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| Revista_XX | |
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| Title | Revista XX |
Revista_XX was a 20th-century cultural and literary periodical that published essays, fiction, criticism, and visual art. Founded by a collective of intellectuals and artists, it became a focal point for debates among poets, novelists, critics, and historians, engaging figures from across Latin America, Europe, and North America. The journal fostered exchange between literary movements and public institutions, influencing debates in periodicals, universities, and cultural centers.
Revista_XX emerged in the aftermath of interwar and postwar cultural realignments, drawing inspiration from the trajectories of Surrealism, Modernisme, Negritude, and Existentialism. Its founders had ties to gatherings in Madrid, Buenos Aires, Mexico City, and Paris, and included alumni of Complutense University of Madrid, Universidad Nacional Autónoma de México, and émigré circles linked to École des Beaux-Arts, Columbia University, and University of Oxford. Early issues featured dialogues that invoked the legacies of Federico García Lorca, Jorge Luis Borges, Octavio Paz, and Pablo Neruda while debating positions advanced by critics affiliated with The New York Review of Books, The Paris Review, and Granta. As political tensions shifted through the Cold War, contributors referenced incidents such as the Spanish Civil War, the Cuban Revolution, and the Algerian War in essays balancing aesthetics and public life. Editorial leadership changed across decades, with guest editors connected to institutions like the Instituto Cervantes, Biblioteca Nacional de España, and National Library of Argentina.
Revista_XX curated poetry, short fiction, long-form criticism, visual portfolios, and translational projects that often paired contemporaneous voices with canonical works. The journal ran features juxtaposing translations of T.S. Eliot, Rainer Maria Rilke, Paul Celan, and Anna Akhmatova alongside new writing by practitioners influenced by Gabriel García Márquez, Isabel Allende, Mario Vargas Llosa, and Julio Cortázar. Critical apparatus included essays discussing theatrical experiments by Samuel Beckett, scenography linked to Bertolt Brecht, and musical intersections referencing Igor Stravinsky, Carlos Chávez, and Astor Piazzolla. Visual pages displayed works referencing Pablo Picasso, Wassily Kandinsky, Frida Kahlo, and Diego Rivera, and engaged curators from institutions like the Museo del Prado, Tate Modern, and Museum of Modern Art. The editorial line emphasized multilingualism, featuring translations mediated by scholars connected to Harvard University, University of Cambridge, Universidade de São Paulo, and Universidad de Chile.
Contributors included established poets, novelists, critics, and artists who had affiliations with prizes and institutions such as the Nobel Prize in Literature, Cervantes Prize, Pulitzer Prize, and Booker Prize. Regular and guest contributors referenced or included texts by Sylvia Plath, Alejandra Pizarnik, Seamus Heaney, Octavio Paz, W. S. Merwin, Ruben Dario, Luisa Valenzuela, Carlos Fuentes, Clarice Lispector, and V.S. Naipaul. Revista_XX serialized translations of major essays and unpublished drafts later discussed in volumes associated with publishers like Penguin Books, Faber and Faber, Editorial Sudamericana, and Alianza Editorial. Special issues devoted space to movements and anniversaries — for example, retrospectives on Modernismo and dossiers on commemorations of Mikhail Bakhtin, Walter Benjamin, Roland Barthes, and Jacques Derrida. Interviews captured conversations with makers connected to Luis Buñuel, Akira Kurosawa, Federico Fellini, Ingmar Bergman, and Satyajit Ray.
The periodical drew attention from academic circles at Princeton University, Yale University, University of California, Berkeley, and archival departments at Bibliothèque nationale de France and the Smithsonian Institution. Critical reception appeared in reviews by editors and columnists associated with The Times Literary Supplement, The New Yorker, El País, Le Monde, and Die Zeit. Its interventions were cited in dissertations and monographs from presses including Cambridge University Press, Oxford University Press, and University of Chicago Press. Debates sparked by its essays influenced conference panels at venues like the Modern Language Association and colloquia hosted by the American Comparative Literature Association. The magazine’s stance on cultural policy and arts funding prompted responses from cultural ministries such as Spain’s Ministerio de Cultura y Deporte and Mexico’s Secretaría de Cultura.
Issues were printed in limited runs and distributed through bookstores and subscription networks connected to chains and institutions like Casa del Libro, Librería Gandhi, Foyles, Barnes & Noble, and university presses. The periodical partnered with cultural festivals and salons organized by Hay Festival, Buenos Aires International Book Fair, Frankfurt Book Fair, and the Venice Biennale to host readings and exhibitions. Publishing schedules varied by decade, with formats ranging from folio-sized art issues to pocket-sized literary editions; binders and collectors referenced cataloguing systems used by libraries such as the Library of Congress and the British Library.
Archival holdings of the journal are located in national and university repositories including the Archivo General de la Nación (Argentina), the Archivo General de la Nación (Mexico), the British Library, and the Bibliothèque nationale de France. Digitization projects were spearheaded in collaboration with cultural foundations such as the Getty Foundation, Andrew W. Mellon Foundation, and UNESCO initiatives, and involved partnerships with academic consortia at Stanford University, Yale University, and Universidad Nacional Autónoma de México. Digital archives made back issues accessible through institutional repositories and were indexed by catalogues administered by WorldCat, HathiTrust, and JSTOR, facilitating research by scholars linked to graduate programs in comparative literature, art history, and translation studies.
Category:Literary magazines