Nuyorican Modernity: The Early Poetry of Victor Hernández Cruz
This paper studies the relationship the early Nuyorican poetry of Victor Hernández Cruz -
Papo Got His Gun (1966), Snaps (1969), Mainland (1973) - established with the concept of moderntiy
as defined by Allain Touraine: modernity as subectivity, creativity, and freedom. It is argued that this
side of modernity, which Hernández Cruz's early poetry underscored, complments, instead of negating,
what became the official Nuyorican view of modernity - established in Nuyorican Anthology (1975) as "outlaw poetry," "experimental poetry," and "dusmic poetry."
Keywords: Nuyorican, Modernity, Subjectivity, Creativity, Freedom, Poetry
Prof. Francisco Cabanillas
Associate Professor, Department of Romance Languages,
in particular, to the interplay among literature, art, and popular music. At the moment, his work concentrates on establishing cultural and aesthetic links between the poetry of Victor Hernández Cruz, which dramatizes Nuyorican modernity; the art of Arnaldo Roche Rabell, which dramatizes the dialogue between Catholicism and Protestantism; and the music of David Sánchez, whose Latin jazz, post-Afro-bop, has produced an oeuvre of symetrical, classical dimensions.