In recent years students of contemporary Argentine letters have begun to recognize the importance of the period 1946-1955 as one of crisis, of fundamental reassessment, and of generational strife. Though it would be an oversimplification to assign the cause of these trends to the political and social changes wrought by Juan D. Perón, the study of his regime—particularly as it affected cultural activity—can help put into clearer focus the confusing picture of literary groups, “generations,” and promociones that confronts the student of recent Argentine literature.
It should be emphasized that peronismo, for better or for worse, was more than an exclusively political movement: its influence was also farreaching in broad areas of popular culture, social standards, in matters of dress, speech, and in the use of leisure time. Its effects were complex, but on balance they all tended to produce a feeling of relaxation, a looseningup of formalities and traditional practices: stuffed shirts were displaced by descamisados; the normal work week was frequently broken up by strikes and government encouraged vacations; formal attire was no longer required at the opera; and many of the public parks that previously had, by some unwritten law, been considered the semi-private preserve of the middle and upper classes, became crowded with picnicking workers and their families.