Spanish Poetry Evolution: 1940s to Present
Poetry in the 1950s: Generation of ’50
The Generation of 1950, also known as the “children of the war,” included authors like Rodríguez and the poets of the School of Barcelona. Key figures, such as Gil de Viedma, José Agustín Goytisolo, and Carlos Barral, adopted a critical stance. This generation moved towards a more intimate, symbolist poetry, focusing on personal experience, partly influenced by Machado. The value of the word itself became paramount. Irony became more developed from the 1960s onward.
Other notable poets of this era, associated with “compromise poetry,” include Caballero Bonald, González, and Carlos Sahagún. J.A. Valente and Brines also contributed significantly. José Hierro’s works, such as “Five of ’42” and “Hallucinations,” exemplify this period.
Poetry in the 1970s: Experimentalism
The 1970s marked a shift towards experimental and avant-garde poetry. This was not a rejection of earlier poetry, but rather a departure from its intimacy. Poets focused more on language itself, moving away from environmental poetry. Pere Gimferrer, particularly with his work “Arde el mar,” stands out. His later work explored love poetry with a classical, complex, and Gongoristic language.
This period also saw a resurgence of interest in authors like Luis Cernuda and Vicente Aleixandre, along with surrealist poetry. Manuel Vázquez Montalbán represented a culturalist approach, incorporating elements from mass culture, cinema, comics, television, and radio.
Guillermo Carnero is known for his critical themes, while Leopoldo María Panero is recognized for his radical approach. Common traits of this era include intimacy, the eroticism of Gimferrer, and the culturalism of Montalbán.
Poetry from the 1980s to Today
The poetry scene from the 1980s onwards is characterized by a variety of trends:
- Poetry of Experience: Gained significant popularity, with Luis García Montero as a prominent figure. It connects with Machado and Alberti. Some poets from the Generation of ’50 and later, such as Gil de Viedma and Juan Luis Panero, also continued to be influential. Andrés Trapiello is known for his articles and essays.
- Culturalism: This trend, originating with the “novísimos,” includes poets like Guillermo Carnero, Luis Antonio de Villena, and Luis Alberto de Cuenca.
- Minimalism: This approach focuses on essential concepts, stripping away the non-essential. A. Sánchez Robayna is a key figure.
- Avant-garde/Experimental: Blanca Andreu was a stellar avant-garde poet. Jenaro Talens is also notable.
- Neo-romanticism/Neo-symbolism: Antonio Colinas is a prominent figure in this intimate poetry.
- Poetry of Silence: Moving away from culturalism, this trend emphasizes thought and consciousness. Celia Amorós and José Hierro (who encompassed various trends in works like “New York Notebook”) are important representatives.
Lyric Poetry in the 1940s: Generation of ’36
The Generation of ’36 comprised poets born between 1909 and 1922. They were shaped by a flourishing poetic environment, influenced by figures like Rubén Darío, Machado, and J.R. Jiménez, as well as the ensemble of ’27. The Spanish Civil War profoundly impacted their youth. After the war, two main trends emerged:
- Rooted Poetry (Poesía Arraigada): This neoclassical style, represented by magazines like Garcilaso and Escorial, drew inspiration from the Renaissance and classical poets like Garcilaso de la Vega. It often featured a formal, academic tone, using forms like the sonnet and addressing themes of love, religion, and patriotism.
- Uprooted Poetry (Poesía Desarraigada): Emerging in 1944 with Dámaso Alonso’s “Children of Wrath,” this trend expressed a tragic, existential tone, reflecting disgust, human anguish, and despair in a chaotic world. The religious theme took on an existential dimension. The style employed direct, colloquial, passionate language, and often featured stark imagery. Vicente Aleixandre, with his work “Sombra del Paraíso,” is also a key representative.
1950s: Towards Social Poetry
The 1950s saw a shift towards social poetry. In 1955, Blas de Otero published “Pido la Paz y la Palabra,” and Gabriel Celaya published “Cantos Iberos.” Both works served as lyrical testimonies, denouncing injustice and promoting solidarity with the oppressed. The style was simple, close to colloquial language, and highly expressive.