For Carlitos — Nula, who knows him less intimately than his interlocutors, after an infinitesimal hesitation deep inside himself, translates his name to Tomatis—Gutiérrez’s claim that Brando, despite his intransigent declarations and his authoritarian manifestos, wrote non-precisionist poems in secret is plausible enough, first of all because a duplicitous discourse was innate to him, and also because if the ship of precisionism capsized, overburdened by all the neophytes that the movement had attracted, he’d have his lifeboat of traditional poetry ready. As Tomatis sees it, Brando was the most dubious experimentalist anyway, because despite his professed renovation of poetics through scientific discourse (first theoretical postulate of precisionism), he spent all his time denigrating free verse and insisting that traditional meter and rhyme should be the principal instruments of precisionism because, like music, they comprised a synthesis of harmony and mathematics. Tomatis says that the precisionists were the only avant-garde poets in the whole world, and probably in the whole solar system and even in the known universe, he’d sometimes add with a vague and disoriented look around him, who between 1949 and 1960 claimed that the renovation of the sonnet was the fundamental task of any literary revolution. He’d often laugh at them, saying that their canonical texts were Popular Science and the rhyming dictionary. And even today he refuses to take Brando or his followers seriously, and even though he doesn’t admit it, allowing himself a momentary concession that could be interpreted as a veiled critique of the intellectual champion of precisionism, “Carlitos” Tomatis is incredibly annoyed that Pinocchio and I are giving the movement so much space in our book.
— We can’t just ignore it, Soldi says, relaxing in his seat, speaking to Nula but turning back and forth to Gabriela, as though to ask her approval for everything he says. In the forties, he says, the movement created a stir, even on the national level. Brando regularly published articles in La Prensa and La Nación. Cuello, who is our principal informant for the first period, and who, for political reasons especially, thinks more or less the same of Brando as Tomatis, admits that the cultural life in the province was genuinely shaken by the arrival of precisionism. Like every belligerent avant-garde, they had almost everyone against them, and in particular Cuello’s group — what you might call pastoral realists — which practiced a kind of social costumbrismo and constantly published polemics against the precisionists in Copas y bastos. Curiously enough, after 1946, Cuello and Brando belonged to the same political party that had just taken power, but inasmuch as one was basically proletariat, the other was an elitist bourgeois who some people even called a fascist. Cuello’s magazine took its name from two verses in the Martín Fierro: En oros, copas y bastos / juega allí mi pensamiento, and in the first issue the editorial collective announced (and Soldi laughs as he quotes the line): Cups to share with friends and clubs for the ones who call us out to the crossroads. What do you think?
— No more or less aggressive than Breton and his friends, our criollos, Nula says, pleased to see that the comparison provokes an involuntary smile not only in Soldi but also in Gabriela.
And Soldi continues: The best literary magazine in the city was El río, which Higinio Gómez published in the early thirties, before he left for Europe. Since he paid for it out of pocket, more or less, Soldi says, when he left the city the magazine disappeared, and when he returned a few years later he didn’t have a penny, so he stayed in Buenos Aires and went to work at Crítica. But in the forties, according to Soldi, of the three important magazines that came out more or less regularly, Nexos, the official organ of the precisionists, was the best. Espiga, edited by the neoclassicists, unlike Cuello and his friends’ magazine, was in direct competition with Brando. Some time later, in the mid-fifties, a highly experimental broadside called Tabula rasa started coming out: About this, Washington, who’d just finished a stay at the psychiatric hospital, had once (in so many words) said, Drivel without punctuation is still drivel, but in this instance, despite being typed in all lower case, this is Drivel with a capital D. The other two magazines, Espiga and Copas y bastos, had preceded Nexos, which was first published in 1945, and in a sense its release shook our small literary world from a slumber, an awakening as rude as it was abrupt: Brando and his followers, with their radical and exclusive aesthetic, were trying to show that the others didn’t really exist at all. According to Soldi, the defensive rejoinders from the magazines that the precisionists attacked, and even Cuello’s present memories, those of a calm and stable old man, all brim with outrage and resentment. The precisionist manifestos were graphic to the point of personal injury, and while the novelty of their theories made them feel disoriented and out of fashion, the absolute certainty with which they were formulated seemed to demonstrate beyond a doubt that up until that moment they’d been living in darkness. That clamorous novelty, widely celebrated and discussed on the radio, glossed approvingly in the press, discussed on conference panels, in university seminars, welcomed assiduously by the papers in Buenos Aires and even in Montevideo and Santiago de Chile, had something offensive about it because it apparently intended to substitute not one magazine for another, not one outdated aesthetic for an innovative one, but rather a provincial and harmonious universe in which each act and each object was indexed and classified, for another, up till then unknown, governed by laws that up till then they’d neglected, and that was there to rearrange their very essence, as if something brilliant, perfect, and rare had come to unmask them as the disordered, coarse, and antiquated beings they really were. They’d gone to bed thinking they were artists and intellectuals and had woken up ignorant and backward provincials. The precisionists’ autocratic doctrines and attacks undermined not only what they wrote, but also what up till that moment they believed they’d been. And, according to Soldi, the overlapping testimonies that he and Gabi had gathered for their investigation were unequivocaclass="underline" the conflicts and bitterness had lasted almost fifty years, continuing even after Brando’s death — from colon cancer in 1981—made plain by Cuello and Tomatis’s reactions, and especially the more or less novelized history written by their fourth informant, the old man who’d been caught up in all those conflicts for more than three decades and who now prefers to remain anonymous.