The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
The author expresses his opinion with respect to the literary work of Gómez de la Serna and of the writer’s persona in general. Fernandez emphasizes the writer’s place as the “strongest figure of contemporary literary art” and that “his inventiveness […] exceeds [that] of all others in our time.”
Martín Fierro (1924-1927) played a major role in the large proliferation of Avant-Garde journals published in Argentina, more specifically in Buenos Aires in the twenties. Evar Méndez led it, even though throughout the year of 1925, Oliverio Girondo, Eduardo J. Bullrich, Sergio Piñero and Alberto Prebisch also took part in its administration. Among the participants were key Argentinian writers such as, Girondo himself, Ricardo Molinari, Leopoldo Marechal and Jorge Luis Borges, among others; as well as the participation of artists Emilio Pettoruti, Xul Solar and Norah Borges. Martín Fierro halted publication when, preceding the presidential candidacy of Hipólito Yrigoyen, the core group was divided between those that supported the magazine assuming a political stance and those that did not—this internal bickering continued until the publication’s end. It is important to recognize that Martín Fierro was seen in its time as a key fixture of the Avant-Garde in Argentina. This text by Argentinean writer Macedonio Fernández (1874-1952) was part of a tribute supplement to the writer Ramón Gómez de la Serna, a central figure in the Spanish literary vanguard, which was the impetus for the writer’s scheduled trip to Buenos Aires, which ultimately didn’t pan out as expected. The supplement was featured in Martín Fierro no. 19 (July 18, 1925). The writers that constituted the heart of the publication greatly admired the Spanish writer, mainly for his constant commitment to artistic innovation. In 1931, Gómez de la Serna finally arrived in Buenos Aires, and from 1936 (during the period of the Spanish Civil War) until his death, he resided in this city. Macedonio Fernández belonged to an older generation compared to the Martín Fierro group—which vividly admired the Spaniard writer as a token of innovation—and, in this sense, one can understand Fernández appearance in the supplement as a “voice of authority” that supports the project of aesthetic renewal launched by Martín Fierro.