The book Exposición de la actual poesía argentina (1927) (Presentation of Present-day Argentinian Poetry) collects the works of 46 poets (Jorge Luis Borges, Oliverio Girando, Norah Lange, Ricardo E. Molinari, among others), including those who organized this piece of work —Pedro Juan Vignale and César Tiempo (Israel Zeitlin’s pseudonym)— as well as representatives of “various core and adjoining groups of the new literary generation”; which the consider to have begun in 1922, according to the prologue of the work titled “Justificación” (Justification). However, the book also presents, in a manner of brief introductions and under the title “Situación del lector” (State of the Reader), six works of various authorship: “Estética” (Aesthetics) by Leopoldo Lugones; “Paralelo” (Parallel) by Rafael De Diego; “1907-1922” by Julio Noé; “Poesía” by Ricardo Güiraldes; “Qué entiendo por poesía lírica” (What I understand by lyric poetry) by Tomás Allende Iragorri; “La extrema izquierda” (The Extreme Left) by Roberto Mariani and “Rol de ‘Martín Fierro’ en la renovación poética actual” (‘Martín Fierro’s Role in the Renovation of Present-day Poetics) by Evar Méndez. This core group seeks to account for and compare different points of view concerning contemporary poetry through statements of important references in the intellectual arena of those times. Leopoldo Lugones (1874-1938) was one of the most relevant writers in Argentinian literature, active since the late 19th century, author of Lunario sentimental (1909) (Sentimental Lunar Almanac) among many other works. In the twenties, the core avant-garde group revolving the publication Martin Fierro (1924-1927) and the modernizing projects of literary journals, such as Proa (segunda época, 1924) (second period, 1924) confronted Lugones’ vision, above all for the abandonment of rhyme and use of free verse.
