La consagración de la primavera, Volume 7

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Siglo XXI, 1991 - Fiction - 576 pages
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A lo largo de la obra de Alejo Carpentier se formula toda una teoría de lo que ha de ser la novela latinoamericana en la actual etapa de su evolución, y al mismo tiempo se realiza una novelística que en todo responde a esa formulación teórica.
 

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Contents

Section 9
66
Section 10
82
Section 11
102
Section 12
579
Section 13
580
Section 14
582
Section 15
585
Copyright

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Page 13 - ¿Adonde te escondiste, Amado, y me dejaste con gemido? Como el ciervo huíste, habiéndome herido ; salí tras ti clamando y eras ido. Pastores, los que fuerdes allá por las majadas al otero, si por ventura vierdes aquel que yo más quiero, decidle que adolezco, peno y muero.
Page 24 - ¡Yo soy la Libertad porque el amor lo quiso! ¡Pedro! La Libertad, por la cual me dejaste. ¡Yo soy la Libertad, herida por los hombres! ¡Amor, amor, amor y eternas soledades!
Page 22 - Nadie se mueve. Una explosión. Otra explosión. Sigue disparando furiosamente — como reforzada por nuevas piezas — la artillería antiaérea. Y una actriz, allá en las tablas que, como si nada ocurriera (forzando el tono, sin embargo, para imponerlo a los estruendos de afuera) grita más que dice: Pedro, coge tu caballo o ven montado en el día. ¡Pero pronto! ¡Que ya vienen para quitarme la vida! Clava las duras espuelas... Y continúa la actriz, tras de un sollozo demasiado largo — alargado...

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About the author (1991)

Alejo Carpentier was director of Cuba's National Press, which published many millions of volumes in an ambitious program, and for some years was Cuba's ambassador to France. A composer and musicologist, he consciously applied the principles of musical composition in much of his work. Imprisoned for political activity in 1928, he escaped with the aid of Robert Desnos, a French surrealist poet, to Paris, where he joined the literary circle of surrealists Louis Aragon, Tristan Tzara, and Paul Eluard. According to Carpentier surrealism influenced his style and helped him to see "aspects of American life he had not previously seen, in their telluric, epic, and poetic contexts." Carpentier articulated a theory of marvelous reality, "lo real maravilloso," with an almost surrealistic sense of the relationship among unrelated, or antithetical, elements, often from distinct ethnic and cultural backgrounds. The Lost Steps (1953) takes the form of a diary of a Cuban musician and intellectual who seeks escape from civilization during his trip to a remote Amazon village in search of native musical instruments. The short stories "The Road to Santiago," "Journey to the Seed," and "Similar to Night," present time as subjective rather than historical, and capable of remarkable personal variations. In his novel The Pursuit, printed in The War of Time (1958), whose title is an allusion to a line from Lope de Vega defining a man as "a soldier in the war of time, presents time similarly. "The Kingdom of This World (1949) deals with the period of Henri Christophe and the slave revolts in Haiti. Its circular structure presents the inevitable recurrence of tyranny and the need for eternal struggle against it. Reasons of State (1976), is another notable addition to the gallery of Latin American fictional portraits of dictators. It uses Carpentier's love for baroque style and parody to raise complex questions about the nature of revolution.

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