He also spoke French and as an adolescent, he read Balzac, Flaubert, and Zola. Como antes hiciera Montaigne, pienso que la obra de un autor se prolonga y modifica cada vez que se escribe sobre ella. Surreal chronicle of the slave rebellion in Haiti, late 18th, early 19th century. El cambio se produce a través del uso de la religión africana. [43] Carpentier incorporates symbolic architecture throughout the novel; representing the dictatorship of colonial rule with structures such as the Sans-Souci Palace and the fortress of La Ferrière. [63], During his visit to France early in his life, Carpentier met and collaborated with many figures of the French Surrealist movement. [58], Kaup claims that Carpentier utilizes what is known as the "New World Baroque", since Latin America didn't come into contact with the Enlightenment or "European modernity". Although Carpentier wrote in a myriad of genres, such as journalism, radio drama, playwrighting, academic essays, opera and libretto, he is best known for his novels. In regards to their own music, Carpentier and Roldán were far more interested in integrating African rhythms and melodies into their works and abandoned imitation of European musical styles. [49] The novel is highly compressed, richly atmospheric, philosophical, stylistically brilliant, and non-linear; plot is treated almost as an inconsequential side-effect. Jorge I. Dominguez) 1992, pp. [3] This novel discusses the advent of the Enlightenment and the ideas of the French Revolution in the New World. One such collaborator was Amadeo Roldán, a French musician of Cuban background. Las 100 mejores novelas de la literatura hispanoamericana, 10 novelas fundamentales en la obra de Henry James, Las 10 mejores novelas policiacas clásicas, Las 10 mejores novelas de terror de todos los tiempos. No obstante, de nada sirve teorizar si las ideas no se ponen en práctica: pocos años después, en 1948, Alejo Carpentier terminaba El reino de este mundo, que aparte de su maestría literaria, es un compendio de lo que la narrativa hispanoamericana ofrecería después. [13], As Carpentier became acquainted with those among the arts community he had several encounters to meet other famous authors such as Pablo Neruda, who had sent him a draft of his book “Residencia el la Tierra” to review; Guatemalan author Miguel Ángel Asturias, whose work on pre-Columbian mythology influenced his writing;[3] and Pablo Picasso, an introduction made possible through Carpentier's connection with friends in the arts. The blending of different cultures—black, white, mulattoes, criollos and natives—mirrors the blending of Cuba's two main musical styles, the Christian European music and the elemental percussion and rhythm-based music of the transported Africans and aboriginal peoples of the island. La memoria, que fue oral y minoritaria, ahora se multiplica con cada palabra que integra y justifica el continuo universo, también llamado la Red. [3] While in Cuba, Carpentier attended a santería ceremony that was to further deepen his interest in Afro-Cubanism. [8], When the Machado regime came to an end in 1933, Carpentier decided to make plans to return to his native land to visit, and in 1936 he made the trip back to Cuba. In 1943, accompanied by French theatrical director Louis Jouvet, Carpentier made a crucial trip to Haiti, during which he visited the fortress of the Citadelle Laferrière and the Palace of Sans-Souci, both built by the black king Henri Christophe. [24] However, Carpentier's theory and its development in his work are more limited in their scope than is the magical realism of, for example, Gabriel García Márquez. La sangre, de Tulio Manuel Cestero: una vida bajo la tiranía. [26] In an interview the author himself was quoted as saying "Music is present in all of my work. Interesting and beautiful. En el prólogo de El reino de este mundo tuvo la habilidad de mostrar los caminos que debería seguir la narrativa hispanoamericana a poco que los escritores miraran a su alrededor e hicieran suyo el impresionante bagaje cultural que atesoraba la América hispana y que hasta entonces había pasado inadvertido para el mundo, incluidos los propios hispanoamericanos. Pasó su infancia en La Habana y más tarde, en su adolescencia, se trasladó a París, donde se produjo su desarrollo intelectual. Lo real maravilloso se encuentra a cada paso en las vidas de hombres que inscribieron fechas en la historia del Continente y dejaron apellidos aún llevados: desde los buscadores de la Fuente de la Eterna Juventud, de la áurea ciudad de Manoa, hasta ciertos rebeldes de la primera hora o ciertos héroes modernos de nuestras guerras de independencia de tan mitológica traza como la coronela Juana de Azurduy.