Ronald Kay

Spanish, primarily of undergraduate students formed, poets of the generation that began to wield their first weapons, helpers and novice teachers, and met Ronald Kay, Borghis Lohan, Ariel Dorfmann, Jonas (Jaime Gomez Rogers), Gonzalo Millan, Pablo Guonez, Oliver Welden, Eric Martinez, Sergio Munoz and others, and published a volume of the most accomplished and more tailored to the way poems poemthat was presented at the school of journalism, adjacent to the pedagogical. Somehow both academies were matched, the Castilian represented more in the traditional manner of these instances at the University level, quite connected to the institutions and with a task more or less linked with what happens in the respective departments, faculties, etc. In general, the poets of the generation of the 1960s did a fairly Bohemian lifestyle but under cover of mentors and institutions, parties, magazines, very attentive to the latest developments that occurred in the metropolis, especially Anglo-Saxon of North America. A little hell, but not perhaps as confused and uninformed, the members of the school of Santiago and the Group America, almost contemporary, and many times matching or they desestimaban partially the above or as it is said, were in another. But moreover they valorizaban the Imagist, especially to Elliot poets Pound, that despite being Americans wrote the poetry of Europe, and they were fond of contemporary American poetry, were left dazzled by the beatnicks, especially Ginebsrg and Ferlinguetti somewhat, but also Kerouac, that they valorizaban in terms of a way of writing, while many of his contemporaries rather than hosting and celebrating the vital impulse expressed in this vagabond life and sensual exploration that coincided with the exploration of hallucinogenic drugs and marijuana, horse racing whose influence was felt among some poets in a way rather than biographical, while at the same time they reinforced and awork one traditional poetic writing, back to a simplicity apabullada by surrealism that they recusaban from a vague aesthetic assumed but not made of political realism, of a certain populism and minimization of the lyrical I.