29 jun. 2009

If there is a dogma of late modernism in Spain, it is more or less the opposition between an informational use of language and the poetic language, which rejects all use values, whether commercial or ideological. The clearest place to find this dogma is in Gamoneda's book on Valente--since Gamoneda and Valente are the two heroes of this movement and Gamoneda purposely brackets off his own differences from Valente. Gamoneda is great poet but not a great theorist, so his writings have the advantage of presenting the opposition in very understandable, but a bit simplistic, terms.

I don't want to be (simply) the American ideologue of this Spanish movement. That's what I already am, to some extent, but I am more interested in the problems internal to it, its inner contradictions. What interests me particularly is its anti-modernism, that is, its resistance to modernity itself, and where this resistance is most evident is in the return to Spanish mysticism. Olvido García Valdés wrote a very interesting book on Santa Teresa de Ávila, for example--just as Valente devoted much attention to Molinos and San Juan.