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| From 1880 to 1900 The 1880s generation theoretically
and methodically built up a literature with features of its own, stressing
European colors and cultural primacy of Buenos Aires par excellence.
Literature from inland was not significant yet at this stage. The
immigratory flows of varied ethnic group enhanced the transformation
of the Great Village into the cosmopolitan metropolis. Poetry is lyrical
and imprecatory: Leopoldo Díaz and Almafuerte;
essay is a recent genre: José Manuel Estrada, Pedro
Goyena and Joaquín V. González; narrative
fluctuates between the social and the depiction of manners: Miguel
Cané, Eugenio Cambaceres, Julián Martel,
Francisco Sicardi and Carlos María Ocantos. |
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By
late 19th century, Rubén Darío's hand and letters
brought MODERNISM. Euphuism and symbolism summarize the new
aesthetics, which would later lend the strongest voice to contemporary
Argentine poetry: Leopoldo Lugones, whom we owe the first
science fiction short story in our literature. Lugones is the paradigm
dividing Argentine literature into two domains.
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| Lugones's
voice would continue to echo for a long time, but, at the same time,
there appeared two creative lines: CRIOLLISM (from criollo,
word applied to the native inhabitants which were born from Indians
and Spaniards), pontificating rural realism with Horacio Quiroga
and Roberto J. Payró, and SIMPLISM, a poetry
of the popular with Evaristo Carriego and Baldomero Fernández
Moreno. A critical interim allows us to rescue, among others,
Ricardo Güiraldes' and William E. Hudson's traditionalism;
Enrique Larreta's euphuism; and Enrique Banchs' mester
de juglaría (verse in the manner of troubadours). |
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| Luis
Ricardo Furlán |
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Surfing the South 
