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Antonio Benitez-Rojo - A View from the Mangrove

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In this masterful collection of short stories, a celebrated Cuban writer continues his imaginative exploration of the genesis of the modern Caribbean world.

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title A View From the Mangrove author Benitez Rojo Antonio - photo 1

title:A View From the Mangrove
author:Benitez Rojo, Antonio.; Maraniss, James E.
publisher:University of Massachusetts Press
isbn10 | asin:1558491368
print isbn13:9781558491366
ebook isbn13:9780585083131
language:English
subjectCaribbean Area--Fiction, Bentez Rojo, Antonio,--1931- --Translations into English.
publication date:1998
lcc:PQ7390.B42A26 1998eb
ddc:863
subject:Caribbean Area--Fiction, Bentez Rojo, Antonio,--1931- --Translations into English.
Page iii
A View from the Mangrove
Antonio Bentez-Rojo
Translated by James Maraniss
University of Massachusetts Press
AMHERST
Page iv
Copyright1998 by
The University of Massachusetts Press
All rights reserved
Printed in the United States of America
LC 97-43469
ISBN 1-55849-136-8
Designed by Steve Dyer
Set in Joanna by Keystone Typesetting, Inc.
Printed and bound by Braun-Brumfield, Inc.
Library of Congress Cataloging-in-Publication Data
Bentez Rojo, Antonio, 1931
A view from the Mangrove / Antonio Bentez-Rojo ; translated by
James Maraniss.
p. cm.
ISBN 1-55849-136-8 (cloth : alk. paper)
1. Caribbean AreaFiction. 2. Bentez Rojo, Antonio, 1931
Translations into English. I. Maraniss, James E., 1945 - .
II. Title.
PQ7390.B42A26 1998
863dc21Picture 2Picture 3Picture 4Picture 597-43469
Picture 6Picture 7Picture 8Picture 9Picture 10CIP
British Library Cataloguing in Publication data are available.
Page v
For Julio, wherever he is
Page vii
CONTENTS
Author's Note
ix
I
Gentlemen's Agreement
3
Incident in the Cordillera
25
The Broken Flute
34
Veracruz
51
St. Martin's Cape
76
Windward Passage
96
Summer Island
116
Full Moon in Le Cap
147
A View from the Mangrove
170
Heaven and Earth
190
II
Marina 1936
209

Page ix
AUTHOR'S NOTE
With this collection of stories, I am finishing an old effort: to write a trilogy of works on the Caribbean using three different genres. The present book is preceded by the novel Sea of Lentils and the essays in The Repeating Island, which were published in English in 1990 and 1992 respectively.
Most of these eleven stories have not been published in either English or Spanish. The only exceptions are "Heaven and Earth" and "Gentlemen's Agreement," which first appeared in New England Review and Bread Loaf Quarterly (1984 and 1985, respectively) and were included in The Magic Dog and Other Stories (Hanover, N.H.: Ediciones del Norte, 1990), Antonio Bentez-Rojo; "Incident in the Cordillera,'' published in Review: Latin American Literature and Arts (1996); parts of ''Marina 1936" first appeared in Conjunctions (1996). With the exception of the translation of "Heaven and Earth," which was done by Marta Siberio, all of the translations were done by James Maraniss, my friend and colleague at Amherst College.
As will be seen, the scenes, characters, conflicts, effects, and narrative styles that I use here change radically from one story to another. I did this for two reasons. The first one lies in the historical complexity and ethnic and linguistic diversity of the Caribbean, which seemed to me to need reflecting within the book in some
Page x
way. The second has to do with me myself, with my Caribbean nature, which inclines me irremediably toward the heterogeneous and the polyrhythmic. And so "Gentlemen's Agreement" is constructed upon a strictly historical incident; "The Broken Flute," on a tragic anthropological reflection; "Incident in the Cordillera,'' upon the obsessive description of a landscape; ''Veracruz," on a desire to demystify history through humor; "St Martin's Cape," upon an imaginary dialogue concerning an economic subject; "Windward Passage," on the confessions of a guilty priest stationed in Hispaniola; "Summer Island," on events surrounding the colonization of St. Kitts; "A View from the Mangrove," on the troubled days of a soldier during Cuba's War of Independence; "Heaven and Earth," on my own political and cultural experiences; and "Marina 1936," on an experimental model that combines the poetry of nostalgia with extreme forms of the baroque and magic realism. I don't pretend to be entirely original: the human conflicts that I put into "Full Moon in Le Cap" have their points of origin in a forgotten drama of Derek Walcott and an unforgettable film by Milcho Manchevski.
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