It begins to make a literature of the revolution, but also a revolution in literature. The horizontal narrative history jumps made pieces, to make way for the superposition of both spatial and temporal levels: Green dixit House. Thus, as old structures are falling, are emerging new ones. On the other hand, the need for a linguistic experimentation produces the beautiful realization of a new literary Baroque, but not detached from reality. They are shining examples of this construction, Paradiso, Lezama Lima, 62. Model to assemble, Cortazar’s, not to mention of hopscotch that time, constitutes a kind of factotum of experimentation, CITES forced critics and pattern of novice writers. At 62, the author is outwardly confront the behaviors of a group of alienated men seeking another access to the world. This external search in the plane of the characters is also an aesthetic quest faced the proustian European model.

It is an enrichment of what a previous Venezuelan, as Romulo Gallegos, had already raised in the relativity of the concepts verdad-mentira. Such amplification of levels of reality also makes that reality agigante and enrich the manifestation known as magical realism. Gabriel Garcia Marquez has the baton, because that magicidad is inherent in Latin American culture, happy syncretism between conquering, and conquered civilizations between different visions of world of ethnic inhabitants. In other words. Macondo, where anything can happen, is a referential paradigm of our America.

VA. phenomenon had already been, theoretically, overtaken by Alejo Carpentier. Equally it could refer an optic appeared, direct heiress model proustian and expression problems men (and women) of course. The tunnel and on heroes and tombs, Sabato; The truce and spring with a broken corner, de Benedetti, examples that first come to mind. On the other hand, the policy response of the United States of America to the phenomenon, also politician, Cuban generated the so-called doctrine of the Security (safety for whom? we ask us).