Spanish Poetry: From Post-War to the '70s

Spanish Poetry After the War

1. Poetry in Exile loses contact with the renewal of the years preceding the war. The themes are common to all of them (parental loss, memories, longing to return, etc.), and really care about the land where you live. The existential perspective of life predominates, and the style is more casual and conversational.

2. Spanish Poetry After the War: The process of rehumanization, pulled down in '27, will continue after the war. It is not entirely true for poetry that was cultivated in our country in the '40s and '50s. The poetry scene is divided into:

• Rooted Poetry: A group of authors with a bright, coherent, and orderly vision of the world. The so-called creative Youth (contrary to the negative approach of the rest of the existential poetry of the moment) by the magazine's *Garcilaso*. Its themes dealt with and are supported by religious sentiment, love, landscape, etc. Include: Leopoldo Panero and Luis Rosales.
• Uprooted Poetry: Opposed to them, the world is in chaos and anguish, away from harmony and serenity. Damaso Alonso (*Hijos de la ira*) marks the line of this school. They are grouped under the magazine *Espadaña*. The themes are uprooted, in a tragic tone, snatched poem. With a religious mind that adopts the tone of despair, doubt. Its style is direct, simpler, and less concerned with aesthetics. Highlights: Blas de Otero, Vicente Gaos.

Social Poetry

3. Social Poetry: In the '50s and early '60s, social poetry strengthens the root of two books: *Pido la paz y la palabra* and *Cantos Iberos*, a brother of uprooted poetry. Vicente Aleixandre stresses with *Historia del corazón*.

Features:

• Take advantage of the world's problems.
• Solidarity with other men.
• Rejects aesthetic luxuries.
• Leaves the expression of intimate problems.
• Rejection of neutrality before injustice.
• Approaches political issues (social injustice, alienation, and longing for freedom).
• The style is explained by the subject matter.

Generation of '50

4. Generation of '50: Angel Gonzalez, J. M. Caballero Bonald, and others have been collected under the name of the Generation of '50, not very successful as it is the '60s. Features:

• Concern for man.
• Flee any pathetic treatment.
• Nonconformity to the world.
• Skepticism that departs from social poetry.
• Consolidation of a poetry of personal experience.
• Looking for a work of purification and concentration of the word and a personal language.

The Novisimos

5. The Novisimos: In 1970, Castellet published an anthology entitled *Nueve novisimos poetas españoles*, among them: L. Panero, M. Montalban, L. A. de Villena, J. M. Sarrion, L. A. de Cuenca.

They take as references Hispanic Americans with a renewed tradition of poets (Vallejo), '27 poets (Aleixandre), and Spanish poetic groups (Grupo Cantico).

Their subjects are nourished by culturalism. They do not hide their admiration for pop culture influenced by comics, TV, etc.

They reject the idea of a changing world of poetry. Their style is colloquial, formally serious. The city, by the way, is called Venetian refinement. Sometimes secrecy is served.