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By Charles Lennie

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When he imagines and advocates the "sacred" integrity of his books, what Dario accomplishes is the creation of a formidable effect in which the book comes to represent the objectification of his creativity. As such, his genius can be appreciated as an object in its totality. " According to him, the effect is informed by a nostalgia for the unity of the art object, by a desire to rediscover the object's original use value in the face of a mode of production that had already been transforming the creative process into a fragmented albeit collective assembly (p.

Itica" [an anarchic aesthetics] (p. 8); since no model can be imposed, no imilation will ensue. In "Dilucidaciones," Daria reaffirrns his stance claiming that there are no schools, only poets (p. 15). Yet the antimanifesto contained in "Palabras liminares" seems to contradict the fact that in 1894, two years prior fo the publication of Prosas pmfanas, Daria had written, with Ricardo Jaimes Freyre, probably the most cited manifesto of the modemista movement: the editorial remarks that inaugurated the first issue of the Revista til Ammca.

We get bitter instead of loving one another. We become jealous instead of opening paths together. We love each other as if between prison bars. ) Being split in two- emptied of one's personality abroad and colonized at home, falsely imprisoned by local disunity- fully captures Marti's and Casal's displacements under colonialism. The fundamental and ironic distinction between both poets, however, lies in Marti's physical exile, a distance that ultimately did not prevent the vast m~ority of his critics from considering his writings patriotic.

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