PrepTest 40, Section 4, Question 9

In spite of a shared language, Latin American poetry written in Spanish differs from Spanish poetry in many respects. The Spanish of Latin American poets is more open than that of Spanish poets, more exposed to outside influences—indigenous, English, French, and other languages. While some literary critics maintain that there is as much linguistic unity in Latin American poetry as there is in Spanish poetry, they base this claim on the fact that Castilian Spanish, the official and literary version of the Spanish language based largely on the dialect originally spoken in the Castile region of Spain, was transplanted to the Americas when it was already a relatively standardized idiom. Although such unity may have characterized the earliest Latin American poetry, after centuries in the Americas the language of Latin American poetry cannot help but reveal the influences of its unique cultural history.

Latin American poetry is critical or irreverent in its attitude toward language, where that of Spanish poets is more accepting. For example, the Spanish-language incarnations of modernism and the avant-garde, two literary movements that used language in innovative and challenging ways, originated with Latin American poets. By contrast, when these movements later reached Spain, Spanish poets greeted them with reluctance. Spanish poets, even those of the modern era, seem to take their language for granted, rarely using it in radical or experimental ways.

The most distinctive note in Latin American poetry is its enthusiastic response to the modern world, while Spanish poetry displays a kind of cultural conservatism—the desire to return to an ideal culture of the distant past. Because no Spanish-language culture lies in the equally distant (i.e., pre-Columbian) past of the Americas, but has instead been invented by Latin Americans day by day, Latin American poetry has no such long-standing past to romanticize. Instead, Latin American poetry often displays a curiosity about the literature of other cultures, an interest in exploring poetic structures beyond those typical of Spanish poetry. For example, the first Spanish-language haiku—a Japanese poetic form—were written by José Juan Tablada, a Mexican. Another of the Latin American poets' responses to this absence is the search for a world before recorded history—not only that of Spain or the Americas, but in some cases of the planet; the Chilean poet Pablo Neruda's work, for example, is noteworthy for its development of an ahistorical mythology for the creation of the earth. For Latin American poets there is no such thing as the pristine cultural past affirmed in the poetry of Spain: there is only the fluid interaction of all world cultures, or else the extensive time before cultures began.

In spite of a shared language, Latin American poetry written in Spanish differs from Spanish poetry in many respects. The Spanish of Latin American poets is more open than that of Spanish poets, more exposed to outside influences—indigenous, English, French, and other languages. While some literary critics maintain that there is as much linguistic unity in Latin American poetry as there is in Spanish poetry, they base this claim on the fact that Castilian Spanish, the official and literary version of the Spanish language based largely on the dialect originally spoken in the Castile region of Spain, was transplanted to the Americas when it was already a relatively standardized idiom. Although such unity may have characterized the earliest Latin American poetry, after centuries in the Americas the language of Latin American poetry cannot help but reveal the influences of its unique cultural history.

Latin American poetry is critical or irreverent in its attitude toward language, where that of Spanish poets is more accepting. For example, the Spanish-language incarnations of modernism and the avant-garde, two literary movements that used language in innovative and challenging ways, originated with Latin American poets. By contrast, when these movements later reached Spain, Spanish poets greeted them with reluctance. Spanish poets, even those of the modern era, seem to take their language for granted, rarely using it in radical or experimental ways.

The most distinctive note in Latin American poetry is its enthusiastic response to the modern world, while Spanish poetry displays a kind of cultural conservatism—the desire to return to an ideal culture of the distant past. Because no Spanish-language culture lies in the equally distant (i.e., pre-Columbian) past of the Americas, but has instead been invented by Latin Americans day by day, Latin American poetry has no such long-standing past to romanticize. Instead, Latin American poetry often displays a curiosity about the literature of other cultures, an interest in exploring poetic structures beyond those typical of Spanish poetry. For example, the first Spanish-language haiku—a Japanese poetic form—were written by José Juan Tablada, a Mexican. Another of the Latin American poets' responses to this absence is the search for a world before recorded history—not only that of Spain or the Americas, but in some cases of the planet; the Chilean poet Pablo Neruda's work, for example, is noteworthy for its development of an ahistorical mythology for the creation of the earth. For Latin American poets there is no such thing as the pristine cultural past affirmed in the poetry of Spain: there is only the fluid interaction of all world cultures, or else the extensive time before cultures began.