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Synopsis

Evar Méndez’s text brings about a critical balance of the Martin Fierro journal’s actions and what they meant to the Argentinean literary renewal throughout its entire publication span. He points out that the journal gathered, from its founding core group to its successive collaborators, in a very fundamental way, poets. So that, in this sense, its pages registered the "most vivid and modern" of the Argentinean youth literary movement: in short, "the new poetry." On the other hand, Méndez also mentions that Martín Fierro published internationally renowned poets like Aldo Palazeschi, Paul Morand, Valery Larbaud, Guillaume Apollinaire, and Jules Supervielle, as well as other prime authors at a world-class level, either by publishing their works or articles that critiqued their production. Méndez states that all this helped to "orient youth, unify the poetic movement, and educate the public, therefore forming readers for new and future works." All of them involve key instances of Martín Fierro’s agenda to foster the proper milieu that gave rise to a general cultural and literary renewal in Argentina. The author maintains that it was with that goal in mind that key editions by two publisher’s houses were possible via the Sociedad Editorial Proa and the Editorial Martín Fierro, all this in addition to the organization of exhibitions, public events, and lectures. Finally, Méndez points out that Martin Fierro galvanized "the renovating spirit of youth," and in this way, it elevated "the lyrical level in America" by bringing to the fore the evolution that poetry obtained in an international level.

Annotations

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.  

 

The book Exposición de la actual poesía Argentina [Exposition of the current Argentinean Poetry] (1927) includes texts from 46 poets (Borges, Girando, Norah Lange, Molinari, among others), classified by the book organizers—Pedro Juan Vignale and César Tiempo (A.K.A. Israel Zeitlin)—as representatives of the "diverse nuclei close to the new literary generation," which they considered to have started in 1922, as read in the publication’s foreword titled Justificación [Justification]. Likewise, the book also presents, as brief introductions and under the title "Situación del lector" [Positioning the reader], six texts of authorship galore: "Estética" [Aesthetics] by Leopoldo Lugones (see document 731255); "Paralelo" [Paralell] by Rafael de Diego; "1907–1922" by Julio Noé; "Poesía" [Poetry] by Ricardo Güiraldes (see document 732842); "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 (see document 747430); and "Rol de Martín Fierro en la renovación poética actual" [The role of Martin Fierro in the current poetical renewal] by Evar Méndez. This nucleus seeks to mention and confront different points of view regarding contemporary poetry through the words of important representatives of the Argentinean intellectual circles of that time.

Researcher
Natalia Pineau
Team
Fundación Espigas, Buenos Aires, Argentina
Credit
© 2012 Evar Méndez Estate
Location
Instituto de Literatura Argentina “Ricardo Rojas”. Facultad de Filosofía y Letras. Universidad de Buenos Aires.