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The Necessary Dream
The Latin American novelist Manuel Puig is perhaps best known for his novel Kiss of the Spider Woman. The Necessary Dream provides an introduction to and interpretation of his seven novels written from 1968 to 1982. While each novel is given a separate chapter, the homogenious thread of attitudes and themes which touch on psychology, feminism, Argentine politics and popular culture, is clearly displayed. Contents: Introduction; 'La Vie est ailleurs': R La traici n de Rita Hayworth (1968); 'The Rules of the Game': Boquitas pintadas (1969); 'The Divided Self': The Buenos Aires Affair (1973); 'The Kiss of Death': El beso de la mujer aran? a (1976); 'Only Make-Believe': Pubis angelical (1979); 'Les Liaisons dangereuses': Maldici n eterna a quien lea estas p-ginas (1980); 'Life's a Dream': Sangre de amor correspondido (1982); Notes; Bibliography; Index
Reading Lezama's Paradiso
This book focuses on the novel Paradiso of Cuban author José Lezama Lima (1910-1976), and in particular on the protagonist José Cemí. It examines the development of Cemí according to the three distinct phases detailed by Lezama: the 'placentario' world of family protection, the awakening to the exterior world and the subsequent friendships made, and the eventual encounters with Oppiano Licario. Cemí's progression, and his growing ability to interpret and create texts, is analysed as analogous to the reader's progression through the novel. In this respect, both the reader and Cemí are obliged to interpret the complex symbolism according to interpretative skills acquired from the text itself. In a similar fashion, the connection between Cemí's 'guide' Licario, and the author Lezama is investigated. By exploring these connections between reader and protagonist, author and character, the author of this work suggests a radical and hitherto unexplored approach to the text of Lezama.
The Writer's Experience
These essays reflect a view admittedly skeptical of the movements, isms, and theories devised by many scholars in their reading of important writers. Earle prefers to see Cervantes, Miguel de Unamuno, Gabriela Mistral, and Garcia Marquez, for example, as basically autonomous. Like most great authors, they don't fit within trends. Two words in this book's subtitle - self and circumstance - signal a concept of the writer's function in Spain and Hispanic America as primarily autobiographical and historical. Ortega y Gasset's declaration, Yo soy yo y mi circunstancia, is really every writer's dictum - particularly of those in the nineteenth and twentieth centuries who experienced in a vital way the ambiguities of the modern Hispanic World.
Julio Cortázar
A 1998 collection of essays on the Argentine writer Julio Cortázar.
Cuba
In Cuba, internationally renowned artists, philosophers, and writers reflect on the idea of a nation displaced. Featuring contributions from Isabel Alvarez Borland, Antonio Benítez-Rojo, María Cristina García, William Navarrete, Eliana Rivero, Rafael Rojas, and Carlos Victoria, as well as many others, Cuba is a rich collection of essays, testimonials, and interviews that reveal the complex, often antagonistic cultural and political debates coexisting within the Cuban exile population. As a multivoiced text, Cuba formulates a deeper understanding of diasporic identity, and broadens the discussion of the manner in which Cuban cultural identity and nationhood have been constructed, negotiated, and transformed by physical and cultural displacement.
Play and the Picaresque
Analyses three important Latin American novels in an attempt to redefine the nature of the picaresque, especially in regard to the roles of spontaneous play and carnivalesque laughter.
Sugar and Railroads
Though Cuba was among the first countries in the world to utilize rail transport, the history of its railroads has been little studied. This English translation of the prize-winning Caminos para el azucar traces the story of railroads in Cuba from their introduction in the nineteenth century through the 1959 Revolution. More broadly, the book uses the development of the Cuban rail transport system to provide a fascinating perspective on Cuban history, particularly the story of its predominant agro-industry, sugar. While railroads facilitated the sugar industry's rapid growth after 1837, the authors argue, sugar interests determined where railroads would be built and who would benefit from them. Zanetti and Garcia explore the implications of this symbiotic relationship for the technological development of the railroads, the economic evolution of Cuba, and the lives of the railroad workers. As this work shows, the economic benefits that accompanied the rise of railroads in Europe and the United States were not repeated in Cuba. Sugar and Railroads provides a poignant demonstration of the fact that technological progress alone is far from sufficient for development.
Noplace Like Home
Noplace Like Home uses four masterpieces of Russian literature--Nikolai Gogol's Dead Souls, Ivan Goncharov's Oblomov, Evgenii Zamiatin's We, and Mikhail Bulgakov's The Master and Margarita--to show the successes and failings in Russia's search for home and self. Interdisciplinary in spirit, Noplace Like Home introduces Russian culture for the first time to the field of "home studies," which explores human identity in terms of man's relationship with domestic space. This broad social context, together with general cultural patterns expressed in the novels, encourages readers to consider even the most current events in Russian society--where identity and stability are again key issues--in terms of "home," "homelessness," and "noplace."
