Fifth novel, "El ingenioso Quijote de nuestro siglo"("THE INGENIOUS QUIXOTE OF OUR CENTURY DON QUEJOTE CONÉ") JANUARY 2015

Novel serialized in Guadalajara´s newspaper Nueva Alcarria. 2015 opened with a huge challenge: the serialization (as in the old days) in the newspaper "Nueva Alcarria" (paper edition) of what will be, God willing the longest novel by Luis Miguel Diaz:

"El ingenioso Quijote de nuestro siglo don Quintín Elvigoraco"

NOTE In the Second Book of the novel, the title becomes:

“El ingenioso Quijote de nuestro siglo don Quejote Coné”

Indeed, an adapted Quixote, a crazy dreamer today. In terms of form, the chapters and development of story will be based on the structure of the great Cervantes' Don Quijote. The content, ideology, subject, context, windmills, giant and lovely, the Sancho Panza, Dulcinea and all other guests and ingredients, are another matter. As for the narrative style and literary devices, albeit some reminiscences to Cervantes, will lead their own way.

It is a free and imperfect parallelism between the quixotic design and this modern Quejote. In this regard, the protagonist says:

"Why should we put shoes to our rhetoric with difficulty when we know there are some poor ones who lack of feet?" Why had to oppress perfection when it is well understood freedom signal chaos, and this natural element of imagination?".

Don Antonio Herrera Casado, doctor, historian and Guadalajara´s chronicler Provincial, we greatly appreciate the daring that has supported this idea.

Fourth novel, "El beso del moro Abengalbón" (AACHE Editions, November 2013)

Quintín, a flamboyant manager of Sigüenza (Guadalajara), decides to walk a the "Camino del Cid", day trip called that it's called the Moro Abengalbón, persuaded by three experiences that he believes are calls or divine signs:

1)A dream to the banks of the River Jalon Medinaceli passing through.

2) His mysterious appearance, inexplicable, after an accident, in the Plaza Mayor of Medinaceli.

3) The finding in a restaurant of Sigüenza of the notes that a poet left. There, he promises to make the trip of the Moro Abengalbón between Sigüenza and Medinaceli, sneaking in the wake of a loved one.

Quintín hopes to solve this enigma starting to discover the poet and his lover. On the way they intersect or converge the stories of Quintín, the poet, the lover and other related characters. Following the outcome and the arrival in Medinaceli, a big party for the pilgrims in the Plaza Mayor.

The Moro Abengalbón is a character in the Cantar del Mío Cid. Álvar Fánez Minaya's kiss on the shoulder (moor custom) is an excuse for certain human values to extol in the final ceremony.

In the prologue we read: "This trip is told in a language of difficult classification. At times, it seems to be taken out from an old and golden book, but other times it becomes funny, surprising, remarkable and friendly, conversational and pleasant, narcotic." Antonio Herrera Casado, provincial reporter of Guadalajara.

February 2011: "Los Eremitas de Henarejos y otros cuentos" [The Eremites of Henarejos and others stories], his third book:

We are in a changed Roman theatre: its stage is not where it should, but it has been placed high above the colonnade of the building. Why is this strange peculiarity? ... The show begins: an honored old man, a donkey named Musa and a dog named Felipe will delight us relating three main stories and others connected, and, with the involvement of other actors, some scenes of the stories will be represented.

The story that gives name to this book, "Los Eremitas de Henarejos" [The Eremites of Henarejos] is an invitation to the meditation, perhaps a notion of "universal truth" (this expression was used by D. Miguel Ávila Cabezas, in relation to the previous book "Madre Victoria", Editorial Alhulia, 2009, in that prologue). But the author is changing the record in the course of the reading, and so, we will meet La vida de Quintín Elvigoraco [The life of Quintín Elvigoraco], he is an eccentric person, uncomfortable, irritating to his fellows (even after his death), and he will lead to hilarity and also compassion; and then it will appear El Nuncio de la Muerte [The Nuncio of Death], story that "I wanted to kiss the genus of mystery", in author's words.


MIGUEL AVILA, literature teacher

... ll will tell you that I'm reading Los eremitas de Henarejos and, without exaggerating, I find it sublime. You've been touched by the light of the literary word. This novel deserves a special place on the shelves and the imaginary of the true literature.

ANTONIO HERRERA CASADO, member of the Royal Academy of History

The book written by Luis Miguel Diaz surprises and enthuses us, because "is a brave novel, different, suggestive ... The style used by Luis Miguel Diaz, in this third book, is very Spanish, with a personal manner that comes from old language, modulated during the centuries, and it's not exaggerate to say that comes from Cervantes".

ANA LORENZO, literary critic

In the prologue of book:

Luis Miguel Díaz, the author, is a great lover of mixing genres, and he does well, because genres are labels that were created afterwards, even many centuries ago, and they are not needed to limit a novel.


If, sometime, the author has dreamed of dedicating his life to literature, only of it, I have to say, in my opinion, the Luis Miguel's dream begins to take shape. In this third book, Luis Miguel, surprises us pleasantly with a waste of talent.

June 2009: it was born "MADRE VICTORIA" [MOTHER VICTORIA], his second novel.

"MADRE VICTORIA" [MOTHER VICTORIA] is about the fictional biography of a woman, Micaela Rueda, unloved by her natural mother. Micaela lives the sacrificed way, but she fights, strong and combative, the calamities fell to her lot. But Micalea comforts herself with the platonic idea of the mother, the perfect mother she never had, and that is, ultimately, her alter ego. The scene is not located in place, nor the action in time, but reader will guess immediately somewhere in the postwar period Spain.

Previous works: "ROSAS DE LAUREL" [ROSES OF LAUREL] (unpublished) and "NUMEN DIVINO" [DIVINE NUMEN].

Back cover from "NUMEN DIVINO" [DIVINE NUMEN] (literal transcription):

Let's imagine the pages of this novel are made of thin and transparent glass, and under of them is showing, undisguised, their busy building process (usually, narrative only shows the final result but previous difficulties). To give form this idea the writer projects his ego over some character -both the real as the potential- and comes into his own creation. Using these supports it is developed the first and largest effort of the novel: "take place the sublime mysteries of child over our foolish minds". The first part, written the epistolary style, shows some autobiographical notes about Peter's childhood. During the second part writer comes into the novel, and some adventures happen to exalt novel, and lead the lector's attention in several directions.

"Numen divino" [Numen divine] is an exercise, a game of literary construction. Its message is a hymn to the purity, to the feeling and to the fantasy of the child.

I feel, especially, the novel creation process: its unexpected directions.

How has it been written? I wanted to work up the autobiography of Peter's childhood and adolescence, the protagonist. But I was missing other rhythm, another texture, and the protagonist called me, and, since that time, an amazing interaction between the creator and the created (in which, I understand, will take part the reader) was begun. Then, from certain point, the novel process building started to explain itself.

Part of the action takes place in San Esteban del Valle, a town of Gredos, in the province of Avila (Spain). This place and around are mentioned.

The two works previously mentioned ("Rosas de laurel" and "Numen divino") remained hidden to light some years. One day, the author asked himself: why not try it? Both were rescued and reviewed, and advanced 2006, he asked Lourdes, his sister, submit to publishing houses. EDITORIAL ALHULIA received "Numen divino", so before Christmas time of that year the novel was happily published.

"ROSAS DE LAUREL" predates "NUMEN DIVINO". It was intended as theatre piece, of many figures and scenarios. I improved this work (I think so), and it has ended as hybrid of novel and theatre. "Numen Divino" has made, the interested an partial way, use in it.

I've got other hobbies like painting (I do less than what I would like). You can see my modest watercolours at the right side.

I'm still writing. Publish is not my responsibility.

Luis Miguel Díaz González was born in Madrid (December 1964).

He's a subscriber in a multinational insurance.

His passion for creative literary allowed him to perform several works, which culminated in the course of maturity, in two titles: "Rosas de laurel o La venganza de Don Lucio" [Laurel's Rose or The Revenge of Don Lucio (unpublished theater piece) and "Numen divino" [Numen divine].

The author confesses, as you can read at the brief biography written on this latter book, he's autodidactic and foreign to any militancy, currents, fashions and schools.

Writing is, like many others, a beautiful meditation practice, an act in which one emerges and an own being and deep, is materialized, the essence of uncertain name, its happiness, its pain. I'm not interested in compromise and silliness that we use to do this action, or to show the result, its matter, or to receive food for the ego at change. These things, and more, are unnecessary when we pay honest attention to our feelings.

These are some of the things needless if we pay sincere attention to our feelings. I'm not interested at all, but as I say I don't want to be or look like full of oneself: I admirethe simplicity as one of the highest virtues, if not the most, in the human being, which, in my opinion, has nothing to do with all data we've got, everyone of us, and has been called culture. When I think about this, I bring the image of my grandfather to mind -he was shepherd to others-, he didn't know how to read or write and he died, sure, as a great man. And instead of getting disgusted with the ignorant power, arrogant and vain of the elitist people, I try to smile.

In 2009 it's published "Madre Victoria" [Mother Victoria] (Editorial Alhulia).

In 2011 it's published "Los Eremitas de Henarejos y otros cuentos" [The Eremites of Henarejos and others stories] (AACHE Editions).

The author has proved slightly psychology and sociology.

I bored the verbiage that is used in the official studies. Am I boring and verbose?

Literary tastes. It is an unsurpassed pleasure to look at the word of Cervantes. I'm interested to the rare personality of Kafka and the nature of the underworld that he invented. It amuses me and I admire the genius and simplicity of Miguel Mihura.

From the point of view, let's say spiritual, the more pure than my eyes have read is Krishnamurti. I recommend its reading but not its analysis. Krishnamurti was an exceptional person, disconcerting. He spoke to us from the other side. But I do not accept him as guru, at all, never. I was very much surprised and impressed by the fact to see reflected in his writings and in his piercing gaze my independence from all religion and every ideology.

Favourite music. Paul McCartney and The Beatles. Sometimes, while I'm listening to those peculiar melodies, I feel that their songwriters drank the water from my own source and I imagine they were written expressly for me. About classical music, I love the great Beethoven, the deaf man who knew how to listen to infinity (Victor Hugo said).