20th Century Literature: American, Latin American, & Spanish
20th Century American Literature
Latin American Narrative (Mid-20th Century)
Latin American narrative emerged as a highly original form of universal literature, characterized by its rejection of strict realism.
Early Protagonists of Renewal
- Miguel Ángel Asturias (Nobel Prize winner, precursor to magical realism, masterpiece: Mr. President)
- Alejo Carpentier
- Jorge Luis Borges (universal classic, themes: time, death, destiny; major works: Ficciones, El Aleph)
- Juan Rulfo (El llano en llamas, Pedro Páramo)
The Boom (1960s)
1962 marked the beginning of the Latin American narrative boom, with works like The Cathedral, The City and the Dogs, and The Death of Artemio Cruz by Carlos Fuentes. This new wave of writers embraced dazzling magical realism.
Key Authors of the Boom
- Ernesto Sabato (On Heroes and Tombs)
- Julio Cortázar (Rayuela)
- Mario Vargas Llosa (Conversation in the Cathedral, eschewed supernatural elements of magical realism)
- Gabriel García Márquez (One Hundred Years of Solitude, Love in the Time of Cholera)
Poetry from the Spanish Civil War
Generation of ’36
Rooted in heroic and classical styles, featuring poets like Leopoldo Panero and Luis Rosales. Uprooted poetry reflected the war’s harsh realities, represented by José Hierro, Gabriel Celaya, and Blas de Otero. Dámaso Alonso’s Children of Wrath is a prime example of uprooted poetry.
Social Poetry
Shifted focus to plain language and clear prose, using poetry as a tool for social and political action. Key figures include Gabriel Celaya (Cantos Iberians), Blas de Otero (Ask for Peace and the Word), and José Hierro (With Stones, with the Wind).
1950s
Poets grew skeptical of poetry as a political tool, focusing on themes of time, love, and poetic creativity. Notable authors: Ángel González (Brief Annotations for a Biography), Claudio Rodríguez (Don of Drunkenness), Jaime Gil de Biedma (personal experiences), and José María Castellet (Nine Spanish Poets). Characterized by a lack of interest in traditional metrics and formal experimentation.
Theatre from the Civil War
Dramatic crisis in the 1940s due to post-war economic and social difficulties. Playwrights in exile: Max Aub and Alejandro Casona.
1940s
Continuation of Jacinto Benavente’s comedy style, catering to the victors. Key authors: José María Pemán, Enrique Jardiel Poncela (Four Hearts with Brakes), and Miguel Mihura (Maribel and the Strange Family).
1950s
- Antonio Buero Vallejo (Historia de una Escalera, focused on human dignity, justice, and freedom)
- Alfonso Sastre (revolutionary theatre doctrine, The Clamp)
1960s
Rise of independent theatre groups, breaking with formal conventions. Symbolic theatre emerged, with Francisco Nieva as a leading figure in the neo-avant-garde movement (Boards Since 1976 Are the Hot Lead Float).
Post-War Narrative
1940s
- Rooted Novel: Glorification of victorious Spain (García Serrano)
- Uprooted Novel: Camilo José Cela’s The Family of Pascual Duarte
- Trendismo: Focus on human destiny and communication difficulties, featuring marginalized characters and harsh language (Carmen Laforet)
1950s
Precursor novels like The Hive reflected harsh realities, portraying the urban proletariat, poor peasantry, and the bourgeoisie. Civil war novels emphasized linear narrative, objectivity, realism, and collective characters.
1960s
Themes remained similar, but style underwent radical changes to escape the previous novel’s simplicity. Innovations included ultra-omniscient narrators, multiple viewpoints, interior monologues, symbolic descriptions, complex language, and typographic devices (Juan Marsé). Later experimentation focused on disappointment, existential concerns, and destruction of character and narrative.