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Born in Monterrey, Nuevo León, Mexico, on May 17, 1889. Died on December 27, 1959. He was born into a wealthy family. He was the son of Aurelia Ochoa and General Bernardo Reyes who occupied important positions during the government of Porfirio Díaz. Since his childhood, he demonstrated his intellectual skills and always had the first places in his class. He married Manuela Mota, his only wife (The Friend in Poema de Madurez (Maturity Poem) and with whom he had his only child, Dr. Alfonso Reyes. He received his bachelor's degree in Law. He was the secretary of the National School of High Studies (which would later become the School of Philosophy and Literature of the National Autonomous University of Mexico (UNAM)). In this school, he initiated the subject of Spanish language history and literature. He was profoundly affected by the death of his father during the Tragic Ten Days (a famous period of the Mexican Revolution) and which is vividly depicted in the sonet Nueve de Febrero de 1913 (February 9, 1913): In what corner of time are you awaiting us?/ You, injury man/ Blood flowing amidst the day. Reyes met Pedro Henríquez Ureña, Antonio Caso and José Vasconcelos and formed the "Ateneo de la Juventud" (Athenaeum of the Youth), a group of young scholars interested in drawing the lines of modern Mexico and who shared the same passion for ancient Greece. In this time, Reyes wrote his first works: a book of essays published in Paris; studies on Robert Louis Stevenson and Gilberth K. Chesterton. Here, he already revealed the field to which he will devote his passionate and sensible intelligence: critical reflection and literary composition. Then he wrote: La primera confesión; La entrevista; Los restos del incendio; and La cena (included in El plan oblicuo). With its ellegant language, La cena predicts the magic realism and it is the direct background, line by line, of the famous Aura by Carlos Fuentes, a brilliant disciple of Reyes since their young days in Cuernavaca. He was a very creative writer: books, articles for newspapers and magazines around the world, speeches and a diary he would write until his last days which finished with an enigmatic phrase: "I was killed". Somewhat disappointed for the Mexican situation and the lack of ideas to change it, he traveled to Paris to find himself in 1914 in a diplomatic position. The fame he had gained in Mexico and abroad opened the doors of success to him. However, after the onset of World War I, he had to move to Spain, where he had a difficult economic situation. Later, his situation improved, and Reyes continued to build the first floors of a work that, both extension and quality, is larger than the bilbiography of any other writer of the XX century. He worked at the Center of Historical Studies of Madrid, directed by Ramón Menéndez Pidal. He was close to the 98 generation writers such as Juan Ramón Jiménez, José Ortega y Gasset and attended the Pombo gatherings presided by Ramón Gómez de la Serna. In 1915, he finished writing Visión de Anáhuac (Vision of Anahuac) which was published in 1917. Perhaps this is the most famous of his works and a guaranty of his future trascendence. Through very well polished sentences, Reyes praises the beauty of the landscape of the Valley of Mexico. Some years later, Reyes would describe the same landscape damaged by the elapse of time in Palinodia del Polvo (Palinode of Dust). In this wokr, as well as other works written later such as La Cartilla Moral (The Moral Certificate, which was quite polemic even in the 1990's), Reyes became and educator and civilizer of the Mexican people, departing from what can be called "thought aristocracy", a colorfull mixture of the western culture with the indigenous roots, dominated by the platonic triad: Truth, kidness and beauty. In 1920, he was apointed second secretary of the Mexican embassy of Mexico in Madrid. And before returning to Mexico, he was already appointed ambassador to Spain and subscribed the Treatise for Literary, Scientific and Artistic Property between the two governments. In 1924, he left Mexico again to occupy a diplomatic position in France. He lived in the same building of Boulevard Husmean where Marcel Proust had died two years before. He met the most important French writers of that time: André Gide, Roger Martin du Gardó, Rainer Maria Rilke and Saint John Perse (who based his poem Anabasis in Reyes' Visión de Anáhuac). Reyes' friendship with Valery Larbaud lasted all their lives in spite of the invalidity of the author of Fermina Márquez. Both had the hobby of collecting toy lead soldiers. In 1927, Reyes was appointed ambassador of Mexico to Argentina. His first diplomatic period in that country finished in 1930 and his second period was from 1936 to 1937. In that country, a young writer asked him advise on how to write his first work (El Aleph): Jorge Luis Borges. Borges always thanked the generous help of the Mexican diplomat. Reyes was appointed ambassador of Mexico to Brazil from 1930 to 1936. Here he exchanged letters with Antonin Artaud who saluted him before "visiting the country of the Tarahumaras, where magic is an every-day experience." In 1939, Reyes came back to Mexico for good. Making an economic effort he built a building he always wished: a house with a large library which got to have 20,000 books and the unfrequent visits of some ghosts. The writer was the director of the House of Spain in Mexico, which later became El Colegio de México. He was a founding member of El Colegio Nacional (1943), and together with Jules Romains (a French refugee from the Nazism), he founded the French Institute of Latin America (IFAL in Spanish). He helped young writers, one of which was Octavio Paz. He was nominated to the Literature Nobel Prize during four consecutive years. He never got the prize because the Mexican scholars backed Gabriela Mistral instead. From 1957 to 1959, he was the director of the Mexican Academy of Spanish Language. All those years of traveling, political commitments and family problems, were also years of intensive literary creation in several modes: poetry, essay, script, novel beginnings, and other works of difficult classification such as the dramatic poem called Ifigenia Cruel (Cruel Iphigenia) which was played by Dolores del Río. All his work, excepting the Diaries and Correspondence were published by Fondo de Cultura Económica in 26 volumes coordinated by José Luis Martínez and supervised by Alicia Reyes, grand-daughter and heir of the writer. In spite of his intensive intellectual work, Reyes never forgot Goethe's (one of his favorite writers) Wilhelm Meister's words "Remember Living". He enjoyed life, good food and wine (See Minuta y Memorias de Bodega y Cocina, Minutes and memoirs of a Wine Cellar and a Kitchen) honoring San Pascual Bailón, Mexican patron saint of cuisine. The gatherings at his home, and Mallarmé's (another of his favorite authors) Tuesdays were frequent. Xavier Villaurrutia, Salvador Novo, Rodolfo Usigli and Carlos Pellicer attended those gatherings. In a few years he had several heart strokes always attended by Dr. Ignacio Chávez. The fourth heart stroke killed Reyes on December 27, 1956. In 1943, he already paid his farewell in his poem San Ildefonso: "Dream with motionless trees./Hush the birds crowing./Hold the nests that were given to you,/ and measure the universe/ from the open hand of your deep roots." President Adolfo López Mateos decreed a day of national mourning. His body rests in the Rotund of the Illustrious Men. The majority of his books were taken to a special fund of the University of Nuevo León at Monterrey. Some other books, as well as his document files and personnal property remained in his house, called the "Alfonsian Chappel" by Enrique Díez Canedo. This house was turned into a center of literature studies and house-museum. To celebrante his 100-year birthday, he was paid homage in Mexico and abroad. His short story La Venganza (The Revenge) was turned into a film by Marisa Sistach called "Anoche Soñé Contigo" (I dreamt of you last night). His opereta Landrú and Canto del Halibut (Halibut Song) were staged and directed by Juan José Gurrola with music of Rafael Elizondo. In a paragraph of one of his letters, Ernesto "Che" Guevara remembers him. During the conflict in the Balcans, a translation of some of his essays into Bosnian was published to support the so-called "active stoicism". Reyes figure influenced all the Mexican writers of the second half of the XX Century, not only for the depth of his ideas, but also for his moral solidity that trascends and remains alive in each one of his works. He was a member of El Colegio de México since 1943. (Portrait by David Alfaro Siqueiros). |
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WORKS ON SALE Alfonsadas. Correspondence between Alfonso Reyes and Rafael Cabrera (prepared by Serge I. Zaitzeff), El Colegio Nacional. $30(ver) Algo de la experiencia americana. Correspondencia con Germán Arciniegas (compilación de Serge I. Zaïtzeff),El Colegio Nacional. $50 (ver) Animalia (textos sobre animales, coordinación de Beatriz de la Fuente, dibujos de Juan Soriano), El Colegio Nacional. $800 (ver) Casi oficios (Almost trades). Letters between Jaime Torres Bodet and Alfonso Reyes, (compilation by Fernando Curiel), El Colegio Nacional-El Colegio de México. $48 (ver) Con leal franqueza (With loyal Openness), correspondence with Genaro Estrada (prepared by Serge I. Zaitzeff), El Colegio Nacional, three volumes $150 tomo 1 (ver), tomo 2 (ver), tomo 3 (ver), El Colegio Nacional. $150 Cuatro Ingenios (Four Geniuses), El Colegio Nacional-Calpe Mexicana $21 (ver) De casa a casa (From One House to the Other). Correspondence with Manuel Toussaint (prepared by Serge I. Zaitzeff), El Colegio Nacional. $20 (ver) Grecia. Monterrey. Río de enero (Greece, Monterrey, Río de Enero) (prepared by Ramón Xirau), El Colegio Nacional. $30 (ver) La amistad en el dolor (Friendship During Pain). Correspondence between José Vasconselos and Alfonso Reyes, (by Claude Fell), El Colegio Nacional $50 (ver) Iconografía (Icongraphy)(prepared by Xavier Guzmán, Héctor Perea and Alba C. De Rojo), El Colegio Nacional-FCE-El Colegio de México $130 (ver) Medallones, El Colegio Nacional-Espasa-Calpe Mexicana. $21 (ver) Páginas sobre Alfonso Reyes (Pages on Alfonso Reyes) (by Claude Fell), El Colegio Nacional $200 Recados entre Alfonso Reyes y Antonio Castro Leal (Notes exchanged by Alfonso Reyes and Antonio Castro Leal (Serge I. Zaitzeff, compilator), El Colegio Nacional. $12 (ver) Recoge el día. Antología temática de Alfonso Reyes (recopilación y prólogo de Alfonso Rangel Guerra), tomo 1 (ver), tomo 2 (ver), El Colegio Nacional. $60 Trazos de la historia literaria, El Colegio Nacional-Espasa-Calpe Mexicana. $30 (ver) Voz viva de (dos discos compactos), (Live voice of, compact disc), El Colegio Nacional-UNAM. $120 (ver) Medallones (Medallions), El Colegio Nacional-Espasa-Calpe Mexicana. $21 Trazos de historia literaria (A Draft of Literary History), El Colegio Nacional-Espasa Calpe Mexicana. $28.50 Voz viva de (Live voice of, compact disc), El Colegio Nacional. $120 Alfonso Reyes en El Nacional (Alfonso Reyes in El Nacional), El Nacional. $8 Antología general (General Anthology) (by José Luis Martínez), Alianza Editorial. $79 Cartas a La Habana (Letters to Havana), UNAM $35 Cómo apreciar a Alfonso Reyes (How to Approach Alfonso Reyes) (selection by Alicia Reyes), Panorama. $33 España en la obra de Alfonso Reyes (Spain in the work of Alfonso Reyes) (selection by Héctor Perea), FCE $103 La experiencia literaria (The Literary Experience), FCE $38 Letras de la Nueva España (Literature of the New Spain), FCE $33 Medias palabras (Half Words)(correspondence with Martín Luis Guzmán, edited by Fernando Curiel), UNAM $35 Obra completa (Complete Works, 26 volumes). $2000 Obras Completas II: Visión de Anáhuac. Las vísperas de Nueva España. Calendario (Complete Works II: Vision of Anáhuac, On the Eve of the New Spain, Calendar), FCE $84 Obras Completas X: Constancia poética (Complete Works X: Poetical Evidence), FCE $69 Obras Completas XXII: Marginalia. Las burlas veras (Complete Works XXII: Marginalia, The True Scorns), FCE $143 Obras Completas XXIII: Ficciones (Complete Works XXIII: Fictions), FCE $111 Obras Completas XXIV: Oración del 9 de febrero. Memoria a la facultad. Tres cartas y dos sonetos. Berkeleyana. Cuando creí morir. Historia documental de mis libros. Parentalia. Albores. Páginas adicionales (Complete Works XXIV: Prayer on February 9. Memoirs to the School. Three Letters and Two sonnets. Berkeleyana. When I Thought I Would Die. Documentary History of my books. Parentalia. Beginnings. Additional Pages), FCE $111 Obras Completas XXV: Culto a Mallarmé. El "Polifemo sin lágrimas". Memorias de cocina y bodega. Resumen de la literatura mexicana (siglos XVI-XIX). Los nuevos caminos de la linguística. Nuestra lengua. Dante y la ciencia de su época (Complete Works XXV: Cult to Mallarmé. The Tearless Poliphemus. Memoirs of the Kitchen and the Wine Cellar. Summary of the Mexican Literature (XVI-XIX centuries). The new Ways of Linguistics. Our Language. Dante and the Science of his Times), FCE $93 Obras Completas XXVI: Vida de Goethe. Rumbo a Goethe. Trayectoria de Goethe. Escolios goethianos. Teoría de la sanción (Complete Works XXVI: Life of Goethe. Towards Goethe. Goethe's Trajectory. Goethian Scholia. Theory of Penalty), FCE $93 Simpatías y diferencias (Sympathy and Differences) (two volumes), Porrúa. $48 Trayectoria de Goethe (Goethe's Trajectory), FCE $33 Una ventana inmensa (The Huge Window) (poem anthology by Gerardo Deniz, foreword by Octavio Paz), Vuelta. $60
WORKS PUBLISHED IN THE MEMORY Currículum Vitae (Résumé). 1946 Volume I pages 87-94 Discurso de homenaje al Maestro Antonio Caso (Speech in honor of Antonio Caso). 1946 Volume I pages 179-184 La religión griega I: panorama de la religión griega (The Greek Religion I: An Overview of the Greek Religion). 1947 Volume II No. 2 pages 53-99 La helenización del mundo antiguo (The Helenization of the Ancient World). 1948 Volume III No. 3 pages 141-166 El horizonte económico en los albores de Grecia (The Economic Horizon at the Beginning of Greece). 1949 Volume IV No. 4 pages 39-46 WORKS PUBLISHED BY EL COLEGIO NACIONAL Junta de sombras (Shadow Meeting). 1949 Volume IV No. 4 pág. 113 En torno al estudio de la religión griega (About Studying the Greek Religion). 1950 Volume V No. 5 pages 97-113 Interpretación de las edades hesiódicas (Interpretation of the Hesiodic Ages). 1951 Volume VI No. 6 pages 9-26 Dos comunicaciones (Two Communications). 1952 Volume VII No. 7 pages 175-179 Palabras de salutación en la toma de Posesión de Guillermo Haro (Welcome speech upon Guillermo Haro's becoming a member of El Colegio Nacional). 1953 Volume II No. 8 pages 133-134 Hipócrates y Asclepio (Hippocrates and Asclepius). 1953 Volume II No. 8 pages 35-41 Presentación de Grecia (Presentation of Greece). 1954 Volume III No. 9 pages 55-61 Reflexiones sobre la historia de Grecia (Reflection on the History of Greece). 1955 Volume III No. 10 pages 91-95 Grecia en el tiempo y en el espacio (Greece in Time and Space). 1956 Volume III No. 3 pages 23-30 Estudios Helénicos (Hellenic Studies). 1957 Volume III No. 4 pág. 125 Los sacros lugares de los griegos (The Sacred Places of the Greeks). 1957 Volume III No. 4 pages 79-90 Geógrafos del mundo antiguo (Geographers of the Ancient World). 1958 Volume IV No. 1 pages 75-118 Algo más sobre los historiadores alejandrinos (Something else about the Alexandrian Historians). 1959 Volume IV No. 2 pages 97-155 La afición de Grecia (Greece's Passion). 1960 Volume IV No. 3 pág. 75 Discurso pronunciado al recibir el Premio Nacional de Letras 1945 (Speech upon receiving the 1945 National Literature Award. 1967-1968 Volume VI No. 2-3 pages 315-316
GENERAL BIBLIOGRAPHY -Junta de sombras (Shadow Meeting), 1949. -Dos comunicaciones (Two Communications), Memory, 1953. -Estudios helénicos (Hellenic Studies), 1957. -La afición de Grecia (Greece's Passion), 1960. -Iconografía (Icongraphy) (research: Xavier Guzmán, Héctor Perea and Alba C. De Rojo), and FCE and El Colegio de México, 1989. -Animalia, 1990.
-Cuestiones estéticas (Aesthetic Questions), P. Ollendorff, Paris, Francia, 1910-1911. -El paisaje de la poesía mexicana del siglo XIX (The Landscape of the Mexican Poetry of the XIX century), Díaz de León, 1911. -El suicida (The Suicidal), Madrid, Colección Cervantes, 1917. -Visión de Anáhuac (Vision of Anáhuac), El convivio, San José de Costa Rica, 1917. -Cartones de Madrid (Posters of Madrid), Cvltvra, 1917 -El plano oblícuo (The Obliquous Plane), Tipografía "Europa", Madrid España, 1920. -Retratos reales e imaginarios (Actual and Imaginary Portraits), Lectura Selecta, 1920. -Simpatías y diferencias (Sympathy and Differences), Vol. 4: Los dos caminos (The Two Roads). Vol. 5: Reloj de sol (Sun Clock), E.Teodoro, Madrid, España, 1921-1926. -El cazador (The Hunter), Biblioteca Nueva, Madrid, España, 1921. -Huellas (Tracks), Botas, 1922. -Visión de Anáhuac (Vision of Anáhuac), Indice, Madrid, España, 1923. -Ifigenia cruel. Poema dramático (Cruel Iphigenia. Dramatic Poem), Calleja, Madrid, España, 1924. -Pausa (Pause), Société Générale díImprimeurs et díEditeurs, Paris, Francia, 1926. -Cuestiones gongorinas (Gongora Questions), Espasa-Calpe, Madrid, Spain, 1927. -Fuga de Navidad (Escape on Christmas), Viau y Zona (F.A. Colombo), Buenos Aires, Argentina, 1929. -El testimonio de Juan Peña (The Testimony of Juan Peña), Villas Boas, Rio de Janeiro, Brazil, 1930. -Cinco casi sonetos (Five Almost-Sonnets), Paris, France, 1931. -Discurso por Virgilio (Speech by Virgil), Contemporáneos, II, 1931. -A vuelta de correo (By Mail), Rio de Janeiro, Brazil, 1932 -En el día americano (On the American Day), Rio de Janeiro, Brazil, 1932. -Atenea política (Political Athenaea), Rio de Janeiro, Brazil, 1932. -Hora de Burgos (Time of Burgos), Villas Boas, Rio de Janeiro, Brazil, 1932. -Tren de ondas (Wave Train), Rio de Janeiro, Brazil, 1932. -Voto por la Universidad del Norte (I Vote for the Northern University), Rio de Janeiro, Brazil, 1933. -Atenea política (Political Athenaea), Pax, Santiago de Chile, Chile, 1933. -La caída (The Fall), Villas Boas, Rio de Janeiro, Brazil, 1933 -Romances del Río de Enero (Romances of Río de Enero), Maestricht, Netherlands, "Halcyon" (A.A.M.Stols), 1933 -A la memoria de Ricardo Guiraldes (In Memoriam of Ricardo Guiraldes), Rio de Janeiro, Brazil, 1934. -Golfo de México (Gulf of Mexico), Francisco A.Colombo, Buenos Aires, Argentina, 1934. -Yerba del Tarahumara (Trahumara's Herb) Francisco A.Colombo, Buenos Aires, Argentina, 1934. -Minuta (Minutes), Maestricht, "Halcyon", Netherlands, 1935 -Infancia (Childhood), Asteria, Buenos Aires, Argentina, 1935. -Homenaje a Lope de Vega y Carpio (Homage to Lope de Vega y Carpio), Casa Vallete, Rio de Janeiro, Brazil 1935. -Otra vez (Again), Fábula, 1936 -Cantata en la tumba de Federico García Lorca (Ode at the Grave of Federico García Lorca), Luis Seone, Buenos Aires, Argentina, 1937. -Discurso por Virgilio (Speech by Virgil), Boletín de la Academina Argentina de Letras, Buenos Aires, Argentina, 1937. -Tránsito de Amado Nervo (Transit of Amado Nervo), Ercilla, Santiago de Chile, Chile, 1937. -Idea política de Goethe (Goethe's Political Idea), I:C:I:, 1937. -Las vísperas de la Nueva España (On the Eve of the New Spain), Sur, Buenos Aires, Argentina, 1937. -El servicio diplomático mexicano (The Mexican Diplomatic Service), Buenos Aires, Argentina, 1937. -Aquellos días (Those Days), Ercilla, Santiago de Chile, Chile, 1938. -Mallarmé entre nosotros (Mallarmé Amongst Us), Destiempo, Buenos Aires, Argentina, 1938. -Introducción al estudio económico del Brazil (Introduction to the Economic Study of Brazil), 1938. -Capítulos de literatura española (Chapters of the Spanish Literature), La Casa de España en México. -Villa de Unión (Union Village), Fábula, 1940. -Algunos poemas (Some Poems), Nueva voz, 1941. -La crítica en la edad ateniense (Criticism in the Athenean Age), El Colegio de México, 1941. -Pasado inmediato y otros ensayos (Immediate Past and other Essays), El Colegio de México, 1941. -Los siete sobre Deva (The Seven on Deva), Tezontle, 1942. -La antigua retórica (Ancient Rhethoric), FCE, 1942. -Ultima Tule (Last Tule), Imprenta Universitaria, 1942. -El deslinde:prolegómenos a la teoría literaria (The Breakdown: Prolegomena to Literary Theory), El Colegio de México, 1944. -Tentativas y orientaciones (Attempts and Orientations), Nuevo Mundo, 1944. -Dos o tres mundos (Two or Three Worlds), Letras de México, 1944. -Norte y sur (North and South), Leyenda, 1944. -Tres puntos de exegética literaria (Three Points of Literary Exegetics), El Colegio de México, 1945. -Capítulos de literatura española (Chapters of Spanish Literature), El Colegio de México, 1945. -Los trabajos y los días (The Works and the Days), Occidente, 1945. -Ifigenia cruel, Poema dramático (Cruel Iphigenia, Dramatic Poem), "La cigarra", 1945. -Tren de ondas (Wave Train), -Calendario y Tren de ondas (Calendar and Wave Train), Tezontle, 1945. -Simpatías y diferencias (Sympathy and Differences), 2 volumes, Porrúa, 1945. -El cazador, Calendario y Tren de ondas (The Hunter, Calendar and Wave Train), Tezontle, 1945. -Romances (y fines) (Romances and Endings), Stylo, 1945. -La casa del grillo (The House of the Grass Hopper), B.Costa-Amic, 1945 -La vega y el soto (The Lowland and the Grove), Editora Central, 1946. -Por mayo era, por mayo..., (Around May it Was, Around May...) Cvltvra, 1946. -A lápiz (In Pencil), Stylo, 1947. -La conferencia Colombo-Peruana para el arreglo del incidente de Leticia (The Colombo-Peruvian Conference to Arrange the Leticia Incident) (1933-1934), 1947. -La inmigración en Francia (Immigration in France), 1927, 1947. -Momentos de España: memorias políticas 1920-1923 (Moments of Spain: Political Memoirs 1920-1923), 1947. -Crónica de Francia: I (Chronicle of France: I), 1947. -Burlas literarias (1919-1922) (Literary Scorns (1919-1922), (with Enrique Díez-Canedo), 1947. -Grata compañía (Pleasant Company), Tezontle, 1948. -Entre libros (Among Books), El Colegio de México, 1948. -De un autor censurado en el "Quijote": Antonio de Torquemada (About a Censored Authorin the "Quijote": Antonio de Torquemada), Cvltvra, 1948. -Letras de la Nueva España (Literature of the New Spain), FCE, 1948. -Cortesía (Courtesy), Cvltvra, 1948. -Homero en Cuernavaca (Homer in Cuernavaca), "Abside", 1949. -Sirtes-, Tezontle, 1949. -Tertulia de Madrid (Literary Gathering in Madrid), Espasa-Calpe, México-Buenos Aires, 1949, 1950. -Cuatro ingenios (Four Geniuses), Espasa-Calpe, México-Buenos Aires, 1950. -Verdad y mentira (Truth and Lie), Aguilar, Madrid, España, 1950. -La constelación americana, 1936 (The American Constellation, 1936). 1950. -La Iliada de Homero (The Illyad by Homer), translation by A.Reyes. I:-Aquiles agravado (Aggravated Achiles), FCE, 1951. -Trazos de historia literaria (A Draft of Literature History), Espasa-Calpe, Mexico-Buenos Aires, 1951 -Ancorajes (Anchorings), Tezontle, 1951. -Medallones (Medallions), Espasa-Calpe, Mexico-Buenos Aires, 1951. -La X en la frente (The X on the Forehead), Porrúa y Obregón, 1952. -Marginalia- (first series, 1946-1951), Tezontle, 1952. -Obra poética (1906-1952) (Poetic Works, 1906-1952), FCE, 1952. -Homero en Cuernavaca (Homer in Cuernavaca), (revised and enlarged), Tezontle, 1952. -La experiencia literaria (The Literary Experience), Losada, Buenos Aires, Argentina, 1952. -Crónica de Francia. II (Chronicle of France. II), 1952. -Cartilla moral (Moral Certificate), 1952. -Arbol de pólvora (Powder Tree), Tezontle, 1953. -Memorias de cocina y bodega (Memoirs of the Kitchen and the Wine Cellar), Tezontle, 1953. -Visión de Anáhuac (Vision of Anáhuac), El Colegio de México, 1953. -Berkeleyana-, 1941. 1953. -De la antiguedad a la Edad Media (From Ancient Times to the Middle Ages), 1954. -Troya (Troy), 1954. -Tres cartas y dos sonetos (Three Letters and Two Sonnets), 1954. -Trayectoria de Goethe (Goethe's Trajectory), FCE, 1954. -Parentalia-, Los Presentes, 1954. (Partial and limited edition). -Marginalia (second series, 1909-1954)-, Tezontle, 1954. -Nueve romances sordos (Nine Deaf Romances), Huytlale, Tlaxcala, México, 1954. -El suicida (The Suicidal), Tezontle, 1954. -Quince presencias (Fifteen Presences), Obregón, 1955. -Los tres tesoros (The Three Treasures), Tezontle, 1955. -Libros y libreros en la antig¸edad (Books and Librarians in Ancient Times), 1955. -Crónica de Francia: III (Chronicle of France: III), 1955. -Cuestiones estéticas, Capítulos de Literatura Mexicana, Varia (Aesthetic Questions, Chapters of Mexican Literature, Miscellaneous), OC t. I. FCE, 1955. -Mallarmé entre nosotros (Mallarmé Amongst Us), Tezontle, 1955. -Visión de Anáhuac, Las Vísperas de España, Calendario (Vision of Anáhuac, On the Eve of Spain, Calendar), OC, T. II, FCE, 1956 -El plano oblicuo, El cazador, El suicida, Aquellos días, Retratos reales e imaginarios (The Obliquous Plane, The Hunter, The Sucidal, Those Days, Actual and Imaginary Portraits), OC,t.III, FCE, 1956. -Simpatías y diferencias, páginas adicionales (Sympathy and Differences, Additional Pages), OC, t. IV. FCE, 1956. -Visión de Anáhuac (Vision of Anáhuac), FCE, 1956. -Las burlas veras (primer ciento) (The True Scorns, first one hundred), Tezontle, 1957. -Crónica de Francia V. (Chronicle of France V), (June 1926 to February 1927), 1957. -Resumen de la literatura mexicana (siglos XVI-XIX) (Summary of Mexican Literature (XVI-XIX Centuries), 1957. |