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Alejo Carpentier: Dos visiones del negro, dos conceptos de la novela

Pedro M. Barreda-Tomás

University of Massachusetts, Amherst

This article attempts to trace and analyze the development and evolution of Carpentier’s inclusion of black characters and themes in his work and their literary purpose. The author tells of early influences and hints at an almost excessive enthusiasm for black Cubans being the result of widespread discrimination. Barreda-Tomás goes on to compare Carpentier’s first novel, ‘¡Ecue-Yamba-O!’ (1933), and what he describes as Carpentier’s first mature novel, ‘El reino de este mundo’ (1949), with a focus on the treatment and inclusion of the black man.

‘¡Ecue-Yamba-O!’ is a semi-documentary piece about the magical and primitive world of a sector of the black Cuban population. It includes a complete and pure representation that is unregulated by official white culture and a focal point of the novel is the theme of cycles. According to Barreda-Tomás there is a three-part division of the text (childhood, adolescence, and adulthood) and Carpentier employs a literary technique of progressive intensification that suggests an image of concentric rings gradually expanding.

In contrast to the intense single character focus of his first novel, Carpentier offers a diversified understanding of black society and their beliefs in ‘El reino de este mundo’. There exists remarkable respect for accuracy on all sides including historical facts, character names, place names, and even street names. This adds to the key blend of marvellous fantasy and historical accuracy. Going beyond concrete spatial and temporal limits there are, according to Barreda-Tomás, two fundamental questions in the novel: what is man and what is his purpose? The most important aspect of the novel is that the main character is of interest not because of his skin colour, but rather for his human attributes that allow universal reflection beyond the realm of race. In this sense, magical realism is a necessary tool of expression and the technique serves to confront the novel’s hero, better develop his purpose as a man, and advance a simultaneously profound and straightforward understanding of the human experience. The characters in the novel are integral to its understanding. Not only do they highlight the temporal and political context of voodoo and other forces, but they also allow Carpentier to surpass temporal and spatial limitations to reach the ultimate reality of life: the universal essence that lies in every human being.

Barreda-Tomás often expands upon Carpentier’s own commentary surrounding his works and thus lends credence to his analysis. It is otherwise a very well constructed piece that offers excellent insight into both Carpentier novels from the perspective of the inclusion of black characters and themes and their literary significance.

Framing Carpentier

Eduardo Gonzáles

The Johns Hopkins University Press

The primary focus of this article is the interpretation of Carpentier’s ‘Los pasos perdidos’ (1953) and the manner in which Carpentier leaves behind the tacit comedian and master of allegory so strongly felt in earlier fictions such as ‘El reino de este mundo’ (1949). A key factor for Gonzáles is analysis of the narrating self and implied author; he feels that there is a hidden agenda of confession behind layers of fiction. Later there is a contrast between the popularity, the artistic achievement, and the confessional reading of ‘Los pasos perdidos’.

This article is useful when considering ‘El reino de este mundo’ because it offers avenues to explore further all works of Carpentier. Gonzáles suggests that future studies would benefit from the consideration of underlying historical and biographical elements. There may be themes yet to be formulated or fully explored in regards to other, less directly biographical, works by Carpentier such as ‘El reino de este mundo’.

Gonzáles concludes his work with a relatively lengthy criticism of an essay by Victor Volek and discussion of the temporal scheme in ‘Los pasos perdidos’. Although this article is not primarily concerned with ‘El reino de este mundo’ the idea of exploring Carpentier’s work from entirely new perspectives is an important thought.