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Journal articles on the topic 'Nicaraguan poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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1

Monte Casablanca, Antonio, and Crystal Neill. "“Notes and Letters”: Music of the City in Flight / Trans-Migratory Poetry. By Antonio Monte Casablanca. Translated by Crystal Neill, with Amanda Minks and Lila Ellen Gray." Ethnomusicology Translations, no. 11 (May 26, 2021): 1–29. http://dx.doi.org/10.14434/emt.no.11.32396.

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In this essay I draw from memory studies and Latin American cultural studies to reflect on Notas y Letras (Notes and Letters), a collaboration by the Nicaraguan band Nemi Pipali and the poet Adolfo Beteta. I analyze these artistic expressions, music and poetry, at their place of convergence—the city of Managua—making audible some of the mechanisms that combine symbolic universes in Nicaraguan culture. This transdisciplinary reading allows me to propose that 1) music becomes a social marker of performative memory, transmitted by sounds present in hybrid Latin American cities, and 2) the migrant subject is displaced and divided between the center and the periphery. Citation: Monte Casablanca, Antonio. “Notes and Letters”: Music of the City in Flight / Trans-Migratory Poetry. Translated by Crystal Neill, with Amanda Minks and Lila Ellen Gray. Ethnomusicology Translations no. 11. Bloomington, IN: Society for Ethnomusicology, 2021. Originally published in Spanish as “‘Notas y Letras’: Música de la ciudad en fuga / Poesía transmigratoria.” Revista de Historia (Instituto de Historia de Nicaragua y Centroamérica) 33/34 (2015): 108-129.
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2

Heyck, Denis L., and Steven F. White. "Modern Nicaraguan Poetry, Dialogues with France and the United States." Hispania 78, no. 1 (March 1995): 79. http://dx.doi.org/10.2307/345216.

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3

Hood, Edward Waters, and Stephen F. White. "Modern Nicaraguan Poetry: Dialogues with France and the United States." World Literature Today 68, no. 3 (1994): 541. http://dx.doi.org/10.2307/40150403.

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4

Kaiser-Lenoir, Claudia. "Nicaragua: Theatre in a New Society." Theatre Research International 14, no. 2 (1989): 122–31. http://dx.doi.org/10.1017/s030788330000609x.

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One of the most revealing traits of the Nicaraguan revolution is manifested in the profound changes registered in the realm of culture. If Sandinista ideology focuses not on the fate of an élite but on that of the vast majority of the Nicaraguan people, it follows that for people to become the true subject of politics they have to become the true subject of culture as well. The popular Sandinista victory of July 1979 brought about the immediate establishment of the Ministry of Culture (the first in the country's history). Its goal: to give shape and nourishment to the popular effervescence and creative energies awakened by the long struggle. Work began with the organization of theatre, poetry, music and dance workshops throughout all sectors of the Nicaraguan society (army and police included), with the inauguration of Centres of Popular Culture in all regions, the creation of cultural committees in all grass-roots organizations, the training of ‘cultural promoters’ to work with regional governments, and with the task of rescuing and revitalizing popular cultural traditions.
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5

Cohen, Jonathan. "Evolving to Science Poetry: Three Poems by Ernesto Cardenal." American, British and Canadian Studies 41, no. 1 (December 1, 2023): 239–46. http://dx.doi.org/10.2478/abcsj-2023-0028.

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Abstract Nicaraguan poet-priest Ernesto Cardenal (1925–2020) is one of the most important Latin American poets. He developed his “exteriorist” poetics in the 1950s, much influenced by Anglo-American poets, in particular Ezra Pound, to differentiate his poetry from the prevailing subjectivist verse in Latin America. The impact of Pound’s canto technique on his work is clear, as well. Cardenal’s epic poem Cántico cósmico (Cosmic Canticle), published in 1989, is his magnum opus. This work is distinguished by his avant-garde use of science and its language, as he contemplates the entire cosmos and issues of being and non-being. Revolution is another major aspect of the poem, reflecting Cardenal’s commitment as a Christian-Marxist revolutionary. My translations of three fragments of his Cosmic Canticle selected by him are published here for the first time. They represent his focus on the origin of our planet and life on Earth.
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6

Pring-Mill, Robert. "The roles of revolutionary song – a Nicaraguan assessment." Popular Music 6, no. 2 (May 1987): 179–89. http://dx.doi.org/10.1017/s0261143000005973.

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The term ‘protest song’, which became so familiar in the context of the anti-war movement in the United States during the 1960s, has been widely applied to the songs of socio-political commitment which have developed out of traditional folksong in most of the countries of Latin America over the past twenty years (see Pring-Mill 1983 and forthcoming). Yet it is misleading insofar as it might seem to imply that all such songs are ‘anti’ something: denouncing some negative abuse rather than promoting something positive to put in its place. A more helpful designation is that of ‘songs of hope and struggle’, enshrined in the titles of two Spanish American anthologies (C. W. 1967 and Gac Artigas 1973), which nicely stresses both their ‘combative’ and their ‘constructive’ aspects, while one of the best of their singers – the Uruguayan Daniel Viglietti – describes his own songs as being ‘in some measure both de protesta and de propuesta’ (i.e. as much ‘proposing’ as they are ‘protesting’). The document with which this article is chiefly concerned uses the term ‘revolutionary song’, which clearly covers both those aspects, but such songs may be seen to perform a far more complex range of tasks than any of those labels might suggest, as soon as their functions are examined ‘on the ground’ within the immediate context of the predominantly oral cultures of Latin America to which they are addressed: cultures in which traditional folksong has retained its power and currency largely undiminished by the changes of the twentieth century, and in which the oral nature of song (with the message of its lyrics reinforced by music) helps it to gain a wider popular diffusion than the more ‘literary’ but unsung texts which make up the greater part of the genre of so-called ‘committed poetry’ (‘poesía de compromiso’) to which the lyrics of such songs clearly belong (see Pring-Mill 1978, 1979).
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7

Pascual Battista, Rosario. "José Emilio Pacheco: lector y antólogo del modernismo." Literatura Mexicana 32, no. 1 (January 20, 2021): 163–90. http://dx.doi.org/10.19130/iifl.litmex.2021.1.26857.

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José Emilio Pacheco (1939-2014) devoted part of his essay production to reconstruct the past of letters and, in particular, was interested in the Modernist movement. From two anthological texts: Anthology of Modernism [1884-1921] (1970) and Modernist Poetry. A General Anthology (1982), and a selection of journalistic notes that he published in the Mexican magazine Proceso, Pacheco aimed at broadening the spectrum of Modernist figures and avoiding to keep to a single figure, such as that of the Nicaraguan Rubén Darío. This article reconstructs the dialogues and reciprocities that José Emilio Pacheco traces with the literary tradition of Modernism and that are sustained, on the one hand, in connections between poets, as it is the case of Manuel Gutiérrez Nájera and José Martí and, on the other hand, in the recovering of poets less well-known by literary criticism, such as Salvador Díaz Mirón.
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Schnirmajer, Ariela Érica. "Rubén Darío, lector de Almafuerte." (an)ecdótica 5, no. 1 (January 29, 2021): 183–99. http://dx.doi.org/10.19130/iifl.anec.2021.5.1.19790.

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In 1896, Darío published one of his most important books in Buenos Aires: Los Raros, an article collection about the writers that most interested him. Through them, he revealed his belief system, based on the cultural heroes who, from his point of view, founded the roots of modern tradition. In this article we focus on a “raro” who didn´t enter Los Raros: Pedro Bonifacio Palacios, known by his pseudonym Almafuerte. Despite the distances between Darío’s poetic proposals in his stay in Buenos Aires and Almafuerte’s profile, close to social romanticism and to a “vociferous” tone, the Nicaraguan author considered him a precursor. The investigation unravels the reasons for these postulates in two journalistic articles published in La Nación of Buenos Aires in 1895. We propose that Darío places Almafuerte on the new poetry path. To do this, he leads to the figure of the oxymoron, in which he tries to sharp the edges that distance Almafuerte’s poetics from his, and brings him closer to the defense of art professionalization. Simultaneously, Darío adopts the imprecating tone of the poet from Buenos Aires.
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9

Hanson, Lori, and Jonah Walters. "A Poetic Tribute to the Spirit of Canada-Nicaragua Solidarity: Tools for Peace." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 9, no. 1 (September 1, 2023): 1–20. http://dx.doi.org/10.15402/esj.v9i1.70821.

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Tools for Peace (T4P) was a grassroots campaign in the 1980s that mobilized Canadians in every province and territory from diverse walks of life and extended large quantities of material support to Nicaragua’s Sandinista revolution. Despite having been recognized by the Nicaraguan state as one of the most important international solidarity efforts of the Sandinista era, T4P has received strikingly little scholarly attention. The paper analyzes 27 interviews with Tools for Peace participants that were conducted in the mid-1980s for an anthology that was never published, the transcripts of which are now found in the public archives at McMaster University. The interviewees’ words evoke the moods, sentiments, and dispositions that animated T4P. Weaving scholar-activism with arts-informed inquiry, this paper presents those sentiments in a series of found poems that seek to both engage and inspire their readers. Through these poems, the paper evokes the experiential and affective dimensions of international solidarity as it was enacted through this novel historical experience. We suggest that T4P was exemplary of the spirit of solidarity in the global movement in support of the Sandinista revolution, but also unique in its Canadian-ness, leading us to advocate a definition of international solidarity that emphasizes its situatedness, together with its experiential and affective dimensions.
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Doherty, Taylor Marie. "“Contact is Community”: A Conversation with Margaret Randall." Middle Atlantic Review of Latin American Studies 8, no. 1 (June 29, 2024): 147–85. http://dx.doi.org/10.23870/marlas.458.

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Interview with US writer and Latin Americanist Margaret Randall, accompanied by a selection of her poetry and photographs. She shares her thoughts on the interconnection of memory and place; personal contact for building community, connection, and mutuality; translation; risk-taking; art and social change. She also shares previously unpublished photos from her time in Cuba and Nicaragua in the 1980s. Entrevista con la escritora latinoamericanista estadounidense Margaret Randall acompañada de una selección de sus poesías y fotografías. Comparte sus ideas sobre la interconexión de memoria y lugar, el contacto personal para promover comunidad, conexión y mutualidad, la traducción, el riesgo y el arte y el cambio social. También comparte fotografías inéditas de sus estancias en Cuba y Nicaragua en los años ochenta.
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11

Gutiérrez Marx, Graciela G. "Invisible Artists, or the Net Without a Fisherman … (My Life in Mail Art)." ARTMargins 1, no. 2–3 (June 2012): 147–51. http://dx.doi.org/10.1162/artm_a_00018.

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Perhaps we can think that mail art derives from Dada and link it to Fluxus, Filliou's proposal of an eternal network, and the highly innovative poetry and experimental art, born at the same time in different countries. GGMarx practiced collective creation, in poor areas of the southern cone of South America. In a broader and ideologically more sensitive context, a folk art appeared, thanks to the popular struggles in Cuba, México, Brazil, Chile, Bolivia, Peru, Nicaragua, Venezuela, Uruguay, Colombia, Ecuador and Argentina. The liberation movements, developed during the seventies, have marked the direction of Latin American mail-art intercourse. But they acquired their real strength in Argentina in 1976, when the Military Terrorist State was implanted and started the time of art = life.
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12

Martínez Rivas, Carolos. "Poesía de Milagros Terán." Cultura de Paz 19, no. 60 (August 2, 2013): 33–37. http://dx.doi.org/10.5377/cultura.v19i60.1176.

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La poesía de Milagros Terán, una de las poetas más importantes de Nicaragua, es presentada en Cultura de Paz. La belleza de lo cotidiano en la trascendencia de la palabra poética. Carlos Martínez Rivas, extraordinario y singular poeta de nuestra lengua, escribe una carta valorando textos de Milagros Terán. DOI: http://dx.doi.org/10.5377/cultura.v19i60.1176 Cultura de Paz • Año XIX • N° 60 • Mayo - Agosto 2013 P / 33-37
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13

Meza-Márquez, Consuelo. "Memoria, identidad y utopía en los procesos de autorepresentación de las poetas afrocentroamericanas." Temas de Nuestra América Revista de Estudios Latinoaméricanos 38, no. 71 (January 1, 2022): 1–21. http://dx.doi.org/10.15359/tdna.38-71.5.

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La presencia de las escritoras afrodescendientes se visibiliza a partir de las últimas décadas del siglo XX. Es un discurso que surge de la experiencia de discriminación por etnia y género y se constituye como un movimiento de resistencia cultural que recupera personajes emblemáticos, símbolos, imágenes, sueños e ideales que permiten la permanencia de la etnia en los distintos países. Tiene sus orígenes, con escritoras creoles, en Costa Rica con Eulalia Bernard (1935), Prudence Bellamy Richard (1935), Marcia Reid Chambers (1950), Shirley Campbell (1965), Delia McDonald (1965) y Queen Nzinga Maxwell (1971). Le darán continuidad en Nicaragua, las escritoras June Beer (1935-1986), Erna Loraine Narcisso Walters (1942), Grace Kelly Bent, Annette Fenton (1973), Yolanda Rossman (1961), Deborah Robb Taylor (1965), Nydia Taylor (1953) y Andira Watson (1977); y en Panamá, Eyra Harbar y Melanie Taylor. Respecto a las escritoras garífunas, en Honduras se encuentra Xiomara Mercedes Cacho Caballero (1968), en Nicaragua, Isabel Estrada Colindres (1953) y en Guatemala, Nora Murillo (1964). Esta comunicación realiza un recorrido muy breve de una selección de autoras, no son todas, imposible agotarlas, pero si brinda el sentido y continuidad de esa importante tradición escritural.
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14

Aguirre Aragón, Erick. "Ernesto Cardenal: ¿Profeta en su tierra?" Encuentro, no. 76 (March 1, 2007): 27–41. http://dx.doi.org/10.5377/encuentro.v0i76.3686.

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EN UN CONTEXTO HISTÓRICO Y SOCIAL COMO EL DE LA CENTROAMÉRICA contemporánea, en el que los nuevos escritores parecen exagerar en su preferencia por una poesía “no contaminada por la política”; más allá de cualquier preferencia temática o estilística entre las nuevas generaciones de poetas, sería imperdonable no detenerse a admirar el emblema histórico que tanto la figura como la obra poética de Ernesto Cardenal representan para Nicaragua y para todo el continente americano.Esteta de la simpleza, la especificación y el detalle como recurso estilístico para reforzar la memoria histórica y fortalecer una idea emancipadora de la identidad hispanoamericana, Cardenal y su obra suscitaron una profusa polémica que aún sobrevive en medio de los debates sobre el quehacer poético en Nicaragua. Mientras muchos escritores rechazan la influencia de su poética, otros la asumen (a veces hasta involuntariamente) como parte de una tradición insoslayable. Aunque, a la larga, lo más probable es que en la riqueza intelectual de tal bifurcación, o en su sincretismo, se delineará el futuro camino de las nuevas generaciones poéticas nicaragüenses.
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Meza Márquez, Consuelo. "Discurso literario de las poetas garífunas del Caribe Centroamericano: Honduras, Nicaragua y Guatemala." Latinoamérica. Revista de Estudios Latinoamericanos 2, no. 55 (September 5, 2016): 245. http://dx.doi.org/10.22201/cialc.24486914e.2012.55.56511.

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El ensayo muestra la obra poética de las escritoras garífunas del Caribe centroamericano como un discurso en el que pueden observarse los procesos de construcción de la identidad como garífunas y como mujeres. Es un movimiento contradiscursivo, que funciona como suplemento de la historia, la memoria y las tradiciones culturales. En ese proceso, la labor de las mujeres como transmisoras de cultura es fundamental en la vida cotidiana, en el devenir histórico y en el proceso de representación en la literatura. Es un discurso afro-céntrico que construye un movimiento más allá de las fronteras de los diferentes países y recupera símbolos, imágenes, sueños e ideales que permiten la permanencia de la etnia garífuna.
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Ramírez M., Sergio. "Revolución e identidad nacional." ECA: Estudios Centroamericanos 44, no. 489 (July 31, 1989): 571–83. http://dx.doi.org/10.51378/eca.v44i489.8230.

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La identidad nacional de Nicaragua se ha realizado y se realiza desde y en la realidad histórica. Por lo tanto, también la cultura se realiza en la historia. Darlo y Sandino sintetizan la lucha por la identidad y por la modernidad que darán el rostro definitivo del ser nicaragüense. Sandino definió en la guerra el concepto de identidad nacional, con una carga de justicia y modernidad. Darlo también fue moderno. La palabra creadora ha iluminado la historia nicaragüense; ha sido tan deslumbrante como el fulgor de los fusiles disparando en la noche cerrada, por la independencia, por la soberanía, por la identidad nacional. Esta es la idiosincracia nicaragüense, la definición y el orgullo del pueblo nicaragüense pobre, acosado, pero despierto, que mira lúcido al futuro. Es una historia, y por tanto, una identidad nacional hecha por poetas y guerreros. ECA Estudios Centroamericanos, Vol. 44, No. 489, 1989: 571-583.
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17

Teixeira, Faustino. "O itinerário místico de Ernesto Cardenal." Revista Eclesiástica Brasileira 73, no. 290 (October 24, 2018): 381–408. http://dx.doi.org/10.29386/reb.v73i290.655.

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Conhecido na América Latina e no Caribe como um poeta revolucionário, Ernesto Cardenal (1925-) produziu, ao longo de sua vida, obras em prosa e em verso que estão marcadas igualmente por significativa densidade mística. Há que buscar captar ao longo desse singular itinerário os traços dessa presença espiritual que talvez esteja na base da riqueza e expressividade de sua vida e produção teórica. O poeta nicaraguense vem hoje reconhecido por vários autores como um dos mais fecundos e originais poetas do século XX, e revela-se de fundamental importância desocultar as coordenadas contemplativas presentes na sua rica narrativa.Abstract: Known in Latin America and in the Caribbean as a revolutionary poet, Ernesto Cardenal (1925-) produced during his life works in prose and verse that are equally marked by a significant mystical density. It is now essential to try and capture along this singular trajectory the traits of this spiritual presence that most probably is at the base of the richness and expressivity of his life and theoretical production. The Nicaraguan poet is now recognized by various authors as one of the most productive and original poets of the 20th century and it is of paramount importance to unveil the contemplative coordinates present in his rich narrative.Keywords: Latin America. Literature. Mystical. Religion. Cardenal.
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Helgueta Manso, Javier. "Hibridez transcultural en la poesía neomística en lengua española. Una perspectiva a partir de casos recientes." En-Claves del Pensamiento, no. 35 (January 2, 2024): 108–35. http://dx.doi.org/10.46530/ecdp.v0i35.634.

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Uno de los argumentos para poder hablar de un contexto postsecular es el mantenimiento de la religiosidad profana en sus manifestaciones estéticas. Como otros fenómenos culturales, la espiritualidad occidental se ha transformado por la digitalización, el transhumanismo y la aceleración de los intercambios transnacionales. Si Néstor García Canclini habla de ‘culturas híbridas’, creo que se debe utilizar el término ‘espiritualidades híbridas’; dentro de estas, se pueden apreciar neomisticismos híbridos en la poesía contemporánea. De hecho, considero que el sincretismo de esta poesía es una prueba para su resignificación como nueva mística. Aunque existen diferentes tipos de hibridación, en este trabajo voy a tratar la hibridez transcultural. Para ello, he establecido una clasificación dividida en cuatro tipos: 1. hibridez transcultural por razones de migración y reminiscencias del origen religioso; 2. hibridez transcultural y transtemporal: el rescate de sistemas perdidos; 3. hibridez transcultural a partir de tradiciones no originarias; 4. hibridez multitranscultural. Cada una de estas se ha estudiado, respectivamente, en poetas de hasta seis países de lengua española: David Rosenmann-Taub (Chile); Jorge Eduardo Eielson (Perú) y Eduardo Scala (España); Elsa Cross (México) y Vicente Gerbasi (Venezuela); Gloria Gervitz (México) y Ernesto Cardenal (Nicaragua). Se espera así demostrar la hipótesis inicial y presentar un método para el análisis de los neomisticismos híbridos de tipo transcultural en la poesía hispánica de nuestro tiempo, método que pueda ser mejorado en siguientes trabajos, así como refutado o sofisticado por la comunidad académica.
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"Nicaraguan peasant poetry from Solentiname." Choice Reviews Online 26, no. 04 (December 1, 1988): 26–2031. http://dx.doi.org/10.5860/choice.26-2031.

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"Aesthetics and revolution: Nicaraguan poetry, 1979-1990." Choice Reviews Online 31, no. 01 (September 1, 1993): 31–0182. http://dx.doi.org/10.5860/choice.31-0182.

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Sandoval Obando, Martha Lorena, Alexander Carbonero, and Johana De Los Ángeles Masis. "Poetry from Solentiname, Nicaragua." Community Literacy Journal 2, no. 2 (April 1, 2008). http://dx.doi.org/10.25148/clj.2.2.009496.

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Finzer, Erin S. "Bleeding Mud: The Testimonial Poetry of Hurricane Mitch in Nicaragua." Studies in 20th & 21st Century Literature 39, no. 2 (January 1, 2015). http://dx.doi.org/10.4148/2334-4415.1838.

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Arroyo Carvajal, Yordan. "Poéticas abyalenses en Centroamérica: propuesta de análisis literario en el contexto de las revistas digitales (Parte I)." Repertorio Americano, no. 33 (May 31, 2023). http://dx.doi.org/10.15359/ra.1-33.9.

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This research makes a proposal for a literary analysis of what is referred to here as the “abyalense poetics in Central America”,from the context of digital magazines. The study considers four digital magazines, New York Poetry Review, Ajkö Ki, Círculo de Poesía, and Altazor, and two poets per region. The cases of Nicaragua, Belize and Honduras are pending for the second part. In total there are sixty poems by authors from Costa Rica (Leonardo Porras Cabrera and Mariana Bejarano), Guatemala (Miguel Ángel Oxlaj Cúmez and Rosa Chávez), El Salvador (Guadalupe Estrada and Paula López), and Panama (Aiban Wagua and Arysteides Turpana). Categories such as indigenous, ladino and indigenist poetry and literary polysystem are developed and considered. As part of the results, different phenomena and aesthetic proposals are mentioned, among them, related to cases of linguistic hybridization, bilingualism, monolingualism, cosmovisions, ethnic resistance, and denunciation. It also opens the space for new proposals on this subject, exposes the lack of an anthology of contemporary Central American Abyalense poetics and presents some limitations of interest for future works.
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Pastrana Hernández, Guadalupe Xochitlanetzin. "LOS TALLERES DE POESÍA DEL MINISTERIO DE CULTURA EN LA NICARAGUA DE LOS AÑOS OCHENTA." Revista Humanismo y Cambio Social, October 9, 2017, 17–22. http://dx.doi.org/10.5377/hcs.v0i5.4958.

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El triunfo de la Revolución Popular Sandinista implicó para Nicaragua profundas transformaciones en distintos ámbitos, uno de ellos fue el cultural. Con la creación del Ministerio de Cultura, que tuvo como Ministro a Ernesto Cardenal, se impulsaron –entre otros proyectos– Talleres Populares de Poesía. Dar cuenta de la historia de estos Talleres, de sus formas de organización, de los poetas que en ellos participaron y que continúan escribiendo, e incluso hablar de la polémica que se desató entre la intelectualidad nicaragüense, porque a decir de algunos, los Talleres limitaban la creación poética en el país, es lo que se hace en este ensayo que además, pretende ser un aporte para entender e interpretar –desde otras miradas– a aquella Nicaragua recién liberada, aquella Nicaragua que a finales de los años ochenta (época en que en México y en otros países de América Latina se hablaba de neoliberalismo) constituyó un ejemplo de dignidad y rebeldía.
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Atwood, Roger. "“Poetry is Subversion”: Writers and Revolution at La Pájara Pinta, El Salvador, 1966–1975." Americas, March 1, 2024, 1–32. http://dx.doi.org/10.1017/tam.2024.2.

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Thousands of soldiers swept onto the campus of the University of El Salvador with tanks and planes, ransacking buildings and arresting more than eight hundred students, professors, and staff. It was July 19, 1972, and the university had “fallen into the hands of the Communist Party of El Salvador and a minuscule group of opportunists of the most disgraceful immorality,” said the recently inaugurated president Army Colonel Arturo Armando Molina.1 Troops handcuffed the rector, Fabio Castillo, and the dean of the medical school and sent them into exile in Nicaragua.2 Early in the invasion, the troops sealed off and occupied the university's printing press, where workers produced a magazine of arts and politics called La Pájara Pinta that essayist Italo López Vallecillos and novelist Manlio Argueta had founded in 1966, and of which Argueta was still the editor.3 The campus occupation lasted two years and proved a milestone in El Salvador's long march to civil war. The closing of La Pájara Pinta that day silenced the most important forum for Salvadoran dissident writers and marked, for many of them, the end of their literary careers and the start of their lives as fugitives and, eventually, guerrillas.
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Mackenbach, Werner. "Literatura y revolución: la literatura nicaragüense de los años ochenta y noventa entre política y ficción." Monograma. Revista Iberoamericana de Cultura y Pensamiento, April 15, 2018, 13–44. http://dx.doi.org/10.36008/monograma.182.21.943011.

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En los años ochenta y hasta en la década de los noventa se solía hablar del proyecto revolucionario sandinista en términos de una «república literaria» o de poetas. Esta reclamada relación simbiótica entre revolución y literatura tuvo consecuencias significativas para la literatura, en sus diferentes dimensiones como creación artística, instancia de generación de sentido e institución, así como para la relación entre el autor/escritor y la política, esto es, el Estado. El presente ensayo propone una revisión crítica de esta supuesta compenetración entre el campo político y el campo literario en la década de los noventa que tenía múltiples y contradictorias repercusiones en las políticas culturales del gobierno sandinista, y pregunta por la relación entre política y literatura en la Nicaragua de inicios del siglo XXI.
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