By Bruce Dean Willis
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Extra info for Aesthetics of Equilibrium: The Vanguard Poetics of Vicente Huidobro and Mario de Andrade (Purdue Studies in Romance Literatures)
Luisa Marina Perdigó’s thorough analysis of 27 Part One the key creacionista texts inevitably schematizes the manifestos but does not explore their imagery in detail. Similarly, the analyses of Mireya Camurati and Guillermo Sucre, the best of those studies that cite as needed from several texts in order to reveal general tendencies, do not analyze in context, although they mention and cite, the images from the manifestos. Ricardo Gutiérrez Mouat examines the tone of the manifestos en masse, concluding that unlike Darío and in spite of frequent scorn for his public, Huidobro needs the public for his posturing somewhere between “maestro” and “mistagogo” (120).
Nunca hemos creado realidades propias, como ella lo hace o lo hizo en tiempos pasados, cuando era joven y llena de impulsos creadores” (715). The poet states that a change is necessary, and that he and his generation are the ones who should implement it; they will make their own world, which should have no basis for comparison with the existing world. Thus far, the background of the parable is ostensibly pagan—the revolt of some audacious mortal against the divine mother. Huidobro has decided not to follow Alomar too closely; he does not name his protagonist “Adam” and thus does not strengthen the presence of a Genesis subtext.
Ricardo Gutiérrez Mouat examines the tone of the manifestos en masse, concluding that unlike Darío and in spite of frequent scorn for his public, Huidobro needs the public for his posturing somewhere between “maestro” and “mistagogo” (120). For José Alberto de la Fuente, in his short summary of the manifestos, the texts express “un mundo en gerundio, en devenir, mágico, inaugurativo e imaginario” (62). Luis Navarrete Orta gives the manifestos more weight by including distinct sections devoted to six of them in his comparative study of Huidobro’s poetry and poetics, although he characterizes the rest of them in a few lines, noting only vaguely the use of “recursos poéticos” (153).