Abstract
The article analyzes in detail the different versions included in El espejo de agua, Horizon carre and the review Nord-Sud in order to clarify Huidobro's new avant-garde devices and effects as well as his break with modernista poetry. The graphics and lay-out, the use of a style freed from 19th century traditional rhetoric, the negativity and indecisiveness of representation, partly due to contact with Reverdy, exemplify this break and cast light on the dependencies on the past and the progress towards a genuinely avant-garde poetry. PALABRAS CLAVES : Huidobro, Horizon carre, El espejo de agua, Reverdy, Vanguardia. 62 A su llegada a Paris, Huidobro conocia imperfectamente la lengua francesa: v. De Costa, Huidobro: los oficios. . ., p. 61-65. This content downloaded from 207.46.13.15 on Fri, 26 Aug 2016 05:46:19 UTC All use subject to http://about.jstor.org/terms
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