The examination of Argentine literary production of the last ten years cannot fail to take into account a decisive date, that of the military coup of 1976, both because an apparent rift was created between the writers of the diaspora and those who lived their own exile at home, both because the dramatic experience of the years of the dictatorship has generated works that are at the same time invented literary texts and denouncing essays.
According to usprivateschoolsfinder, a separate case are the writers of previous generations, especially those whose works are consecrated as belonging to universal literature: JL Borges (1899-1986), M. Mujica Lainez (1910-1984), Argentina Bioy Casares (b.1914)), E. Sábato (b.1911), who never left the country in the years of repression, and J. Cortázar (1914-1984), voluntarily exiled long before the era of the dictatorship, whose production is, after all, in those years, quite limited.
We briefly recall the following works of some of the authors cited here: Mujica Lainez publishes El viaje de los demonios and El laberinto in 1974 , while El gran teatro is from 1979. By Bioy Casares, author of great importance of the fantastic genre, which passes from the accents metaphysics to the ironic vision of reality, Dormir al sol was released in 1973 . E. Sábato, in addition to publishing the essays La cultura en la encrucijada nacional (1976) and Apología y rechazo (1979), coordinates the drafting of Nunca más (1984), dossier denouncing the dictatorship, collected by a commission chaired by himself.
Among the writers who remained in the country should be mentioned H. Conti and R. Walsh, both of whom disappeared in the most dramatic years of the military era. H. Conti (1925-1976) is the author of the novels En vida (1971) and Mascaró, el cazador americano (1975; trad it., 1983) and of the collections of short stories Todos los veranos and Alrededor de la jaula, both from 1974. R. Walsh (1927-1977) is famous for his reportages: Operación masacre (1957), The case of Satanowsky(1958), ¿Quién mato a Rosendo? (1969), and for his short story collections Los oficios terrestres (1966) and Un kilo de oro (1967). In all his works the planes of reality merge with those of fiction, and vice versa, to the point of becoming prophetic.
Still among the writers who remained in their homeland, S. Poletti (b. 1919), author of novels and short stories in which she deals with the problems of transculturation, has acquired national fame, and who has imposed herself on the public with the autobiographical novel Gente conmigo (1962); his latest titles include Extraño oficio and Taller de imaginería, both from 1977. Of no less importance is B. Kordon (b. 1915), a profound connoisseur of Buenos Aires, who represents in Bairestop(1975) the miserable conditions of the marginalized with a denunciation made through the forms of a pseudo historical novel. Special mention should be made of M. Denevi (b.1922), also known outside the national borders with Rosaura a las diez(1955), an amusing novel on the problems of identity, and which published Hierba del cielo in 1972; J. Ardiles Gray (b. 1922), in whose writing three ingredients are blended: the Argentine North-West, Buenos Aires and French culture; his latest works include Ruth Mary: prostitute (1972) and the collection of short stories La noche de cristal (1987); B. Guido (b.1925), who treats the unavoidable individual dramas such as sex and power, and the equally unavoidable dramas of national history, as happens, for example, in Escándalos y soledades (1978), and in La invitación (1979); Argentina Di Benedetto (1922-1985) and with Zama (1956; trans. It., 1977) creates a singular historical novel, and then moves on to the forms of the fantastic; M. Lynch (b. 1934), whose work has always been characterized by a strong realistic focus on the socio-political problems of the country.
Among the younger generations of writers who remained in their homeland we should remember R. Piglia (b.1945), whose fame is linked to the publication of the novel Respiración artificial (1980; trans. It., 1990), a profound reflection on writing and, at the same time,, on the situation of the country in an attempt to keep the reality of the text and the extratextual at the same time united and separate. In the same year J. Asís publishes Flores robadas en los jardines de quilmes, and M. Mercader Juanamanuela mucha mujer. In all three cases the object of the literary fiction is the historical reality of the country of those years faced with different perspectives, techniques and languages which appear however complementary. Furthermore, we cannot fail to mention I. Blaistein, E. Gudiño Kieffer, L. Eker.
Among the numerous writers who have instead published many of their works in exile, we remember H. Tizón (b. 1929), whose rich production begins in the 1960s with A un costado de los rieles.
As often happens with the so-called regionalist writers, constants of his production are the representation of the landscape, myths and legends of the native area, Yala (Jujuy), in the Argentine North-West; nevertheless the author never runs into folklorism. Tizón in Fuego en Casabindo (1969) and Cantar del profeta y el bandido (1972) demonstrates greater maturity in the profession, but his best known novel is Sota de bastos, caballo de espadas (1975). In his latest work, La casa y el viento, Tizón creates a macro-metaphor of the pre-exile, reproducing the itinerary of a traveler to the land of childhood.
Moyano (b. 1928), who like Tizón lives in the Argentine province (Córdoba), rejects both realism and regionalism in the recreation of the mythical world. In the collection of short stories El estuche de cocodrilo (1974) he gives a sarcastic version of the myth of spiritual colonization.
Exile, violence, repression and nostalgia thus become the leitmotifs of much of the narrative of this decade. Violence takes over in works by writers belonging to previous generations, such as in Cuerpo a cuerpo (1979) by D. Viñas (n. 1929); while H. Costantini (b. 1924) re-elaborates the experience of dictatorship with detachment and in grotesque forms in De dioses, hombrecitos y policías (1979). Sharing an interest in a particular relationship with cinema, in addition to the themes already mentioned, we can also remember M. Puig (b.1933) and O. Soriano (b.1944), in whose works the narrative fabric is often articulated according to the codes of cinematographic expression.
de Orgambide (b. 1929) and E. Molina (b. 1937) draw on a more distant history, respectively, in El arrabal del mundo (1983) and Una sombra donde sueña Camila O’Gorman. More attentive to the problem of self-representation of writing is JJ Saer (b. 1937), who has lived in Paris since 1968 and with the penultimate novel El entenado has confirmed the values of his own prose, already announced in Limonero real. The return to democracy has favored the flowering of numerous writers who have already imposed themselves on the interest of critics, among which N. Ulla, C. Aira, R. Fogwill, N. Peyceré, E. Gandolfo, N. Tirri, M. Caparroz, E. Gorodischer, J. Sasturain, M. Szchiman, H. Uhart.
Among the numerous poets, besides of course Borges (see in this Appendix), it should be mentioned J. Gelman (b. 1930), who had already established himself between 1956 and 1959, publication dates of Violín y otras cuestiones and El juego en que andamos. In the latest lyrics, his poetry, initially centered on the simplicity of everyday life, becomes more committed, without losing its intensity. To the same generation of Gelman belongs F. Urondo (1930-1976), refined manipulator of the word, poet and prose writer, who combines the search for the signifier with accents of strong ideological content of the meaning; among his collections we remember Todos los poemas (1972). Around the seventies a group was formed which included among many others E. Romano (b. 1938) and Argentina Spunzberg (b. 1940).
The Argentine theater, after the modernization process in the second half of the sixties, moves away from the themes of the absurd, which had had the greatest exponent in G. Gámbaro. Gámbaro (b. 1928), after an initial avant-garde experience, moves towards realism with El campo (1968). In 1974 he published Sucede lo que pasa. The production of R. Cossa (b. 1934) is inserted in a similar expression of greater realism; among his works, in addition to Nuestro fin de semana (1964), we remember Gris de ausencia, a short comedy in which the author exhumes popular forms of theater.