Modern Argentina. Monthly magazine founded by Edelmira Thompson and initially edited by Adlo Carozzone.
The Naturalist Aryan Commune. Founded (in 1967) by Segundo José Heredia on a farm near Calabozo (in the state of Guárico), where Frank Zwickau and other Venezuelan artists of vaguely Aryan extraction put up for a few days.
The Poetic and Literary Beacon. Magazine published in Seville, 1934–1944.
Second Round. Literary and sporting magazine founded and edited by Segundo José Heredia, which brought together a large and generally ungrateful group of young Venezuelan writers.
Southern Hemisphere Literary Review. When Ezequiel Arancibia and Juan Herring Lazo embarked on their publishing venture, their aim was not only to provide an alternative to History and Thought, but also a Chilean response to that journal’s Germanic thrust. As they saw it, History and Thought’s team represented German National Socialism, while the following they hoped to gather would represent Fascism. An Italian, aestheticist, swaggering Fascism in the case of Arancibia; while Herring Lazo espoused a Spanish, Catholic, Falangist, anti-capitalist Fascism in the style of Primo de Rivera. Politically, they were stalwart supporters of Pinochet, although they did not spare him their “loyal criticism,” especially in regard to economic matters. In literature they admired only Pedro González Carrera, whose complete works they edited. Unlike the Germanists of History and Thought, they did not disdain Pablo Neruda and Pablo de Rokha; indeed they made a methodical study of Neruda and de Rokha’s free verse, with its long lines and powerful cadences, and often cited the pair as exemplary practitioners of militant poetry. All you had to do was change a few names—Mussolini instead of Stalin, Stalin instead of Trotsky—slightly adjust the adjectives, replace a few nouns, and you had the ideal pamphlet poem, a genre they recommended as salutary given the historical context, although they never granted it the supreme place of honor. By contrast they loathed the poetry of Nicanor Parra and Enrique Lihn, which they considered hollow and decadent, heartless and despairing. They were excellent translators and introduced the Chilean public to the work of many lesser-known poets writing in English, German, French, Italian, Portuguese, Rumanian, Flemish, Swedish and even Afrikaans (a language that Arancibia taught himself, according to his friends, with the help of a good dictionary and three trips to South Africa). In the early days they tried to promote only artists with whom they had political as well as literary affinities, and aggressively dismissed all other schools of thought. They organized readings and literary events in the provinces, venturing to remote regions devoid of literary tradition, where the low rates of literacy would have daunted less enthusiastic men. They started the Southern Hemisphere Poetry Prize, which was won successively by Herring Lazo, Demetrio Iglesias, Luis Goyeneche Haro, Héctor Cruz and Pablo Sanjuán, among others. They tried to persuade the Chilean Society of Authors, of which they were members, to set up a pension fund for elderly and economically disadvantaged writers, an idea that, given the public’s indifference to the problem and the profession’s endemic egoism, never got off the ground. Arancibia’s literary opus is concentrated in three slim volumes of poetry and a monograph on Pedro González Carrera. His works in a broader sense, fruits of enthusiasm and boundless curiosity, include his legendary voyage through Europe and South Africa in search of the spectral Ramírez Hoffman. Juan Herring Lazo is the author of several poetry collections and plays that were variously received, as well as a trilogy of novels relating the gestation and birth of a new American sensibility based on love. In his final years at the helm of the magazine, he tried to open its pages to virtually all Chilean writers, but fell short of that aim. He was awarded the National Literature Prize. The third editor of the Southern Hemisphere Literary Review, Luis Goyeneche Haro, author of ten books of poetry which, viewed as a group, consist simply of variations on the first, tried to follow in Herring Lazo’s footsteps, with little success. Under his editorship the magazine went through its most mediocre phase. Pablo Sanjuán, a disciple of Arancibia and a committed fan of González Carrera, tried to change the magazine’s direction and steer it back towards the old ideals, while keeping it open to other voices and other ideas, which he sometimes took it upon himself to censor and deform, thereby sparking clashes and quarrels. He tried desperately to make friends, but enemies were all he ever had.
Steel Garden. One of the Aryan Brotherhood’s magazines.
Strategy & Tactics. War games magazine to which Harry Sibelius contributed.
Texan Church of the Last Days. Religious congregation in which Rory Long was a preacher.
Virginia Wargames. War games magazine to which Harry Sibelius contributed.
White Rebels. One of the Aryan Brotherhood’s magazines.
With Boca. Magazine founded by Italo Schiaffino. 1976–1983.
The Wounded Eagle. Publishing house founded by Luz Mendiluce.
3. BOOKS
A, by Zach Sodenstern, Los Angeles, 2013.
About the Lost Star, by John Lee Brook, Los Angeles, 1989.
The Advocate of Cruelty, by Pedro González Carrera, Santiago, 1980.
Air Writing, collection of photographs of Carlos Ramírez Hoffman’s aerial poems, published without the author’s permission, 1985.
All My Life, Edelmira Thompson’s first autobiography, Buenos Aires, 1921.
The Amazons, by Daniela de Montecristo, Buenos Aires, 1966.
Ana, the Peasant Redeemed, by Edelmira Thompson, Buenos Aires, 1935. Opera libretto.
Anita, by Zach Sodenstern, Los Angeles, 2010.
Anthology of the Best Argentinean Jokes, by Argentino Schiaffino, Buenos Aires, 1972.
Apocalypse in Force City, by Gustavo Borda, Mexico City, 1999.
Apples on the Stairs, by Jim O’Bannon, Atlanta, 1979.
Appointed Time, by Silvio Salvático, Buenos Aires, 1929.
The Argentinean Horseman, by Juan Mendiluce, Buenos Aires, 1960.
Argentinean Hours, by Edelmira Thompson, Buenos Aires, 1925.
Argentinean Painting, by Luz Mendiluce, Buenos Aires, 1959. A torrential 1,500-line poem.
The Arrival, by Zach Sodenstern, Los Angeles, 2022. A posthumous novel.
The Baseball Field, by Silvio Salvático, Buenos Aires, 1925.
The Bat Gangsters, by Zach Sodenstern, Los Angeles, 2004.
The Best of Argentino Schiaffino, by Argentino Schiaffino, Buenos Aires, 1989.
The Best Poems of Jim O’Bannon, by Jim O’Bannon, Los Angeles, 1990.
The Birth of New Force City, by Gustavo Borda, Mexico City, 2005.
Bitch Luck, by Silvio Salvático, Buenos Aires, 1923.
Candace, by Zach Sodenstern, Los Angeles, 1990.
Carlota, Empress of Mexico, by Irma Carrasco. Play premiered at the Teatro Calderón, Mexico City, 1950.
The Cave Cowboys, by J.M.S. Hill, New York, 1934.
Center Forward, by Silvio Salvático, Buenos Aires, 1927.
The Century as I Have Lived It, by Edelmira Thompson in collaboration with Aldo Carozzone, Buenos Aires, 1968.
The Cephalopods, by Zach Sodenstern, Los Angeles, 1999.
Champions, by Argentino Schiaffino, Buenos Aires, 1978.
Checking the Maps, by Zach Sodenstern, Los Angeles, 1993.
The Children of Jim O’Brady in the American Dawn, by Jim O’Bannon, Los Angeles, 1993.
Chimichurri Sauce, by Argentino Schiaffino, Buenos Aires, 1991.
Churches and Cemeteries of Europe, by Edelmira Thompson, Buenos Aires, 1972.
The Clan of the Bleeding Stigmata, by J.M.S. Hill, New York, 1929.
Complete Poems, by Edelmira Thompson, Buenos Aires, two volumes, 1962 and 1979.
Complete Poems I, by Pedro González Carrera, Santiago, 1975.
Complete Poems II, by Pedro González Carrera, Santiago, 1977.
The Confession of the Rose, by Segundo José Heredia, Caracas, 1958.
The Conflict of Opposites, by Luiz Fontaine, Rio de Janeiro, 1939.
Conversation with Jim O’Brady, by J
im O’Bannon, Chicago, 1974.
Correspondence, by Pedro González Carrera, Santiago, 1982.
Cosmogony of the New Order, by Jesús Fernández-Gómez, Buenos Aires, 1977.
The Countess of Bracamonte, by Jesús Fernández-Gómez, Cali, 1986.
Cower, Hounds! by Italo Schiaffino, Buenos Aires, 1985.
Crazy Blunders, by Argentino Schiaffino, Buenos Aires, 1985.
Creatures of the World, by Edelmira Thompson, Paris, 1922.
Cross of Flowers, by Ignacio Zubieta, Bogotá, 1950.
Cross of Iron, by Ignacio Zubieta, Bogotá, 1959.
Critique of Being and Nothingness, vol. I, by Luiz Fontaine, Rio de Janeiro, 1955.
Critique of Being and Nothingness, vol. II, by Luiz Fontaine, Rio de Janeiro, 1957.
Critique of Being and Nothingness, vol. III, by Luiz Fontaine, Rio de Janeiro, 1960.
Critique of Being and Nothingness, vol. IV, by Luiz Fontaine, Rio de Janeiro, 1961.
Critique of Being and Nothingness, vol. V, by Luiz Fontaine, Rio de Janeiro, 1962.
The Crystal Cathedral, by Zach Sodenstern, Los Angeles, 1995.
Dawn, by Rory Long, Phoenix, 1972.
Death Row, by John Lee Brook, Los Angeles, 1995.
The Definitive San Martín, by Carlos Hevia, Montevideo, 1972.
The Destiny of Pizarro Street, by Andres Cepeda Cepeda, Arequipa, 1960. Revised and enlarged edition, Lima, 1968.
The Destiny of Women, by Irma Carrasco, Mexico City, 1933.
The Devil’s River, by Mateo Aguirre, Buenos Aires, 1918.
Diana’s Dream, by Silvio Salvático, Buenos Aires, 1920.
Don Juan in Havana, by Ernesto Pérez Masón, Miami, 1979.
The Doomed Expedition, by J.M.S. Hill, New York, 1932.
The Early Saga, by J.M.S. Hill, New York, 1926.
The Egotists, by Juan Mendiluce, Buenos Aires, 1940.
Les Enfants, by Edelmira Thompson, Paris, 1922.
The Enterprise of the Masons, by Ernesto Pérez Masón, Havana, 1942.
European Hours, by Edelmira Thompson, Buenos Aires, 1923.
Evening in Porto Alegre, by Luiz Fontaine, Rio de Janeiro, 1964.
The Fall of Troy, by J.M.S. Hill, Topeka, 1954.
Fervor, by Edelmira Thompson, Buenos Aires, 1985. Juvenilia not included in her Complete Works.
Fields of Honor, by Silvio Salvático, Buenos Aires, 1936.
The Fighting Years of an American Falangist in Europe, by Jesús Fernández-Gómez, Buenos Aires, 1972.
The Fingerprint Thieves, by J.M.S. Hill, New York, 1935.
The First Great Republic, by Max Kasimir, Port-au-Prince, 1972.
Footprints on the Beach, by Silvio Salvático, Buenos Aires, 1922.
Four Haitian Poets: Mirebalais, Kasimir, Von Hauptman and Le Gueule, by Max Mirebalais, Port-au-Prince, 1979.
The Fourth Reich in Denver, by Zach Sodenstern, Los Angeles, 2002.
The French Lady, by Silvio Salvático, Buenos Aires, 1949.
Geometry, by Willy Schürholz, Santiago, 1980.
Geometry II, by Willy Schürholz, Santiago, 1983.
Geometry III, by Willy Schürholz, Santiago, 1984.
Geometry IV, by Willy Schürholz, Santiago, 1986.
Geometry V, by Willy Schürholz, Santiago, 1988.
The Gallows Tree, by Ernesto Pérez Masón, Havana, 1958.
The Great Buenos Aires Restaurant Novel, by Argentino Schiaffino, Buenos Aires, 1987.
Health and Strength, by Rory Long. Los Angeles, 1984.
Heartless, by Ernesto Pérez Mason, Havana, 1930.
The Horsemen of Repentance, by Argentino Schiaffino, Miami, 2007.
Impenitent Memoirs, by Argentino Schiaffino, 1984.
Interview with Juan Sauer, questions and answers probably composed by Carlos Ramírez Hoffman, Buenos Aires, 1979.
The Invasion of Chile, by Argentino Schiaffino, Buenos Aires, 1973.
The Invisible Adorers, by Carola Leyva, Buenos Aires, 1975. Volume dedicated to Edelmira Thompson; barefaced rehash of Luz Mendiluce’s poems.
The Iron Boat, by Argentino Schiaffino, Buenos Aires, 1991.
Iron Youth, by Argentino Schiaffino, Buenos Aires, 1974.
Jason’s Prize, by Carlos Hevia, Montevideo, 1989.
The Jewish Question in Europe, by Luiz Fontaine, Rio de Janeiro, 1937.
Juan Diego, by Irma Carrasco. Play premiered at the Teatro Condesa, Mexico City, 1948.
Karma Explosion: Wandering Star, by John Lee Brook, Los Angeles, 1980.
The Kids, pornographic novel by Ernesto Pérez Masón published under the pseudonym Abelardo de Rotterdam, New York, 1976.
The Kids of Puerto Argentino, by Jorge Esteban Petrovich, Buenos Aires, 1984. A story of imaginary military adventures.
The Killer’s Eyes, by Silvio Salvático, Buenos Aires, 1962.
Land of Breezes, by Max Mirebalais, Port-au-Prince, 1971.
The Last Canal on Mars, by J.M.S. Hill, New York, 1934.
The Last Word, by Amado Couto, Rio de Janeiro, 1982.
Life the Way It Is, by Willy Schürholz under the pseudonym of Gaspar Hauser, Santiago, 1990.
Like a Hurricane, by Luz Mendiluce, Mexico City, 1964. Definitive edition, Buenos Aires, 1965.
Like Wild Bulls, by Italo Schiaffino, Buenos Aires, 1975.
A Little House in Napa, by Zach Sodenstern, Los Angeles, 1987.
The Lost Ship of Betelgeuse, by J.M.S. Hill, New York, 1936.
Luminous Obscurity, by Juan Mendiluce, Buenos Aires, 1974.
Macon Night, by Jim O’Bannon, Macon, 1961.
Mechanistic Poem, by Silvio Salvático, Buenos Aires, 1928.
Meine Kleine Gedichte, by Franz Zwickau, Caracas, 1982 and Berlin, 1990.
Memoirs of a Libertarian, by Ernesto Pérez Masón, New York, 1977.
The Miracle of Peralvillo, play by Irma Carrasco, premiered at the Teatro Guadalupe, Mexico City, 1951.
Montevideo—Buenos Aires, by Carlos Hevia, Buenos Aires, 1998.
Motorists, by Franz Zwickau, Caracas, 1965.
The Moon in Her Eyes, play by Irma Carrasco, premiered at the Teatro Principal, Madrid, 1946.
The Mute Girl, by Amado Couto, Rio de Janeiro, 1978.
My Ethics, by Silvio Salvático, Buenos Aires, 1924.
Neck in a Noose, by Curzio Zabaleta, Santiago, 1993.
Noah’s Ark, by Rory Long, Los Angeles, 1980.
Nothing to Say, by Amado Couto, Rio de Janeiro, 1978.
The New Spring, by Edelmira Thompson, Buenos Aires, 1931.
New York Revisited, by Jim O’Bannon, Los Angeles, 1990.
Night Signals, by Segundo José Heredia, Caracas, 1956.
Occult Poets of Argentina, anthology of “odd” poetry compiled and annotated by Federico González Irujo, Buenos Aires, 1995.
The Ostrich, by Argentino Schiaffino, Buenos Aires, 1988.
Our Friend B., by Zach Sodenstern, Los Angeles, 1996.
Pain and Image, by Silvio Salvático, Buenos Aires, 1922.
The Paradox of the Cloud, by Irma Carrasco, Mexico City, 1934.
The Path to Glory, by Italo Schiaffino, Buenos Aires, 1972.
Pedrito Saldaña of Patagonia, by Juan Mendiluce, Buenos Aires, 1970.
“Philosophy of Furniture,” by Edgar Allan Poe, Collected Works, Cambridge and London, 1978.
Poems of the Absolute, by Max Kasimir, Port-au-Prince, 1974.
Poe’s Room, by Edelmira Thompson, Buenos Aires, 1944. Various editions, a few translations, and a mixed reception. E.T.’s most important work.
Poor Man’s Soup, by Ernesto Pérez Masón, Havana, 1965.
The Presidential Summit, by Argentino Schiaffino, Buenos Aires, 1974.
Prison Camping, by Franz Zwickau, Caracas, 1970.
Railway and Horse, by Silvio Salvático, Buenos Aires, 1925.
The Reducers, by J.M.S. Hill, New York, 1933.
Refutation of Voltaire, by Luiz Fontaine, Rio de Janeiro, 1921.
Refutation of Diderot, by Luiz Fon
taine, Rio de Janeiro, 1925.
Refutation of D’Alembert, by Luiz Fontaine, Rio de Janeiro, 1927.
Refutation of Montesquieu, by Luiz Fontaine, Rio de Janeiro, 1930.
Refutation of Rousseau, by Luiz Fontaine, Rio de Janeiro, 1932.
Refutation of Hegel, followed by a Brief Refutation of Marx and Feuerbach, by Luiz Fontaine, Rio de Janeiro, 1938.
Return to Force City, by Gustavo Borda, Mexico City, 1995.
Revolution, by Zach Sodenstern, Los Angeles, 1991.
The Rivers and Other Poems, by Jim O’Bannon, Los Angeles, 1991.
A Room in the Tropics, by Max von Hauptman, Paris, 1973. Enlarged edition, Port-au-Prince, 1976.
The Ruins of Pueblo, by Zach Sodenstern, Los Angeles, 1998.
Sad Eyes, by Silvio Salvático, 1929.
Saturnalia, by Segundo José Heredia, Caracas, 1970.
Seas and Offices, by Carlos Hevia, Montevideo, 1979.
Sergeant P., by Segundo José Heredia, Caracas, 1955.
Shadows of Lost Children, by J. M. S. Hill, New York, 1930.
The Simbas, by Zach Sodenstern, Los Angeles, 2003.
A Simple Philosophy, by Rory Long, Los Angeles, 1987.
Sinking Islands, by Juan Mendiluce, Buenos Aires, 1986. Published posthumously.
Sleepless Night, by Silvio Salvático, Buenos Aires, 1921.
Snow-Trekkers, by J.M.S. Hill, New York, 1928.
Solitariness, by John Lee Brook, 1986.
Solitude, by Argentino Schiaffino, Buenos Aires, 1987.
The Soul of the Waterfall, by Mateo Aguirre, Buenos Aires, 1936.
Spain’s Gift, by Irma Carrasco, Madrid, 1940.
Spectacle in the Sky, by Argentino Schiaffino, Buenos Aires, 1974.
Springtime in Madrid, by Juan Mendiluce, Buenos Aires, 1965.
The Staircase of Heaven and Hell, by Jim O’Bannon, Los Angeles, 1986.
Stale Hearts and Young Hearts, by Julián Rico Anaya, Buenos Aires, 1978.
The Storm and the Youths, by Mateo Aguirre, Buenos Aires, 1911.
A Story Heard in the Delta, by Argentino Schiaffino, New Orleans, 2013.
A Tableau of Volcanoes, by Irma Carrasco, Mexico City, 1934.
Talking with America, by Rory Long, Los Angeles, 1992. Book, audio CD and CD-Rom.
Tangos of Buenos Aires, by Luz Mendiluce, Buenos Aires, 1953.
Terra Autem Erat Inanis, by Argentino Schiaffino, Buenos Aires, 1996.
Nazi Literature in the Americas Page 16
