Pablo Neruda’s Macchu Picchu and Octavio Paz’s Tenochtitlán determine how the modern city in twentieth-century Latin American poetry is conceptualized as one shaped by its ruins. This chapter explores how these earlier visions of the city are reconsidered in Latin American poetry from the 1960s and 1970s. It analyzes Rosario Castellanos’ Poesía no eres tú (1948-71) and José Emilio Pacheco’s Irás y no volverás (1973), and how their poems about the Tlatelolco massacre shed light on how Neruda’s Macchu Picchu and Paz’s Tenochtitlán shape modern poetics and their political critique to contemporary violence. Pacheco’s allusions to the icnocuícatl in “La visión de los vencidos” and the use of multiple voices in “Manuscrito de Tlatelolco” link the political ruins of the Mexican state after the massacre to the violent legacy of its colonial past. Castellanos’ defiant response to the massacre in “Memorial de Tlatelolco” problematizes the Aztec historical past and the moral decay of the Mexican state. These poems underscore an ethical and political critique of modernity through a representation of economic, ecological, and political disasters. The urban space in ruins stirs a poetic meditation on the torn self, shaped by a society in crisis.

Pablo Neruda’s Macchu Picchu and Octavio Paz’s Tenochtitlán determine how the modern city in twentieth-century Latin American poetry is conceptualized as one shaped by its ruins. This chapter explores how these earlier visions of the city are reconsidered in Latin American poetry from the 1960s and 1970s. It analyzes Rosario Castellanos’ Poesía no eres tú (1948-71) and José Emilio Pacheco’s Irás y no volverás (1973), and how their poems about the Tlatelolco massacre shed light on how Neruda’s Macchu Picchu and Paz’s Tenochtitlán shape modern poetics and their political critique to contemporary violence. Pacheco’s allusions to the icnocuícatl in “La visión de los vencidos” and the use of multiple voices in “Manuscrito de Tlatelolco” link the political ruins of the Mexican state after the massacre to the violent legacy of its colonial past. Castellanos’ defiant response to the massacre in “Memorial de Tlatelolco” problematizes the Aztec historical past and the moral decay of the Mexican state. These poems underscore an ethical and political critique of modernity through a representation of economic, ecological, and political disasters. The urban space in ruins stirs a poetic meditation on the torn self, shaped by a society in crisis.

Poetry in the nineteenth century is often described as ‘haunted’; that is, as being replete with spectres and poignantly aware of its literary predecessors. From their readings of early Gothic fiction, the poets of the period learned both to celebrate and to mourn the past, an approach that is evident across a wide range of texts. Close reading demonstrates not only how the aesthetics but also the underlying anxieties of the Gothic permeate Victorian poetry, transforming Gothic into an acutely contemporary mode. To read Victorian poetry as Gothic offers a point of entry into the darker anxieties of the age, represented in miniature with splinters of Gothic anxiety. This chapter focuses on the ways in which poets such as Thomas Hood, James Thomson, Alfred, Lord Tennyson, Robert Browning, Dante Gabriel Rossetti and Mary Coleridge appropriate Gothic aesthetics to reflect a nineteenth-century unease with social change, faith and death, looking backwards to the Gothic past and forwards to an uncertain future.