Cuba powerpoint
Transcript: ‘Within the revolution, everything; without the revolution, nothing’ -Censorship of the Cuban Authorities -Generation of writers split by 1960 -Contradiction between official requirements and the natural development of intellectual life -Pressures marked in narrative genre -Guerrilla battles and state security forces -Some writers complied, some like Arena’s left Cuba -Exile writers between 1960 & 1980 characteristics: -Anti Communism (Raoul Fowler, Hilda Perera) -Dramatic escapes to freedom (Ramiro Gomez-Kemp) 1970’s-80’s exile literature emerged Within Cuba Conclusion Cuban Literature 1940-1980 -Born in Cuba -First book of poetry (La Rosas Audaces) published in 1948 -Initially supported Fidel Castro's revolution, but by the late 1960’s he began to openly criticize it -In 1971 he was imprisoned by the regime -The reaction of the international intellectual and literary community to Padilla’s incarceration and mock trial at the Writers Union led to his release from prison, although he was not allowed to leave the country till 1980 -Central Figure of Cuban Poetry mid-century José Lezama Lima Also wrote essays and two novels Film ‘Fresa y chocolate’ pays homage to Lima -Conditions of exile -Legitimacy 1960's -'Dark Ages' -Not many published works -Mauricio Fernandez -Island Contrast 1970's -Improved to a level of excellence -Poetry -Example - El Sitio de Nadie (Hilda Perera) A Colloquial expression; characteristic of spoken or written communication that seeks to imitate informal speech. -Dominant poetic form after the Cuban Revolution -Not imposed by the Cuban Government – other styles of poetry were published, non-Cuban writers wrote colloquial verse and writers opposed to the revolution also wrote in this style. Critic Gerald Martin: “It is no exaggeration to state that if the southern continent was known for two things above all others in the 1960’s these were, first and foremost, the Cuban revolution and its impact both on Latin America and the Third World generally and, secondly, the boom in Latin American fiction, whose rise and fall coincided with the rise and fall of liberal perceptions of Cuba between 1959 and 1971” -Political effect on literary genre and style -Being Cuban and writing Cuba; Issues with exile -Political divides and the intellectual community IN LOVE'S PLACE Always, over your shoulder, I see the world. It gives off sparks in storms. It is a piece of rotten wood, an old lantern that someone waves as though against the wind, the world that our bodies (our solitude) cannot blot out, an age of sappers and frogmen under your pillow, in the place where your shoulders turn cooler, more fragile. Always, over your shoulder (something that now we can never avoid), there is a list of missing persons, a village destroyed, a child trembling. Latin American Boom Cont. -Different currents of this period -Neo-romantic and even surrealist traits -By 1960 this had developed into colloquialism, with poets like Raul Rivero, Felix Luis Viera and Cesar Lopez embracing this. Case study Heberto Padilla Exile literature POETRY -Literary movement of the 1960/70’s -Experimental and political -Characteristics Modernist novels Time as non-linear More than one perspective or narrative Colloquialism Latin American Boom -Magical realism – Alejo Carpentier – legendary and mythical elements -Historical Fiction – historical figures/events portrayed in a way that connections between them and contemporary events could not be doubted Roa Bastos’s ‘I, The Supreme’ depicts nineteenth century Paraguayan dictatorship of Jose Gaspar Rodriguez de Francia Alfredo Stroessner’s regime – Paraguayan military officer and president from 1954-1989 Narrative Literature - Some established writers left – Enrique Labrador Ruiz, Lydia Labrera -Some enjoyed initial prestige and then became ostracised – Jose Lezama Lima -Others remained silent and adhered to political pressures – Eliso Diego Example – Nicolas Guillen, who had been a Marxist militant, was exalted to the status of National Poet
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