Spanish Poetry After the Civil War: Franco Era to Transition

The end of the Spanish Civil War in 1939 left a bleak cultural outlook: death, exile, humiliation, or muted expression. This year marked, in practice, a "year zero" for poetry in Spain. Federico García Lorca and Antonio Machado were dead, and much of the Generation of '27 was in exile. The Silver Age of Spanish literature had reached its tragic end.

Between 1939 and 1975, Spain lived under the dictatorship of Francisco Franco. The post-war period was marked by international isolation and severe political repression. Poets remaining in Spain either aligned with the ideology and aesthetics of the victors (known as Poesía Arraigada or "Rooted Poetry") or maintained an internal exile (Poesía Desarraigada or "Uprooted Poetry").

The 1950s saw an opening to the outside world and initial economic development. While living conditions improved in the 1960s, political avenues remained largely closed. The evolution of society increasingly clashed with an anachronistic regime that finally collapsed with Franco's death. Post-Franco, Spanish poetry returned to the expression of personal experience, with movements like the Novísimos finding refreshing new ways of expression.

The Transition years (1975-1978) saw the restoration of the monarchy under Juan Carlos I and the establishment of a democratic system. This granted political pluralism and free elections after 1977, allowing poets to explore diverse trends and poetic ideas.

1.1. Poetry of the Post-War Years: The 1940s Landscape

The poetry scene of this period showcased several distinct trends:

• Miguel Hernández's Poetic Journey: After some early formal works, such as El Rayo que no Cesa (1936), the poet began to explore his favorite themes: life, death, and love. His posthumous book, Cancionero y Romancero de Ausencias, is a collection of simple, poignant poems reflecting his anguish in jail and concern for his wife's fate.
• Poesía Arraigada (Rooted Poetry): Associated with journals like Escorial, this movement brought together poets such as Luis Rosales, Leopoldo Panero, and Dionisio Ridruejo. These poets defended a classical aesthetic. Themes often included nostalgia for the Spanish Empire, intimate or amorous affairs, and a strong religious tone.
• Poesía Desarraigada (Uprooted Poetry): Linked to Espadaña magazine, led by Victoriano Crémer and Eugenio de Nora, this trend advocated for a more direct, less rhetorical poetry, deeply committed to human concerns and social realities.
• Marginal Poetry: Journals like Cántico served as an expression for poets such as Pablo García Baena, who were inspired by the exquisite, aesthetic poetry of the pre-war period, often focusing on beauty and sensuality.

In 1944, two highly significant books were published:

• Sombra del Paraíso by Vicente Aleixandre
• Hijos de la Ira by Dámaso Alonso

The latter's title, Hijos de la Ira (Children of Wrath), reflects poems born from anguish, anger, injustice, pain, and the horror of life. This period marked a total thematic and formal break from previous styles.