Mexican Poetry Research Articles

Nabeul … Taroudant . El Jadida . . Tangier

Beckett’s knowledge of the history of imperialism has left abundant traces. Irish colonial history in particular provides a fertile ground for allusions and residual echoes in many of his texts, and this facet of his writing has received close attention. His alertness to the history of colonial conquest, exploitation and oppression is evident on the peripheries of his bilingual oeuvre too – notably, in his translations for Nancy Cunard’s Negro anthology and Octavio Paz’s Anthology of Mexican Poetry, and in minute alterations to some of his manuscripts revealing a careful reflection on the historical and political weight of words. Charting Beckett’s exposure and responses to the history of decolonization in its French and francophone contexts, however, has proved more challenging, owing to the difficulties posed by the work’s multiple cultural and linguistic positionalities, which are often treated as matters of secondary importance. This essay attempts to destabilize and expand the coordinates commonly used when thinking about Beckett as a postcolonial writer, by considering his relation to the postcolony through the prism of his long stays in the Maghreb between 1969 and the early 1980s. Retracing Beckett’s steps in Tunisia and Morocco, I delineate postcolonial and neocolonial imaginaries around Beckett’s creative process that are more challenging and uncomfortable than the evidence previously scrutinized elsewhere, and I pay particular attention to the awkward sense of colonial presence underlying marginal texts such as his Tangier mirlitonnades. The extended periods Beckett spent in Tangier proved immensely generative for him; here, I examine his relation to Tangier in light of the city’s colonial history as an International Zone and a much-fetishized haven for expatriate Anglo-American writers, offering a portrait of Beckett that conveys his simultaneous involvement and non-involvement with his surroundings.

La llama fría de Gilberto Owen: ¿un relato olvidable o una novela lírica?

"Gilberto Owen (1904-1952) was a Mexican poet, member of the Contemporary generation. Such a generation of writers was characterized by opposing realism and nationalist aesthetics to exercise a type of modern poetry and narrative under the influence of the European avant-gardes. Among those influences is that of the lyrical novel. Based on this, this article analyzes a narrative text by Owen little studied by literary critics: La llama fría (1925), based on the theoretical notions of a lyrical novel coined by Ralph Freedman, Darío Villanueva and Ricardo Gullón. Against the grain of a certain sector of criticism, the purpose of this work is to conceptualize this text as a lyrical and avant-garde novel within the framework of the experimental prose of Gilberto Owen as a representative of the Contemporary generation.Keywords: contemporary; experimental novel; avantgarde; mexican poetry; early 20th century"

The Philippines in Contemporary Mexican Poetry: Presence and Omission

The Philippines in Contemporary Mexican Poetry: Presence and Omission

Constelaciones poéticas: sobre algunas antologías de la nueva poesía mexicana (2010-2020)

With the recent change of decade, we can turn our gaze to trace a concise outlook of recent Mexican poetry. As a significant sign of the poetics that have defined the work of young Mexican writers in the new millennium, I believe that the reflection on some anthologies can provide a firm basis for analysis. In these notes I offer a review of a selection of seven anthologies of Mexican poetry published between 2010 and 2019 to highlight some of the trends that have defined the national poetic state during this decade. The study is divided into two sections. In the first one, I sift through some theoretical and methodological reflections to rethink the function of anthologies no longer from the concept of canon but from the concept of literary constellations. In the second section I focus on the study of each of the selected works, with special emphasis on the proposals outlined by the anthologists in the prologues and paratexts. In this way, at the end I synthesize some of the dominant features of young Mexican poetry, especially from what I consider to be its political manifestation.

La incrustación invisible

This essay is intended to present a full background and the highlights concepts of the Queer Theory. In order to perform a critical reading of the poetry book: Nada de incrustaciones [None of scale], written by Daniel Wance a young poet, born in Michoacan, Mexico. This work pretends to exemplify the influences of the “Queer” Postulates into Mexican poetry, such as social identity constructions as opposed to essentialist hegemonic discourse. Furthermore, this is an approach to the relevance of the relocation of the Queer Theory into Hispanic literature.

Gordos y despeinados: dos ejemplos genealógicos de poesía burlesca sobre diputados

No presente ensaio, é desenvolvida uma reflexão em torno de dois poemas burlescos inseridos na tradição poética mexicana da modernidade jurídico-política. Por um lado, é analisado o poema do século XIX “Un diputado de provincia”, recuperado do folclore e de caráter anônimo. Por outro lado, é examinado o poema “El diputado”, de Renato Leduc, publicado no livro Catorce poemas burocráticos y un corrido reaccionario para solaz y esparcimiento de las clases económicamente débiles (1963). Estas duas composições propõem ao leitor uma série de tópicos que as emparentam, tendo também certos traços estilísticos que as ligam. Nesse sentido, procura-se esboçar uma genealogia entre essas duas peças da lírica mexicana, necessária para o estudo sob o prisma do Direito e a Literatura da poesia cívica e política.

Margarita León Vega (ed.): Los ríos sonorosos de la palabra (Mística y Poesía). Ciudad de México: Instituto de Investigaciones Filológicas, Universidad Nacional Autónoma de México, 2018, 279 pp. ISBN 978-607-30-0019-2.

El presente libro constituye el ultimo gran aporte de los diversos grupos de investigacion sobre poesia mistica mexicana de la Universidad Nacional Autonoma de Mexico. En concreto, recoge las intervenciones del Ciclo de Conferencias Magistrales “Mistica y Poesia” celebradas en 2014 por el Proyecto de Investigacion “Poesia mistica mexicana del siglo XX (tipologia y tradiciones)” (2012- 2014) y se publica con el apoyo del continuador Proyecto de Ensenanza “La mistica y el lenguaje poetico: acercamientos desde la poesia mexicana de los siglos XX y XXI” (2017-2019). El conjunto de encuentros y publicaciones cientificas coordinados por la catedratica Margarita Leon Vega, asi como el prestigio y la trayectoria de los investigadores especialistas participantes —Mauricio Beuchot, Elsa Cross, Luce Lopez-Baralt, Angelina Muniz-Huberman, Esther Cohen, Ma Jesus Mancho Duque, entre otros—, situa este proyecto global a la cabeza de los estudios de mistica. Este equipo ya ha logrado asentar cimientos solidos: la visibilizacion de un fenomeno crucial para nuestro tiempo, la presencia de numerosos poetas mexicanos actuales que participan de la nueva mistica y una metodologia de analisis que parte de la teoria formalista de la poesia (estilistica, retorica) para comprobar las emergencias y sintaxis del imaginario del misticismo.

Entre milagros, prodigios, maravillas, portentos y favores: san Pedro Nolasco y el certamen poético mexicano de 1633

In this article, we study the notions of milagro, prodigio, maravilla, portento and favor (miracle, wonder, marvel, portent in its positive sense, and favor) in accordance with the use of these terms in the manuscript that contains the 1633 Mexican poetry contest in honor of St. Peter Nolasco. We study their use in the first seven competitions within the contest, as well as in the call for participants for the competitions and in the introductory and complementary texts written by friar Juan de Alavés, the secretary of the contest, and we relate the events that are poeticized in the competitions with their corresponding hagiographical and/or historical circumstances. We also include examples of the contest’s winning poetry and of the prose texts from the manuscript in which the five above-mentioned terms are included, in order to show how these terms serve to underscore the messages that are implicit throughout the manuscript, regarding Nolasco’s greatness, his enjoyment of divine grace, and the merits that had made him worthy of having been canonized, which had been achieved in 1628. This article represents a by-product of the project that consisted of editing, studying, analyzing and doing research on the contest in order to prepare the critical edition of the manuscript.

Samuel Beckett’s Translations of Latin American Poets for UNESCO

Abstract Samuel Beckett’s self-avowed slight acquaintance with the Spanish language did not prevent him from tackling the translation of a poem by the Chilean Gabriela Mistral, as well as a whole anthology of Mexican poetry. Little attention has been paid to this sideline in Beckett’s career. This paper contextualizes Beckett’s involvement in these two UNESCO projects and shows, with recourse to his translation manuscripts, the intensity of the author’s work despite his distaste for these commissions.

Modernism and Latin America: Transnational Networks of Literary Exchange by Patricia Novillo-Corvalán

Reviewed by: Modernism and Latin America: Transnational Networks of Literary Exchange by Patricia Novillo-Corvalán Vanessa Marie Fernández (bio) MODERNISM AND LATIN AMERICA: TRANSNATIONAL NETWORKS OF LITERARY EXCHANGE, by Patricia Novillo-Corvalán. New York: Routledge Publishers, 2018. 190 pp. $140.00 cloth, $54.95 ebook. Patricia Novillo-Corvalán's Modernism and Latin America: Transnational Networks of Literary Exchange adds to the increasing scholarship that seeks to re-articulate Anglo-Modernism by pointing to its connections with other cultural networks. In five loosely connected chapters, Novillo-Corvalán examines Latin America as an overlooked modernist geography. Each chapter explores a unique avenue in which Latin America's impact on modernism has been overlooked. Novillo-Corvalán's exhaustive research offers new readings of canonical modernist texts such as Virginia Woolf's The Voyage Out, D. H. Lawrence's The Plumed Serpent, and Malcolm Lowry's Under the Volcano alongside new perspectives on Latin American writings by the Argentine Jorge Luis Borges and Chileans Pablo Neruda and Roberto Bolaño.1 On the one hand, her work explores Latin America's influence on canonical Anglo-Modernist writers such as Argentina's importance for Woolf and Mexico's impact on Lawrence and Lowry. On the other, Novillo-Corvalán studies Latin America's relationship with Anglo-Modernism by offering examples such as Borges's and Bolaño's appreciation of a Joycean aesthetic and its presence in their work. A line of inquiry that permeates Novillo-Corvalán's study is attention to empire's role in shaping modernism. Exploring anti-imperialism in Woolf and Neruda in her first two chapters, for instance, offers two perspectives on the topic, the former from an insider, and the latter from an outsider. In chapter 1, "Empire and Commerce in Latin America: Historicising Woolf's The Voyage Out," she points out "that Virginia Woolf puts the complex issue of Great Britain's neocolonial domination in Latin America squarely on the cultural agenda of The Voyage Out" (10). Novillo-Corvalán's analysis in this chapter is an admittedly "intertwined reading" of Woolf's novel because it relies heavily on notes taken by the novelist two years after The Voyage Out was published (21). An engrossing read nevertheless, this first chapter offers an interesting discussion of topics such as Argentina's beef export industry, the country's relationship with Britain, and the novel's critique of British economic imperialism. Novillo-Corvalán [End Page 199] makes it plain that "the prevailing view that [Woolf's] knowledge of the continent was vague, deficient, and, at its worst, non-existent" is false (23). Questioning empire's role in modernist scholarship, NovilloCorvalán's second chapter, "Anti-imperialist Commitments: Mapping Neruda's Transnational Modernist Networks," offers Neruda as an example that "challenges the notion that aesthetic innovation is the product of the West" (51). She bases her argument on the Nobel Laureate's non-Eurocentric "complex émigré status" as a diplomat assigned to South Asia and Buenos Aires (51). In Novillo-Corvalán's estimation, having bypassed "a long-standing Latin American tradition" that required "the pilgrimage to Paris" as a rite of passage for an "aesthetic journey of initiation," "Neruda 'decentres' modernism by underscoring the aesthetic production of alternative cultural centres such as Colombo and Buenos Aires" (51, 52). Juxtaposing Neruda's perspective with Leonard Woolf's "reluctant insider" opposition to British imperialism in Ceylon, this chapter further underscores Neruda's own anti-imperialist position as a "self-conscious outsider" (59). While Novillo-Corvalán's appraisal of Virginia Woolf's and Neruda's negotiation of modernism and empire is thought-provoking, her most engaging examination of the topic surfaces in chapter 3, "The Cultural Politics of World Literature: Beckett, Paz, and UNESCO." This section provides a captivating account of the publication of UNESCO's An Anthology of Mexican Poetry, edited and translated by two Nobel Laureates, the Mexican poet Octavio Paz and the Irish playwright Samuel Beckett, respectively.2 Foregrounding UNESCO's narrow, imperialistic attitude towards Latin America, this chapter first delves into Paz's initial misgivings about the project and the contentious episodes surrounding the "Mexicanness" of the anthology that ensued with his...

There Was No Plot

Coral Bracho’s (b. 1951) early work altered the landscape of Mexican poetry. She is the recipient of many honors and awards, including the Aguascalientes National Poetry Prize, Xavier Villaurrutia Award, and a Guggenheim Fellowship. Bracho has collaborated with several painters and is a member of Mexico’s National Organization of Artists. Forrest Gander’s most recent books are the verse collection Be With (New Directions) and The Galloping Hour: French Poems by Alejandra Pizarnik (with Patricio Ferrari). He translated Bracho’s collected poems, Firefly under the Tongue (New Directions). POETRY There Was No Plot by Coral Bracho There were neither plots nor characters, only places. Neighborhoods sliced in half. Terraces and corridors between roofless rooms. Profiles only. Staggered spaces. Far off a group was sucked up into its own restlessness: the after-dinner conversation, the waiting, shuffle between one door and another, shifts in posture; remarks that from here, where you hurried to leave, were already beyond hearing. Translation from the Spanish By Forrest Gander WORLDLIT.ORG 13 PHOTO: ANALUSIE GAMBOA / UNSPLASH ...

La Ciudad de México en la poesía mexicana del siglo XXI. Figuraciones poéticas del espacio urbano

El presente artículo se enfoca en el estudio de algunas de las formas de representación de la Ciudad de México que aparecen en la poesía mexicana del siglo XXI. Tomando como punto de partida el carácter híbrido y heterogéneo que se atribuye a esta ciudad, y acotando el estudio a cuatro elementos que la caracterizan, como son la extensión, la superpoblación, las dificultades en los desplazamientos y los transportes y los sentimientos encontrados que provoca en sus habitantes, se analizan algunas de las figuraciones metafóricas que los textos ofrecen de este espacio urbano. En muchas de ellas, y en consonancia con el carácter híbrido señalado, la ciudad se presenta como un ser animado de características diversas –mujer-animal-insecto-máquina, efigie-, que representa el carácter monstruoso de la ciudad y traduce las sensaciones de amenaza y peligro ante la posibilidad, tanto temida como deseada, de su aniquilación y su destrucción.

De la Ironía al silencio: sobre la melancolía en Jaime Sabines

En el mapa de la poesía mexicana de los siglos XX y XXI se aprecia una intensa presencia del carácter melancólico. En esta línea podrían ubicarse Ramón López Velarde, Xavier Villaurrutia, Efraín Huerta, Jaime Labastida, Francisco Hernández o Marco Antonio Campos, entre otros. Cada uno de estos autores ha poetizado algunas do las múltiples caras de la tristeza, desdo el tedio y el abatimiento hasta la exacerbación erótica, la pasión patriótica o, más frecuentemente, la angustia por la enfermedad, el suicidio y la muerte. Dada mi convicción de que la obra de Jaime Sabines es fruto del humor melancólico —en particular de algunas de las manifestaciones de éste descritas desde la filosofía, la sociología y la antropología— y puesto que puede explicar su casi completa renuncia a la creación poética bastantes años antes de su muerte, este trabajo lee al autor chiapaneco a la luz de algunos destacados estudios sobre la melancolía (Agamben, Bartra, Paz, Castro Santiago o Arancibia).

Patriots, Prostitutes, and Spies: Women and the Mexican-American War by John M. Belohlavek

Reviewed by: Patriots, Prostitutes, and Spies: Women and the Mexican-American War by John M. Belohlavek Amy M. Porter Patriots, Prostitutes, and Spies: Women and the Mexican-American War. By John M. Belohlavek. (Charlottesville and London: University of Virginia Press, 2017. Pp. xii, 306. $45.00, ISBN 978-0-8139-3990-2.) Women have played major roles in wars throughout American and Mexican history, and women have been greatly impacted by all wars, yet historians have only recently started to examine this topic in depth in relation to the U.S.-Mexican War. In Patriots, Prostitutes, and Spies: Women and the Mexican-American War, John M. Belohlavek dives into this endeavor, examining Mexican and American women who were actors in the conflict. He also explores the ideas that American men had about Mexican women and the consequences of such ideas. The task of studying women on all sides of the conflict is a major undertaking, but one that adds tremendously to the historiography of the U.S.-Mexican War and women's history. In telling these remarkable stories, Belohlavek examines how women in the United States supported or opposed the war effort. Turning to Mexico, Belohlavek relates the stories of the soldaderas who had long played a major role in the Mexican army as cooks, laundresses, nurses, and sometimes soldiers. In exploring the war's impact in New Mexico, Belohlavek studies two women, Susan Shelby Magoffin, who traveled the Santa Fe Trail with her merchant husband, and Gertrudis Barceló, also known as Dôna Tula, who rose to fame as a businesswoman in New Mexico. Belohlavek also examines the few women who traveled with the U.S. military, women who lived in Mexico, and women writers and editors who wrote about the war. The author continues by examining fantasies that American men had about Mexican women and the actual relationships between them. Finally, Belohlavek examines some Mexican poetry as well as American literature, songs, and poetry written about the war. There are many challenges involved in attempting to examine both American and Mexican women's experiences in the war. Sources on the American side, especially those written by women, are greater in number and more easily accessible than those written by Mexican women. Literacy rates for Mexican women were lower, and printed sources are scarcer compared with those portraying American views. As a result, the stories of American women come to life in this book, but the telling of stories of Mexican women is less complete due to source challenges. The chapter on women editors in the war is fascinating. Belohlavek provides in-depth profiles of three women who had different views of the war but exercised great independence for the time. Another critical chapter examines American men's views of Mexican women. [End Page 741] The writings of American men were sometimes contradictory and often racist and misogynistic, and Belohlavek provides insightful analysis in this section. He also explains the implications for Mexican women who worked for or had relationships with American men. Many of these women faced retribution, sometimes murder, for their interactions with the Americans. Belohlavek also describes the violence that Mexican women experienced at the hands of some American soldiers. Belohlavek does an excellent job connecting the historiography and histories of the U.S.-Mexican War, women's history, and the political history of the era. The author aptly explains how protest against the war was often tied to other reform movements, such as abolitionism and women's rights. The populace in the United States was torn over support for the war, and Belohlavek shows that women, too, were part of these debates. In sum, Patriots, Prostitutes, and Spies enlightens readers about women and the U.S.-Mexican War. As Belohlavek notes, "This work seeks to explore and recognize the courage, spirit, and influence of women heralded and unheralded, of varying backgrounds and nationalities, who powerfully impacted the war that changed the continent," and he succeeds in this endeavor (p. 2). Amy M. Porter Texas A&M University–San Antonio Copyright © 2018 The Southern Historical Association

País de sombra y fuego: una reflexión sobre la patria en la poesía mexicana del siglo XXI

En el año 2010, como contraparte de los festejos del centenario de la Revolución mexicana, el poeta Jorge Esquinca invitó a treinta y cuatro poetas a participar en una antología titulada País de sombra y fuego. La relevancia de este ejercicio poético proviene de la pregunta que lo estructura: ¿Existe todavía en el vocablo Patria un núcleo generador de significado?A través del análisis de estos poemas y de los tópicos que prevalecen en ellos, es posible conocer el doloroso México que perciben los poetas mexicanos y la forma en que la poesía mexicana contemporánea del siglo XXI lo nombra.

Like a New Sun: New Indigenous Mexican Poetry

Poems can, of course, do many things, and these poems do some of them very well, but one can come away longing for what’s lacking, those things beyond the scope of public performance and the demonstrative, those special whisperings found especially in poetry. By all means, take in this book like a good show, but then be prepared to go home and seek out the human voices that speak beside you, there in the room with you. In his preface to the 1765 edition of Shakespeare, Samuel Johnson writes: “The irregular combinations of fanciful invention may delight awhile by that novelty of which the common satiety of life sends us all in quest, but the pleasures of sudden wonder are soon exhausted, and the mind can repose only on the stability of truth.” Each reader must decide what “truth” is and what things are most worth reading. Fred Dings University of South Carolina Zsuzsa Rakovszky. Fortepan: versek. Budapest. Magvető. 2015. 64 pages. It was nine years ago that Zsuzsa Rakovszky published her last book of poetry, Visszaút az időben (Going back in time). Since then, proving her prowess as a writer of fiction, she brought out a collection of short stories and two novels. The present collection of poems seems to be a continuation of Visszaút az időben in the sense that much of her verse is informed by the past, by her experiences of childhood and early youth. Fortepan—the strange title denotes a collection of photograph—is divided into two parts: the cycle “Napéjegyenlőség” (Equinox) contains a string of poems, some lyrical, others veering toward the epic. While “Dal” (Song) is an evergreen meditation on the problem of transience, the cycle also comprises two stories—the first one, “Novella,” relating the exitus of an elderly person seen from the point of view of the (probably much-younger) narrator, while “Ballad” is a contemporary thriller told in jaunty iambic quatrains. After this, it is no surprise that the cycle “Fortepan” mixes lyrical introspection with epic descriptiveness. At the same time, Rakovszky’s new poems are tinged with a kind of surrealism; even in a poem entitled “Objects,” the very existence or reality of objects is questioned: “the thought tempts me that / these mirrors, lamps and inkpots / don’t exist / their existence is sheer delusion ,” concluding that, viewed through the camera of memory, the same objects are glorified and it is the “now” that appears “ghostly” and “unreal.” The last eight “snapshots” in Fortepan are arranged in a sequence following the lifetime of the poet/narrator; they embrace forty years of Hungarian history, spinning the story through different decades and locations. Rakovszky’s chosen verse form here is the octave, a conservative meter, which she handles with impressive ease and sophistication. Some of her axiomatic summaries of a particular year or period stick in the mind: 1956 is described as “mikor a szörnyű rend ólomfalát / az álmok árvize harsogva törte át” (when the leaden wall of a terrible order / was roaringly broken by the flood of dreams), and the 1970s are described as the “decade of comfortable despair / and flavourless joy.” Rakovszky also manages to catch the mood dominating the collective psyche after the change of regime of 1990 as the nation is tossed between hope and fear, feeling shipwrecked. Fortepan is a thin book of verse but a rich one that ought to be read more than once. George Gömöri London, United Kingdom Like a New Sun: New Indigenous Mexican Poetry. David Shook & Víctor Terán, ed. Los Angeles. Phoneme. 2015. 240 pages. While exiled in Madrid, the hypercosmopolitan poet Alfonso Reyes wrote Visión de Anáhuac, 1519 (1915), an exquisite narrative of Tenochtitlán and its conquest by the Spaniards. In 1957 Octavio Paz finished his masterpiece, Piedra de sol, a poem whose circular structure and hendecasyllables allude to the orbit of Quetzalcoatl (Venus). The philosopher Miguel León Portilla published Los antiguos mexicanos a través de sus crónicas y cantares in 1961, translations from indigenous poems popular to this day. Many Mexican poets, however, express ambivalence or disdain for contemporary poetry...

Carlos Pellicer y Germán Pardo García

The purpose of this essay is letting the readers to know about the love story between two of the most relevant latinamerican poets (Carlos Pellicer and German Pardo Garcia) and the very first gay poem in mexican poetry during the 20th century. The large poem « Recinto » (Enclosure), written by Carlos Pellicer in 1931 (and published 10 years later), has two major values, being the first homoerotic poem in mexican poetry, and expressing in verses the love story between Carlos Pellicer and German Pardo Garcia.

Rutgers Acquires the Nandino Collection of Modern Mexican Literature

Dauster describes the personal library of the distinguished Mexican poet, Elias Nandino aquired by Rutgers Library. Dr. Nandino has been closely associated with the major developments in Mexican poetry over a period of forty years. The Nandino collection includes some 700 volumes as well as literary periodicals beginning in 1928.

Translating Others, Discovering Himself: Beckett as Translator

This paper examines the work of Samuel Beckett in the light of his early work as a translator of the works of other writers. In his translations for Negro: An Anthology (1934), the Anthology of Mexican Poetry (1958), or commissioned translations for journals such as “This Quarter”, early pre-figurings of Beckett’s own thematic and linguistic concerns abound. Rarely viewed as more than acts of raising money for himself, Beckett’s acts of translation, examined chronologically, demonstrate a writer discovering his craft, and developing his unique voice, unencumbered by the expectations of originality. This essay posits that Beckett’s works, with their distinctive voice and characterisation, owe much to the global perspective he gained through translating across cultural, continental divides, as well as experimenting with form, which became a staple of Beckett’s own work. Without formal training or theoretical grounding in translation, Beckett utilises the act of translation as a means of finding himself, revisiting it as a means of shaping his own unique literary voice.

Readings, Homages and Desecrations. Toward a Critical Poetry: Eduardo Lizalde, Gabriel Zaid, José Carlos Becerra and José Emilio Pacheco

In the 60's, Eduardo Lizalde, Gabriel Zaid, José Carlos Becerra and José Emilio Pacheco's poetry represented a break in Mexican poetry at intensifying the idea of poetry as an unfinished process, and proposing a more fleeting vision of the poem (an elite expression perfectly fused with a popular one and the mass media). In their works, these writers pose the questioning of authorship through the use of gloss, re-writing and heteronyms, which lead them to the idea that a poem is a web of echoes, both one's own, and those of others (tradition); this re-vision will be held through a critical reading of their literary predecessors. That is to say, writing and reading are assumed as a re-vision: these authors not only have re-thought their own work, but also the panorama of Mexican poetry when re-thinking (re-reading) the tradition in order to re-present it in the poem.Eduardo Lizalde, Gabriel Zaid, José Carlos Becerra y José Emilio Pacheco crean en la década de 1960 una ruptura en la poesía mexicana al intensificar la idea del texto como proceso escriturario y asentar una visión más pasajera y fugaz del poema (lo culto en amalgama con lo coloquial, la cultura popular y los mass media). En sus poemas, los escritores cuestionan la autoridad del texto a través de la glosa, la refundición y la heteronimia, lo que los conduce a la idea de que el poema es una red de ecos propios y ajenos (tradición); esta re-visión se realiza mediante una lectura crítica de sus antecesores literarios. Es decir, la escritura y la lectura se asumen como una toma de pulso: al re-pensar (re-leer) lo anterior (la tradición) para re-presentarlo en el poema, los autores no sólo han re-planteado sus obras, sino también el panorama de la lírica mexicana.