Translation in "Nosotros"
Dear Laura, thank you very much for your interesting and very informative talk. As for the role of Marinetti in the magazine I had the impression that he is treated only as a poet and member of the cosmopolitan symbolistic network who wrote in French, this is in the role he had previously before he became an aggressive nationalist futurist avant-garde leader? I now that his political role was very much debated during his tour in Latin-America in the late 20th. Are there traces about his futurist politics also in Nosotros or didn't fit this interest in the main interest of supporting artistic autonomy you explained very well as the dominant base line of "Nosotros"?. Best wishes from Germany,
Dear Hanno, thank for your comment! You mentioned a really interesting point about Marinetti. The Argentinian reception of Marinetti was very ambiguous. Introduced by the Brazilian businessman N. Viggiani, Marinetti faced different audiences, even antagonistic ones, in 1926 in Buenos Aires. If you want to go inside this point, I recommend the chapter “Filippo Marinetti en la Argentina”, by S. Saitta (in P. Bruno (ed.), Visitas culturales en la Argentina, Biblos, 2014).
Concerning Nosotros, it is true that it published an extract of the long poem Le monoplan du Pape (1911), translated by Bianchi -one of director’s magazine- in homage for his visit to Buenos Aires in 1926 (nº 205). Nevertheless, the magazine was really aware of Marinetti’s political bias toward fascism. In the same issue, Nosotros published a note introducing Marinetti not “as a propagandist for fascism” but as the “founder and chief of Futurism” (“La presencia de Marinetti en la Argentina ha sido acogida con general simpatía en todos los círculos intelectuales. Disipado a tiempo el temor, que parece haberse fundado en un equívoco, de que pudiese visitarnos en calidad de propagandista del fascismo, no teníamos sino motivos de satisfacción al verle entre nosotros”). So, the magazine highlighted the avant-garde works of Marinetti and not the political role that he played in Italian fascism. As I said in the presentation, politics is a problematic topic (theoretically forbidden) in Nosotros, because the publication wanted to build a literary autonomous field.
All the best,