Abstract
Luis Antonio de Villena (born Madrid, 1951) is one of contemporary Spain's most prominent cultural figures, as poet, novelist, short story writer, critic and essayist, and as post-modern personality.1 His Poesia 1970–1982 (Madrid: Visor, 1983) contains most of his poetic output of the 1970s, from Sublime solarium (Madrid: Azur, 1971), El viaje a Bizancio (1974; complete edition, Leon: Instituto Fray Bernardino de Sahagun, 1978), Hymnica (Madrid: Hiperion, 1979) and Huir del invierno (Madrid: Hiperion, 1981). Jose Olivio Jimenez's introduction to the Poesia 2 is the most reliable guide to Villena's somewhat extraordinary trajectory from the days of the posnovisimos to posmodernismo through the years of transition, movida and moral liberalization, and I would like to use it to lead towards my discussion of Villena's latest collection, La muerte unicamente (Madrid: Visor, 1984). Here we can find a quintessence of Villena's cultivated extra-ordinariness, a post-modern blend of tones, styles, traditions and re...
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