This book examines Spain's reception of Russo-Soviet literature, and its relationship with Nuevo Romanticismo, through the lens of Bakhtin's theories on the novel, claiming ultimately that these writers were in dialogue with Russian models of social art. A number of unique historical circumstances made such dialogues appropriate, not the least of which were the socioeconomic similarities between pre-Revolutionary Russia and Spain and the complete reorganization of life that followed the Bolshevik Revolution of 1917. By the mid-1920s, writers such as José Díaz Fernàndez, Joaquín Arderius and César Arconada were responding to revolutionary currents in Russian literature as a means of mediating the profound rift between quotidian experience and artistic production as well as the imperative for social change. This chapter will analyze some of the relevant social and political phenomena of the early twentieth century which led to a dialogue between Spanish and Russian letters. In addition, it will define Nuevo Romanticismo, establishing José Díaz Fernàndez's El nuevo romanticismo: polémica de arte, política y literatura [The New Romanticism: Polemical Essays on Art, Politics, and Literature, 1930] as the movement's theoretical framework.