In 1979, at the start of my second post-graduate year in Oxford, I was awarded the prestigious and lucrative Osma Studentship. I was required to spend at least six weeks in Madrid. Not that I was complaining. I immediately spent a good chunk of it on a Shergold double-neck guitar (as anyone would), leaving more than enough for my needs.

Shergold Custom Double guitar: a piece of British history

One of my fellow sufferers at the Florey Building was Jan, a geology postgrad from Germany who’d done his national service in the Gebirgsjäger (look it up) and drove a khaki Volkswagen camper van. (His father, Jan told me, had been a Panzer commander whose only victory had been to get captured by Monty and not the Russians.) Jan suggested that we drive to Madrid at Easter 1980 via the Plymouth-Santander ferry; it would save some money, so I agreed. The motor was on its last legs, but it did the job, chugging and wheezing over the snow-clad sierras to Castile.

I pounded the streets of Madrid until I found an inexpensive and homely pension in Calle del León (where the great Cervantes was born), run by a cheery, buxom Galician lady who liked to exclaim “¡Ala!”, as if the Moors had never left. It was not far from the Biblioteca Nacional, the Hemeroteca Municipal, and other academic institutions of relevance to Emilia Pardo Bazán’s cuentos, the subject of my thesis. Work done for the day, I strolled to the Retiro and tried to get my bearings in a city I had previously only visited en route to the airport or other towns.

Instituto Valencia de Don Juan in 1980

The next day I presented myself at the Instituto Valencia de Don Juan, where I was required to spend my time in profitable study. The librarian, Don Gregorio de Andrés, treated me to a cordial and extended welcome (more of a speech than a greeting), after which we nipped to a bar across the road for a mid-morning drink. I never really got to grips with the catalogue, or discovered if anything in it was likely to be of use to me. Whilst the Instituto was a beautiful place full of exquisite, priceless works of art, its library remained a gentleman’s private library, and with three other readers using it on a regular basis it could be a rather cramped and awkward space in which to work.

I enjoyed my time in Madrid, eating bueno y barato and making friends. My research came on in leaps and bounds, as the cliché has it. I took trips to Toledo, Segovia, Ávila and Salamanca and visited all the major museums – as well as some lesser-known ones, such as Lázaro Galdiano. I acquired, as if I didn’t have enough to worry about, another amiga: a History postgrad at Cambridge.

Taking advantage of an introduction from Félix de Azúa, a novelist I’d collaborated with at Oxford, I arranged to meet Javier Marías, who had written several novels and translated Tristram Shandy into Spanish (he was still in his 20s), and was now having a crack at Conrad’s The Mirror of the Sea.

This clever man was obviously going places

Marías suggested some short passages I might translate into English from his latest novel, El monarca del tiempo (The Monarch of Time) for an article I was planning. He generously wrote, in Spanish, on the flyleaf: “To Colin Wight, after a long and interesting chat, with the confidence that it will be repeated”. A few days later I took the train from Madrid back to Oxford.

From my collection of Marías’s novels

As soon as I arrived back at the Florey I set to work on the translation, which was far from straightforward (not that I was expecting it to be otherwise). Señor Marías was, and still is, a master of the long convoluted sentence, packed with subordinate clauses which lead up and away like the branches of a genealogical tree. I sent him my initial effort, to which he very courteously replied, suggesting a few “minor improvements”; in a second draft I managed to achieve something that he was apparently satisfied with. (I am not sure that I was, but in those pre-word-processor days typing up drafts was laborious and time-consuming.)

Two letters from Mariás

The three excerpts were published a year later in an Edinburgh-based literary magazine called Cencrastus. I believe this is the first example of Javier Marías’s work to be published in English. I don’t imagine that it attracted a great deal of attention because Marías was virtually unknown in the UK – almost as anonymous as me.

Extract from Cencrastus

In 1983 Marías arrived in Oxford (where I was still a member of the University): the latest in a long line of (subsequently) eminent lectores. He was obliged, as was I, to take part in the Spanish graduate research seminars in St Giles, every Tuesday at 5pm I believe, which were attended by some “real characters” – not the least of them the extraordinary, charismatic Professor Peter Russell, who held court. On one occasion a fellow postgrad was blathering on about Lorca, and how difficult it must have been to be an “out” homosexual in the 1930s, etc.

Peter Russell, from Bruce Taylor’s Memoir (Proceedings of the British Academy)

Peter Russell waited for a few seconds, then said, with that characteristic wry smile, “I think I am correct in saying that I am the only person in this room who knew Lorca, and I can assure you that being a homosexual in Spain in the 1930s was not a problem”. There was no coming back from that. I don’t recall if Marías was present, but he would have loved it.

It was an unforgettable moment

If I may generalise, one of the things I’ve learned from a close study of Spanish intellectuals is that they tend to be interested in the same things that your average Spaniard is interested in, whatever his level of education or status in life. It is taken for granted that everyone is a football fan, chases pretty girls (or boys), drinks and smokes too much, sings folk songs and spends the summer at the seaside – where they undertake the aforementioned activities ad lib. It doesn’t mean that Spanish writers don’t suffer from angst, ennui or malaise like the rest of us. They just have more fun when they’re not suffering.

Javier Marías was and is an aficionado of Real Madrid (the Real=Royal bit is significant, as we shall see). Aware of that, I invited him to the house I shared in Bullingdon Road to watch Liverpool play and, eventually, defeat, A.S. Roma in the Final of the European Cup on 30 May 1984. Liverpool’s fourth competition victory, as Javier noted, edged them dangerously close to Madrid’s sixth. (Following the exclusion of English clubs from European competition, he needn’t have worried.) That was probably the last time I saw Javier, because I was soon on my way to London to work for Methuen/Tavistock.

Inscription in Tres cuentos didácticos

Javier Marías’s 1989 novel Todas las almas (All Souls) is set in Oxford, and has as principal characters certain members of that Spanish seminar group – you could call some of them “thinly disguised” whilst others are more likely composites. A Russell-like figure is a major protagonist. Sir Peter was well aware of that and did not protest. I don’t feature, which is both a relief and a little disappointing. Subsequently, Javier has published many more novels, now available in English (thanks to the talented and fecund Margaret Jull Costa) as Penguin Modern Classics.

For reasons that are ludicrous, and too complicated to explain in a few words, Javier Marías, as well as being a member of the Real Academia Española, is the ruler of a micronation in the Leeward Islands called Redonda.

He has taken the title “King Xavier I”

He will, from time to time, confer honours upon writers and other persons he approves of, such as Philip Pullman, Umberto Eco, George Steiner and A.S. Byatt (and the late Professor Sir Peter Russell). Is it too fanciful to suppose that if I’d continued translating the novels of Javier Marías Franco, rather than settling for a proper job, I might have become a duke by now? I do think it is.

3 thoughts on “Don Javier Marías Franco

  1. Hi there! I know this seems a little out of the blue, but is there any way I could get in contact with you about the scholarship? I’d like to hear more about your experience of doing it.

    Like

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