authors. The rich and varied content of the publication was complemented by expensive details such as fine magazine paper and photographs and illustrations (made possible by continued government subventions). In 1928, Jorge Cuesta would also publish, under the aegis of the Contemporáneos press, a poetic anthology titled Antología de la poesía mexicana moderna, which would give rise to heated polemics because of what were perceived, in certain literary and intellectual quarters, as glaring editorial omissions. Needless to say, much of the anthology's pages were taken up by the poetic output of Contemporáneos. Los Contemporáneos: tradition and innovation The group's central ideological position can be described as one of "contemporary [hence the name] cultural universalism": they were aware of the emergence of an unprecedented universality of cultural expression and innovation (brought about by capitalism's advance and accelerating technological progress), which they sought to not simply participate in, but, through their own particular vantage point as Mexican artists, contribute to as well. As individuals and as a group they would go on to expand the horizons of Mexican poetry. The Contemporáneos were, if you will, rather contemporary. Not to be confused with temporary - lasting for a short period of time. The Contemporáneos always expressed great appreciation for La Nouvelle Revue Française and its coterie of writers. They were also greatly attentive to the evolution of surrealism, and members of the group, while in Europe, made contact with leaders of the movement, including André Breton, author of the Surrealist Manifesto. The most important literary models and precursors of the Contemporáneos were: Guillaume Apollinaire, Jean Cocteau, André Gide, Marcel Proust, T. S. Eliot and Juan Ramón Jiménez; with Gide and Proust being paramount. Critical assessment The Contemporáneos produced work which was characterized by the extensive, sometimes essentializing, use of metaphor, and complex imagery, which served to express experimental disjointments in narrative time and space meant to convey or reinforce particular philosophical or scientific concepts or concerns. At times, the Contemporáneos were accused of literary effetism and elitism, especially when compared to groups more politically vocal and nationalist, such as the estridentistas, and of giving excessive preference to the airy and philosophical over the robust, the manly, and the mundane. Bibliography (Spanish) Abreu Gómez, Ermilo. Contemporáneos, Las revistas de México, Mexico: Instituto Nacional de Bellas Artes, 1963. (Spanish) Alboukrek, Arrón. Diccionario de Escritores Hispanoamericanos, Mexico: Ediciones Larousse, 1991. (English) Cortés, Eladio. Dictionary of Mexican