Sometimes disguised as “migratory adventure” or similar terms, Celso Emilio Ferreiro’s exit towards America was, in fact, the only chance he had after feeling very nearly the breath of persecution of the repressive forces of Franco’s dictatorship. He relates it transparently in a personal letter to Camilo Díaz in which he explains why he accepted the position of cultural activist in the Hermandad Gallega of Caracas.
Baldomero Fernandez, Jose Seijo, Jesus Lopez and Celso Emilio, third from the left, on his arrival to La Guaira, maritime entry of Venezuela, in the Santa María in June, 1966.
Celso Emilio, second from the left, with his friend Xosé Sesto and his wife Charo and Jaime Sesto, in the beach of Bahía de Cata. Caracas, 1966.
Delivery of prizes in 1967 in the Hermandad Gallega of Caracas, where Celso Emilio was director of Culture, and the person in charge of the publication Irmandade, of the program of radio and of the Castelao School.
Celso Emilio with Moraima on holiday in the Andes of Venezuela (Santo Domingo), in August, 1968.
Celso Emilio, second from right, with the ex-vice-president of Venezuela, Jose Vicente Rangel, and the secretary of the Spanish Communist party of Venezuela in that time, Manuel Gallego. Caracas, 1969.
In the library of his home in Caracas in 1970 accompanied by Xulio Formoso, journalist and in those days chief of press of the Department of Mines of Venezuela. His son put music to Celso Emilio’s poem “O dedo na chaga”.
In his home in Caracas in 1970 with the commandant Soutomaior, who directed the kidnapping of the boat Santa Maria as protest against the Spanish and Portuguese dictatorships.
Celso Emilio, first from right, with Joaquin Marta Sosa and the poet Pedro Francisco Lizardo, look the first edition of Longa Noite de Pedra. Caracas, 1971.
The family Ferreiro in their farewell of Venezuela. La Guaira, May 5, 1973.
