Acceso usuarios
La obra de Gloria Fuertes ha sido acogida de manera muy diferente en España y en el extranjero. Mientras que en su país de origen se ha ignorado, olvidado y hasta todavía hoy se rechaza parte de su producción, en el extranjero se ha reconocido y premiado su obra. Este ensayo indaga algunos de los factores que han motivado una recepción tan dispar. Pierre Bourdieu identifica dos esferas de poder en la consagración de un autor: la academia y los agentes culturales, es decir los críticos, poetas ya consagrados, revistas especializadas o editoriales de prestigio, entre otros, que también contribuyen al reconocimiento. Centrándome en su poesía literaria y en la excelente acogida que Fuertes goza en Estados Unidos, estudio la recepción crítica y sobre todo el interés de los traductores y revistas, especialmente de Philip Levine y The American Poetry Review, en dar a conocer y difundir su obra.
Gloria Fuertes’s production has been received very differently at home and abroad. While her literary work has been ignored, neglected and even rejected in her native Spain, both her poetry and children’s literature have been widely accepted and won awards in other countries. The purpose of this essay is to analyze some of the factors that have given rise to such disparate receptions. Pierre Bourdieu recognizes the power of academia in the construction of the literary canon but also acknowledges the contribution of cultural agents, such as poets, journals or publishing houses, among others, in conferring status and canonical recognition on an author. Focusing on Fuertes’s poetry and the great acclaim that she has received in the United States, I study her critical reception and the contribution of translators, specifically Philip Levine, and the role played by the journal The American Poetry Review in disseminating her poems and establishing her literary reputation in the US.Key-words: Gloria Fuertes; reception; canon and recognition; United States; cultural agents; Philip Levine; The American Poetry Review.
