Zambranian Glosses

The tradition of the glosador (glosser) has a long history in Spain. Take, for instance, the Glosas Emilianenses from the late 10th or early 11th century, attributed to a monk at the Suso Monastery in San Millán de la Cogolla (La Rioja). These are marginalia found in the pages of Codex Aemilianensis 60 (from “Aemilianus,” “Millán,” and “Emiliano”), which contains liturgical texts. Written in three languages—Latin, Basque, and Navarro-Aragonese—they constitute the first written record of a Romance language. Their purpose was educational; since Latin remained the language of the learned, it had been replaced by Romance vernaculars for everyday use. Thus, they served to illuminate the obscure meaning of the Latin text, clarifying the sense of certain expressions for students.

I must confess that, in my own reading, I am also prone to making marginal notes—in my own books, of course—and I cannot help the teacherly habit of pencil-correcting the typos I stumble upon. What a great mystery these typographical errors are: they remain hidden from one reader, no matter how meticulous they try to be, while another detects them instantly, at first glance!

 

Drawing found between the pages of Volume I
of the Complete Works of María Zambrano
at the Provincial Public Library of Granada.

Some time ago, I began reading the Complete Works of María Zambrano, edited by Galaxia Gutenberg under the direction of Jesús Moreno Sanz. It is a work produced with enormous care and professionalism. However, I soon crossed paths with the trail of a petulant reader who, at first, seemed meticulous, then finicky, and finally, irritating. Using a fine-tipped black ink pen, this individual had dedicated themselves not just to marking the text's rare errata, but to modifying it at will—deleting an article here, swapping one adjective for another there, or transmuted a verb tense further along. They had taken on the task—as titanic as it was futile and pernicious—of doing this throughout a good portion of the four voluminous tomes held by the Public Library of Granada. As expected, I found "counter-glosses" from indignant readers who had preceded me in this dismal discovery: "But who do you think you are to correct María Zambrano?" one victim asked with holy wrath. Unlike the pious Riojan scribe, this glosser seemed more like a scoundrel. Their notes were not motivated by a pedagogical or corrective urge, but by pure narcissism.

Infuriated yet determined to continue my Zambranian readings, I set out to investigate the trail left with stubborn regularity (always the same black stroke) by the inquisitor who dared to stain the philosopher's writings, causing severe damage that could well be described as an attack on public heritage.

And so I moved forward, tolerating as best I could that beautiful typography blurred page after page, volume after volume, until on one of my peaceful mornings in the reading room, my detective search found its reward: between the leaves of Volume I, a small slip of paper appeared containing the drawing of a human face executed with some skill (see the attached image and tell me if I am right). There is the forgotten footprint, I told myself. And, driven by the graphological skill that distinguishes any teacher with decades of correcting student manuscripts under their belt, I knew without a doubt that the artist was the perpetrator of the infamous glosses.

I now had two possible traits to imagine the person disturbing my reading (and who knows if María’s rest as well!): perhaps they were trained in philosophy and, certainly, they knew how to draw. Was it a self-portrait? I wondered.

On the back of the slip, I thought I could make out the traces of printed text that I couldn't distinguish clearly enough. I tucked it away and waited until I was home to examine it under better light and with the help of a magnifying glass. It was a library loan receipt for that very copy, where the name of the reader—the author of the portrait and, therefore, the perpetrator of the glosses—could be intuited! L.V.C. are her initials. I must maintain the anonymity of the woman who turned out to be the inquisitor to avoid exposing her to public scorn. Her surnames were not excessively common, so I entered them into a search engine hoping there wouldn't be many who answered to that name. Only one. There she was: a philosophy graduate and middle-aged artist with exhibited work. It could be no one else. I finally had a name and a face. I then prepared to contact her (would she admit her guilt? I wondered). I had no success. Now, I will pass the results of my inquiries to the library staff in the hope that my evidence is enough to reprimand such an unusual and daring reader... I also hope that L. reads these lines and reflects with contrite humility on her reading habits when it comes to shared books.

I will keep you informed.

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