Introduction.The First Book: Between the Leyenda and the Persona

The appearance on August 1, 1918, of Eternidades, a collection of verso desnudo from 1916-1917, fullyjustified the success of El diario de un poeta reciencasado and validated Juan Ramon Jimenez' position as doyen of Spanish poetry. Even Rafael Cansinos-Assens, chronicling the turmoil of creacionismo, acknowledged the renovating spirit behind the book from an author essentially at odds with the Spanish vanguard: Tan solo Juan Ramon Jimenez profiaba por evadirse de los alveolos de sus antiguas colmenas, llevando sus abejas a los nuevos claustros de rota arquitectura en Eternidades.2 Three of the first five pieces in Eternidades are metapoems: Accion, ;lntelijencia, dame, and Vino, primero, pura.3 Their presence initiates a period in Juan Ramon's work in which, like Mallarme and Valery, he will expend creative energy turning into poetry deliberations on the act of poetry. The first metapoem is simply a healthful recognition of fluidity and apprenticeship, with possible overtones from romanticism about the weakness of words: No se con que decirlo / porque no esta hecha todavia mi palabra. The third poem's dance of the veils-Vino, primero, pura-enjoys' the privilege of being a set piece in contemporary Spanish poetry. By contrast, ilntelijencia,

The Relational Self in Almudena Guzman's Dialogic Poetry Anita M. Hart University of North Carolina at Charlotte One of the most recent voices in contemporary Spanish poetry, Almudena Guzman writes of personal issues and changing relationships . Frequently narrative in style, Guzman's poetry offers the reader a look at a woman's mental and emotional concerns as she observes herself connecting with others and disconnecting from them. Born in Navacerrada in 1964, Guzman has published four collections of poems: Poemas de Lida Sal (1981), La playa del olvido (1984), Usted (1986), and El Libro de Tamar (1989).1 Her work reflects some of the developments in Spanish poetry ofthe 1980s, analyzed recently by Andrew Debicki: "the 1980s mark a certain return to immediacy, to explicit referents in poetry—which involves the presence of personal and emotive concerns in some works, and of satirical and critical visions in others" (51). Guzman's poetry, exhibiting the "personal and emotive concerns" that Debicki points out, shares two of the characteristics of contemporary works noted by Elena de Jongh Rössel in her anthology, Florilegium: Poesía última española (1982)—"una recuperación de la anécdota" and renewed importance of "los temas 'eternos'—Amor, Vida, Tiempo, Soledad, Muerte" (25). In this study of Guzman's two latest works, Usted and El Libro de Tamar, I incorporate observations from recent theory on women's psychological development and the significance of relationship to women. In Guzman's poetry, personal matters are often revealed through the speaker's verbal interaction with an "other." Emphasizing that "women develop in a context of connections with others," psychologist Jean Baker Miller explains that "women's sense of self becomes very much organized around being able to make and then to maintain affiliations and relationships" (83). Similarly, Janet L. Surrey, working with Baker and other scholars on a theory of women's development , writes: "Our conception of the self-in-relation involves the recognition that for women, the primary experience of self is relational , that is, the self is organized and developed in the context of important relationships" (54). Guzman's poems, showing the self as linked to others, feature dialogue, or at least one side of a dialogic 143 144Rocky Mountain Review exchange. The reader listens or even eavesdrops on the speaker's part of a conversation, as well as her inner dialogue with herself. In this interchange, the reader often observes the speaker in a disadvantageous situation, expressing discomfort and embarrassment. Such vulnerability, though seemingly connoting weakness, may, in light of Miller's theories, be viewed as a strength. A close look at Almudena Guzman's Usted and El Libro de Tamar reveals an attempt to capture in words a woman's changing connections with others, demonstrating her capacity to tolerate vulnerability and move toward strength. Conversational, ironic, and at times humorous, the collection Usted narrates from the perspective of the first-person speaker the process of an amorous relationship from the beginning to the end.2 The speaker addresses the formal "you"—"usted"—in 38 of the 47 poems or acknowledges this "other" in third-person singular and first-person plural verbs and adjectives. The epigraph, "A usted, en obediencia," immediately raises questions for the reader. What kind of relationship is this? Why would one express the connection in this way, with the word "obediencia"? Is this phrasing serious or tonguein -cheek? Usted is divided into five sections where, as John Wilcox has observed , "se despliega la trayectoria amorosa en toda su amplitud: desde la primera mirada inocente hasta la absoluta soledad del fracaso " (111). Biruté Ciplijauskaité emphasizes the "enfoque autoir ónico" with which the collection presents "la historia del desencanto amoroso paso a paso" (121). The third poem in Usted tells the story of the meeting of the speaker and "usted" and introduces the subject of vulnerability: Justo el día en que llevo gafas y un jersey horroroso usted descubre mi arrinconada existencia. Le hablo con la sorpresa de no sorprenderme al tocar una ardilla. Y contengo como puedo este alud de labios para no abalanzarme sobre su nuca mientras guarda, de espaldas a mi sombra creciente, unos papeles en la carpeta. (13...

Literature is one of the richest fields for exploring cultural representations of memory. This article examines the works of three major twentieth-century Spanish poets—Antonio Machado, Luis Cernuda, and Jaime Gil de Biedma—demonstrating how their poetry articulates a distinctive poetics of memory. Through a selection of poems, it becomes evident that this tradition, which has profoundly shaped contemporary Spanish literature, adapts to different historical and social contexts. Memory in these works is not merely a theme but a structuring force that shapes the poet’s self-narrative, intertwining personal and collective pasts. Autobiographical reflection in their poetry often engages with themes of loss, exile, desire, and personal identity, reinforcing the idea that memory is both an act of retrieval and a means of self-construction. This poetics of memory developed in dialogue with the emerging field of memory studies, drawing particularly on the philosophy of Henri Bergson, whose ideas on time and recollection deeply influenced Machado. His vision of memory as fluid and subjective became a foundation upon which later poets, including Cernuda and Gil de Biedma, built their own explorations of the self and the past.

El trabajo propone un recorrido por la producción poética de Ana María Martínez Sagi (Barcelona, 1907 - Moià, Barcelona, 2000), haciendo hincapié en algunas de las referencias intertextuales acerca del cuerpo que en ella se detectan. Por medio de su escritura, la autora construye una identidad que supere la construcción cultural genérica impuesta, lo que analizaremos aquí desde la intertextualidad concebida como categoría semiótica y usada como paradigma hermenéutico. Sin volver al tema de la creación de una religión pagana, personal y carnal en la producción en verso de Martínez Sagi, ya analizado en “‘De mi cuerpo a tu cuerpo’ el ímpetu del amor oscuro en la poesía de Ana María Martínez Sagi”, nos queda ahondar en cómo los textos de la poeta establecen relaciones con los de sus contemporáneos y otros autores, lo que, además, permite reflexionar sobre las diferentes etapas de su trayectoria creativa. Palabras clave: Poesía española contemporánea. Ana María Martínez Sagi. Cuerpo. Intertextualidad. Identidad. Abstract: The work proposes an exploration of the poetic production of Ana María Martínez Sagi (Barcelona, 1907 - Moià, Barcelona, 2000), with an emphasis on some of the intertextual references related to the body that are detected in her work. Through her writing, the author constructs an identity that transcends the imposed generic cultural construction, which we will analyze here from intertextuality conceived as a semiotic category and used as a hermeneutic paradigm. Without revisiting the theme of the creation of a personal and carnal pagan religion in Martínez Sagi’s poems, already analyzed in “‘De mi cuerpo a tu cuerpo’: el ímpetu del amor oscuro en la poesía de Ana María Martínez Sagi”, we delve into how her texts establish relationships with those of her contemporaries and other authors, which also allows us to reflect on the different stages of her creative trajectory. Keywords: Contemporary Spanish Poetry. Ana María Martínez Sagi. Body. Intertextuality. Identity.

Introduction: Critical Perspectives on Contemporary Spanish Poetry

Contemporary Spanish Poetry: Selections from Ten Poets.

Contemporary Spanish Poetry: 1939-1990 (A Special Issue of Studies in Twentieth Century Literature)

Cobb, Carl W., "Contemporary Spanish Poetry (1898-1963)" (Book Review)

Contemporary Spanish Poetry: Selections from Ten Poets

Contemporary Spanish Poetry. Selections from Ten Poets

Contemporary Spanish Poetry (1898-1963)

Contemporary Spanish Poetry (Book Review)

Migration and the Foreign in Contemporary Spanish Poetry: El sueño de Dakhla (Poemas de Umar Abass) by Manuel Moya

Contemporary Spanish Poetry (Selections from Ten Spanish Poets)

Using recent theoretical constructs that treat the lesbian postmodern, revised notions of desire, and the renovation of gender categories, the article traces the development of consciousness of lesbian sensuality and sexuality in contemporary Spanish poetry. The analysis of poems written by Canelo, Luca, and Rossetti attempts to placate the development of queer consciousness within the spectrum of feminization initially proposed by Elaine Showalter and later contextualized by Sharon Keefe Ugalde. In order to provide insights as to what stage of maturity this process has reached—embracement, subversion, or revision—the article examines collections written at different stages of recent history. The intent is to parallel the herstory of the three authors included: that is, the maturation of their own psychosexual development as reflected in their poetry.