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Addressing loss and nostalgia: two Cuban diasporic novels of the nineties

100%
Matute Castro A.
Forum for Contemporary Issues in Language and Literature
|
2021
|
issue 2
3-18
EN
My study analyzes two texts that are essential for understanding the Cuban literary diaspora in the 1990s. By looking at the representation of the migrant experience in both Jesus Diaz's novel La piel y la mascara (1996) and Inventario secreto de La Habana (2004) by Abilio Estevez, I examine their significance for the corpus of diasporic literature that has been central to Cuban society for the past sixty years. My article addresses not only the way in which these works are contextualized as part of a diasporic literature tradition, but also how loss and nostalgia play an influential role in shaping the identity of the migrant subject.
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Ideologema de la modernidaden el discurso de l asvanguardias cubanas

88%
Flisek A.
Zagadnienia Rodzajów Literackich
|
2017
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vol. 60
|
issue 2 (122)
81-98
EN
Under the common denomination of Cuban avant-garde, the present article gathers texts of versatile subject matters and poetics: Regino Pedroso’s “Salutación fraterna del taller mecánico” (1927), Manuel Navarro Luna’s Surco (1928), Mariano Brull’s Poemas en menguante (1928) and Ramón Guirao’s Bailadora de rumba (1928). Nevertheless, all of them are characterised by the same avant-garde attitude consisting in searching for novelty and, above all, they reveal a similar “structure of feeling” (Williams 1977). The euphoria, proper for the first decades of independence (always controlled by the “the giant with seven-league boots”) was replaced by confusion and disorientation experienced after the economic depression of 1920, disagreement with corruption, clientelism and other blights on the Republic’s political life, and with the idea of modernity reduced to material progress. The article studies the ways in which modern avant-garde Cuban literature gains insights into objective factors of modernity. It also aims at explaining why Cuban avant-garde writers, instead of internalizing modern fantasies and dreams (Berman 1988), try to generate compensatory constructions which pretend to abolish them (Cros 1997).
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