GUILIERMO CABRERA INFANTE, I.Amuage'and Creativlly 1958
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GUILIERMO CABRERA INFANTE, I.AmUAGE'AND CREATIVllY by William L. SieMens A.B., Wheaton Collo~e, 1958 B.D., Gordon Divinity School, 1961 M.A., University of Massachusetts, 1967 Submi t,ted to tl-.e Dr,oartment of Spanish anc. Portugudse ~r.ct the ?aculty of t~e Graduat~ School of the Univt'trsity cf Kansas in ;,r.r- tial fulfilbent of tha ;:•e,qcirement.s for the deg~~e of Doctor of Philosophy. CONTENTS INTRODUCTION• • • ••• I I I • • • • I • • • • • • • • 1 I. THS DIAIECTICS OF AGONY• • • • • • • • • • • • • 6 II I SETTING THE STAGE I THE PROLOOUE • • • • • • • • 30 III. THE WCRD AND THE WORID • • • • • • • • • • • • • 38 IV I DENIZENS OF THE t'IGHT a CHARACTERIZATION D~ THE NOVEL • • • • , • • • • • • • • • • • • • 66 V. THE NOVEL AS i-,:znsGESCHICHTE I • e I I I I I I I 79 VI. QUEST IN TiiE NIGHT I C I I I I f • I • I • I I • 128 VII. TI:E CCNFESSIO:lS OF TEE NIGh:' • I I I I I I • I • VIII. CO~CLUSION I • I I I • I • I I I e I I I I I I I 186 ii INTRODUC'l'ION In the course or a lecture given at the University of Kansas in 1969, the Chilean playwright Jorgo D!e.z made the statement that for him and other contemporary Latin American writers words are never just means, but ends in themselves. It might be pointed out that this attitude has beon charac- ter:l.stic or intellectuals throughout the e.ges, but there is more behind this declaration than satisfaction with a life's work consisting of words rather than action, In his cr:5.tical work entitled 1! novela hi~oarr.ericanE1;,, Carlos Fuentes discusses Guillermo Cabrera Infante' s 1tl_s-!-, ti~ a.r,d then proceeds, La nueva novela hispanoa.mericana se prosgnta como una nueva fundaci6n del lenguaje contra lcs pro- longa.mi.entos calcif icados de nuastra falsa y feu- dal fundaci6n de origen y su len~uaje igualr,1ente falso y anacr6nico ••• , Nuestras obr11s deb<m ser de desordens es decir, de un orden posible, c.cri- trario al actual , , , • Nuestra l:i.teratur.:t es ver- dadera.~ente revolucionaria en c~nto lo niega al orden establecido el lt!ixico aue esta quisi&ra y le opone el lenguaje de la ala?T.a, la renova~i6n, el clesorden y el huri1or •1 F'uentes appears to imply that the pr1.mary ph-ant.'\:,cen-:>n pi-ocl.u~sd by nny e1.ilture is its language, so that the sta'~--e of bci11g of that language is a profound expression of the st.:.nding of that cultm•e. One c,f the characters in ~,i_c~ ill!.~ Sf.lys, 11 D:!ga.me c6mo har.)lo y les di:-~ qui~n scy. n 2 1 2 There is mor& to what Fuentes is saying, however, than the conviction that le.~guage must express the bre~kdown or an es- tablished order and re!lect the construction of a new one. When he says that the works of the new writers must be "de un orden posible" he indicates that the writer is beginning to con- ceive of himself as the creator of a new order. No longer does the writer view himself as the spectator who att61npts to repro- duce on paper what he has experienced. Wallace Fowlie stat~s, "Every. • • artist who has felt ••• the anguish of the void, knows that the only way for him to bear such an experience, is the use and creation of the word. He knows that the power of the word is that of creation itself. Th"l powa1• of the word is that of calling into existencfl. 11 '.3 The new creation 1s his work of art as it exists on the printed pnge, perhaps in a chaotic state but always indicating a possible new order because of the creativity of the word. The purpose of this study is to examine the place within this scheme of one of the roost brilliant. of the young Spanish A.'llerica.n writf.:rs. Guillermo Cabrera Infante is one of a gener- ation of talented and innovative Cuban writers who in spite of--or perhaps because of--th~ radical changes taking place w""ithin their society, havo produced some of the finest prose fiction ever to cane out of Spanish Ame:rica. Ho ps.ys hc:mago to the write~s whose influence ha feels is expected to Le v:ts~ ible in twe11t.ieth centu?-y work::.--Joyce, Kafka and Proust, for 3 example--but hav,_ng dona so he chooses his own mentors, ones he feels can set hht 011 t.he cot1ri::e ht" intl:lnds to follow. Theso are Mark Twai..~, l~wis Carroll ~nd Vladimir Nabokov especially. But Cabrera Infante is no more the product of a set of foreign influences than is any other truly crea.tive writer. raving used these predecessors to get his bearings, he has set out on his own unique course. We sh~ll examine his creative techniques, first in his book of short stories and then in!!:,~ tristo~ tigres, focus- ing particularly on his use of language. Certainly he reflects Fuentes• statement of the author's desire to produce di~order, to control it, and then to create a new order within it. His particulur viewpoint, however, 1s that only the spoken .iQr.d of Havana, that which he has been able to "catch on the win6 ,'1 is worthy of consideration. Our purpose will be to examine the manner in which this oral lang;ua~e is t=:;nployod by him to create the new thing which :5.s e. work of art. On the surface tho writ- ing consists largely of play and humor; for Cabrera Infante play can be humoi·ous and frivolous at that level but highly creative at the same time, whather his narrator is ar~.Ci'l of this fact or not. An :unportant conside:::-ation will be the m·eation of myth by tho point of view er the narrator as expressed in the spoken word. Since the novel presents a chaotic, unstructured appearance, we shall deal with the question of whether or not thero is an 4 underlying structuz•e, one created not in the tre.ditional manner but rather by thn use of the word and myth, This consideration will lead into a discussion or the close relationship between the themes and narrative techniques or the novel. Langu.age is used in such a manner in the book that it might be said that it is no longer the word, but the Word, 'l'he latter becomes much more than just the symbol or a meaning-bearing sound as it is itself the focal point of the attention of the author, the nar- rators and the reader, As it is perverted almost to the point of annihilation, it is ultimately personified and takes on the character of the prime instrmnent of re-creation, With regard to the critical methods employed, it should be stated that no one method could conceivably be adequate in the approach to these works. For the most part we have employed what is generally termed the exponential approach, the search for key factors which allow the interprete~ to enter into the meaning of the text. Cabrera Infante is fond of using symbols, so that in some cases these have been important in illi.:minating a section of the work at hand, In some cases the mythic and archotypa.1_ approach has been employed, but in view of the fact that this approach can often be sterile when used as an end in itself, we have attempted to employ :i.t mainly to throw light on the fuller significance of the te~t. That is, we havo avoided simply pointing out that somethin~ in what has been written is a certain type ·of symbol. At times the Freudian appro~ch has 5 been used in orde~ to support the main line of interpretation. In our discussion of some of the short stories which ap- peared in As! ,2!!. la J?!!. .£2!!!2 !m_ la guerra. in 1960 we shall attempt to reveal both the themes and techniques which ~ere being developed and were to appear later in !!:2!, trist~s tigres, and the notable absence of certain features which were to be of great il'lportance in the novel. Of the latter the most important are the stress on humor and the kaleidoscopic shifting or lan- guage and imagery which are so important in producing the total experience or the book. One of the current arguments for the existence of God declares that the possibility of the u..~iverse as we know it resulting by cha.nee is about as great as the li?<:e- lihood that Webster's Unabridrred Dictiona.:rz could result from an explosion in a print shop. One is inclined to suspect that Cabrera Infante and the characters who appear in his novel would be intrigued by the possibility of a novel produced in this mHn- ner, and would be delighted if one were. It would be their kind or book. I. THE DIALECTICS OF AGONY It has been fairly typical of novelists to begin in prose fiction by writing short stories, and the new Spanish At-,wrican novelists are no exception. Carlos Fuentes, Juan Ruli'o and Gabriel Garc:!a Mirquez, for example, all began with books of stories before attempting the novels by which they were to be- come better known. It is generally assumed--at times by the authors themselves--tha.t this is the pattern bscause it is logical to begin with the simpler form of the short story be- fore moving on to the more canplc-ix form of the novel.