Mist (Niebla), published in 1914, is one of Miguel de Unamuno's key works; a truly Modernist work of Europe-wide significance which aims to shatter the conventions of fiction, using the novel as a vehicle for exploration of philosophical themes.

Mist (Niebla), published in 1914, is one of Miguel de Unamuno's key works; a truly Modernist work of Europe-wide significance which aims to shatter the conventions of fiction, using the novel as a vehicle for exploration of philosophical themes. The plot revolves around the character of Augusto, a wealthy, intellectual and introverted young man and his love affair with Eugenia, which eventually ends in heartbreak. Augusto decides to kill himself, but decides that he needs to consult Unamuno himself, who had written an article on suicide which Augusto had read. When Augusto speaks with Unamuno, the truth is revealed that Augusto is actually a fictional character whom Unamuno has created. Augusto is not real, Unamuno explains, and for that reason cannot kill himself. Augusto asserts that he exists, even though he acknowledges internally that he doesn't, and threatens Unamuno by telling him that he is not the ultimate author. Augusto reminds Unamuno that he might be just one of God's dreams. Augusto dies and the book ends with the author himself debating to himself about bringing back the character of Augusto. He establishes, however, that this would not be feasible. Following on from his translation of Abel Sanchez , John Macklin's edition provides a much needed new English translation, alongside the Spanish text, together with a substantial introduction.

Dispensing with the conventions of action, time and place, and analysis of character, Mist proceeds entirely on the strength of dialog that reveals the struggles of what Unamuno called his 'agonists.' These include Augusto Perez, the pampered son of a recently deceased mother; the deceitful, scheming Eugenia, whom Augusto obsessively loves and idealizes; and Augusto's dog Orfeo, who gives a funeral oration upon his master's death. Augusto is to be married to Eugenia who leaves and causes him to contemplate suicide. Before he does that, however, he consults the book's author Unamuno, who informs him he cannot kill himself because he is a fictional character. Mist even includes a chapter that explains Unamuno's theory of the antinovel. Anticipating later writers such as Albert Camus and Jean-Paul Sartre, Unamuno exploited fiction as a vehicle for the exploration of philosophical themes. First published in 1914, Mist exemplified a new kind of novel with which Unamuno aimed to shatter fiction's conventional illusions of reality. It is an antinovel that treats its fictionality ironically.

"A novel that features Augusto Perez, the pampered son of a recently deceased mother; the deceitful, scheming Eugenia, whom Augusto obsessively idealizes; and, Augusto's dog Orfeo, who gives a funeral oration upon his master's death."--Amazon.com.

"Cruz has drawn on the act of translating specific texts to explore the mechanisms of displacement, the construction of identity and to interrogate the creative process."--BACK COVER.

Miguel de Unamuno was profoundly influenced by S ren Kierkegaard's pseudonymous works at a time when Kierkegaard was virtually unknown in Southern Europe. This book explores the scope and character of that influence, clarifies misconceptions in the relationship between the authors, and offers an original, Kierkegaardian reading of three of Unamuno's best known novels: Niebla, San Manuel Bueno, m rtir, and Abel S nchez. Both authors hold a "self as achievement" view in which the authentic self is seen as the result of the choices one makes over a lifetime. For Kierkegaard, the spheres of existence-the esthetic, the ethical, and the religious-are "stages on life's way" to becoming an authentic self before God. Unamuno, however, holds that the same spheres of existence offer equally valid modes of authentic existence as long as one chooses them freely and passionately. This book will be of great interest to scholars of existentialism, Unamuno, and Kierkegaard.

A central figure of Spanish culture and an author in many genres, Miguel de Unamuno (1864-1936) is less well known outside Spain. He was a surprising writer and thinker: a professor of Greek who embraced metafiction and modernist methods; a proponent of Castilian Spanish although born in the Basque country and influenced by many international writers; religious yet an early existentialist. He found himself in opposition to both King Alfonso XIII and the military dictatorship of José Primo de Rivera, then became involved in the political upheaval that led to the Spanish Civil War. Part 1 of this volume, "Materials," gives information on different editions and translations of Unamuno's works, on scholarly and critical secondary sources, and on Web resources. The essays in part 2, "Approaches," offer suggestions for introducing students to the range of his works—novels, essays, poetry, and philosophy—in Spanish language and literature and comparative literature classrooms.

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