The creative impulse resulting from the Spanish Civil War (1936-1939) remained very vivid in the generations of poets who wrote in Spain in the 1950s; this is called social poetry, where authors as Blas de Otero, Gabriel ...
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The creative impulse resulting from the Spanish Civil War (1936-1939) remained very vivid in the generations of poets who wrote in Spain in the 1950s; this is called social poetry, where authors as Blas de Otero, Gabriel Celaya or José Hierro are usually classified. The combative tone of the war years (Alberti, Hernández) then became resigned and only a hint of hope seemed to arise from this radically solidary poetry. A few years later, for a new poetic generation (Jaime Gil de Biedma, José Agustín Goytisolo, among others), it is no longer a question of writing a poem of circumstances, but of giving voice to their personal anxieties, even if those anxieties are closely linked to the collective future of their country. Usually it is considered that this type of committed poetry ended with the advent, in the 70s, of the Novísimos, a group of poets were seeking, on the contrary, to make a poetry at the antipodes of the mournful Spanish reality. These poets needed to actualize an outdated lyrical horizon and to give poetry a playful dimension absent from Spanish poetry since the avant-gardes of the years 20-30. Nevertheless, this highly criticized position was also a subversive reaction. For these young poets it was necessary to resolutely go forward and not let the Spanish poetry, which had known such brilliant hours, also plunge into the underworld of a dictatorial regime. This paradigm shift will in turn be seen in some way interrupted in the 80s by the poetic group La otra sentimentalidad, which returns to poetry closely linked to history. This period coincided with the arrival of the Socialists in power in 1982 and the movida, a social and cultural movement life which dynamited the Spanish manners. It will now be a question of conceiving literature as an ideological discourse and assuming its radical historicity. Javier Egea, founding member of the Grenada group and central figure of this work, strives not only to integrate the materialistic reflections in his work, especially in his capital collections (Troppo mare, 1984, Paseo de los Tristes, of 1982, and Raro de luna, of 1990), but also a poetry directly related to the historical events, especially in his dispersed or unpublished poems. This thesis proposes a reflection on this work and on the links between poetry and history in the last third of the Spanish twentieth century.
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