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Miguel Delibes

Miguel Delibes, en César Alonso de los Ríos
Conversaciones con Miguel Delibes.
Madrid, Magisterio Español, 1971, p. 143.
Miguel Delibes
Un año de mi vida.
Madrid, Magisterio Español, 1971, p. 143.
Miguel Delibes, en César Alonso de los Ríos
Conversaciones con Miguel Delibes.
Madrid, Magisterio Español, 1971, p. 143.

Miguel Delibes
Un año de mi vida.
Barcelona, Destino, 1972, pp. 92-93.
Miguel Delibes, en César Alonso de los Ríos
Conversaciones con Miguel Delibes.
Madrid, Magisterio Español, 1971, p. 132.
Miguel Delibes
Un año de mi vida.
Barcelona, Destino, 1972, pp. 97-98.
Miguel Delibes
Un año de mi vida.
Barcelona, Destino, 1972, p. 134.

Miguel Delibes
Un año de mi vida.
Barcelona, Destino, 1972, p. 99.
Santos Sanz Villanueva
Hora actual de Miguel Delibes, en Miguel Delibes.
El escritor, la obra y el lector
Barcelona, Anthropos, 1992, p. 85.
I´m not underestimating the importance of the sources that we have as historians, but estatistics, for instance, are only the skeleton, a scaffolding. A historian has to add sking to those bones and for that purpose there is nothing better than the support of a novel. Cinco horas con Mario, Mi idolatrado hijo Sisí, only to mention some titles, reflect better than any aseptic report, the province post-war life in Spain. The authentic History is found in how people used to live, not in figure. Delibes openly shows, with his irony-making a good use of Literature, that is for sure- the moral schizophrenia and the snob and fake attitude of the early upper-middle class during Franco´s regime.
Raymond Carr
La sociedad española de posguerra en la novelística de Miguel Delibes, en El autor y su obra: Miguel Delibes.
Actas de El Escorial
Madrid, Universidad Complutense, 1993, p. 69.


Miguel Delibes
Un año de mi vida.
Barcelona, Destino, 1972, p. 99.
Miguel Delibes
Castilla, lo castellano y los castellanos..
Madrid, Espasa Calpe, 1995, p. 26.
Eduardo Haro Tecglen
El País.
28. 11. 1979.

When I write in my books “cabezo” or “cotarro”, they don´t mean the same. These kind of things are known by people from the villages but perhaps not by people from the cities. The Cotarro, teso, cueto, are not cabezo. The cabezo is simply the cueto, cotarro, the hill that presents a mount crest of holm oak trees. This language could seem picky, but this is accuracy.
Miguel Delibes, en César Alonso de los Ríos
Conversaciones con Miguel Delibes.
Madrid, Magisterio Español, 1971, pp. 183-185.
The narration in first person arises from the need of the main character to tell what happens and to show his/her vision of the world […] The same pattern is followed in those novels in which a simulation of first person narration exists as in El camino, Las ratas or El príncipe destronado, in these novels there is not apparently a main character able to support the weight of the narration, for this reason a narrator in third person is necessary to cover up. So, then we know how the miracle of language happens in these novels: the language of the narrator is leaked through the language of the characters, and the characters end up imposing their vision of the universe […] In Delibes´novels happens that perspective is one of the ingredients of reality.
Alfonso Rey
La originalidad novelística de Miguel Delibes.
Universidad de Santiago de Compostela, 1975, pp. 259-275.
Francisco Umbral
Miguel Delibes.
Madrid, Epesa, 1970, p. 63.
Gonzalo Sobejano
Prólogo a La mortaja.
Madrid, Cátedra, 1987, pp. 44-45.
Antonio Muñoz Molina
Delibes, a lo lejos.
El País, 20. 03. 2010.