Title: American Baroques
Description: This study argues for the Baroque's continued relevance as an aesthetic practice and reading strategy by proposing the recovery of such a sensibility during the late 1930s, a key moment in the literary production of the Americas following the avant-garde. Written in a period when art was expected to be at the service of ideology, the texts studied refuse to participate in constricting national and cultural narratives by practicing an art of desengaño , the Baroque worldview that exploits the distance between artifice and nature. The first chapter reads Historia universal de la infamia in a tradition of baroque disillusionment with the legibility of character, particularly El licenciado Vidriera and Don Quijote . Jorge Luis Borges' challenge to characters' veracity came at a point when the earnest transparency his criollismo had advocated was being co-opted by a virulent Argentine nationalism. Taking Paradise Lost as a point of departure, the second chapter describes how Wallace Stevens' Owl's Clover posits chaos as a viable poetic state where unresolved contradictions provide art with its relevance. Under attack by Popular Front poets for not addressing the social realities of the period, Stevens formulated this poetics as an alternative form of engagement to their neat, clear-cut dogmas. The third chapter examines how Muerte de Narciso is able to subvert the mechanics of the desiring gaze in lyric poetry, challenging its solipsism by rewriting Góngora's emblematic Polifemo .

Suggesting that frustration should be deliberately assumed as a productive strategy, José Lezama Lima proposes a contrapuntal aesthetics and style in the midst of a Cuba stagnated by political compromise. The final chapter traces how José Gorostiza recovers Sor Juana's conceit of the beneficios negativos as a poetics of failure that manages to escapes the asphyxiating grip of totalizing narratives. Muerte sin fin presents a fractured intimate moment in stark contrast to the epic and monumental vision of history that accompanied national mythmaking in post-revolutionary Mexico. The conclusion considers Sentimento do Mundo as a test case for the baroque reading practice presented in this dissertation--looking at Drummond de Andrade's collection through the lens of Gregorio de Matos' satire.