Ireneo's son, Octavio Paz Solórzano, supported Emiliano Zapata during the Revolution, and published an early biography of him and the Zapatista movement.

[3] Paz had blue eyes and was often mistaken for a foreigner by other children—according to a biography written by his long-time associate, historian Enrique Krauze, when Zapatista revolutionary Antonio Díaz Soto y Gama met young Octavio, he said, "Caramba, you didn't tell me you had a Visigoth for a son!"

[5] During the 1920s, he discovered Gerardo Diego, Juan Ramón Jiménez, and Antonio Machado; these Spanish writers had a great influence on his early writings.

[10] Paz showed his solidarity with the Republican side, and against the fascists led by Francisco Franco and supported by Adolf Hitler and Benito Mussolini.

He returned to Mexico City in 1954, where he wrote his great poem "Piedra de sol" ("Sunstone") in 1957, and published Libertad bajo palabra (Liberty under Oath), a compilation of his poetry up to that time.

In New Delhi, as Ambassador of Mexico to India, Paz completed several works, including El mono gramático (The Monkey Grammarian) and Ladera este (Eastern Slope).

That fall, he went to Cornell University and taught two courses, one in Spanish and the other in English—the magazine LIFE en Español published a piece, illustrated with several pictures, about his tenure there in their July 4, 1966 issue.

In 1974, he was the Charles Eliot Norton Professor of Poetry at Harvard University; his book Los hijos del limo (Children of the Mire) was the result of his lectures.

His poem, "Piedra de sol" ("Sunstone"), written in 1957, was praised as a "magnificent" example of surrealist poetry in the presentation speech of his Nobel Prize.

He also wrote poetry about his other passion, modern painting, dedicating poems to the work of Balthus, Joan Miró, Marcel Duchamp, Antoni Tàpies, Robert Rauschenberg, and Roberto Matta.

First performed in English in 1996 at the Gate Theatre in London, the play was translated and directed by Sebastian Doggart and starred Sarah Alexander as Beatrice.

1970), and The Traps of Faith, an analytical biography of Sor Juana Inés de la Cruz, the Mexican, seventeenth-century nun, feminist poet, mathematician, and thinker.

Originally, Paz supported the Republicans during the Spanish Civil War, but after learning of the murder of one of his friends by the Stalinist secret police, he became gradually disillusioned.

While in Paris in the early 1950s, influenced by David Rousset, André Breton and Albert Camus, he started publishing his critical views on totalitarianism in general, and particularly against Joseph Stalin, leader of the Soviet Union.

In his magazines Plural and Vuelta, Paz exposed the violations of human rights in Communist regimes, including Castro's Cuba.

This elicited much animosity from sectors of the Latin American Left: in the prologue to Volume IX of his complete works, Paz stated that from the time when he abandoned Communist dogma, the mistrust of many in the Mexican intelligentsia started to transform into an intense and open enmity.

Politically, Paz was a social democrat, who became increasingly supportive of liberal ideas without ever renouncing his initial leftist and romantic views.

"Paz was simultaneously a romantic who spurned materialism and reason, a liberal who championed freedom and democracy, a conservative who respected tradition, and a socialist who lamented the withering of fraternity and equality.

They cannot.In 1990, during the aftermath of the fall of the Berlin wall, Paz and his Vuelta colleagues invited several of the world's writers and intellectuals to Mexico City to discuss the collapse of Communism; writers included Czesław Miłosz, Hugh Thomas, Daniel Bell, Ágnes Heller, Cornelius Castoriadis, Hugh Trevor-Roper, Jean-François Revel, Michael Ignatieff, Mario Vargas Llosa, Jorge Edwards and Carlos Franqui.

He said that there were also immense gains:[27]"Not all was horror: over the ruins of the pre-Columbian world the Spanish and Portuguese raised a grandiose historical construction, much of which is still in place.

[29] Paz was dazzled by The Waste Land by T. S. Eliot, in Enrique Munguia's translation as El Páramo which was published in the magazine Contemporaries in 1930.

Employing language that resembles a religious style and, paradoxically, a Marxist one, Paz finds the true value of art in its purpose and meaning, for which the followers of pure art—of whom he is not one—are found in an isolated position and favor the Kantian idea of the "man that loses all relation with the world".

Rafael López participated in the magazine "Modern" and, along with Miguel D. Martínez Rendón, in the movimiento de los agoristas, although it was more commented on and known by high-school students, over all for his poem, "The Golden Beast".