The great Spanish novelist was in the French propaganda service during the war. It was his job to make Germany unpopular in Spanish. “The Four Horsemen of the Apocalypse” is obviously propaganda, and not particularly subtle propaganda either. Certain chapters might have come direct from our own Creel committee, and one may still be true to the Allied cause and yet maintain that propaganda and literature do not mix with any degree of illusion.
There is no question, of course, that those chapters in the book which are descriptive of the advance and subsequent retreat of the German troops under the eye of Don Marcelo are masterpieces of descriptive reporting. But Philip Gibbs has given us a whole book of masterpieces of descriptive reporting which do not bear the stamp of approval of the official propaganda bureau. And, furthermore, Philip Gibbs does not wear a sport shirt open at the neck. At least, he never had his picture taken that way.
As for the rest of the books that were dragged out from the Spanish for “storehouse” when “The Four Horsemen” romped in winners, I can speak only as I would speak of “The World’s Most Famous Battles” or “Heroines in Shakespeare.” I have looked them over. I gave “Mare Nostrum” a great deal of my very valuable time because the advertisements spoke so highly of it. “Woman Triumphant” took less time because I decided to stop earlier in the book. “Blood and Sand” I passed up, having once seen a Madrid bull-fight for myself, which may account for this nasty attitude I have toward any Spanish product. I am told, however, that this is the best of them all.
It is remarkable that for a writer who seems to have left such an indelible imprint in the minds of the American people, whose works have been ranked with the greatest of all time and who received more publicity during one day of his visit here than Charles Dickens received during his whole sojourn in America, Señor Blasco and his works form a remarkably small part of the spontaneous literary conversation of the day. The characters which he has created have not taken any appreciable hold in the public imagination. Their names are never used as examples of anything. Who were some of his chief characters, by the way? What did they say that was worth remembering? What did they do that characters have not been doing for many generations? Did you ever hear anyone say, “He talks like a character in Ibáñez,” or “This might have happened in one of Ibáñez’s books”?
