There is a vibrant tradition of prose poetry in 20th century Latin America; the prose poem becomes a prevalent format for lyrical philosophical inquiry and sensual sentiments of the region's poets. They expressed feelings of separation from American society. [19], Another variation is articulated by Randolph D. Pope: "The story of the Boom could start chronologically with Miguel Ángel Asturias's El Señor Presidente (published in 1946, but started in 1922). While the names of many other writers may be added to the list, the following may not be omitted: Now I’m not going to drag you through a complete history lesson of the novel, but I will say that as a literary format, it’s a relatively new invention. Essential for many new families was housing which was more frequently to be found not Major publishing houses based in Havana, Mexico City, Buenos Aires, Montevideo, Asunción or Santiago were responsible for publishing most of the Boom novels, and these cities became strong centers of cultural innovation. In general—and considering there are many countries and hundreds of important authors—at the start of the period, Realism prevails, with novels tinged by an existentialist pessimism, with well-rounded characters lamenting their destinies, and a straightforward narrative line. The nation's gross national product rose from about $200,000 million in 1940 to $300,000 million in 1950 and to more than $500,000 million in 1960. On the other hand, a few writers exerted wide and undisputed influence. [17] Overall, contemporary literature in the region is vibrant and varied, ranging from the best-selling Paulo Coelho and Isabel Allende to the more avant-garde and critically acclaimed work of writers such as Diamela Eltit, Giannina Braschi, Luisa Valenzuela, Marcos Aguinis, Ricardo Piglia, Roberto Ampuero, Jorge Marchant Lazcano, Alicia Yánez, Jaime Bayly, Alonso Cueto, Edmundo Paz Soldán, Gioconda Belli, Jorge Franco, Daniel Alarcon, Víctor Montoya or Mario Mendoza Zambrano. [31] This consists of 155 chapters, 99 of which are "expendable", which can be read in multiple orders according to the reader's predilection. Paz has also been a recipient of the Jerusalem Prize, as well as an honorary doctorate from Harvard. Lyrics, poetry, plays, journals, and essays are all much older. They were considered to be “lost” due to their tendency to act aimlessly, even recklessly, often focusing on the hedonistic accumulation of personal wealth. Boom writers ventured outside traditional narrative structures, embracing non-linearity and experimental narration. [3][4] Other foundation fictions include the Colombian Jorge Isaacs's María (1867), Ecuadorian Juan León Mera's Cumandá (1879), or the Brazilian Euclides da Cunha's Os Sertões (1902). Some writers felt the success of the Boom to be a burden, and spiritedly denounced the caricature that reduces Latin American literature to magical realism. The Lost Generation is a term used to refer to a collective group of artists and writers who settled in Europe in the wake of the First World War. After Modernismo several lesser known, short-lived poetry movements emerged in Latin America. Other important works include Where the Air Is Clear (1959), Aura (1962), Terra Nostra (1975), and the post-Boom novella The Old Gringo (1985). According to literary critic Harold Bloom, the most eminent Latin American author of any century is the Argentine Jorge Luis Borges. 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