Abstract
one corner, Pablo Neruda, and in the other, the journal Sur and its principal director, Victoria Ocampo. Situated in divergent ideological camps, they played leading roles in a literary and intellectual history comprised of coincidences, conflicts, and reconciliations.2 Zigzagging and contradictory, this process was marked by complex intersections between literature, aesthetics, and ideology, thus exemplifying the convictions and questions that arose from the political and historical scene that would emerge after the end of the Second World War.3 In this context, and in order to read literary production in the light of its historical, ideological and aesthetic context, my study proposes to analyze the different positions and orientations that Pablo Neruda assumed in his interactions with Victoria Ocampo and the journal Sur during the Cold War period.4 In
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