A History of Mexican Poetry

José Ramón Ruisánchez Serra is Associate Professor of Latin American Literature and Theory at the Department of Hispanic Studies of the University of Houston. He is the author of Historias que regresan: topología y renarración en la primera mitad del siglo XX mexicano (Fondo de Cultura Económica 2012). He has edited Libro mercado (Universidad Iberoamericana 2015); and coedited Juan Villoro ante la crítica (Candaya 2014) with Oswaldo Zavala, and A History of Mexican Literature (Cambridge 2016) with Ignacio Sánchez Prado and Anna M. Nogar. His second monograph is La reconciliación: Roberto Bolaño y la literatura de amistad en América Latina, (UNAM 2019). More recently he published Torres (ERA 2021), a book length essay about the image in poetry and the visual arts. Anna M. Nogar is Professor of Hispanic Southwest Studies in the Department of Spanish and Portuguese at the University of New Mexico. She researches colonial Mexican literature and its readers, and engages in Mexican American cultural and literary studies, focusing on New Mexico. Her most recent book is a prizewinning edition and translation of 19th century New Mexican poetry, El feliz ingenio neomexicano: The Life and Writing of Felipe M. Chacón (2021). Nogar is the author of Quill and Cross in the Borderlands: Sor María de Ágreda, 1628- the Present (2018), and editor of A History of Mexican Literature (2016) and Colonial Itineraries of Contemporary Mexico: Literary and Cultural Inquiries (2014). She authored with Enrique Lamadrid the prizewinning historical bilingual young readers book Sisters in Blue/Hermanas de azul (2017). Ignacio M. Sánchez Prado is the Jarvis Thurston and Mona de Duyn Professor in Humanities at Washington University in St. Louis. He is the author of Naciones intelectuales. Las fundaciones de la modernidad literaria mexicana (1917-1959) (2009), Intermitencias americanistas: Ensayos académicos y literarios (2004-2009) (2012), Screening Neoliberalism. Transforming Mexican Cinema 1988-2012 (2014), and Strategic Occidentalism: On Mexican Fiction, The Neoliberal Book Market and the Question of World Literature (2018). He is also editor of A History of Mexican Literature (with Anna M. Nogar and José Ramón Ruisánchez, 2016), Mexican Literature in Theory (2018) and Pierre Bourdieu in Hispanic Literature and Culture (2018).

• Introduction. José Ramón Ruisánchez Serra, Anna M. Nogar and Ignacio M. Sánchez Prado; 1. The practice of epic and lyric writing in colonial Mexico Jorge Téllez; 2. La lírica del Fénix: Sor Juana's poetic legacy Anna M. Nogar; 3. The sound of the word: music and social transgression in lyric poetry from the colonia onward Jesús Ramos Kittrell; 4. We, the romantics José Ramón Ruisánchez Serra; 5. Sentimental sociabilities: the young romantics and their long-lived widows Lilia Granillo Vázquez; 6. Modernismo's strategic occidentalism. Notes on Manuel Gutiérrez Nájera, Amado Nervo, and José Juan Tablada Ignacio M. Sánchez Prado; 7. The crepusculars: Criollo modernism and the invention of the literary province Luis Vicente de Aguinaga; 8. Poesía en voz alta: a trajectory of poetry and performance in México Jill S. Kuhnheim; 9. The great synthesis of the critical poets: the rise of paz Anthony Stanton; 10. Octavio paz and the institutions of poetry Ángel M. Díaz; 11. The form that contains multitudes: the Mexican long poem (1924-2020) Tamara R. Williams; 12. Radical freedoms: neobaroque, Postpoetry Jacobo Sefami; 13. The age of Anthology Alejandro Higashi; 14. Twentieth-century Mexican poetry: the popular and the political Seminario de Investigación en Poesía Mexicana Contemporánea; 15. Poetry in indigenous languages: from the sixteenth to the twenty-first centuries Mónica Quijano Velasco; 16. Chicanx poetry: the living lyric Anita Huízar-Hernández; 17. Racimos: dissonances in Mexican poetry of today Cristián Gómez Olivares; Index.

''A History of Mexican Poetry' should be required reading for instructors, researchers, and students of Mexican cultural studies. It is a field-altering text that affirms the value of diverse and long-ignored artists and mediums while offering new ways to look at those poets already anointed as canon. As such, and by virtue of the scholarly authority of its editors and contributors, the book has the potential to reshape the canon of Mexican poetry, favoring renewal over ossification. It is a fine example of how we might read Mexican poetry (and approach all art, more generally); with more open minds and hearts we can grasp its roots and more fully appreciate the beauty of its flowering.' Daniel Cooper, Modern Philology