Emiliano Sued, Juan Albin

Un gaucho sin gaceta

Introduction

Un gaucho sin gaceta. Explora la poesía gauchesca inédita de Estanislao del Campo (Anastacio el Pollo) en la prensa porteña. Un giro del género hacia temas urbanos y político-electorales, fuera de su colección.

Abstract

De las casi cincuenta composiciones que integran Poesías (1870) de Estanislao del Campo, solo cinco pertenecen a su producción gauchesca, agrupadas en la llamativamente breve sección titulada “Acentos de mi guitarra”. Sin embargo, desde 1857, el autor publicó, bajo el heterónimo Anastacio el Pollo, numerosos poemas gauchescos en la prensa porteña que, en su gran mayoría, no fueron recopilados en libro. Estos textos trazan una inflexión particular dentro de la literatura gauchesca, alejada de su etapa facciosa. El gaucho Anastacio no contó con una gaceta propia; sus composiciones se dirigieron a un público urbano, refiriendo a la inauguración del Ferrocarril del Oeste o al Teatro Colón; y operaron más en contextos político-electorales que en coyunturas militares. Su producción se inscribe en una red marcadamente porteña, articulada en torno a lectores y periódicos urbanos como Los Debates y La Tribuna, en el marco del conflicto entre Buenos Aires y la Confederación.

Review

The article "Un gaucho sin gaceta" presents a compelling re-evaluation of Estanislao del Campo's poetic production, challenging the traditional understanding that largely confines his gauchesque output to the limited selection found in *Poesías* (1870). The core argument posits that a significant, yet largely uncollected, body of work published under the heteronym Anastacio el Pollo in the Porteño press from 1857 represents a crucial, and hitherto underappreciated, inflection point in gauchesque literature. This re-contextualization not only sheds new light on Del Campo's career but also offers a vital contribution to redefining the genre's boundaries and evolution during a pivotal historical period in Argentina. The research effectively demonstrates how Anastacio el Pollo's extensive journalistic compositions carved out a distinct space for the gauchesque, signaling a departure from its traditional factional stage. The abstract highlights key characteristics of this shift: the poems were directed at an urban public, engaging with contemporary civic and cultural events such as the inauguration of the Ferrocarril del Oeste or the Teatro Colón, and functioned predominantly within political-electoral rather than solely military contexts. By meticulously tracing this production through urban newspapers like *Los Debates* and *La Tribuna*, the article reconstructs a "marcadamente porteña" network that articulated the gaucho voice within the specific conflictual framework between Buenos Aires and the Confederation, thus revealing a gaucho figure deeply embedded in the urban media landscape. This study's strength lies in its meticulous archival work and its capacity to re-read a canonical author through previously marginalized texts, significantly enriching our understanding of the heterogeneous nature of gauchesque literature and its adaptability to changing social and political landscapes. By uncovering the extensive journalistic output of Anastacio el Pollo, "Un gaucho sin gaceta" compels scholars to reconsider the genre's complex relationship with modernity, urban spaces, and political discourse, moving beyond a monolithic interpretation. This article is a valuable contribution that not only expands the corpus of Estanislao del Campo's work but also offers a fresh, nuanced perspective on the vibrant, often politically charged, literary scene of 19th-century Argentina.

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