Transnational Cuban Autobiographers: Juan Abreu, Octavio Armand and Lorenzo García Vega
Abstract
This article focuses on contemporary Cuban autobiography by examining three texts by Cuban intellectuals of different generations who endorse different politics of memory, transcending the traditional opposition between Revolution and Counter‐Revolution. From a global perspective, based on the idea of Cuba as a transnational space, these autobiographies are considered as part of a network made of ideological, cultural and economic exchanges between people from both outside and inside the island. Juan Abreu, Lorenzo García Vega and Octavio Armand belong to a large group of Cuban artists who have written autobiographies, considered in the widest sense of the term, in the last twenty years. Since the beginning of the Cuban Revolution, many authors have told their own experiences throughout their lives and have built a specific image for themselves.
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53 316.344.32(729.1) 821.134(729.1) TRANSNATIONALCUBANAUTOBIOGRAPHERS:JUANABREU, OCTAVIOARMANDANDLORENZOGARCÍAVEGA JesúsGómezdeTejada UniversidaddeSevilla.Spain Abstract:ThisarticlefocusesoncontemporaryCuban autobiographybyexaminingthreetextsbyCuban intellectualsofdifferentgenerationswhoendorsedifferentpoliticsofmemory,transcendingthetraditional oppositionbetweenRevolutionandCounter‐Revolution. Fromaglobalperspective,basedontheideaofCubaasa transnationalspace,theseautobiographiesareconsideredaspartofanetworkmadeofideological,cultural andeconomicexchangesbetweenpeoplefromboth outsideandinsidetheisland.JuanAbreu,LorenzoGarcíaVegaandOctavioArmandbelongtoalargegroupof Cubanartistswhohavewrittenautobiographies,consideredinthewidestsenseoftheterm,inthelasttwenty years.SincethebeginningoftheCubanRevolution,manyauthorshavetoldtheirownexperiencesthroughout theirlivesandhavebuiltaspecificimageforthemselves. Keywords:Cubanliterature,Cubanautobiographies, Transnationalism,LorenzoGarcíaVega,JuanAbreu, OctavioArmand I. INTRODUCTION Thisarticleispartofawiderproject,titledTheIslandanditsmirrors:TheNetworksofCubanMemoryin the21stCentury, which will offer a comprehensive analysisofcontemporaryCubanautobiographicalwriting by examining a significant range of autobiographieswrittenbyCubanintellectualsbelongingtodifferentgenerations.Thisglobalperspectiveisbased on theideaofCubaasatransnationalspacecharacterized by the regular ideological, cultural and economic exchange between the island and the different Diasporicgroups(Fernández2005).Inthiscontext,the networks that develop from the different politics of memory,andwhichtranscendthetraditionalopposition between Revolution and Exile, acquire special relevance. The active role that, according to Aleida Assmann(2012),memoryplaysintheprocessesof transitionfromdictatorshiptodemocracycontributes tothepresentationoftheseautobiographiesaslocifor the reconstruction of the Cuban Revolution and its consequences. The central question that this article seeks to answeris:whatarethesocio‐politicalcircumstancesand theformalfeaturesthathelpusdefineCubantransnationalautobiography?ThestartingpointforthisanalysisistheassumptionthatCubanautobiographyispart
54 of the economic, human, cultural and ideological exchangesthat makeupanotion ofthe Cubanidentity which transcends the geographical boundaries ofthe country.Thisideaderivesfromthecontemporary conceptionofCubaas“part(actorandsubject)ofa transnationalsocialspace,withmaterialandsymbolic exchanges and human networks that link people across time and space” (Fernández 2005). According toO’ReillyHerrera,thisvisionisjustifiedbythe historicaldevelopmentoftheisland:“Cuba,bynature ofitsstrategicphysicallocationandconsequentpolitical and social history, is transnational and multicultural”,andsheaddsthat“Cubaanditshistory,therefore–includingthepost‐1959Diaspora–mustnecessarilybeunderstoodinthecontextofaseriesofdisplacements and dislocations” (2007: 4). Although the CubanDiasporabeganearlier,itisin1959whenit acquires significance as a process characterized by differentformsofdisplacements,sufferedbypeopleof severalgenerationsemigratingtoavarietyofgeographicallocations,andbytheDiasporicsubjects’problematic insistence on maintaining a sense of original identity(Weimer2008). Thepresentstudymakesuseoftwomaintheoreticalframeworks:memoryandautobiography.Regardingthepoliticsofmemorythatemergefromhistorical processesoftransitionfromdictatorshiptodemocracy (theHolocaust,Apartheid),PaulRicoeur(2000)refers tothedynamicsof“tyinganduntying”,whichpresents twodistinctformsofmanipulationofmemory,leading either to accusation (tying) or forgiveness (untying). AccordingtoRicoeur,thisdynamicstendstogenerate mechanismsofreconciliation,givingriseto a“happy memory, a peaceful memory, a reconciled memory”. AleidaAssmann(2012)alsoexaminestheadequacyof thesemechanismsintransitionalperiods:“toforgetor to remember”. In this regard, Rafael Rojas (2006) statesthatthe“knots”ofCubanmemoryemergefrom theacts,discoursesandideaswhich,historically,have set revolutionaries and exiles in opposition, mainly becauseoftheirresistancetoacknowledgethehistoricallegitimacyofeachother.Rojasconcludesthatthe manipulation of these knotsisresolvedbymeansof two different attitudes: opposition and conciliation. Takingallthisintoconsideration,thisarticlepresents ananalysisofseveralautobiographiesintermsofthe dynamics of tying and untying, according to their willingnessorreluctancetorememberortoforget.In thisway,autobiographieswillbedividedintothree majorgroups,whichrespondtothethreemainattitudes adopted by these writers: 1) opposition, characterizedbytheuseofmemoryasaformofaccusationand byreluctancetoforget; 2)reconciliation,as therecoveryofthepastbecomesaformofredemption; 3)oblivion,throughwhichtheconflictisdisplaced. This analysiswill show how the negotiation of these attitudes in the texts may contribute to securing the prosperityofafuturedemocratictransitioninCuba. Althoughthechosentextsmaybeconsideredas autobiographies,thatis,recollectionsofferedastruthfulnarrationsofpasteventsbyafirst‐personnarrator, whoisalsomadetocoincidewiththeauthorandthe character(Lejeune),Iwillproblematizetheconceptof autobiographyasappliedtothesenarrativesbyresortingtomorerecentautobiographicaltheoriesandtheoriesofself‐representation(Doubrosky 1977,Amícola 2007, Arfuch 2002). In the 1970s, Philippe Leujeune defendedthesocialandpubliccharacterofthiskindof narrationwhich,accordingtohim, establishesa pact betweenwriterandreaderthatconditionsitscompo‐
55 sitionandreceptionasastatementoftruth.However, towards the end of the 1970s and throughout the 1980s, Paul de Man and Jacques Derrida argued otherwise,astheyreducedself‐writingtoitsstructural and rhetorical dimension, contending that its purportedtruthismerelyafabricationoftheauthor.Finally,inthelate20thcentury,criticshavetendedtobring togetherboththeories,acceptingautobiographyasa formoffictionwhileacknowledgingtheeffectthatthe pactofveracitydoesinfacthaveonthereader(Loureiro2000; PozueloYvancos2005; Sarlo2005).Accordingtothesecritics,theidentityoftheautobiographicalfactisnottobefoundintheeventsthatarenarrated,butinthenarrationofthoseeventstoareader. Thismeansthatthediscursiverhetoricismaintained inthetextinthe“dialoguewithotherstowhomthe textisaddressed,turningthatdiscursiveconstruction into an ethical act” of justification, forgiveness, condemnation or persuasion (Pozuelo Yvancos 2005). Close to this view, Franco’s In(ter)vencionesdelyo (2012)studiesseveralHispanicAmericanautobiographiespayingspecialattentiontoparticularrhetorical formsofself‐representationusedbytheauthorto persuadereadersandhighlightingtheperformative characterofautobiographicallanguage.Itisthisdoubleperspectiveonautobiographyasbothasocialanda literaryeventthatthepresentstudyadopts.Theliteraryanalysisproposedhereidentifiesandanalyzesthe differentmodesofself‐representationpresentinthese texts,theirdiversestyles(narrative,descriptive,poetic, metaliterary),theirthemesandsymbols,thekindof pactthatisestablishedbetweenwriterandreaderand, finally,theiradoptionofaprivate(personal)orpublic (social)perspective. II. CONTEMPORARYCUBANAUTOBIOGRAPHY Writtenfromavarietyoflocations,personalcircumstances, ideological positions and conceptions of the genre, Cuban autobiographies published since the 1990s and up to the present are an essential part of theliterarycorpusofautobiographicalwritingproducedsincethebeginningoftheCubanRevolution,a corpuswhichhasbeensubstantiallyincreasedsince thelate1990s.Thisarticleanalyzesthedifferentways theseauthorsarticulatethenetworksofCubanmemory by focusing on the ideological stance revealed in their works and how these are expressed through recognizablestyles,themes,symbols,imagesoftheself andoftheother,andtheattitudes adopted towards thereader. WithinthescantcriticismonHispanicAmerican autobiography, it is important to mention Silvia Molloy’s influential AtFaceValue.AutobiographicalWritinginSpanishAmerica (1991) and José Amícola’s Autobiografíacomoautofiguración(2007)Morerecently,SergioR.Franco’sstudy,mentionedabove,In(ter)‐ vencionesdelyo.Escrituraysujetoautobiográficoenla literaturahispanoamericana‘1974‐2002’(2012),which, fromacomprehensiveperspective,includestheanalysisoftheautobiographieswrittenbyNeruda(Chile), GarcíaMárquez(Colombia),VargasLlosa(Peru),MargoGlantz(Mexico)andSeveroSarduy(Cuba),evidences the interest that autobiographical writing is arousinginscholarlycircles. Most studies on Cubanautobiographyhave focused onspecificworks,especiallyonReinaldoArenas’sAntes queanochezca[BeforeNightFalls](1992)(Clark1999), Eliseo Alberto’s Informecontramímismo[Report
56 AgainstMyself] (1996) and Heberto Padilla’s Lamala memoria[Self‐PortraitoftheOther:AMemory] (1989) (Buckwalter‐Arias 2010; Weimer 2008; Clark 1999). Althoughthereareacertainnumberofautobiographies writtenfrominsidetheisland,itisgenerallythetraumaticexperienceoftheDiasporathathasgeneratedthe greatest amount of this type of accounts. The Cuban American community is the most productive in this sense, with a large corpus of autobiographical writing (GustavoPérezFirmat,CarlosEire,PabloMedina)and substantialcriticismonit. However,therearefewstudiesthatfocusonCuban autobiographicalwritingafter1959.Amongthese, Stephen J. Clark’s AutobiografíayrevoluciónenCuba (1999) presents an analysis of four texts written by exiles:GuillermoCabreraInfante’sLaHabanaparaun infantedifunto[Infante’sInferno](1979),CarlosFranqui’sRetratodefamiliaconFidel[Familyportraitwith Fidel:AMemoir](1981)HebertoPadilla’sLamalamemoria(1989),andReinaldoArenas’sAntesqueanochezca(1992).Clark’sanalysisconsiderscontemporary gendertheoriesandthepoliticaleventsthathaveshapedCubanhistoryfromtheoutbreakoftheRevolution totheendofthe20thcentury. In the field of Cuban American autobiographical studies,IraidaH.Lópezstressestheimportanceofthe autobiographicalessayswrittenbyCubanAmerican women(inAlvarez‐Borland2009).AccordingtoLópez, these fragmentary essays, considered manifestoes, sharesomecommonground,astheypresentasimilar denunciatorytoneinconsiderationsaboutthecommunalspace,thefutureandtheCubanAmericanidentity. IsabelAlvarez‐Borland(1998)establishestwogroups ofCubanAmericanwriters,accordingtowhetherthey left Cuba as adults (memory) or as children (postmemory). Hers is a generational study which deals withseveralnarrativegenres,andoneofherchapters analyzes the autobiographies of Pablo Medina, Pérez Firmat and Virgil Suárez, and some autobiographical essaysbyElianaRiveroandRuthBehar. The motivation for this article lies in the growing numberofCubanautobiographicaltextspublishedsincethe1990s,anumberwhichhasincreasedinrecent years. This upsurge of autobiographical writing is intimatelyconnectedwiththeexpectationsofpolitical changeraisedbyrecentevents(FidelCastro’soldage, RaúlCastro’stakeover).Thepossibilitythattheregime mightbedissolved,openeduporperpetuatedencouragestheuseofautobiographicalwritingasaformof personalreflectiononthesehistoricalevents.Also,as thesetextsshow,thenewcenturypresentsitselfasan appropriatemomentforreflectingonthepastandfor collectingmemoriesofthehistoricalperiodthatcomes toanend(Assmann). III. ABREU,GARCÍAVEGAANDARMANDASCUBAN AUTOBIOGRAPHERS Within the autobiographies selected, this study identifies and examines the following aspects: 1) the partthatthesetextsplayintheculturalandideological transnationalexchangesthroughwhichnewconceptions of the Cuban identity are being constructed; 2) theirrelevantroleinthereconstructionofCubanmemoryandtherevolutionaryprocessthroughdiscourses of opposition, reconciliation or oblivion; 3) their themes(nostalgia, loss, the triad past‐present‐future, thepublicandtheprivatespheresandthespatial
57 politicsoftheisland);theirsymbols(inrelationtothe weather, such as snow and heat; in relation to the cityscape,suchasruinsandinnercities;inrelationto traditions,suchasfoodandmusic);theirstyles (metaliterary, confessional, fragmentary, essayistic); andtheirspecificfeatureswithintheautobiographical genre (attitude towards the reader, autofiction, memoirsandjournals). ConcerningLorenzoGarcíaVega’s,JuanAbreu’sand Octavio Armand’s autobiographies, it is possible to havealookatsomeoftheseaspects.LorenzoGarcía VegawasborninJagüeyGrande,Cubain1926andwas one of the members of Origenes, the poetic group founded by Lezama Lima,the author of Paradiso. He left Havana in the late sixties. His autobiography El oficiodeperder:Memorias[TheArtofLosing:Memoirs] (2004) is really his second autobiography. His previous one, LosañosdeOrígenes [Origenes’Years] (1979), is a polemic autobiographical essay where GarcíaVegadepictshiscontroversialrelationshipwith other intellectuals in the group and with his leader, LezamaLima,inHavanaduringthe1940sand1950s. WhilethisbookwaswrittenduringhisexileinNew Yorkintheseventies,Eloficiodeperderwaswrittenin Miamiatthebeginningofthe21stcenturyandGarcía Vegaavoidsfocusingonthetimewhenhewascloseto LezamaandtotheOrigenes’writers.Instead,hesets his speech in his childhood in his hometown, in his youthinHavanaandfinally,inhisoldageinMiami. The poet, plastic artist and journalist Juan Abreu wasborninHavanain1952andbelongstothesame intellectualgenerationandgroupasReinaldoArenas. His work Alasombradelmar:jornadascubanascon ReinaldoArenas[IntheShadowoftheSea:CubanDays withReinaldoArenas](1998)isadetailedaccountof his and Arenas’s persecution by the Cuban security forces during the seventies and their flight by boat fromMarielPortin1980. Octavio Armand is a poet who was born in Guantanamoin1946.Elochocubano[TheCubanNumberEight] (2012) is a collection of autobiographical articles, some of which had not been printed before. Mostofthemfocusonhischildhoodinthecountryside and the coast scenery around his hometown. Other texts in the book tell us about his experience as an exileinNewYorkandCaracas.Asopposedtothe previoustwowriters,heleftCubaasayouth,sothat hisautobiographicalworksbelongtopost‐memory. Briefly,comparingthesethreeautobiographiesthereareaseriesofsignificantpeculiaritieswhichcanbe pointedout.Thetoneiscompletelydifferenceineach oftheseworks.Armand’stoneismainlynostalgicand ludicusingabaroquestyle.Abreu’swordsarefullof angerandpride,histoneisclearlyofcomplaintregardingCastro’sgovernment.Itreproducestheclaimsof the“marielitos”–theCubanpeoplewhofledCubafrom Mariel–andwascalled“slag”byCubanofficialbodies. GarcíaVegaoffersahighlyrichstylecharacterizedby self‐reflections,literaryquotations,persistentfeelings of doubts, colloquial words and expressions and a permanentsenseofhumour.Abreu’sexplicitrejection of the political situation in Cuba contrasts with Armand’sproposalofleavingbitternessandresentment outofhismemories.[1]ConsideringGarcíaVega’stext, hisoppositionregardingCastroisclear.However,his maingoalisnotthecriticismoftheregime.According tohim,thetopicoftheCubanRevolutionhasalready startedtobecomeboring. Besidesthis,anotherdifferencebetweenthesetexts hastodowiththewritingprocess.Ontheonehand,
58 Armand’s and García Vega’s autobiographies are writteninoldage.Thesetextsarethoughtandcreated fromaperspectiveclosertodeath,whichitisnotan abstractandremoterealityanymore,butarealand closehorizonatthistimeinthelifeoftheindividual.It hasbeensaidthatthisisagoodtimetorememberand tothinkofchildhoodasatimewheneverythingwas possible, as opposed to the time of writing, when everythingiscomingtoanendfortheauthor(Franco, 2012:171).Ontheotherhand,Abreu’stextdoesnot payattentiontohischildhoodasitiswrittenata matureagestillfarfromthemomentofdeath. One of the features that all three autobiographies have in common is their fragmentary speech, which servestoopposetheoldandtraditionalconceptionof life as a totality. García Vega subtitles his book as “Memoirs”,probablyinanattempttojustifyhisiterative,ellipticalandtwistedstyle.Nevertheless,“memoir” has to be differentiated from “autobiography”: whereas the former refers to a first‐person narrator whomainlytellsaboutothers,thelatterreferstoa narratorwhotellsabouthimselfmostoftime;thatis, in Gérard Genette’s terms, a homodiegetic narrator and an autodiegetic narrator respectively (Franco, 2012:34).Consideringthisfeatureofautobiographical writing, Elartedeperderwouldbedistantfromthe subgenreofthememoirbecauseGarcíaVega–orhis ownthinkingandwriting–isthemaincharacterhere. Some of the articles included in Elochocubanowere writtenindifferentperiodsandcollectedseveralyears aftertheirfirstpublicationinnewspapersandreviews. Finally, the extreme situations endured during the compositionofAbreu’sAlasombradelmararehighlyghtedinthesubtitleofthebook:“Jornadas”.ThisSpanish word points to a risky period of Abreu’s life: it referstothedaysspentclosetoReinaldoArenas,who hadgoneunderground,andtothedifficultpatchthrough which they had to go and which changed them forever. Cuba’srepresentationsreachaspecialironictonein GarcíaVega,whodramaticallyandsymbolicallynames Havana and Miami “Antarctica” and “Albina Beach” respectively. The stronginfluence that Miami has on theauthorinthisautobiographyisclearlyseeninthe followingquote,whereitisalsopossibletoperceivea greatbitterness:“Esmiúltimaetapa[…].Eselseacabó loquesedaba,esmivejez,enestaPlayaAlbina”[This ismylastepisode[…]Thisistherealend,myoldage,on thisAlbinaBeach](GarcíaVega,2005:34).Theauthor himselflinksbothhiscurrentcontext,whereheis writinghislife,andhisbook:“yosoyelautordeuna autobiografía albina” [Iamtheauthorofanalbina autobiography (Aguilera, 2005). [2] Similarly, Abreu rejectsthenoxiousenvironmentofbothcities,Havana and Miami, and shares with the reader his nostalgic feelingsfromtheterraceofabarinBarcelonaduringa meetingwithotherintellectuals.Abreudepictshimself asastrangerinHavana,whichislike“ungranbasurero”[agreatdumpingsite](Abreu,1998:20);atthesametime,heconsidersMiamianewhomewhereCuban peoplehavetosurvivebuthavelosttheirsoul(Abreu, 1998:31).Inspiteofthis,theexistenceofCubanslike ReinaldoArenasallowsforabriefreconciliationwith his country (Abreu, 1998: 15). Finally, Armand’s attitude towards Castro’s Government is not really that different, but he uses a different tone or avoids talking about it. He tries to capture part of the Cuban essence through topics such as the Cuban people, nature, tobacco and foods, which he remembers both in his childhood on the
59 island and in his mature age in Exile. The title, El ocho cubano, refers to a specific Cuban aviation pirouette. Through this image, Armand links Cuban symbols and memory mechanisms: “mi vida es una carambola de infinito y memoria. Una acrobacia en el tiempo que me devuelve a la infancia. […] No todos los números son árabes o romanos. Hay por lo menos uno nuestro. Una cifra cubensis. […] Un ocho acostado que se perfila en las alturas como una hamaca taína. Un sueño inagotable envuelto en las aromáticas espirales de un H. Upmann. […] La maniobra criolla ha despertado un sorprendente axioma de la infancia” [my life is a serendepity of infinity and memory. A spin that takes me back to my childhood […] Not all numbers are Roman or Arabic ones. At least one of them is a Cuban number. A Cubensis figure […] An laid-down eight which draws a Taino hammock in the sky. An inexhaustible dream surrounded by the aromatic swirls of a H. Upmann […] The Creole pirouette has awaken a surprising axiom of my childhood] (Armand, 2012: 22). Tosumup,thisarticlehassoughttoexploreagroup ofCubanautobiographiesfromaninclusiveperspecti‐ vewhichconsiderstheconceptual framework of Cubantransnationalisminordertoexplaintheconnections established between different Cuban centers insideandoutsidetheisland.Theseautobiographies arestudiedaspartofanetworkofculturalandintellectualexchangeswhichproblematizesCubanidentity asanotionthattranscendsgeographicalboundaries. Fromthispointofview,theideologicalandliterary analysisoftheseworkscontributestothereconstruction of the individual and collective images of Cuba produced in the past fifty years. Far from providing polarizedvisionsofCubaandMiamiasstableandconflictingideologicalpositions–RevolutionandCounter‐ Revolution(Rojas2006)–,theseimagesofferheterogeneousviewsontheissuethatrespondtothesewriters’ diversity in terms of generation, ideology, linguistic traitsandculture.Atthesametime,fromthistransnationalandinclusiveviewpoint,theseautobiographies areconsideredascentraltothe“globalmemory”that hasdevelopedsincethesecondhalfofthe20thcentury, an idea that also sheds light on the connections betweentheseandsimilarproductionsbyothercommunitiesworldwide(Assmann2010). Translatedby YiyiLópezGandara QueenMary,UniversityofLondon ENDNOTES [1] Hisautobiographystartslikethis:“Evitoelazúcaramargay amargo –la ambigüedad del término es un sobrecogedor resumendenuestrodevenir–paraevocarelsabordelpasado sinsusvenenos”[Iavoidthebitter,sugar–theambiguityofthis termisanoverwhelmingsummaryofourhistory–inorderto evoketheflavorofthepastwithoutitspoisons](Armand,2012:5). [2] GarcíaVegacontinueshismetaliteraryandbitergameevenin reflections on his own autobiography included in a letter to anotherCubanautobiographer,ManuelDíazMartínez(Sóloun rasguñoenlasolapa[recuerdos],2002):“vivíenNewYork,dos añosenCaracas,yahoraenestaPlayaAlbina;nuncamehe adaptado; mis memorias podrían titularse Confiesoquehe tomado(comodijoGuillénqueNerudadeberíadehaber tituladolassuyas),perotuvequeparareltrago,yaquemehan dadodosinfartos;y,paracolmo,nuncaaprendíinglés(actitud suicida)”[IlivedinNewYork,twoyearsinCaracas,andnowon thisPlayaAlbina;Ihaveneveradapted;mymemoirscouldbe entitledIConfessthatIHaveDrunk(asGuillénsaidthatNeruda shouldhaveentitledhis),butIhadtoquitdrinking,becauseI have had two heart attacks; and above all, I never learnt English(asuicideattitude)](GarcíaVega,1992)
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