By José Manuel González Álvarez Universidad de Salamanca
José Manuel González (Salamanca, Spain, 1977) holds a Ph.D. in American Literature from the University of Salamanca with a doctoral thesis entitled " Autofiction, generic hybridity and conditions in writing Ricardo Piglia (1975-2005). " He has published over twenty articles in professional journals from Spain, Italy, Germany, France and the U.S. on Hispanic writers like Sarmiento, Borges, Piglia, Salvador Garmendia and Virgilio Piñera. Currently he teaches Theatre Contemporary English American Masters in Latin American Studies at the University of Salamanca and is preparing the publication of his doctoral thesis.
José Lezama Lima
L a novel Paradiso offers, in its second chapter, the foundation myth of an area, that of Cuba, rescued from temporality. In the poetry of José Lezama Lima, the image is invested with authority because inquires demiurgic new realities and the stands, checking the "occupation of what was lost." This idea of occupying what was lost because it is seen as fundamental betrays a belief in the image as necessary that fills a void, to nominate and defined. In this sense, the vector-Literature-Cubanidad Insularismo appear to us as a perfect trinomial marked by a first common feature: the search.
Indeed, the notion advocated by Lezama Lima literature includes several phases, the metaphor, the experience oblique, the myth, aimed at a kind of discovery: the apprehension of the "poetic substance." This inquisitive nature is also found in the concept of insularity and our author coined the Symposium with Juan Ramón Jiménez (1937) 1 , where he clarifies that the formation of a insular sensitivity to Cuba is a way to go before the world. Note that quickly lists Lezama insularity as a myth, that is, as something that should not only build but also essentializing, so that the overlap could not be more clear, the insularity, as myth, is processed by the metaphorical device Lezama , all to capture the true essence of the Cuban.
L a novel Paradiso offers, in its second chapter, the foundation myth of an area, that of Cuba, rescued from temporality. In the poetry of José Lezama Lima, the image is invested with authority because inquires demiurgic new realities and the stands, checking the "occupation of what was lost." This idea of occupying what was lost because it is seen as fundamental betrays a belief in the image as necessary that fills a void, to nominate and defined. In this sense, the vector-Literature-Cubanidad Insularismo appear to us as a perfect trinomial marked by a first common feature: the search.
Indeed, the notion advocated by Lezama Lima literature includes several phases, the metaphor, the experience oblique, the myth, aimed at a kind of discovery: the apprehension of the "poetic substance." This inquisitive nature is also found in the concept of insularity and our author coined the Symposium with Juan Ramón Jiménez (1937) 1 , where he clarifies that the formation of a insular sensitivity to Cuba is a way to go before the world. Note that quickly lists Lezama insularity as a myth, that is, as something that should not only build but also essentializing, so that the overlap could not be more clear, the insularity, as myth, is processed by the metaphorical device Lezama , all to capture the true essence of the Cuban.
ingredients Another cohesion is undoubtedly that of the expansion. Besides the search effort, we must emphasize that Lezama's poetics, understood as poiesis in its etymological sense, aims at unraveling of things to be winning the "space bewitched" by cognitive analogies and, ultimately, to create insightful pictures Networks, vocation, then, expansive and sublimation, as shown in Lezama himself by defining poetry as "devouring substance of reality."
in theory also shows the insularity of its policy of opening mentioned. Faced with the views of Juan Ramón Jiménez and Antonio Pedreira in Puerto Rico, which links the theory to a local sterile-Lezama Lima insular sensitivity provides a "look at the lontanaza" 2 , thus leveling the definition of Cuba with a universal screening. It is now the idea of transcendentalism which is to unify the three terms before us.
The review "The Secret Cuba" 3 María Zambrano, so steeped in the intellectual and lexical imprint Lezama, clearly perceived the merger to try to explain: "... poetically felt to Cuba, no as a quality but as substance itself. Cuba: visible poetic substance and ... " 4 , from which it follows that the myth of insularity would operate as a starting point, machinery Lezama metaphorical poetic substance obtained through the image mythologizing and Cuba would be the stage on which to overturn the "amount bewitched" resulting.
Lezama's poetry presents a third crucial element 5 , also extended to the triad of terms that give title to our thinking: it is teleology, a concept that permeates its textuality and would be linked to a sort of predestination or ultimate end toward which the literature. We have already commented Lezama claim of "occupying the lost", to inquire unknown realities. María Zambrano is again who gives us an accurate definition regarding the poiesis: "... the collection is an inside, insight into what still report" 6 . Behind these words lies messianism some appreciable 7 the author of Paradiso, which seems to have been called to establish an "insular teleology" 8 unfixed so far and to report the salvation of Cuba.
Perhaps the most striking expression of this hypertely we shall find in the review Lezama Lima makes a past in his view bleak legacy not support any valid point to definitively determine the Cuban identity, as well, an abomination of poetry negrista - key Cuban Juan Marinello, because it is more dissociative than representative. Given this gap, our author speaks repeatedly of establishing a "tradition of futurity" based precisely in insular sensitivity. By breaking the "fatalism generational" Lezama is revealed as the great ideator of a new ontological dimension to the island.
opened these lines with reference to the novel Paradiso, masterly evocation not only of Lezama's poetics but also the great internal cohesion that keep the elements previously shelled. The first two chapters are the expansive verb, spell, ritual, a progressive teleology inquisition and embodied in the person of Jose Cemi, all spiced with mystery-that component that would affect both the poetics of Origen. Ultimately, we see the myth of pre-revolutionary Cuba via the poiesis, being fixed, finally, the myth of insularity.
Notes:
[1] Juan Ramón Jiménez in Cuba, prologue and notes by Cintio Vitier, La Habana, Arte y Literatura, 1981, p.155-168.
[2] "A Discussion with Juan Ramón Jiménez", ed. cit. p.165.
[3] "The secret Cuba", La Gaceta del Fondo de Cultura Economica, La Habana, 1986, pp.11-15.
[4] Ibid. p.12.
[5] Cintio Vitier considers the notion of teleology insular true "directive arrow Origins" in The Cuban in Poetry, La Habana, Instituto del Libro, 1970.
[6] "The secret Cuba", loc. p.14.
[7] In his work The Cuban in Poetry. Cintio Vitier Lezama says about that "there was always calling him a builder, a founder, a desire for choral ...", loc. cit. p.437.
[8] In Conversation with Juan Ramón Jiménez teleological vision is clear Lezama stating the need to "integrate the myth that we need", loc. cit. p.65.
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