By Alan West-Duran
This research bargains a different standpoint in analyzing the cultural politics of Cuba's advanced heritage via an exploration of the country's literature. The ebook introduces readers to a few of Cuba's most outstanding and interesting voices via studying a few of the ancient tropes placed forth by way of significant writers. Drawing on an array of interpretive methods from mythopoetic research to phenomenology, West addresses the paintings of Nancy Morejón, Alejo Carpentier, Virgilio Piñera, Dulce María Loynaz, José Lezama Lima, and Severo Sarduy. This poetic examine Cuba's wealthy and turbulent heritage throughout the eyes of its writers can be of curiosity to scholars and students of Latin American background and culture.
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Extra resources for Tropics of History: Cuba Imagined
But the younger poet’s version is radically different; its optimism, though tempered, radiates throughout the poem. The comparison brings out what the Cuban Revolution meant for two different women: one older, upper class, white, and professional; the other young, black, and working class. Though I make a direct historical reference here, it is not as overt in the poem, but nonetheless, this history underlies its imagery. This said, the reader must proceed with caution since this is not an openly political poem, at least not in a partisan sense.
Carpentier returned to Cuba, but in 1945 he moved to Caracas, where he lived until the triumph of the Cuban Revolution (1959). He was involved in several cultural endeavors, until 1966, when he was named minister for cultural affairs at the Cuban embassy in Paris, a position he held until his death. Carpentier won many awards, but the most important was the Cervantes Literary Prize in 1978. Many of Carpentier’s novels are considered classics, such as The Kingdom of This World (1949; trans. 1957), The Chase (1956; trans.
Elegy for Nieves Fresneda Like a flying fish: Nieves Fresneda. Sea waves, galley slaves blue algae petals close over her days and hours reborn at her feet. A whisper of Benin bore her to the depth of this land. There dwelt her snakes, her circles, her shells, her petticoats, seeking out the brush, blazing paths toward Olokún. Her ocean feet finally, were lodes of salt, perpetual flickering feet, aloft like moons for Yemayá. And in space, later, over the sea foam Nieves whirling over the sea, Nieves deep in immemorial NANCY MOREJÓN 19 song of dream Nieves in Cuban seas Nieves.