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.
Amado Nervo announces, in terms of a “literary school,” the emergence of futurism in Italy, whose manifesto he translates in order to place it, with no fear at all, at the reader’s disposal. And Nervo does it with the conviction that—in spite of its “incendiary” statements—whoever loudly endorses them will end up “in the armchairs of the academies.” The Mexican writer even shares the futuristic principles of the song to modern life, the avoidance of the weight of the past, and the act of opting for the future. Rather than the youth that faints, what the poet values implies the enthusiasm and the capacity to keep youth alive.
This reference to Italian futurism by the poet Amado Nervo (1870-1919)—who also served as Mexican Ambassador to Argentina and Uruguay—is apparently the earliest statement appearing in the Mexican press. It is noteworthy that Nervo should be a poet associated with Modernism, within a mystical current, the one in charge of spreading this modality of the avant-garde, as well as engaging in the quite open dialog established with the press. With the passing of time, the trend of futurism will become a recurrent topic in the Mexican cultural press.