Poet, essayist, journalist, editor, critic of art and literature and Paraguayan University Professor, born in Asunción in 1938. Its brilliant and original literary production, as well as for his relentless work of promotion and diffusion of the art and literature of his nation, he is considered one of the leading figures of the American intelligentsia of the second half of the 20th century.
Inclined since his youth the knowledge of the humanities and cultivation of literary creation, soon it became known as a poet among the members of the so-called promotion of the sixties, a collective of young Asunción authors who had by mentor to the brilliant writer and Professor of Spanish origin - he was born in Las Palmas de Gran Canaria - Josefina Pláwhose work was rescued from oblivion by Miguel Ángel Fernández and fellow youth literary career. United by solid ties of friendship, these authors of the promotion of the sixties (including some so promising poets such as Roque Vallejos, Esteban Cabañas and Francisco Pérez-Maricevich) shared, in addition, some aesthetic principles aimed at rescuing the numb Paraguayan poetry of the slumber in which he was prostrate; to do this, they claimed the need to abandon the rhetoric and hollow beauty of traditional poets, for the sake of a new lyric discourse enriched by constant metaphysical concerns (such as the existential angst of the human being) and characterized by expressive nudity and the constant search for linguistic precision.
These features common to the first steps of the respective poetic paths of the promotion of the sixty writers can be seen clearly in the first collection of poems published by Miguel Ángel Fernández, entitled dark days (assumption: Editions dialogue, 1960). In this exceptional it debut, all the generational horror to the vacuity of hollow rhetoric manifests itself in embarrassing shaking the poet when he contemplates a reality which, in the verses of their elders, has been devoid of meaning, embroiled in verbal pyrotechnics of a flowery speech which hides the authenticity of things. Hence, the young author asunceno recourse, in your particular code aesthetic and ideological, a refined verbal economy trying to give relief to the metaphysical honduras of the human soul, without thereby incurring a cold and rational discourse that, in their quest for precision and accuracy expression, could have resulted - in other less-inspired feather - a literary product unrelated to inherent to the poetic fact emotion.
Identical keys aesthetic can be seen in the poetic second installment of Miguel Ángel Fernández, posted under the heading of A mistimed (assumption: Editions dialogue, 1966), in which also appear, along with the civic and philosophical concerns of the author, some of his deeper thoughts on the literary phenomenon (in just consistent, moreover, with the work of critic, editor and teacher who came to play the poet of assumption at the time that was forming its singular lyrical production). In this line of work, Miguel Ángel Fernández left patent in this second book of poems that his particular understanding of creative writing is defined as the emphatic denial of the formal vacuity and, at the same time, the assertion of a purifying process that aims to reflect on the role some authentic experiences at broad philosophical meaning.
Four years after the publication of A destiempo, humanist of Asuncion gave to press his third collection of poems, fire (Asunción, 1970), work which shows an evolution towards an even more simple and direct vocabulary, carefully selected to serve as a vehicle to a poetic speech much more concerned with the specific problems of the politics of his time (andespecially, by the crackdown from the highest level of power). Up to the time of writing this article - year 2001-, his last poetic delivery is called Litterae.
Aside from this valuable creative work, Miguel Ángel Fernández has meant in his native country by prolific publishing activity which led him to directing, for nearly two decades, the prestigious label dialog, in which took place not only some of his best collections of verses, but also many of the works of other writers who have managed to match the contemporary Paraguayan lyrics with the rest of the Spanish American literatures. From Publisher dialog - that between 1960 and 1980 Street launched an eponymous magazine that soon became the main cultural temperature in the country — thermometer, Miguel Ángel Fernández has spread in Paraguay and the rest of the Nations of the American subcontinent the major works of more than twenty authors Paraguayans and foreigners; in his role as philologist (maybe not in vain studied use letters at the Faculty of philosophy and letters of the Catholic University of Asunción), the director of this prestigious publishing company took personally the critical presentation of some works belonging to such important writers as Rafael Barrett, Hérib Campos Cervera, Julio Correa, Josefina Plá, Augusto Roa Bastos and José Concepción Ortiz; and, in collaboration with the writer Renée Ferrer, the hollanders took the famous anthological exhibition entitled poets of the Paraguay. (Voices of today) (1992).
In his role as art critic, Miguel Ángel Fernández is the author of the version in Spanish of Art in Latin America Today / Paraguay (Washington D.C. [U.S.A.], 1969), as well as of a valuable approach to the life and work of the famous ceramist Andrés Campos Cervera, husband of Josefina Plá, which carries the pseudonym by which the artist was known by title: Julián de la Herrería (Asuncion, 1967).
MASTRONARDI, Carlos: "out of time", in community (assumption), June 1966.
Rodriguez ALCALA, Guido: "poetry and the novel in Paraguay in recent years (1960-1980)", in education, Viriato: literature of Paraguay, II, Palma de Mallorca, 1980, pp. 165-185.
VALLEJOS, Roque: The literature Paraguayan as expression of national reality, Asunción, 1963.
-: Critical anthology of contemporary Paraguayan poetry, Asunción, 1968.
VALLEJOS, Roque-fernandez, Miguel Ángel: "poetry young of the Paraguay", in Diagonal (La Plata), 13 (1965).
J. R. Fernández Cano.