Cuban Literature
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It is altogether fitting that Cristina Garcia should plunge us into a world defined by the always shifting definitions of the world of magical realism, for GarciaÆs books are essentially Cuban, and the concept of magical realism itself was born in Cuba. Although this style of writing is perhaps best known through the work of Argentine writers like Jorge Luis Borges, the term itself and the literary style that this sometimes elusive phrase refers to were the children of Cuban novelist Alejo Carpentier. Carpentier was seeking for a literary style (and concept) broad enough to accommodate both the events of everyday life as he saw it unfolding before him in the years after World War II in Cuba and the fabulous nature of Latin American geography and history (Zamora and Faris, 1995, p. 36).CarpentierÆs ideas about the kind of writing that could span such a large portion of humanityÆs experience was based in large measure on the surrealism of French visual and literary art forms, but Carpentier extended these. He wanted a form of writing that had the capacity to enrich the readerÆs (and writerÆs) capacity of what is ôrealö by incorporating all dimensions of the imagination, particularly as expressed in magic, myth and religion. Beyond the strictly formal opportunities offered by magical realism to Carpentier and the writers of his generation, magical realism offered a distinctly indigenous voice û a way of writing and speaking that was entirely Latin American, that belonged to no
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h real and unreal.
Lourdes's daughter, Pilar, has spiritual ties with her grandmother in Cuba, though the power has weakened over their years of separation. She seems in many ways to be the most overtly odd, the most obviously fey or magical character in the book because of this connection to a woman who stands across a sea, looking in her direction with a sort of magical contraption (for surely CeliaÆs binoculars serve as a stand-in in this novel for the enchanted mirrors and reflecting pools and revelatory shiny and usually watery surfaces of more traditionally cast fairy tales) (Garcia, 1993, p. 24).
Celia's youngest child, Felicia, still lives in Cuba with her three children, but her delusions and visions further separate the family. Lourdes believes that Celia is unable to see the truth about the world, is blinded to the nature of what has happened to the brave beginnings of the revolution. But Garcia makes it clear to us that Celia is not deluded; she merely sees the world from a perspective that is more firmly rooted in history than her daughters do. But Felicia is truly deceived: Her world consists of delusions and lies that she tells herself and perhaps to others. While Celia sees things that others cannot because she l
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Approximate Word count = 1778
Approximate Pages = 7 (250 words per page)
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