Max Aub

Max Aub Mohrenwitz (Paris, June 2, 1903-Mexico City, July 22, 1972) was a Spanish writer of French and German origin. After the Spanish civil war he went into exile in Mexico, the country from which he took nationality and in which he lived until his death.

Biography

He was born in the French capital. His father, Friedrich Aub, was of German origin, born in Bavaria and his mother, Susanna Mohrenwitz, French, of German Jewish origin. Coming from a family of lawmen, Friedrich broke with tradition and in 1898 he was already traveling through Europe and Spain as a commercial representative. He had a gift for people and spoke Spanish well; In Seville he worked for the Alaska house and, after his bankruptcy, he established himself as a seller of fine jewelery for men. His frequent trips made his figure almost always absent.

The mother, although born in Paris, came from Saxony through her parents, and belonged to the gentry, had artistic hobbies and a penchant for antiquities. Max, born in Paris, at 3 rue Cité Trévise, grew up surrounded by women: his mother, his sister Madeleine and a domestic worker, and spent the three summer months in the village of Montcornet, in the department of Oise. He grew up in a privileged and bilingual environment since he practiced German with his family, and French on the street and at school. He received a religiously agnostic upbringing.

First stage: Spain

Max Aub lived in France until the outbreak of the First World War in 1914, his family had to move to Spain and settled in Valencia, since his father, a German citizen, could not continue in Gallic lands; Max learned Spanish in a very short time, declaring, years later, that he could not write in another language. And in 1916 Max's father applied for Spanish nationality for the whole family and renounced the German one.

In 1917, a confrontation in the Emilio Castelar square in Valencia between the Civil Guard and the citizens produced such a strong and lasting impression on him that from then on he compromised his artistic interest with the most underprivileged. A year later, in 1918, he began his primary studies at the Modern School first and at the Alliance Française, followed by secondary education at the Luis Vives Institute in Valencia. Among his friends at that time was the Gaos family (José, Alejandro, Ángel). Between 1916 and 1921 Max frequented his house in the afternoons to talk with Pepe and study with Carlos, Manuel Zapater, Fernando Dicenta, Juan Gil-Albert and Juan Chabás. A voracious reader, endowed with an awakened intelligence and belonging to a family with economic possibilities, he did not, however, go on to study a career, but began to work in 1920 as a salesman to achieve his economic independence as soon as possible. This activity allowed him to travel a lot, especially in Catalonia where, in 1921, he met the novelist Jules Romains in Gerona, who influenced his literary work with his theory of unanimity; During this period he subscribed to various French magazines (among them La Nouvelle Revue Française since 1918), and also some Italian and Belgian ones.

Since 1922 he began to spend four months a year in Barcelona and attended gatherings such as López Picó, Joan Salvat-Papasseit, Esclasans, and Sebastià Gasch; according to his biographer Ignacio Soldevila, "he spoke Valencian very correctly, both in the Valencian and Catalan varieties". He presented himself, with a card that Jules Romains gave him, to the critic Enrique Díez-Canedo. On November 3, 1926, he married Perpetua Barjau Martín, who would accompany him into exile until her death, from whom he had three daughters.

In 1928 he joined the Spanish Socialist Workers' Party. At that time he combined commercial activity with literary activity and began in avant-garde theater with works such as El Desconfiado Prodigioso (1924), Espejo de Avaricia (1927) or Narcissus (1928); The novel Luis Álvarez Petreña (1934), initially published in installments in the magazine Azor, also belongs to that period.

When the civil war began, he was in Madrid and was a barely recognized intellectual. In Valencia he directed the university theater group El Búho, until then headed by Luis Llana Moret. In December 1936 he was sent as a diplomat to the Spanish legation in Paris, a post from which he managed the commission and purchase of Picasso's Guernica for the International Exhibition in Paris the following year. Upon his return to Spain, in August 1937, he held the position of secretary of the National Theater Council, and, from the summer of 1938 until his departure from the country, he collaborated with André Malraux in making the film Sierra de Teruel , adaptation of the novel L'espoir by the French writer.

By age, he belonged to the generation of 27, with some of whose members he maintained friendships.

The Path of Exile

In January 1939, he went into exile in France and settled in Paris, where he finished filming Sierra de Teruel and began writing Campo Cerrado. In April 1940 he was interned at the Roland Garros Field after being denounced as a communist. The following month he was transferred to the Vernet internment camp, whose experiences he wrote in his story Raven Manuscript. History of Jacobo, and in November he was banished to Marseilles. In 1941 he was arrested again and deported to Algeria, where he composed his shocking book of poems Djelfa's Diary (1945).

On May 18, 1942, he left the Djelfa camp and headed for Casablanca, to embark on September 10 on the Serpa Pinto towards Veracruz, in Mexico, the country where he naturalized and lived until his death.

Reunion with Spain

He could not return to Europe until 1956 and he did not return to Spain until 1969, for the first time after exile, in what was a bittersweet reunion of which he left testimony in his poignant diary La Gallina Ciega (1971). He made a second, and last, trip to Spain in 1971.

Trajectory

In Mexico, he indulged in an incredible cultural activity that led him to become interested in painting, coming to invent a heteronymous painter called Jusep Torres Campalans, to whom he even dedicated a biography (Jusep Torres Campalans, 1958) and who managed to make art critics pass for real, organizing exhibitions of his paintings.

In Mexico, he wrote most of his works, among which stands out a cycle made up of six novels about the Spanish civil war, whose general title is The Magic Labyrinth. It is his masterpiece and is made up of Campo cerrado (1943), which evokes his adolescence in Castellón and Barcelona, written in Paris in 1939; Field of Blood (1945), where he already describes the Civil War in all its harshness; Campo abierto (1951), a much more traditional and Galdosian novel; Campo del Moro (1963), which reports on the death throes of the Republican regime in the Madrid of Colonel Casado and Professor Julián Besteiro, about to be handed over to Franco's troops after liquidating the communists. This was the first novel in the cycle to be published in Spain (1969), printed in Barcelona although published by Editorial Andorra based in the Principality. It was followed by French Countryside (1965), a kind of recapitulation of all of the above where he meditates on defeat, and Campo de almendros (1968), an indisputable masterpiece of despair, bankruptcy and human nature, which Gregorio Morán and the Hispanist Ian Gibson consider their best work and compares it to Life and Fate by Vasili Grossman. This moving paragraph belongs to this work:

These that you see now undone, evil, furious, flattened, without shaving, cowards, dirty, tired, biting, made a disgust, shattered, are, however, never forget what happens, are the best of Spain, the only ones that, in truth, have risen, without anything, with their hands, against fascism, all alone, These you see, broken Spaniards, defeated, overcrowded, wounded, drowsy, half dead, hopeful to escape, are, do not forget, the best in the world. It's not beautiful. But it's the best thing in the world. Don't ever forget it, son, don't forget it. (Max Aub, Almond field1968).

To these titles are added two other great novels: Las buenas intenciones (1954) and La calle de Valverde (written in 1959, published in 1961). Both in La calle de Valverde, and in the populous novels of El laberinto mágico, «the dead and the living are mixed, and the truth and the lie. They are fused into an alloy that gives the undoubted gold of literature, of what could or should have been and did not reach existence» (in the words of the Spanish writer Antonio Muñoz Molina).

Max Aub Bibliography

• Daily poems (1925). Private edition of 50 copies. Printed Omega. Barcelona (verse)
• Narcis (1928). Altés. Barcelona (teatro)
• Geography (1929). Literary Lecture Notebooks. Madrid (novela)
• Incomplete theatre (1931). Sociedad General Española de Librerías. Madrid (teatro)
• Green Fables (1933). Author edition. Valencia (novela).
• Luis Álvarez Petreña (1934). Miracle. Barcelona (novela). Incomplete editing.
• A (1934). Private edition of 35 copies. (verse).
• Mirror of greed (1935). Cruz and Raya. Madrid (teatro).
• Project of a National Theatre (1936). Author edition. Valencia (ensayo)
• San Juan (1943). Economic Culture Fund. Mexico. This is the first work published by Aub in Mexico shortly after being exiled.
• Closed field (1943). Economic Culture Fund. Mexico (novela).
• Diary of Djelfa (1944). Union Distributor of Editions. Mexico (verse).
• They're not stories. (1944). Economic Culture Fund. Mexico (verse).
• Die to close your eyes (1945). Economic Culture Fund. Mexico (teatro).
• The conjugal life(1946). Economic Culture Fund. Mexico (novela).
• Blood field (1946). Economic Culture Fund. Mexico (novela).
• The Rapture of Europe (1946). Economic Culture Fund. Mexico (teatro).
• Speech of the contemporary Spanish novel (1946). The College of Mexico. Days No. 50. Mexico.
• Face and cross (1948). General Society of Mexican Authors. Mexico (teatro).
• Some time to this part (1949). Economic Culture Fund. Mexico (teatro).
• Waiting room (1949). Volume I. Numbers 1 to 10. Economic Culture Fund. Mexico (miscellaneous)
• Waiting room (1950). Volume II. Numbers 11 to 20. Economic Culture Fund.
• Wish (1950). Economic Culture Fund. Mexico. (teatro)
• Waiting room (1951) Volume III. Numbers 21 to 30. Economic Culture Fund.
• Open field (1951). FCE. Mexico. (Novela)
• No. (1952). FCE. Mexico. Theatre
• Songs to the absent wife (1953). Private edition. Mexico. (verse)
• I live. (1953). FCE. Mexico. (novela)
• Anthology of the Spanish prose of the nineteenth century (1953). Volume I (Neoclassic and Liberal). Old Robredo Library. Mexico.
• Good intentions (1954). FCE. Mexico. (novela)
• Contemporary Spanish Poetry (1954). University Printer. Mexico.
• Some proses (1954). The present. Mexico.
• True stories (1955). Old Robredo Library. Mexico (novela)
• Certain stories (1955). Old Robredo Library. Mexico. (novela)
• Three monologues and one true (1956). FCE. Mexico. (teatro)
• A new Spanish poetry (1957). University Printer. Mexico.
• Number of copies (1957). Old Robredo Library. Mexico.
• Heine (1957). Private edition. Mexico.
• Some new Spanish poets (1957). Numbers 15 and 16 full of “Ideas de México.”
• The street of Valverde (1961)

La calle de Valverde is a costumbrista novel published in exile in 1961. It describes the life and atmosphere of a traditional neighborhood of Madrid during the Primo de Rivera dictatorship and through the residents of the number 32 of that street.

In 1959, the publication of the work was prohibited in Spain, censored by the Book Inspectorate. The original was published in its entirety for the first time in Veracruz in 1961. In 1967, a censored version was published in Spain, with paragraphs deleted in some of its chapters, predecessor of the complete version published in 1970.

Blind Man's Chicken (1971)

The reason why Max Aub returns to Spain after thirty years, contradicting his word that he would not do so while Franco's regime continued, is a commission to make a book about Buñuel.

"I threw myself into the task with the preconceived idea of not making one but two books: the Buñuel, novel, and these notes about the land back to tread thirty years after my forced march (...)"

Poetry

Max Aub is responsible for the Antología de Poesía Mexicana 1950-1960 with a preface by Enrique Díez-Canedo and included in a lyrical career that began at the age of 19 with Los Poemas Cotidianos (1925), linked to a certain French symbolism (Jammes, Laforgue) and the Hispanic modernist tradition.

He continues along these lines Versions and Subversions (1971) and his posthumous book Impossible Sinai (1982), where he brings together the Arab-Arab Six-Day War. Israeli (1967) some poems that denounce all war in general while trying to understand what happened.

Prose

His essays should be highlighted: Discourse on the Contemporary Spanish Novel (1945), Contemporary Spanish Poetry (1947), The Spanish Prose of the 19th Century (1952) and Manual of the History of Spanish Literature (1974).

Max Aub dedicated his last years to the preparation of a gigantic and capital biography in two voices: Conversations with Luis Buñuel, to the newspaper La Gallina Ciega and to the writing of their Diaries.

In 2001 the edition of his Complete Works began, published in Valencia (Biblioteca Valenciana - Institució Alfons el Magnànim); the year in which an asteroid discovered at the time by Rafael Ferrando, the (72827) Maxaub, was also named in his honor.

On June 9, 2009, the Instituto Cervantes in Algiers inaugurated its library under the name Biblioteca Max Aub.

Legacy

In 1997 the Max Aub Foundation was established, with headquarters in the town of Segorbe, Castellón, whose purpose is the study and dissemination of his work.

In 1998, the National Dramatic Center, in collaboration with Teatros de la Generalitat, premiered his drama San Juan, one of his fundamental works written during exile, belonging to his "theater major". The director of the staging was Juan Carlos Pérez de la Fuente.

In 2016, the National Dramatic Center scheduled performances of The Magic Labyrinth in the version by José Ramón Fernández and directed by Gentleman.

Work

Novels

• Luis Álvarez Petreña (1934/1965/1971; successively expanded editions)
• The Magic Maze: Closed field (1943), Blood field (1945), Open field (1951), Campo del Moro (1963), French field (1965) and Almond field (1968). Edition Cuadernos del vigía, Granada (2017-2019)
• Good intentions (1954)
• Jusep Torres Campalans (1958), imaginary biography
• The street of Valverde (1961)
• Card Game (1964), a deck of cards edited in Mexico by Alejandro Finisterre, understanding two different games with a total of 106 cards, which have on the one hand drawings attributed to Torres Campalans, and on the other hand missives of various people that allow to rebuild the life of the main character. Edition in Cuadernos del vigía, Granada, 2010.

Stories

• Living of the Waters . Max Aub Foundation and Viver Town Hall
• They're not stories. (1944). Mexico: Tezontle
• Revista Waiting room. Sections They are not stories (second series) and Zarzuela (1948-1950). Mexico: Graphics Guanajuato
• Some proses (1954). Mexico: The Presents
• True stories (1955) Mexico: Former Robredo Library
• Mexican tales (with pylon) (1959). Mexico: Imprenta Universitaria
• The true story of the death of Francisco Franco and other stories (1960). Mexico: Book Mex Editores. Then edition Cuadernos del vigía, Granada (2014)
• The Zopilote and other Mexican stories (1964). Barcelona: Edhasa
• Bad Death Stories (Incomplete Works by Max Aub) (1965). Mexico: Joaquín Mortiz
• My best pages (1966). Madrid: Gredos, Col. Hispanic Anthology, 24
• Last stories of the Spanish war (1969). Caracas: Monte Ávila Eds

Other anthologies and editions of Aubian stories

• The true story of the death of Francisco Franco and other stories (1979). Barcelona: Seix Barral.
• Number of copies (1991). Foreword by Eduardo Haro Tecglen. Madrid: Editorial Calambur. Then, already entirely, like A lot of death, Granada, Cuadernos del vigía, 2011.
• January without a name. The full stories of the Magic Labyrinth (1994). Presentation by Francisco Ayala and selection and prologue by Javier Quiñones. Barcelona: Alba Editorial.
• Manuscript crow. History of James (1999). J. A. Pérez Bowie (ed.). Segorbe: Fundación Max Aub-Universidad de Alcalá de Henares. And then, in Granada, Cuadernos del vigía, 2011.
• True stories (2004). Segorbe: Max Aub Foundation.
• They're not stories. (2004). With a prologue of Francisco Caudet. Madrid: Huerga and Fierro Editores.
• Reports I. Avant-garde Fables and Certain Mexican Tales (2006), Complete works, vol. IV-B, Joan Oleza (Dir.), Franklin García Sánchez (ed.). Valencia: Biblioteca Valenciana – Institució Alfons el Magnànim.
• Reports II. The stories of The Magic Maze (2006). Complete works, vol. IV-B, Joan Oleza (Dir.), Luis Llorens Marzo and Javier Lluch Prats (eds.). Valencia: Biblioteca Valenciana-Institució Alfons el Magnànim.
• The Eternate Father's Cleanses and Other True Tales: the Eye of the Witness Storyteller (2011). Eloísa Nos Aldás and Javier Lluch Prats (eds.). Segorbe: Max Aub Foundation, Col. Max Aub Library, 16.
• A lot of death. Granada, Cuadernos del vigía, 2011. Includes Number of copies (intregrated edition) Infantry, Gastronomy, Suicide (intregrated edition) Epitaph (intregrated edition) Signs of spelling. Edition and prologue by Pedro Tejada Tello.

Theater

• One bottle (1924)
• Prodigious mistrust (1924)
• Mirror of greed (1927)
• Narcis (1928); NarcisVictor Mansanet's translation and ed. Paiporta: Denes, 2003
• Some time to this part (1939)
• San Juan (1943)
• Die to close your eyes (1944)
• The rapture of Europe (1946)
• Wish (1950)
• No. (1952)
• Works in an act (1960)
• Rounds. Incomplete works by Max Aub, Joaquín Mortiz. First edition, 1965. Includes 3 pieces in one act: Round: 1947, Round: 1960, Round: 1964. The common denominator of these works is that of 3 characters who recover their freedom after long stays in prison for their political affiliation.
• The pig (1968)
• Comedy, it doesn't end

Literary criticism essays

• Speech of the contemporary Spanish novel (1945)
• Contemporary Spanish Poetry (1947)
• The Spanish prose of the nineteenth century (1952)
• Anthology of Mexican Poetry 1950–1960 (Mexico: Aguilar, 1960)
• Guide to narrators of the Mexican Revolution (1969)
• History Manual of Spanish Literature (Madrid: Akal, 1974)

Poetry

• Daily poems. Barcelona: Imprenta Omerga, 1925.
• Diary of Djelfa. Mexico: Distributing Union of Editions, 1944; 2.a ed., 1970; 3.a ed.,1996; 4.a ed., 2001.
• Translated anthology. Mexico: Universidad Nacional Autónoma, 1963; 2.a ed., 1972.
• Subversions. Madrid: Helios, 1971.
• Versions and subversions. Mexico: Alberto Dallal, 1971; 2.a ed.: Granada: Cuadernos del Vigía, 2015.
• Impossible Sinai. Barcelona: Seix Barral, 1982; 2.a ed., complete: Sorry about the Sinai. Pasqual Mas (ed.). Madrid: Visor, 2008.
• Full poetic work. O.C. vol. I. Arcadio López-Casanova et al.(ed.) València: Biblioteca Valenciana-Institució Alfons el Magnànim, 2001.
• Catalogue of the unpublished poetic corpus of Max Aub. Pasqual Mas (ed.). Castelló de la Plana: Diputació de Castelló, 2019.

Biography

• Conversations with Luis Buñuel (Aguilar, 1984), posthumous book, prepared by Federico Álvarez, interviews with Buñuel and, above all, with friends, family and acquaintances. It was the oral material for the preparation of bueñuelesca life.
• Luis Buñuel, novel (Edit by Carmen Peire, Granada, Cuadernos del vigía, 2013), unpublished book and closer to his biographical project, complementary to the previous one: it only includes interviews with Buñuel, but continuously explored with the comments of Aub, many discussions of this about the filmmaker and a long second part, "The art of his time" (pp. 397-592), about the vanguards, and how Buñuel
• Max Aub / Buñuel. All talks (2 vols.) (Edit by Jordi Xifra, 2020). Zaragoza, Presses of the University of Zaragoza, 1,052 pages.

Autobiography

• I live. (1951), fragments 1934-36. Now, at Segorbe, Univ. Córdoba, 1995.
• The blind hen. Spanish daily (1971).
• Journals (1939-1972). Editing, introductory study and notes by Manuel Aznar Soler. Barcelona, Alba, 1998.
• Journals. M. Aznar Soler (ed.). Mexico: CONACULTA. Col. Mexican memories. 2002.
• New unpublished journals: 1939–1972. Manuel Aznar Soler Edition, Seville, Renaissance, 2003. Final edition of that capital diet.
• I live. Cuadernos del vigía, Granada, 2016.

Epistolary

• Caudet, Francisco (ed.) (2003). Max Aub-Manuel Tuñón de Lara. Epistolary 1958-1973. Valencia: Biblioteca Valenciana-Fundación Max Aub.
• Enríquez Perea, Alberto (ed.) (2007). Alfonso Reyes-Max Aub. Epistle 1940-1959. Presentation by Alicia Reyes. Valencia: Biblioteca Valenciana-Fundación Max Aub.
• González Sanchís, Miguel Angel (1992). Epistolary of exile. Max Aub (1940-1972). Segorbe: City Hall.
• Lluch Prats, Javier (ed.) (2007). Max Aub-Ignacio Soldevila During. Epistolary 1954-1972. Valencia: Biblioteca Valenciana-Fundación Max Aub.
• Montiel, Francisca (1993). “Write outside Spain: the correspondence between Max Aub and Segundo Serrano Poncela” Acts 1993 (see Alonso, 1996), vol. I, pp. 185-202.
• Montiel, Francisca (2006). “I lie in front of Victor Hugo: the correspondence between Esteban Salazar Chapela and Max Aub”, in M. Aznar (ed.), Writers, editorials and magazines of the republican exile of 1939. Seville: Renaissance, pp. 245-272.
• Prats Rivelles, Rafael (1986). “My correspondence with Max Aub”, in Batlia. Valencia: Provincial Council of Valencia, Fall-Winter 1986, pp. 128-132.
• Moya, Sunday (editing and essay) (2018). You're back. Max Aub and Dionisio Ridruejo (carts). Cervantes Institute.
• Soldevila During, Ignacio (ed.) (2001). Max Aub-Francisco Ayala. Epistolary 1952-1972. Valencia: Biblioteca Valenciana-Fundación Max Aub.

Those interested in the rich Aubian epistolary are recommended to consult the funds of the Max Aub Foundation.

Others

• The Spanish theater brought out in the light of the darkness of our time, by Max Aub. Speech read by his author at the ceremony of his academic reception on 12 December 1956. Reply of Juan Chabás and Martí, originally published in Mexico in 1972, although with an impression foot of the Spanish Academy, Madrid, 1956.

Bibliography - Critical Studies

Complete Works of Max Aub

• 2001a. Complete poetry. Arcadio López-Casanova, Pasqual Mas, Juan María Calles and Eleanor Londero (ed.), en Complete Works by Max AubJ. Oleza (dir.), The Magic Maze I, Vol. I. Valencia: Biblioteca Valenciana-Institució Alfons el Magnànim.
• 2001b. Closed field. Ignacio Soldevila (ed.), in Complete Works by Max Aub, J. Oleza (dir.), The Magic Maze I, Vol. II. Valencia: Biblioteca Valenciana-Institució Alfons el Magnànim.
• 2001c. Open field. José Antonio Pérez Bowie (ed.), in Complete Works by Max Aub, J. Oleza (dir.), The Magic Maze I, Vol. II. Valencia: Biblioteca Valenciana-Institució Alfons el Magnànim.
• 2002a. Blood fieldby Luis Llorens March (ed.); Campo del Moro, by Javier Lluch Prats (ed.), in Complete Works by Max AubJ. Oleza (dir.), The Magic Maze II, Vol. III-A. Valencia: Biblioteca Valenciana-Institució Alfons el Magnànim.
• 2002b. Short theatre. Silvia Monti (ed.) in Complete Works by Max Aub, J. Oleza (dir.), Vol. VII-B. Valencia: Biblioteca Valenciana-Institució Alfons el Magnànim.
• 2002c. First theatre. Josep Lluís Sirera (coord). Complete Works by Max Aub, J. Oleza (dir.), Vol. VII-A. Valencia: Biblioteca Valenciana-Institució Alfons el Magnànim.
• 2002d. Almond field. Francisco Caudet (ed.) and Luis Llorens March; Complete Works by Max AubJ. Oleza (dir.), The Magic Maze IIVol. III-B. Valencia: Biblioteca Valenciana-Institució Alfons el Magnànim.
• 2006a. Theatre, Josep Lluís Sirera (coord.), en Complete Works by Max Aub, J. Oleza (dir.), Vol. VIII. Valencia: Biblioteca Valenciana-Institució Alfons el Magnànim.
• 2006b. Reports I. Avant-garde fables and certain Mexican tales. Franklin García Sánchez (ed.), in Complete Works by Max Aub, J. Oleza (dir.), Vol. IV-A. Valencia: Biblioteca Valenciana-Institució Alfons el Magnànim.
• 2006c. Reports II. The stories of The Magic Maze. Luis Llorens March and Javier Lluch Prats (eds.), in Complete Works by Max AubJ. Oleza (Dir.), Vol. IV-B. Valencia: Biblioteca Valenciana-Institució Alfons el Magnànim.
• 2008. Novels I. Good intentions. The street of Valverde. Luis Fernández Cifuentes (ed.), en Complete Works by Max Aub, J. Oleza (dir.), Vol. VI. Valencia: Biblioteca Valenciana-Institució Alfons el Magnànim.
• 2010a. French field. José María Naharro-Calderón (ed.), en Complete Works by Max AubJ. Oleza (dir.), The Magic Maze Vol. V-A. Valencia: Biblioteca Valenciana-Institució Alfons el Magnànim.
• 2010b. History Manual of Spanish Literature. Eva Soler Sasera (ed.), in Complete Works by Max Aub, J. Oleza (dir.), Vol. V-B. Valencia: Biblioteca Valenciana-Institució Alfons el Magnànim.

Critical Studies

• Delphine Arruga-Guilbert (2007). ‘The Magic Maze’ by Max Aub. De l’Histoire aux histoires: una quête dédaléenne. Thesis doctoral directed by Jean-Pierre Castellani. Tours: Université François-Rabelais- Études Hispaniques.
• Manuel Aznar Soler (2002). “Memory and oblivion of the Civil War in Max Aub’s Diaries” Hispanic American Cuadernos, 623, May 2002, pp. 37-43.
• Benítez Burraco, R. (2004). "The influence of classical mythology in Max Aub's short narrative." Revista de filología y linguistic de la Universidad de Costa Rica, 30 (1), pp. 93-117.
• Cecilio Alonso (ed.) (1996). Acts of the International Congress "Max Aub and the Spanish Labyrinth (Valencia y Segorbe, 13-17 December 1993)"Valencia, City Hall.
• Miguel Corella Lacasa (2003). The artist and his others: Max Aub and the novel by artists, Valencia, Valencian Library.
• Javier Quiñones, Max Aub, novel, Barcelona, Edhasa, 2007 [new that reconstructs the life of Aub, a non-fiction novel].
• Javier Lluch Prats (2000). “Proposed for a reauthorization of Max Aub: Good intentions and Campo del Moro”, in Maze, I, pp. 33-51.
• Javier Lluch Prats (2002). “A manuscript from Max Aub’s workshop” Olivar, Revista de Literature y cultura españolas. Monographic number - Max Aub. III, 3, pp. 117-144.
• Javier Lluch Prats (2004). “Aubian reflections around the writing of The Magic Labyrinth”, in Letter of Memory. Messina: Andrea Lippolis Editore, pp. 175-186.
• Javier Lluch Prats (2006). “Provisional writing: plans for a novel on exile”, The Euclid Mail, 1. Segorbe: Max Aub Foundation, pp. 296-310..
• Javier Lluch Prats (2008). “An unprecedented story about the second generation of exile: I am I”, The Euclid Mail, 3. Segorbe: Max Aub Foundation.
• Javier Lluch Prats (2008). “Census interactions: Max Aub and readers of the Franco regime”, The Euclid Mail, 3. Segorbe: Max Aub Foundation.
• Javier Lluch Prats (2010). Gallery of Characters of The Magic Maze. Segorbe: Max Aub Foundation.
• José-Carlos Mainer (1973). “Max Aub, between Antiespaña and Universal Literature”, in Insula, 320-321, Madrid, July-August, pp. 6 and 12.
• José-Carlos Mainer (1996). “The ethic of the witness: The vanguard as moral in Max Aub”, Alonso, cit. Acts 1993, vol. I, pp. 69-91.
• Gerard Malgat (2007). Max Aub and France or the hope betrayed, Max Aub Foundation (Segorbe) and Renacimiento (Sevilla).*Silvia Monti (2008). “The collective character in Max Aub’s theatre”, The Euclid Mail, 3. Segorbe: Max Aub Foundation.
• Antonio Muñoz Molina (1996). Max Aub's funeral and timelessness. Address of admission to the Royal Spanish Academy. Madrid: RAE (in pdf).
• Antonio Muñoz Molina (2000). “A Life in the Century”, in Cara and Cruz. Iconography of Max Aub. Segorbe: Max Aub Foundation, pp. 14-18.
• Joan Oleza (1994). “Max Aub, between vanguard, realism and postmodernity”, in Insula569. Madrid, May, pp. 1-2; 27-28.
• Joan Oleza (1996). “Luis Álvarez Petreña or the tragedy of the self” in Acts 1993, vol. I, pp. 93-122.
• Joan Oleza (2002). “Voices in a blood field: Max Aub and the penultimate national episodes”, Olivar, Revista de Literature y cultura españolas. Monographic number - Max Aub. III, 3, pp. 45-63.
• José Emilio Pacheco (1973). “He wrote as habit and passion,” American Journals, XXXII, 2, March-April, pp. 76-79.
• José Antonio Pérez Bowie (1985). “Introduction”, in Max Aub, The street of Valverde. Madrid: Chair, pp. 13-113.
• José Antonio Pérez Bowie (2003). “On Max Aub’s commitment: literature as rebellion and revelation,” Revista de OccidenteJune, pp. 39-52.
• Javier Sánchez Zapatero (2009). Memory commitment: a comparative analysis. Max Aub in the European context of exile literature and concentration camps. Thesis doctoral directed by José Antonio Pérez Bowie. University of Salamanca, Faculty of Philology, Department of Spanish Language.
• Ignacio Soldevila, The Commitment of Imagination: Life and Work of Max Aub, Valencia, Valencia, 2003.
• Ignacio Soldevila, The narrative work of Max Aub, Madrid, Gredos, 1973.
• Eva Soler Sasera (2011). Max Aub, literary critic. Critical options and functions. Doctoral thesis led by Joan Oleza Simó. University of Valencia, Faculty of Philology, Department of Spanish Philology.
• For the full bibliography and on Max Aub, see the Maxaubiana, by Ignacio Soldevila During, in several editions, updated in each number The Euclid Mail. Scientific Yearbook of the Max Aub Foundation, published since 2006.