In all of them the conception of the poetic process as a linguistic adventure and of poetry as a modality of knowledge is essential. According to some (in particular Talens), poetry, in its essential problematic nature, revolves around the questioning of the poet and, more than self-contemplation, must collaborate in the transformation of reality. In the desire to restore the primacy of language, there is the affirmation of an ethical principle which, from different perspectives, informs much of this poem. It is a general postulate formulated by Gimferrer in the following terms: “Any poem that does not pursue the explicit or tacit struggle against the repressive system of society must be considered an accomplice of that system”. These ” subversive ” statements corroborate the character of commitment against Franco’s regime by a vast poetic front, sometimes hidden under the apparent aestheticism and polemic-linguistic forcing. It is in fact the ” theoretical ” moment of poetry which, basing itself on the contributions of linguistics, semiotics, psychoanalysis, builds its own textual universes, with the will to unmask and reject the repressive, standardizing and dehumanizing mechanisms of power.

Towards the end of the decade, however, the most controversial and controversial phase of young Spanish poetry (hegemonized by the ” novissimi ”) is practically running out, in the sense that some try to free themselves from group tensions and seek their own path. It is not a question of a clear abandonment of the previous aesthetics, but of a deepening of the reasons for poetic making, which, purified from the excesses and previous impatiences, will give better and more mature fruits with G. Carnero (El azar objetivo, 1975), A. Colinas (Sepulcro en Tarquinia, 1976, Astrolabio, 1979), LM Panero (b.1948: Narciso, 1979; Last river Together, 1980; El que no ve, 1980), LA de Villena (El viaje a Bisancio, 1976; Hymnica, 1979); J. Siles (Alegoría, 1977), as well as Gimferrer, who collects the most valid proofs in Poesía 1970-1977 (1978). In short, it is an evolution of young poets (almost all of them are around thirty years old), characterized by the attempt to refine research and reach a personal vision of the world through the purification, in the magma of influences, of certain elective affinities..

According to justinshoes, these results, in reality, are not astonishing. The debut of the ” novissimi ” and many poets of the ” 70 generation ” had taken place in the name of the avant-garde rupture, even if they were not deep avant-garde poets. They apparently behaved as such, under the pressure of the cultural conditions of the time. Their goal was to rejuvenate Spanish poetry to connect with European experiences and the ” generation of ’27’ ‘; and therefore they had to strike the most immediate and dominant targets (the tradition of social poetry and existentialist-religious poetry), with the polemical imposition of cultural attitudes and aesthetic tastes that were new in the Spain of the time. But actually, they were young people endowed with a solid traditional cultural and literary formation, which slowly rises and emerges when the primitive polemical tension is exhausted. In the second half of the decade the ” Venetian ” aesthetics of the first phase already had the characteristics of residual epigonism, and even linguistic and committed experimentalism slowly declined. Now the need to search for one’s own cultural and poetic figure is felt with greater clarity, deepening and delineating paths whose clues were already present in previous years: the experience of classical poetry, for de Villena or for A. de Cuenca; of romanticism, for Colinas; of pure poetry, for Siles; and so on. Alongside the search for a more personal voice, in the wake of peculiar sensibilities and poetic influences, the attention to previously neglected concepts and values: life as a source of inspiration, the experience of dialogue and, on a formal level, a more accurate workmanship of the poetic text. These developments are accompanied by a process of approaching the poetry of the 1950s, at least in its richest and most problematic individualities: J. Gil de Biedma (b.1929), C. Bousoño (b.1923), JA Valente (b.1929)).

In the same period, some poets who chronologically belong to the ” 70 generation ”, but who had lived on the margins of the ” newest ” aesthetic make their first appearances and publish their first books. Among others, F. Ortiz (b.1947), F. Bejarano (b.1945), A. Rossetti (b.1950), V. Bates (b.1948), A. Linares (b.1952) produce a poetry that brings them closer to the new results achieved by the ” novissimi ”, above all in the relationship with the classical tradition and in the esteem and admiration towards some exponents of the poetry of the 1950s. In this sense, the second half of the decade sees the full maturity of the ” novissimi ”.

Finally, at the beginning of the Eighties, a new poetic generation takes its first steps, showing a peculiar sensitivity towards the recovery of the private, of the experience of everyday life and of the literary tradition. It already has a name: it is the postnovísimos, according to the definition coined by de Villena, who also outlined its profiles and characterizations.