Writers
By Patricia Iezzi, of the Universidad G. D´Annunzio, Pescara, Italy.
Julio Carreras (h)
Durante
el Congreso Internacional "L´Idea del Vissionario",
Italia, 1995. 
Julio Carreras (h) learns about Inism in the prison of La Plata (January 1976- October 1982 ), where he was put for political reasons, as he had been among the other jobs, redactor of the magazine Posición y Patria Nueva and coorder of the Primer Congreso Internacional por la Libertad de Prensa (Facultad de Cordoba, 1974).
The magazine Pájaro de Fuego had published, infact, Gabriele-Aldo Bertozzi's letter "A Nuestros Hermanos de la Argentina".What he reads strikes him deeply, because he sees in the new poetical movement the characters which each avanguard should have in order to prepare the art of tomorrow. Once out of prison, he meets the porteno poet Hugo Fiorentino, interested in Inism, too. Carreras gets in touch with Laura Aga Rosssi, who sends him the first inist notebook Qu'est-ce que l'Internationale Novatrice Infintésimale.
His enthusiasm grows and drives him to join the movement with Fiorentino. It is 1985: in this year he also creates and edits the literary rewiev Quipu de Cultura, another organ of diffusion of Inism besides El Liberal, of which he supervises the cultural page. Esteban Olocco and Daniel Donate, both form Cordoba, join them, and in the same period he meets Maximiliano Mariotti, already mentioned in the first inist notebook that he knows very well. It is 1986: Carreras (Santiago del Estero) writes the Primer Manifiesto INI Argentino (July 22nd), countersigned by Hugo Fiorentino (Buenos Aires), Esteban Olocco (Cordoba) and Daniel Donate (Cordoba).
"Four authors belonging to the three different centers of the vast Argentina (which is anything but negligible). The international, innovative and infinitesimal components appear everywhere in the text", but "Infinity, instically meant, seems to be the greatest target of the Argentinians". Yet the text, Bertozzi says, "shows too many traces of Surrealism, and this makes one think that movement of Breton is not over yet" (Inismo spagnolo e argentino, Chieti, Solfanelli 1992, pp. 21, 22). Indeed the revolution of sign scares the countersigners who actually do not dare to abandon the old form and so Carreras remains the only representative of argentinian Inism. The revolutionary is coherent: ethics and aesthetics, perhaps felt even in a deeper way because paid at a high price such as loss of freedom, persuade him to write the second manifesto (July 22nd, 1990). Bertozzi writes in the above-mentioned book "the II Manifiesto INI Argentino represents the confirmation of the creative strength of the country which has been handing out during the centuries, and now is ready to explode like a supernova, if it can find the right moment and the right spokesman [...]. Here Julio Carreras (h) demonstrates that the Primer Manifiesto has not appeared by chance and hasn't been a happy but unique exploit: he comes back starting from the "Genesi". [...] to get to the achievement of the "mayor revolución cultural del los últimos tiempos". His language, steady like his ideas, makes of this text a masterpiece of our times: the only reason to worry about is that its "light", like the one of a supernova, might arrive "on Earth" only after a long, long time and just for a few moments". In June 1991 Carreras publishes Inismo en Argentina, the third manifesto. Together with the previous two, it forms, as Gabriele-Aldo Bertozzi writes, (still in Inismo spagnolo e Argentino), "a real theorical trilogy". "Julio Carreras'(h) possibilities didn't seem to surprise us any longer, yet I will always remember the admiration of the roman inistic party when this third manifiesto was read for the first time! What suprised us was his full awareness of the argentinian situation which the creative strength cannot make passive and expressions like 'we decided to pay more attention to depth than to originality' which, referred to that reality, different from ours, demonstrate a really extraordinary sense of valuation" (p.124).
The strenght of his manifestos spreads out more and more in Italy and in the world. In Spain the party Koine totally adopted the first manifesto, enriching it only graphically. Bérénice, rivista di studi comparati e ricerche sulle avanguardie, is the main spreading point of argentinian inism in Italy. In 1997 Carreras publishes the inistic novel Bertozzi (Santiago del Estero, Quipu Editorial), which represents the maturity and achievement of all the themes and the theories previously glimpsed and sketched in other novels and short stories. The protagonist is a special character, who holds both mystic and philosophical characteristics, a visionary Carreras didn't believe could exist in real life, until in May 1995 during the congress Arti Comparate, "L'Idea di Visionario"(Pescara), he personally meets Gabriele-Aldo Bertozzi. The magic moment let many intuitions, explorations be fulfilled and expressed without any effort after many years of attempts, during which not even the characters of his stories managed to be triumphant.
(Translation by Mariolina Eliantonio)
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