ABSTRACT
Modernism, like any other historically limited cultural representation, is a movement composed of various and even contrary tendencies, and history is not a succession of "geniuses" miraculously connected to each other through the vacuum that surrounds each one of them. In privileged model the sometimes so-called Hispanic world is a privileged site for understanding not only the economic and political relationships between center and periphery but their cultural relationships as well. Even hegemonic culture finds no reason to include them in a canon that pretends to represent the world at a crucial turning point of modernity. The collection of essays edited by Malcolm Bradbury and James McFarlane, Modernism, 1890-1930, is an excellent example. Thus understood, the pseudotheoretical modernist operation cannot but seem absurd in its shameless imperialism. In short, the Max Aub's decentering of modernism is an exemplary cultural lesson.
