Editing Luis Cernuda (section)

===Altolaguirre and his family===

That there was a close bond between Altolaguirre, his wife Concha Méndez, and Cernuda seems clear.  Cernuda devoted separate chapters in both ''Estudios sobre poesía española contemporánea'' and ''Poesía y literatura'' to the poetry of Altolaguirre, consistently asserting that he was not a minor poet, despite the critical consensus to that effect.  In ''Desolación de la Quimera'', he defends his dead friend from superficial, mistaken memories of "Manolito" the endearing man, held by people who have forgotten or never knew his rare gifts as a poet, in "Supervivencias tribales en el medio literario".<ref name="Villena introduction50" />   It is like an echo of his fears for what will happen to his own reputation after death - will people remember him or turn to the legends promulgated by people like Salinas.

When Altolaguirre and Concha married in June 1932, Cernuda was one of the witnesses at their wedding, along with Lorca, Juan Ramón Jiménez, and Guillén.<ref name=Islasintro14>Altolaguirre intro to Las Islas invitadas p 14</ref>  When in March 1933 their first child died in childbirth, Cernuda dedicated a poem to him - "XIV" in ''Donde habite el olvido''.<ref name=Islasintro15>Altolaguirre intro to Las Islas invitadas p 15</ref>  They lived in the same building in Madrid from 1935 to 1936 and, in Mexico, he lived in Concha's house.  At times, it seems that this was his real family.  In ''Desolación de la Quimera'', there are two poems that suggest this.  "Animula, vagula, blandula" is a tender poem about watching Altolaguirre's five-year-old grandson, whom he nicknamed [[Entelechy]], playing in the garden and wondering how his fate will differ from his own.  "Hablando a Manona" is like a nursery rhyme addressed to their granddaughter.<ref name="Villena200">Villena notes to Desolación de la quimera p 200</ref>