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Las fronteras culturales y textuales: “Cuento en camino” de Ana Lydia Vega
Full text linkAmong the writers of the Caribbean countries, the notion of the border is related to the discourse of insularity. This concept goes beyond geographical limits, because it designates a historical-cultural experience and a peculiar identifying perspective that have generated a heterogeneous writing. Based on these premises, the essay proposes the analysis of “Cuento en camino” written by the Puerto Rican writer Ana Lydia Vega, text included in Falsas crónicas del Sur (1991). The story emerges as the synthesis of the narrative poetics developed throughout the collection, in which the stories are installed in the imprecise border between the chronicle and the fiction, between the legend and the oral tradition of the Puerto Rican peoples. It is also presented as a metaliterary story, since the author reveals the narrative and narratological instruments used to construct the story
El centenario de Virgilio Piñera en Venecia
Full text linkIn a year during which some of the most leading figures in Latin American literature were celebrated on their centenary of their birth, (Julio Cortázar, Adolfo Bioy Casares, Gertrudis Gomez de Avellaneda, Octavio Paz), I would like to remember a belated centenary, due to a real “rebirth” in the cultural and literary Cuban scene. I’m going to propose an excellent cuban writer, Virgilio Piñera (1912-1979), who become the subject of growing critical and popular attention in recent years. His singular stories – or better still, his whole existential adventure – answer to a deep-rooted obsession with authenticity, that insidious zone where each character and situation denude his author and the ghosts tormenting him. His writing, being a continuous paradox, is the instrument trough which he wants to fight the trivial and the meaningless. His troublesome literary voice was reconsidered after his death, and his first official centenary, in his native country, was commemorated only three years ago, in 2012
Las "Pequeñas Maniobras" de Sebastián en la novela de Virgilio Piñera
Full text linkThis article analyzes the perspective of everyday life in a society that greatly influences behavior and thinking of the main character and narrator of the novel Pequeñas Maniobras (1963), by Cuban writer Virgilio Piñera. Due to the difficulties introduced by censorship, reception of his work encountered obstacles during the author’s life and very few criticism is now available about this text. The novel offers a particular reading of life and reality that the main character, Sebastián, proposes in the first person. The elements of everyday life I will examine are those connected to the ‘no-actions’ and the ‘no-dialogues’ of the protagonist in a corrupted society, in which he feels alienated; but, at the same time and just through these behaviors, he ‘contributes’ to its development. Moreover, I will study possible parallelisms between the protagonist and the author, involved in this paradoxical social game. From a reflection on the literary genre used, including the diary, memoirs and confessions, I will show how this ‘daily exercise’ is well suited to the intentions of the writer. In addition, based on the reflections by Maurice Blanchot and Guy Debord, along with scholars who have analyzed the literary universe of Virgilio Piñera, I will examine remarkable behavioral and linguistic aspects of the protagonist in this story
Dámaso Martínez, Carlos (2013). Ceneri nel vento. Trad. di Marcella Solinas. Salerno: Edizioni Arcoiris, pp. 203. Trad. di: Hay cenizas en el viento, 1982
Full text linkCervera Salinas, Vicente (2014). "Borges en la Ciudad de los Inmortales". Sevilla: Editorial Renacimiento, pp. 356. Colección Iluminaciones
Full text linkde Diego, Josefina (2016). El reino del abuelo. Presentación de Eliseo Alberto. La Habana: colección Sur Editores, pp. 76
Full text linkRasgos de un modernismo "espectral" en la obra poética de Virgilio Piñera y Julián del Casal
No full textA partir de la noción de «modernismo espectral» propuesta por el historiador y crítico Rafael Rojas, el artículo analiza, de manera comparativa y contrastiva, algunos poemas de los autores cubanos Virgilio Piñera (1912-1979) y Julián del Casal (1863- 1893). A través de tal concepto, el crítico se refiere al vínculo que Piñera establece con su antecesor, cuya obra se considera como el momento en que la estética modernista cubana encuentra su mayor intensidad. El «modernismo espectral» de Rojas describe sobre todo la hostilidad de ambos autores hacia el contexto insular de referencia, percibido como agobiante. El objetivo del ensayo es examinar los hitos literiarios que posibiliten rastrear un efectivo diálogo entre la poesía de Piñera y la de Casal modernista: se consideran principalmente elementos como el subjetivismo cantado como un ‘ser isla’ maldito y nostálgico y la conciencia nacional expresada en categorías que chocan con las propuestas modernistas dominantes. Las conclusiones destacan importantes analogías entre los dos autores, pero también confirman la acción transgresora de Virgilio Piñera en relación con la tradición literaria cubana anterior
Schnirmajer, Ariela (2017). "Ciudades, retazos ardientes. La cuestión social en las “Escenas norteamericanas” de José Martí. Buenos Aires: Corregidor, pp. 320
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