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By Aníbal González

Modernismo, a literary flow of primary significance to Spanish the US and Spain, happened on the flip of the 19th century, approximately from the Eighteen Eighties to the Nineteen Twenties. it truly is largely considered as the 1st Spanish-language literary circulate that originated within the New global and that turned influential within the "Mother Country," Spain. characterised via the appropriation of French Symbolist aesthetics into Spanish-language literature, modernismo's different major qualities have been its cultural cosmopolitanism, its philological quandary with language, literary heritage, and literary process, and its journalistic penchant for novelty and type. regardless of the elegance of modernista poetry, modernismo is now understood as a large move whose effect was once felt simply as strongly within the prose genres: the quick tale, the unconventional, the essay, and the journalistic cr??nica [chronicle]. Conceived as an advent to modernismo in addition to an account of the present cutting-edge of modernismo experiences, this publication examines the movement's contribution to a number of the Spanish American literary genres, its major authors [from Mart?­ and N??jera to Dar?­o and Rod??], its social and old context, and its carrying on with relevance to the paintings of up to date Spanish American authors akin to Gabriel Garc?­a M??rquez, Sergio Ram?­rez, and Mario Vargas Llosa.

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Extra resources for A Companion to Spanish American Modernismo (Monografías A)

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In 1893, the Cuban modernista Julián del Casal voiced in stark terms the modernistas’ main complaints about the journalistic institution: Journalism, as it is understood today among us, is the most nefarious institution for those who, not knowing how to place their pen in the service of petty causes, or disdaining the ephemeral applause of the crowds, are possessed by the love of Art. … The first thing that is done to the journalist when he takes his post in the newspaper office is to deprive him of one of the writer’s indispensable attributes: his own personality.

154.  Manuel Gutiérrez Nájera, Cuentos completos y otras narraciones, ed. E. K. Mapes (Mexico: Fondo de Cultura Económica, 1958), p. 176. 30 ANÍBAL GONZÁLEZ I rarely go to the circus. Any spectacle in which I see displayed human abjection, whether moral or physical, is greatly repugnant to me. However, a few nights ago, I entered a tent that was raised in the small plaza near the Seminario. A contortionist dislocated himself with grotesque contortions, exploiting his ugliness, his shamelessness, and his idiocy, like those beggars who, in order to stimulate the expected benevolence of the passerby, display their sores and exploit their rottenness.

The first thing that is done to the journalist when he takes his post in the newspaper office is to deprive him of one of the writer’s indispensable attributes: his own personality. … Thus the journalist, from the moment he begins his work, has to suffer through immense avatars according to the demands of his newspaper, turning into a republican if he is a monarchist, into a freethinker if he is a Catholic, or into an anarchist if he is a conservative. I will not mention here the thousand menial chores of journalism, the only ones to which young men of letters can aspire, because it would take me too long to enumerate them.

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