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Notes
1. Alejo Carpentier: The Pilgrim at Home (Ithaca and London 1977).
2. Los pasos perdidos (Barcelona 1974), 74.
3. All references are to the Barcelona 1970 edition.
4. Julio Ortega's suggestive phrase ‘el lodo de la historia’ intuits—without developing—this symbolic relationship between natural and historical corrosion (see Asedios a Carpentier, ed. K. Müller-Bergh, [Santiago de Chile 1972], 204).
5. Op. cit., 201–02.
6. Carpentier's use of cyclical structures has been studied in E. P. Mócega-González, La narrativa de Alejo Carpentier: El concepto del tiempo como tema fundamental (New York 1975). Her failure to analyse such cylical usage within the context of Carpentier's overall view of History, however, prevents her from seeing the dialectical—i.e. dynamic—nature of the cyclical process. For a more perceptive view, see Ariel Dorfman, Imaginación y violencia en América (Barcelona 1972), 103–50.
7. Homenaje a Alejo Carpentier, ed. H. Giacoman (New York 1970), 29.
8. Op. cit., 246–47.
9. Op. cit., 191–206.
10. This concept has been well analysed by critics in relation to the short story El camino de Santiago. See in particular A. Dorfman, op. cit.
11. M. de Unamuno, En torno al casticismo, Ch. I, Section iii.
12. Cf. Octavio Paz's mystical notion of Revolution as ‘fiesta’ (Los signos en rotación [Madrid 1971], 300–06). This notion is, of course, also developed by Carpentier in El siglo de las luces through his use of fairground and theatrical imagery.
13. Tientos y diferencias (Montevideo 1973), 116.