front cover of The Contemporáneos Group
The Contemporáneos Group
Rewriting Mexico in the Thirties and Forties
By Salvador A. Oropesa
University of Texas Press, 2003

In the years following the Mexican Revolution, a nationalist and masculinist image of Mexico emerged through the novels of the Revolution, the murals of Diego Rivera, and the movies of Golden Age cinema. Challenging this image were the Contemporáneos, a group of writers whose status as outsiders (sophisticated urbanites, gay men, women) gave them not just a different perspective, but a different gaze, a new way of viewing the diverse Mexicos that exist within Mexican society. In this book, Salvador Oropesa offers original readings of the works of five Contemporáneos—Salvador Novo, Xavier Villaurrutia, Agustín Lazo, Guadalupe Marín, and Jorge Cuesta—and their efforts to create a Mexican literature that was international, attuned to the realities of modern Mexico, and flexible enough to speak to the masses as well as the elites.

Oropesa discusses Novo and Villaurrutia in relation to neo-baroque literature and satiric poetry, showing how these inherently subversive genres provided the means of expressing difference and otherness that they needed as gay men. He explores the theatrical works of Lazo, Villaurrutia's partner, who offered new representations of the closet and of Mexican history from an emerging middle-class viewpoint. Oropesa also looks at women's participation in the Contemporáneos through Guadalupe Marín, the sometime wife of Diego Rivera and Jorge Cuesta, whose novels present women's struggles to have a view and a voice of their own. He concludes the book with Novo's self-transformation from intellectual into celebrity, which fulfilled the Contemporáneos' desire to merge high and popular culture and create a space where those on the margins could move to the center.

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front cover of Crunching Gravel
Crunching Gravel
A Wisconsin Boyhood in the Thirties
Robert Louis Peters
University of Wisconsin Press, 1993

No nostalgic tale of the good old days, Robert Peters’s recollections of his adolescence vividly evoke the Depression on a hardscrabble farm near Eagle River:  Dad driving the Vilas County Relief truck, Lars the Swede freezing to death on his porch, the embarassment of graduation in a suit from welfare.  The hard efforts to put fish and potatoes and blueberries on the table are punctuated by occasional pleasures:  the Memorial Day celebration, swimming at Perch Lake, the county fair with Mother’s prizes for jam and the exotic delights of the midway.  Peters’s clear-eyed memoir reveals a poet’s eye for rich and stark detail even as a boy of twelve.

“Peters misses nothing, from the details of the town’s Fourth of July celebration to the cause and effect of a young cousin’s suicide to the calibrations of racism toward Indians that was so acceptable then.  It is a fascinating, unsentimental look at a piece of our past.”—Margaret E. Guthrie, New York Times Book Review

“It’s unlikely that any other contemporary poet and scholar as distinguished has risen from quite so humble beginnings as Robert Peters.  Born and raised by semiliterate parents on a subsistence farm in northeastern Wisconsin, Peters lived harrowingly close to the eventual stuff of his poetry—the dependency of humans on animal lives, the inexplicable and ordinary heroism and baseness of people facing extreme conditions, the urgency of physical desire.  .  .  .  Sterling childhood memoirs.”—Booklist

“Robert Peters has written a memoir exemplary because he insists on the specific, on the personal and the local.  It is also enormously satisfying to read, and it is among the most authentic accounts of childhood and youth I know—a Wisconsin David Copperfield!”—Thom Gunn

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