nobody. Not a single word. Not a gesture. Not a letter. Nothing. And now you come along, sixty years later, with your shitty little newspaper, or your book, or whatever, to ask me if I took part in an execution by firing squad. Why don't you just accuse me of murder straight out?'

'Of all the stories in History,' I thought as Miralles spoke, 'the saddest is Spain's, because it ends badly.' Then I thought: apos;Does it end badly?' I thought: 'And damn the Transition!' I said:

'I'm sorry you've misunderstood me, Seiior Miralles —'

'Miralles, for Christ's sake, Miralles!' roared Miralles. 'No one in my fucking life has ever called me Señor Miralles. My name is Miralles, just Miralles. Got it?'

'Yes, Señor Miralles. I mean Miralles. But there is a misunderstanding here. If you'll let me speak I'll explain.' Miralles didn't say anything; I proceeded. 'A few weeks ago Bolaiño told me your story. I had just finished writing a book about Rafael Sánchez Mazas. Have you heard of him?'

Miralles took his time answering, though clearly not because of any doubt.

'Of course. You're talking about the Falangist, aren't you? José Antonio's mate.'

'Exactly. who escaped the firing squad at Collell. My book is about him, about the execution, about the people who helped him survive afterwards. And about one of Líster's soldiers who spared his life.'

'And what do I have to do with all of this?'

'The other fugitive from the firing squad left a testimony of the event, a book called / Was Murdered by the Reds!

'What a title!'

'Yes, but the book's good, because it tells in detail what happened at Collell. What I don't have is any Republican version of what happened there, and without one my book's hamstrung. When Bolaiño told me your story I thought perhaps you were at Collell too at the time of the execution and could give me your version of events. That's all I want: to chat with you for a while and for you to tell me your version. Nothing more. I promise I won't publish a single line without consulting you beforehand.'

Once again I heard Miralles' breathing, mixed in with the confused conversation in French that crossed the line again. When Miralles began to speak again his voice was as it had been at the beginning of our conversation, and I realized my explanation had managed to placate him.

'How did you get my phone number?'

I told him. Miralles laughed out loud.

'Look, Cercas,' he then began. 'Or do I have to call you Señor Cercas?'

'Call me Javier.'

'Okay, Javier. Do you know how old I am? Eighty-two. I'm an old man and I'm tired. I had a wife and I don't have her any more. I had a daughter and I don't have her any more. I'm still recovering from an embolism. I haven't got much time left, and the only thing I want is to be left alone. Listen, those stories don't interest anyone any more, not even those of us who lived through them; there was a time when they did, but not any more. Someone decided they had to be forgotten and, you know what I say? They were probably right. Besides, half of them are unintentional lies and the rest intentional ones. You're young; believe me I'm grateful for your call, but it would be best if you listened to me, if you forgot about this nonsense and devoted your time to something else.'

I tried to insist, but it was futile. Before hanging up, Miralles asked me to give his regards to Bolaño. 'Tell him I'll see him in Stockton,' he said. 'Where?' I asked. 'In Stockton,' he repeated. 'Tell him: he'll understand.'

Conchi exploded with joy when I phoned to tell her we'd found Miralles; then she exploded with rage when I told her I wasn't going to see him.

'After all this?' she screeched.

'He doesn't want to, Conchi. You have to understand.'

'And what's it matter to you that he doesn't want to?'

We argued. She tried to convince me. I tried to convince her.

'Look, do me a favour,' she finally said. 'Phone Bolaño. You never listen to me but he'll convince you. If you don't call him, I will.'

Partly because I was already planning to, and partly to prevent Conchi from calling him, I phoned Bolaño. I told him about the conversation I'd had with Miralles and the old man's blank refusal of my proposal to go and see him. Bolaiño said nothing. Then I remembered the message Miralles had given me for him; I told him.

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