Abstract
This article explores how Ricardo Flores Magón used images to transpose the graphic tradition of nineteenth‐century Mexican political journalism into prose by deploying montage to craft both allegorical and prismatic images: while certain images are divorced from their original context and take on a new life, others, analogically related to a single idea, appear prismatically in fragments on the page. The affinities Flores Magón's writing shared with modernismo and the historical avant garde – as intensification of the former and precursor of the latter – have been a blind spot for literary history, to which this article attempts to restore the importance of his writing.
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