Rosario: Beatriz Viterbo, (Col. Tesis/Ensayo), 2000. first edition. Paperback. 287p., notes, biblio. Near Fine in Wraps. Item #9635
These praiseworthy words were dedicated by Rubén Darío to Delmira Agustini, after the publication of Los calices vacíos, from 1913. This work came to confirm the poetic height of Delmira. Darío predicted a great future for the Uruguayan poetess (she will amaze our Spanish-speaking world). The tragic death of Delmira (murdered on July 6, 1913) would truncate this future. Delmira was then 27 years old and had demonstrated, in her short life, a great talent for poetry. Considered one of the most original poetic voices of Hispano-American Modernism while she lived, the tragic tints of her biography have caused her poetic work to have been hidden for quite some time. In much of the poetic anthologies of Modernism are missing the poems of Delmira, which has been left aside by the critics who make these anthologies. Delmira has not swelled, until very recently, the list of authors who make up the modernist literary canon. The literary canon is composed of the works of a particular artistic movement and of an area that critics consider the most important, the most representative of that movement. Traditionally, the works that made up any literary canon were, for the most part, works composed of men. Little by little this situation has been changing and the works of many writers are being valued in their proper measure. This is happening with Delmira Agustini: she has slowly made her way into the poetic anthologies of Modernism. But for a long time Delmira has been in the shadow of the literary canon. With this didactic sequence we will know and analyze the features of literary Modernism and we will evaluate the work of Delmira in its proper measure within the artistic movement in which its poetic production is inscribed.