Pedro Barreda - The Black Protagonist in the Cuban Novel
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Cuban fiction--History and criticism, Blacks in literature.
publication date
:
1979
lcc
:
PQ7382.B313eb
ddc
:
863
subject
:
Cuban fiction--History and criticism, Blacks in literature.
Page iii
The Black Protagonist in the Cuban Novel
by Pedro Barreda
Translated by Page Bancroft
The University of Massachusetts Press Amherst, 1979
Page iv
Copyright 1979 by The University of Massachusetts Press All rights reserved Library of Congress Catalog Card Number 78-19689 ISBN 0-87023-262-2 Printed in the United States of America
Page v
To Tamara and Phillip
Page vii
Contents
Preface
ix
One Slavery: The Incorporation of the Black into Cuban Society
1
Two The Black Theme in Cuban Literature: A Summary
13
Three The Early Manifestations of the Abolitionist Narrative
37
Four The Romantic Abolitionist Novel
51
Five The End of the Century: Realism, Naturalism, and Artistic Prose
85
Six The Twentieth Century: Criollismo and the Avant-Garde
117
Summary
155
Notes
158
Bibliography
169
Index
173
Page ix
Preface
Although the theme of this book may have some relation to the growing interest in the United States in the problems of the American black and in African studies, in fact I cannot remember when the idea first came to meperhaps "de nacin,"* as Unamuno said, with a special meaning, from the people of my country. It is something that was in me before I became conscious of it: a rich deposit that had been formed in my spirit by the very air of my land, even before I was aware of breathing that air. That is the deep motivation that led me to study the characterization of the black protagonist in the Cuban novel. Another reason for my interest is that little work has been done on that theme. Unlike Afro-Antillean poetry, for which excellent critical work exists, the black novel in Cuba has not often attracted the attention of scholars. That fact strengthened my personal interest in and my inclination to devote myself to that aspect of the Cuban novel.
I have not attempted an exhaustive work. Nevertheless, when I discuss the most representative novels in which the black is the central figurefrom the beginnings of the abolitionist novel to the stories written by the Cuban avant-gardistsI propose to trace the evolutionary process of the literary vision of the black in more than a century of Cuban novelistic production. At the same time, the chronological limits of this book determine to a certain extent one of its purposes: to clarify the attitude toward the black as it was reflected in the evolution of literary characterizations previous to the political changes that began to take place in Cuban society in 1959.
*Unamuno used nacin not only to mean nation but also and particularly in its relation to nacer, "to be born." Hence lineage, heritage, birthright are included in its connotations.
Page x
I use the term black in a very broad sense to include not only Africans and their direct descendants but also mulattoes (in the case of the latter, I do, however, take into consideration the mixture of bloodlines). And I have included Martn Mora Delgado's novel Sofa in this study in spite of the fact that the protagonist is biologically white, because the social determinism that conditions her to the role of a mulatto makes her behave like a black.
My intention has been aesthetic but not aestheticist. It has seemed essential to examine the black protagonist as an integral part of the story. Hence, in order to understand and illuminate the authentic profile, the study begins with an analysis of the novel in which the black is a character. The results of this critical work have been set into the historicoliterary process, following a generational arrangement.
I have tried to place these Cuban literary generations in the context of the general movements observed in Spanish America. In addition, in order to show those readers unfamiliar with the history of Cuba the background of some of the elements reflected in the characterization process, I have deemed it appropriate to offer by way of introduction a historical synthesis of the origin, development, and characteristics of the slave system that incorporated the black into the demographic composition of the island.
It remains for me to express publicly my thanks to all those who have helped me in the production of this book, especially to Professors George O. Schanzer, State University of New York at Buffalo, and Sumner Greenfield, University of Massachusetts at Amherst, who read the original manuscript, improved it with their observations, and encouraged me to publish it; to Page Bancroft for the interest she showed in the making of the English version; and to my wife, Tamara, without whose material and moral support this undertaking would have been impossible. I also wish to thank the University of Massachusetts for the economic aid offered through the conferral on me of a Faculty Research Grant. To all those, my most sincere thanks.
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