In his posthumous collection of poems Fragmentos de un libro futuro (2000) José Ángel Valente explores the nature of language, oblivion and death. One of the book’s poems dialogues with the passage from the Odyssey in which the lotus-eaters appear. On the basis of Valente’s poem, the composer Beat Furrer wrote, in 2006, the piece Lotófagos, later incorporated into his musical theatre work Wüstenbuch (2009). In this paper we analyze this composition from a series of motifs, images and concepts implicit in Valente's poem, such as, above all, the desert.

This article presents and publishes for the first time the play As estrelas están lonxe (1966-1967) by Manuel María, based on the typescript discovered among the theatre censorship archive files for 1970 at the General Administrative Archive in Alcalá de Henares. As estrelas están lonxe was awarded second place in the 4th Castelao Prize, organised by the O Galo cultural association in 1967, but was never staged or published and thus remained unknown. The play explores the phenomenon of Galician emigration in Europe, examining the socioeconomic causes behind it and its psychological consequences. The discovery and publication of As estrelas están lonxe marks the completion of the corpus of dramatic works by Manuel María.

The narrative by Fanny Garrido from A Coruña is a representative sample of how the debate about the emancipation of women experienced a rise in the second half of the 19th century. This paper aims, on the one hand, to rescue Garrido’s work, unknown to the public and critics. On the other, to address how the author’s liberal ideology, regarding female education and work, penetrates her two main novels: Escaramuzas (1885) and La madre de Paco Pardo (1898), through exhaustive analysis and based on studies about women’s situation at this time as well on the thoughts of some of her contemporaries such as Concepción Arenal.

Through four collections of poems constructed by means of literary ekphrasis, this article proposes an approach to the new critical perspectives of the genre. The study includes the books La piel del vigilante [The Skin of the Watchman] (2005), by Raúl Quinto, Sistemas inestables [Unstable Systems] (2015), by Rubén Martín, Descendimiento [Descent] (2018), by Ada Salas, and El bello mundo [The Beautiful World] (2019), by Francisco Javier Navarro Prieto. The selected corpus shares, from different intermediate approaches, the same theme —the body in pain—, and show a clear renewal of ekphrastic codes. Although they have all been published in the 21^st century, each collection of poems engages in different dialogues of very different sign with the original artistic work, thus offering a broad panoramic portrait of current ekphrasis. This demonstrates not only the growing vitality of the genre, but also its relevance and scope in recent Spanish poetry.

Nowadays, the forms of literary expression that combine word and photography on the same support are becoming more and more frequent. This overcomes the obsolete conception of the image as a simple illustration of a previous text. Within the Spanish publishing scene, the collaboration between writer Óscar Esquivias and photographer Asís G. Ayerbe, co-authors of a series of miniaturized works, stands out. In order to exemplify the mechanisms underlying this intermediate practice and assess its aesthetic scope, this article analyzes their most outstanding photonarrative artifacts: En el secreto Alcázar (2008), secretos xxs (2008) and Calle Vitoria (2015). In these microdevices, the confluence of two semiotic systems sensorially broadens the reading experience and enriches the possibilities of minifiction.