Spanish Poetry Movements After the Civil War

Post-War Spanish Poetry

After the Civil War, poetic production divided into two main groups:

• Poets in Exile: Covering topics such as the lost homeland, often with a bitter tone.
• Poets in Spain: Starting a process of rehumanization, with themes revolving around existential and social problems.

The 40s and Early 50s: Generation of '36

These poets are known as the Generation of '36. Two major trends stand out:

Rooted Poetry (Arraigada)

Grouped around the magazine Garcilaso. Influenced by a religious feeling present in classical forms, presenting a consistent, orderly, and serene worldview. Topics covered include family and nature. Poets in this group include Luis Rosales and Leopoldo Panero.

Uprooted Poetry (Desarraigada)

Represented by the magazine Espadaña. This poetry has a sensationalist, tragic tone, reflecting a chaotic world invaded by anxiety. The style is more direct and simpler than that of rooted poetry. Important works include Sons of Wrath (Hijos de la ira) by Dámaso Alonso and Yearning and Hope (Ángel fieramente humano / Redoble de conciencia) by Blas de Otero.

The 50s: Social Poetry

In 1955, social poetry emerged with the publication of I Ask for Peace and the Word (Pido la paz y la palabra) by Gabriel Celaya. This stage surpassed existential angst, and poetry was conceived as an act of solidarity with the suffering. Consequently, themes such as social injustice, alienation, and the desire for liberty appeared, even if this meant a reduction in poetic tone (using clear and simple language).

The most representative authors of this period are Gabriel Celaya, Blas de Otero (What Spain Is - En castellano), and Ramón de Garciasol (Land of Spain - Tierras de España).

The 60s: Poetry of Experience

These poets followed the social poetry of the 50s. Some authors, such as Ángel González, Jaime Gil de Biedma, and José Agustín Goytisolo, formed a group (the "Poetic Group of '50"). They presented a major concern for humanity but avoided pathetic treatment. Although nonconformist, skepticism distanced them from social poetry. Their themes took up the intimate and everyday. In terms of style, they used colloquial language and greatly refined their word choice.

The 70s: The 'Novísimos'

In 1963, Pere Gimferrer published Arde el mar (The Sea Burns), representing a break with the preceding poetry. Around him gathered a group of poets, compiled by Castellet in an anthology called Nueve novísimos poetas españoles (Nine Newest Spanish Poets). This group included figures like Manuel Vázquez Montalbán, Félix de Azúa, and Vicente Molina Foix, all born after the war. They possessed broad literary and cultural backgrounds (influenced by cinema, jazz, television, etc.), enhanced by traveling abroad. The main concern of their poetry was form, featuring an artificiality reminiscent of modernism and employing surrealist procedures.