Thus, modernism proposed, exception made of Brazilian modernism, exotic images and musicality as a theme. At the same time, the evasion as a methodology. Chilean creationism, by proposing that the poet was a little God placed human beings beyond good and evil. Heirs of the Russian formalists and the Prague circle, first the structuralism in Linguistics and criticism, and then the concretism, in literature, aspired to make language an instrument of autonomy, regardless of the substance of the content of their achievements, the first, and the politico environment – social where occurs, the second. By this way, have arisen various readings pendulous between the form of the expression and the way of the content.

We think that these achievements that have taken place at moments such as those mentioned above will not ever appear in the context of our current reference. And this is due to that, we think, you represent the eternal speculation about the asepsis of art, referred to in our heading. However, as a new Phoenix, the creative phenomenon of our republics, as such, it has had in the narrative its best form of expression. And, almost always, has been linked to the conceptual. As cancellation of all the narrative of the Earth, comes the so-called Latin American boom in the 1960s.

In the 1980s, and as a manifestation of what sociology of literature called ideological vanguard, consolidates the Cuban revolution as a representation of a mode of different production the existing in our countries. This new reality becomes possible utopia in the political arena. And in regard to literature, undoubtedly, is born a new discourse. We don’t want to say that it is a direct consequence of the historical fact, because we caeriamos in determinism. But it is no less true that the creation of Casa de las Americas, in Havana, becomes important to spur the development of this new aesthetic code.