Experimental Literature: Poetry and Narrative Trends
Experimental Literature: Poetry and Narrative
Poetry of the 60s
As is customary knowledge, the poetry of this era explained in verses the presence of the intimate, a taste for memory, and the expression of subjectivity through the poetization of personal experience. Irony and humor are also used in a dispassionate way to move away from personal emotions, often employing mockery and satire, sometimes even targeting the figure of the writer.
In terms of style, there’s a remarkable attention to language, moving away from both the prose of some social poets and the harsh tone of the aestheticism-uprooted and formalist poetry of Garcilaso. Metrically, free verse predominates, though there’s occasional use of classical verse. The great care in the construction of poems is very significant. This is not surprising in the work of some poets whose compositions sometimes have a metapoetic character, i.e., reflection about one’s own poetry.
Key Poets of the 60s:
- Gil de Viedma: His writings and poetic personal influence were significant.
- Jaime Gil de Biedma: Co-promoted poetica.
- Ángel González: An example of transition from social to new poetic style. Notable work: Roughly World.
- José Ángel Valente: The main advocate of poetry as knowledge of a reality which occurs in the revelation of poetic creation. His Poems to See You Lázaro are dense.
Los Novísimos
From the late sixties, a group of young poets emerged, leading Spanish poetry in different directions. Sometimes referred to as the generation of ’68, though more commonly called Los Novísimos (The Newest). This collective appearance was marked by an anthology published in 1970 titled The Newest in Nine Spanish Poets. Their mood was provocateur, aligning with interwar avant-garde movements.
The taste for the decadent, exquisite, or stylized framing these poets seek to highlight their refined environments in texts, or scenarios like Italian cities such as Venice, has also been usual, mentioning them in a somewhat pejorative way as the Venetians. The reprocessing of clichés from mass media has much of frivolity and display, but also something ironic and nonconformist provocative. Another recurrent theme is poetry itself: the reflection of many metapoetic compositions insists on considering art as autonomous, poetry as an absolute value in itself, and the poem as a self-sufficient text.
Poetry Since 1975
In the years following Franco’s death, the dominant poetic group is that of the last things. After the first years of his revalacion as a group, they seek + personal expression, aunke a background common to many of the poets ke lyric reach maturity in those years were part or not at the beginning of the last things. Experimental poetry has survived, ke verbal expression has combined with visual procedures typographical or pictorial character. The debugging culturalism was the mere external decoration muxos connects with tradicicon classical poets. Antonio Carvajal. The poetry of living experience poetic trends and authors sometimes very dissimilar. Urban character, theme and realistic, soft intimacy, interest in the everyday and tone colokial are present in the lines Just Navarre. Common Anthology: The other sentientalidad. The + known to the authors of this group is Luis Garcia Montero, whose echoes of lines or gil alberti of Viedma.
The Novel of the 60s
Similar to the evolution of poetry in the sixties, a shift occurs in narrative. Novelists abandon the hopes of their works having direct social repercussions. In many novels, though critical intent isn’t lacking, they focus their renovation efforts on formal, technical, and linguistic experimentation. Luis Martin-Santos’s 1962 novel Silent Time began the so-called boom of the Latin American novel. Vargas Llosa, Alejo Carpentier, and Gabriel Garcia Marquez achieved enormous popularity and left a deep impression on some of the authors who sought to renew the general Spanish novel.
Characteristics of this Experimental Novel:
- The storyline loses its importance; the argument is blurred.
- The number of secondary characters reduces, and the protagonist becomes the center of the novel, but is no longer an individual with a history, tastes, habits… but sometimes ke muxas be amorphous, with no clear physical profiles, blurred and vague.
- Space also loses the characteristics of traditional narrative. Compressed and tends to decrease and even disappear at times like this not to be physical space frame + ke ke imprecisely in the case the minimum argument.