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 builds up opposite traits to define the two most significant literary trends in the 1920s Buenos Aires, the Boedo and the Florida groups. And, as representative of Boedo, Mariani celebrates the poetic characteristics of the former while criticizing the latter.
By around 1924, two literary groups began to be identified as stemming from different neighborhoods and districts in Buenos Aires. One of these, the working-class neighborhood of Boedo, served to identify the leftist writers, the majority of them linked to Claridad Editorial, a publishing house that took care of promoting authors socially and politically committed. For its part, Florida Street was considered the most elegant one in the city, with art galleries, photography halls, luxury shops, and cafés, and was associated with writers who advocated for change in the aesthetic standards in accordance with the proposals of the Avant-garde. In this sense, it was also associated with a renovation in arts and literature.Roberto Mariani (1892-1946)--member of the Boedo group, along with other figures such as Álvaro Yunque and Elías Castelnuovo--advocated literature with a humanitarian nature, connected to a political and social commitment.The book Exposición de la actual poesía argentina (1927) [Presentation of Argentinean Poetry Today] collects the works of 46 poets (Jorge Luis Borges, Oliverio Girando, Norah Lange, and Ricardo E. Molinari, among many others), gathered together by those who organized this volume--Pedro Juan Vignale and César Tiempo (Israel Zeitlin's pseudonym)--as well as representatives of "miscellaneous nuclei and ancillary groups of the new literary generation"; which they consider already started in 1922, according to the prologue titled "Justificación." However, the book also presents, in a manner of brief introductions and under the title "Situación del lector" [Positioning the Reader], six works of multiple authorship: "Estética" [Aesthetics] by Leopoldo Lugones; "Paralelo" [Parallel] by Rafael De Diego; "1907-1922" by Julio Noé; "Poesía" [Poetry] by Ricardo Güiraldes; "Qué entiendo por poesía lírica" [What Do I understand by lyric poetry] by Tomás Allende Iragorri; "La extrema izquierda" [The Far Left] by Roberto Mariani; and "Rol de 'Martín Fierro' en la renovación poética actual" [Martín Fierro's Role in the Present-Day Poetical Renovation] by Evar Méndez. This core group seeks to explain and compare different points of view on contemporary poetry through statements of important references in the intellectual milieu of those times. Martín Fierro published, in issue number 7 from July 25 of 1924, a text by Mariani, "Martín Fierro y yo" [Martin Fierro and I] a trigger for the Boedo-Florida polemic. Although it introduces the ideas as the one incorporated in the volume Exposición de la actual poesía Argentina [Presentation of Argentinean Present-day Poetry] (1927), the text does not elaborate, as the latter does, on the statement of the dichotomy of both groups.