Description
Going down Cava Street, we approach the peculiar San Lorenzo neighborhood, the place where Antonio Muñoz Molina spent his childhood and which becomes another protagonist in his work, with its cobbled streets, its white houses, the churches and palaces...The author recreates in this neighborhood a literary space that is a key element to understand and interpret the action of the story, identifying specific spaces in the neighborhood such as the Cava gardens (both in Plenilunio and in The Polish Rider), the Iglesia de San Lorenzo, the Puerta de Granada, the cobbled streets or its viewpoints. The Cava gardens (both in Plenilunio and in the Polish Horseman). (…) In the gardens of La Cava, around the statue of Ensign Rojas Navarrete, who looks in a straight line towards the north just as General Orduña looks towards the south […]” Antonio Muñoz Molina. The Polish Horseman. The Iglesia de San Lorenzo and the Granada gate. (…) Covered by ivy up to the cross of its pinnacle, the belfry of the church of San Lorenzo continues to impossibly remain standing, but the pillar of the wall, next to the gate of Granada […]” Antonio Muñoz Molina. The Polish Horseman. The cobbled and dark streets. (…) “But I don't want to go that far […], I see Pozo Street again, cobbled and dark, with long fences of corrals and stone lintels […]” Antonio Muñoz Molina. The Polish Horseman. The San Lorenzo viewpoints. (…) “I remember the vertigo of looking out from the viewpoints of the wall and seeing before my eyes all the depth of the precipices and the unlimited extension of the world, the terraces of the orchards, the hills of the olive groves, the broken and distant shine of the river, the dark blue of the foothills of the Sierra, the profile of a toppled statue of Mount Aznaitín […]” Antonio Muñoz Molina. The Polish Horseman.
