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.
In this text, Spanish writer Ramón Gómez de la Serna points out his expectations regarding his arrival in Buenos Aires: to meet with the young writers heading the Argentinean literary renewal, with whom he feels closely tied; to lecture as a co-disciple of that group of young people; to have a rummage through the disobedience of America, “the principal virtue of the original and new people”; as well as be present at the preamble of the new art about to be born in the continent.
Martín Fierro (1924–27) obtained a distinguished position amid the avant-garde journals booming in the 1920s Argentina, more specifically in Buenos Aires. It was led by Evar Méndez, even though in 1925 Oliverio Girondo, Eduardo J. Bullrich, Sergio Piñero, and Alberto Prebisch also participated in its direction. Great Argentinean writers, such as Girondo himself, Ricardo Molinari, Leopoldo Marechal, and Jorge Luis Borges, among others, were contributors of its pages; and this include artists such as Emilio Pettoruti, Xul Solar, and Norah Borges. Martín Fierro ceased to exist when the managing group—upon facing the political candidacy of Hipólito Yrigoyen to the nation’s presidency—was split between those who proposed to introduce politics into the journal’s pages and those who refused. This internal bickering caused the folding of the publication. It should be noted that Martín Fierro was read at that time as the representative of the “avant-garde” in Argentina.
This text by writer Ramón Gómez de la Serna (1888–1963), a key figure in the Spanish avant-garde, was part of the journal’s supplement to honor him upon his expected arrival in Buenos Aires, which did not take place at that moment. The supplement was inserted in the Martín Fierro no. 18 (July 18, 1925). The group of “martinfierristas” [those practitioners of the Martin Fierro guidelines] really admired the Spanish writer since they considered him a representative of the literary renewal.
Gómez de la Serna finally arrived for the first time in Buenos Aires in 1931. He returned in 1933 and settled there for good in 1936 (in exile during the Spanish Civil War) until his death (1963).