It has become fashionable among younger Spanish poets to denigrate the avant-garde “excesses” of the previous generation, that of the novísimos who came of age in the late 1960s. According to poets such as Luis García Montero and Felipe Benítez Reyes, the “sacralization” of art characteristic of avant-garde poetics is no longer viable (García Montero, “Felipe Benítez Reyes” 11). The time has come for a more commonsensical conception of poetry, which is to be “un arte sensato” (a sensible art) capable of giving voice to experiences which are verisimilar to the common reader. Poetry should be, above all, “excelente literatura” (excellent literature) (Benítez Reyes, Paraísos y mundos 12). This sounds reasonable on its face: given a choice who would opt for extremity over moderation, delirium over common sense, bad literature over good? The short answer is “the modern poet.” The sensible position articulated by García Montero and Benítez Reyes is actually a striking departure in the context of a poetic tradition that has placed a premium on transgression and marginality. The great modern poets, from Rimbaud to Celan, have been those who stretch language to its limits in order to give voice to the experience of extremity. Poets working within this tradition would have had little or no interest in a poetry of normality and common sense.