Mantex

Tutorials, Study Guides & More

  • HOME
  • REVIEWS
  • TUTORIALS
  • HOW-TO
  • CONTACT
>> Home / Archives for Magical realism

Alejo Carpentier greatest works

September 17, 2009 by Roy Johnson

major works in English translation

Alejo Carpentier greatest worksAlejo Carpentier was a Cuban writer who straddled the connection between European literature and the native culture of Latin-America. He was for a long time the Cuban cultural ambassador in Paris. Carpentier was trying to place Latin-American culture into a historical context. This was done via a conscious depiction of the colonial past – as in The Kingdom of This World, and Explosion in a Cathedral (title in Spanish El Siglo de las Luces – or The Age of Enlightenment).

His literary style is a wonderful combination of dazzling images and a rich language, full of the technical jargon of whatever subject he touches on – be it music, architecture, painting, history, or agriculture.

He was also the first to use the techniques of ‘magical realism’ (and he coined the term, lo real maravilloso) in which the concrete, real world becomes suffused with fantasy elements, myths, dreams, and a fractured sense of time and logic.

Carpentier is generally considered one of the fathers of modern Latin American literature. His complex, baroque style has inspired such writers as Gabriel García Márquez and Carlos Fuentes.

alejo carpentier greatest worksThe Kingdom of This World is a marvelously compressed account of the slave uprising and first revolution of the early nineteenth century in San Domingo – now Haiti. Carpentier uses ‘magical realism’, long before it became fashionable, to depict the contradictions between political reality and religious or mythical beliefs. The story passes rapidly in a series of vivid scenes from the early unsuccessful uprising led by Macandal, then Bouckman who led Haiti in its fight for independence from France, and finally to Henri Christophe the revolutionary leader who later became Emperor of Haiti, and who built Sans Souci and La Ferrière Citadel.
Alejo Carpentier greatest works Buy the book at Amazon UK
Alejo Carpentier greatest works Buy the book at Amazon US

 

alejo carpentier greatest worksThe Lost Steps (1953) is a story told twice. A disillusioned north-American musicologist flees his empty existence in New York City. He takes a journey with his mistress to one of the few remaining areas of the world not yet touched by civilization – the upper reaches of a great South American river (which we take to be the Amazon). The novel describes his search, his adventures, the revival of his creative powers, and the remarkable decision he makes about his life in a village that seems to be truly outside history. This novel offers a wonderful evocations of Latin America from the founder of ‘Magical Realism’.
Alejo Carpentier greatest works Buy the book at Amazon UK
Alejo Carpentier greatest works Buy the book at Amazon US

 

alejo carpentier greatest worksExplosion in a Cathedral is set in Cuba at the time of the French Revolution. The novel aims to capture the immense changes sweeping the Caribbean at the end of the eighteenth and the beginning of the nineteenth century – complete with its wars, sea-life, and people. It is a biographical novel which focuses on the adventures of Victor Hughes, a historical figure who led the naval assault to take back the island of Guadeloupe from the English. This is a historical novel of epic proportions, reflected in its Spanish title, El siglo des luces (The Age of Enlightenment)
Alejo Carpentier greatest works Buy the book at Amazon UK
Alejo Carpentier greatest works Buy the book at Amazon US

 

alejo carpentier greatest worksThe Chase is set in Havana of 1956 where Batista’s tyrannical rule serves as the backdrop for the story of two young men whose lives become intertwined with the prostitute, Estrella. An anonymous man flees a team of shadowy, relentless political assassins, and ultimately takes refuge in a public auditorium during a performance of Beethoven’s Eroica Symphony. This novella is particularly interesting because of the multiple, disjointed narrations and its polyphonic structure.

Alejo Carpentier greatest works Buy the book at Amazon UK
Alejo Carpentier greatest works Buy the book at Amazon US


Alejo Carpentier web links

Alejo Carpentier at Mantex
Biography, tutorials on the novels, novellas, and stories

The Chase Carpentier at Wikipedia
Background, biography, magical realism, major works, literary style, further reading

The Chase Carpentier at Amazon UK
Novels, criticism, and interviews – in Spanish and English

The Chase The Kingdom of this World
Lecture by Rod Marsh – University of Cambridge

The Chase Carpentier at Internet Movie Database
Films and TV movies made from his novels

The Chase Carpentier in Depth
Spanish video documentary and interview with Carpentier (1977)

© Roy Johnson 2004


More on Alejo Carpentier
More on the novella
More on literary studies
More on short stories


Filed Under: Alejo Carpentier Tagged With: Alejo Carpentier, Explosion in a Cathedral, Latin-American literature, Literary studies, Magical realism, Modernism, The Chase, The Kingdom of this World, The Lost Steps

Reasons of State

October 5, 2018 by Roy Johnson

tutorial, commentary, study resources, plot summary

Reasons of State (1974) first published as El recurso del metodo has a curious history. It was written as the result of a bet between Alejo Carpentier and Gabriel Garcia Marquez – both of them Nobel prizewinners. Marquez produced The Autumn of the Patriarch (1975) and Carpentier wrote Reasons of State. Both novels deal with an issue which still blights Latin-America today – political stranglehold by dictatorships. As literary works they owe a great deal to El senor presidente (1946) which was the first novel to deal with this issue, written by the Guatemalan writer Miguel Asturias, an equally distinguished predecessor . The English translation is by Francis Partridge, one of the last survivors of the Bloomsbury Group.

Reasons of State


Reasons of State – commentary

Magical realism

Carpentier is one of the many Latin-American writers who have employed the technique of ‘magical realism’ – a term that he coined himself. This is an approach to fictional narratives that combines traditional realism with elements of fantasy, exaggeration, and the supernatural.

In Reasons of State for instance, the president from his Parisian embassy socialises with other fictional characters such as the distinguished academician, his daughter and his secretary, Peralta. Combined with this fictional world, he is also acquainted with real historical figures such as the Italian fascist and poet Gabriele D’Dannunzio (1863-1938).

There is therefore a close mixture of the fictional with the ‘real’, historical worlds. But he is also connected in the narrative with people such as Elstir (a painter), Vinteuil (a composer), Morel (a violinist) who are fictional characters from Marcel Proust’s great novel Remembrance of Things Past. This brings a second level of fictionality to the narrative – with the subject of one fictional text appearing in another. This is sometimes known as ‘intertextuality’.

For good measure, the president is also personally acquainted with Reynaldo Hahn, the Venezuelan composer who was a close friend of Proust. The narrative therefore switches between a fictional realism of its own making, references to real historical events and people, and the inclusion of elements from a parallel world of cultural aesthetics and history.

Narrative mode

It should be clear from the outset that the narrative is delivered in a mixture of first-person and third-person narrative modes. The novel begins with the president’s thoughts and feelings as his day begins in the Parisian embassy:

I’ve never been able to sleep in a rigid bed with a mattress and bolster. I have to curl up inside a rocking hammock, to be cradled in its corded network. Another swing and a yawn, and with another swing I get my legs out and hunt about with my feet for my slippers which I have lost in the pattern of the Persian carpet.

But gradually this first-person account becomes a third-person presentation of events delivered in conventional manner, as if by an anonymous omniscient narrator. These events are largely concerned with revealing the President’s scandalous and hypocritical behaviour:

“The cunt! The son of a bitch!” yelled the Head of State hurling the cables to the ground. “I’ve not finished reading it,” said the Cholo Mendoza, picking up the papers. The movement had spread to three provinces of the North and threatened the Pacific zone.

Carpentier manages these transitions very skilfully, but this technique does pose some aesthetic problems. There is a blurring and eventually very little distinction between the two modes. The result is that many lengthy passages of narrative, packed with literary, historical, cultural, and philosophical references, have the appearance of representing the president’s point of view.

We now know that many dictators can be culturally sophisticated at the same time as being social barbarians who countenance torture and the savage repression of all criticism. But somehow the range and depth of cultural references attributed to the president never seem persuasive.

There is also the problem (shared with Carpentier’s other novels) of a disruptive volume of material concerned with music and architecture. These are both subjects Carpentier studied as an undergraduate and has written on extensively, but their appearance in Reasons of State constitute what elsewhere would be considered digressions. They are not fundamentally linked to the main themes of the novel.

The main theme

The principal subject of the novel is obviously the life, thought processes, and behaviour of a dictator. The novel traces his desperate attempts the cling to power, his decline, exile, and death. In this sense it follows the tradition established by Miguel Asturias with Mister President (1946) and is similar to The Autumn of the Patriarch (1975) by Gabriel Garcia Marquez and The Death of Artemio Cruz (1962) by Carlos Fuentes. All of them have catalogued the disruptive and tyrannical effects of Central American regimes lacking democracy – in Guatemala, Venezuela, and Mexico – though all of them have chosen to write about fictional, imaginary, and un-named countries.

However the underlying theme of Carpentier’s novel (as in many of his other works) is the tension and contradictions between native Latin-American history and the traditional western culture that has arisen out of Europe. Carpentier was born in Switzerland and educated largely in Paris, where he began his literary career in the 1920s. But his family also spent a lot of time in Havana, and he was a founding member of the Cuban Communist Party in 1921.

This is not to suggest that he suffered from ‘divided loyalties’ but to point out his abiding attempts to fuse the two very different cultures he had absorbed. His 1953 novel The Lost Steps deals very explicitly with this theme.

Reasons of State is interesting because he attributes a great deal of this interest in European culture to the President himself. This presents the reader with a certain problem of fictional credibility. We are asked to believe that this cruel and vulgar man is also a connoisseur of fine art, poetry, and opera. He abuses women, he is an alcoholic, an embezzler, and he rules by torture and executions; but we are expected to accept that he is also an enthusiast for classical music, painting and poetry, and a close friend of Reynaldo Hahn.

Readers will make up their own minds if he is a coherent and credible character or not. But there are two further points which might be made about this contradiction or imbalance. First, it might be said that Carpentier is forcing his own cultural enthusiasms into the novel – at all costs. Second, it could be said that despite the president’s unpleasant behaviour, Carpentier is in an an odd sense writing about himself.

It is in this sense that the contradiction between political mis-rule and cultural sophistication (the Latin-America/European divide) is the theme of the novel, as distinct from its overt subject, which is the decline and fall of a dictator.


Reasons of State – study resources

Reasons of State (2013) – Amazon UK

El recurso del metodo (2009) – Amazon UK

Reasons of State (2013) – Amazon US

El recurso del metodo (2009) – Amazon US

Alejo Carpentier: The Pilgrim at Home (2014) – Kindle


Reasons of State – plot summary

ONE

The president of an un-named Latin-American country wakes up in his Paris residence recalling a visit to a high-class brothel the previous night. He also reflects on his friendship with Gabriele D’Annunzio. There is a visit by a right-wing French academician, offering the president’s daughter Ofelia an introduction to Cosima Wagner. The academician sponges on the president by selling him some ‘rare’ manuscripts. Suddenly an ambassador arrives with news of a military uprising back home. There is an immediate council of war.

TWO

Arms are purchased in the USA with money from concessions ceded to the United Fruit Company. The president and his entourage sail to Havana incognito. Arriving in the home country, the president cracks down on protesting students and workers.

After a day’s military action the president and his entourage shelter from tropical storms in a cave, where they discover pre-Colombian embalmed bodies in urns. Next day they cross the Rio Verde, but the enemy has retreated. The rebel general Galvan is pursued, cornered, and executed.

In Nueva Cordoba the president and his men lay siege to a town which at first capitulates, but when resistance begins the president’s army slaughter the population. He then returns to the capital where a rigged election reaffirms his position. However, he is suffering from a frozen right arm and returns to France for treatment.

THREE

On arrival in Paris he is shunned by all his old contacts. The French press has reported all the atrocities in Nueva Cordoba. Only the reactionary academician shows any sympathy and excuses his ‘excesses’. In exchange for bribes the academician arranges for a press campaign flattering to the President. In the midst of ensuing confusion, the First World War breaks out.

In the lull before fighting begins, the president looks down on Europe and bolsters his flagging confidence with reflections on the profusion of religious Virgin saints in Latin-America. Then news arrives of a treacherous revolt by his minister of war, General Hoffman.

The President prepares for departure with a visit to a brothel. He realises he will have no convincing arguments to offer back home. He decides to attack German culture and promote Latinism in an attempt to curry popular support. His secretary tries to tempt him to remain in Paris, but he has grandiose notions of ‘Destiny’.

FOUR

General Hoffman is deserted by his troops and dies falling into a swamp. The president then goes on holiday to his seaside retreat. News of German atrocities in the war begin to appear, which the president cannot reconcile with the peaceful German colony living in the capital.

The European war brings prosperity to the country. The president decides to establish a national capitol, and architectural contests are held. A huge naked female statue is commissioned, but it turns out to be too big for its setting.

When the Germans torpedo an American ship, it brings the USA into the war. Amidst ridiculous propaganda about the comforts of the trenches, the president despatches troops. The capitol is completed and inaugurated with a lavish banquet, but the celebrations are followed by a bomb attack on the palace. The president immediately orders repressive measures against the university, teachers, students, bookshops, and the working public. The common element is identified as communism, which the president does not understand. But suddenly the European war ends.

There is an elaborate opera season which ends with another bomb attack. A model prison is built. The price of sugar collapses. Banks close. A period of celebratory carnival merges into armed revolt – which is put down with extreme repression, torture, and executions.

FIVE

North American influence grows and Europe is seen as chaotic and backwards. When the New York Times publishes a scathing critique of the country the national press merely responds with tabloid reports of sensational domestic crimes. Holy week is replaced by Santa Claus and a commercial Christmas.

Strikes begin, followed by the appearance of a radical bulletin Liberation. A spate of public misinformation ensues. Everything is blamed on a single trouble-maker – The Student. Someone is arrested and interrogated personally by the president, who cajoles then threatens him. The interview is cut short by an explosion.

The economy collapses and the city deteriorates. Strikes continue in the provinces. The presence of the USA grows. There is a general strike, to which the president responds by machine-gunning closed shops. There is public demand for the abdication of the president. A rumour is spread that the president is dead. People emerge to celebrate, and are slaughtered by troops.

SIX

The following day order collapses completely. US marines land in the North and the president escapes in an ambulance, disguised as a patient. He is given shelter by the provincial US consul. The secretary Peralta deserts to the rebels.
The president waits anxiously to be smuggled away by speedboat to a US ship.

SEVEN

The president arrives back in Paris to find his residence full of modern art and his louche daughter partying. Former contacts are unavailable or dead. He laments the changes in modern life and finds solace only in the brothel.

The Mayorala buys exotic fruits and cooks native dishes in the house, which the president and even Ofelia enjoy. Meanwhile Dr Martinez assumes power back home and promises reforms. The Student meets delegates to an international socialist conference in Paris.

The president grows thinner, time goes by, and he lives in the past, recalling how he cheated the country economically. He begins to confuse past and present, loses the use of his legs, and eventually dies.


Reasons of State – characters
— the President, head of state, dictator of a central American country
Dr Peralta his secretary
Ofelia his spoiled self-indulgent daughter
Ariel his son, ambassador to the US
Mayorala Elmira his housekeeper
General Ataulfo Galvan a rebel leader
Dr Martinez a professor of philosophy and rebel leader
Colonel Walter Hoffman the minister for war
Enoch Crowder the US ambassador
The Student a figure representing all youthful resistance

© Roy Johnson 2018


More on Alejo Carpentier
More on the novella
More on literary studies
More on short stories


Filed Under: Alejo Carpentier Tagged With: Alejo Carpentier, Literary studies, Magical realism, The novel

The Harp and the Shadow

July 7, 2017 by Roy Johnson

tutorial, commentary, study resources, web links

The Harp and the Shadow (1979) is one of the many novels by Alejo Carpentier in which he explores the history of Latin-America. He also deals with the ambiguous relationship between European culture and that of the indigenous peoples of the Americas. These themes were very close to his own experience, since although he was raised in Cuba, his parents were Russian and French, and he spent a lot of his life living in Paris – where he was eventually made the Cuban cultural ambassador. He spoke in French, but wrote in Spanish.

The Harp and the Shadow

The novel is a mixture of political history, social documentary, and the re-imagined character of a real historical figure – Christopher Columbus. Most of the events in the novel are related from his point of view.


The Harp and the Shadow – commentary

Who was Columbus?

Christopher Columbus is often thought of as ‘the man who discovered America’ or ‘the first man to make a sea crossing to the New World’. Neither of these claims are true, and Carpentier’s novel is his way of setting the record straight. At the same time, he is trying to imagine what would be the real problems and preoccupations of a fifteenth century seafaring adventurer.

The person known in the west as Christopher Columbus was born in 1451 in Genoa, which was then a small independent Mediterranean republic with its own language. It was not incoporated into what became modern Italy until 1871.

His name was Christophoro Colombo. He spent much of his adult life in Portugal and Spain, where he was called Christobal Colon. This is the name by which he is now known throughout the Spanish-speaking world. But the name was also Anglicised as Christopher Columbus

In north America his name is built in to the expression ‘pre-Colombian’ – which refers to art and archaeology in the Americas (north and south) which pre-dates the so-called ‘discovery’ of America. It is also worth noting that Columbus never set foot in what is now the United States of America. All his activity was in the Caribbean islands and on the South American coast.

Magical Realism

It was Alejo Carpentier who coined the term ‘magical realism’. The expression is used in literary studies to describe the mixture of realism and fantasy elements in a single text – two approaches to fiction which are normally kept in separate genres.

This approach originated in Latin-American fiction with Carpentier, the Guatemalan novelist Miguel Angel Asturias (1899-1974), and it was made most popular by the Colombian writer Gabriel Garcia Marquez (1927-2014) with his best-selling novel One Hundred Years of Solitude (1967).

The Harp and the Shadow starts off in a reasonably conventional manner. The first two sections could easily be considered as parts of a historical novel. Section one concerns a real nineteenth century pope’s mission to Chile and his considering the beatification of Columbus on return to Europe.

Section two steps back temporally to the late fifteenth century and presents events from the perspective of Christopher Columbus as he organises and undertakes his voyage of ‘exploration’ to locate the East Indies by sailing westwards across the Atlantic.

But in the third part of the novel these two centuries are brought together. A nineteenth century papal tribunal is considering the application for his sainthood, but other historical figures make arguments for and against the decision. Victor Hugo, Jules Verne, and Leon Bloy (all French writers) participate in the debate. Even Columbus himself is present as the shadowy ‘Invisible One’

When the tribunal reaches its negative conclusion, Columbus then meets Andrea Doria, a fellow Genoan sixteenth century military commander, and they discuss the vagaries of fame and historical reputation.

As readers we are not expected to take these chronological liberties too seriously. They are fanciful, imaginative, and (sometimes) entertaining. But they are not arbitrary. or random. They are thematically linked and justified.

The whole novel is concerned with how history, from the perspective of Latin-America, sees the invasion of Christopher Columbus – not as a ‘discoverer’ (he discovered nothing that didn’t already exist) but someone who brought disease, greed, slavery, and imperialist domination to the continent from which it then had to spend the next two or three centuries liberating itself.

The world map

Columbus was sailing from Europe in a westerly direction, thinking that he could reach what are now known as the East Indies in Asia. These had already been visited and described by European explorers such as Marco Polo – but they had travelled by land routes in an easterly direction from Europe. Nobody at that time knew how big the earth was, and it had certainly not been circumnavigated or accurately mapped.

The first mistake of Columbus was to assume that on reaching what we now call the West Indies, that he had reached Asia. This accounts for his failure to understand where he was and his inability to locate all the spices which had been reported by earlier land explorers. His second mistake was to be blinded by his mistaken idea that there was a huge gold mine ‘just around the corner’, no matter where he found himself.

It is also obvious that he did not ‘discover’ America. Both continents of South and North America were already in existence, occupied by their native inhabitants. It is interesting that the indigenous population on both continents are still referred to as ‘Indians’. Columbus was merely amongst the first Europeans to visit what we now know as Latin-America. It is certainly worth noting that he never set foot in what is now the United States of America.

There is a third ironic mistake, though it is not discussed in the novel. Columbus lands in the West Indies and thinks he has reached the East Indies. Hence the ambiguous and double use of the term ‘Indian’ to describe the inhabitants. Explorers travelling in both easterly and westerly directions thought they were going to India.

Sea travel was very difficult and hazardous at that time, and Columbus must be given credit for his journeys if not his behaviour. But the fact is that he only reached the Caribbean, and his actual goal still lay at the other side of the world. Even discounting central America, he was still separated from his goal by the Pacific Ocean.

The Pacific covers half of the earth’s surface. He thought he had sailed half way round the world, but had only covered less than a quarter of its navigable surface. This is a misconception of distance that is still perpetuated today. It is very common for maps of the world to omit the Pacific Ocean, giving the impression that Central America and Asia are not very far apart – when in fact the distance between them is 12,000 miles.

Anti-heroism

Carpentier is clearly offering an anti-heroic account of Columbus – a figure to whom statues have been erected all over the Spanish-speaking world as a great pioneer. In the novel he is cut down to size as a human being riven with flaws. He confesses that his younger days were those of a rake – a regular visitor to brothels. He lies about his achievements in order to secure patronage. He makes mistakes in navigation and geography – and much of the time does not know where he is. Nevertheless, he inflates himself with artificial pride about his ‘achievement’.

He is fuelled by an infantile lust for easy riches – the dream of a ‘mother load’ of gold just beyond the horizon. When this dream fails he turns to the slave trade as another source of easy wealth – at other people’s expense. He fails completely to deliver the results promised to his patrons, and in an act of petty greed, he keeps the reward offered to the first man to sight ‘land’. As old age and death approach him at the end of his journeys, he is terrified of meeting his ‘confessor’. He has been hailed as a hero – but he knows what sins he has committed.


The Harp and the Shadow – study resources

The Harp and the Shadow The Harp and the Shadow – at Amazon UK – (text in English)

The Harp and the Shadow El arpa y la sombra – at Amazon UK – (text in Spanish)

The Harp and the Shadow The Harp and the Shadow – at Amazon US – (text in English)

The Harp and the Shadow El arpa y la sombra – at Amazon US – (text in Spanish)

The Harp and the Shadow Alejo Carpentier – further reading


Boroque Concerto

Alejo Carpentier


The Harp and the Shadow – summary

The Harp

The first part of the novel is set in the middle of the nineteenth century.

In the Vatican City, Pope Pius IX hesitates over making Christopher Columbus a saint. As a young man, Giovanni Maria Mastai-Perretti, he is scholarly but poor. Because of his knowledge of Castillian, he is appointed envoy to Chile, where Bernado O’Higgins has liberated the country from Spanish rule. The mission arrives in Uruguay, where Montevideo is full of horses and mud, but the upper classes have imported European culture and modern ideas. The group crosses the Argentinian pampas, climbs over the Andes, and descends into Santiago de Chile.

Bernado. O’Higgins is overthrown by Ramon Friere. Mastai pretends to be radical, but the mission is eventually forced to leave Chile. They return via Cape Horn, where Mastai conceives the idea of uniting Europe and the Americas by elevating Chistopher Colombus to sainthood. So – as the later pontiff Pius IX he signs the papers recommending the beatification of Columbus, whose blameless life has recently been revealed in a specially commissioned biography.

The Hand

The second part of the novel is set towards the end of the fifteenth century.

An old seafarer is in the last stages of his life, and is preparing to make a religious confession of his worldly sins. He reveals his youthful lusts and his knowledge of Mediterranean brothels. He lists his beliefs in fabulous sea beasts and medieval myths, plus his enthusiasm for maritime navigation.

He recounts being on board a ship bound westwards towards the end of the known world at the time of the Spanish Inquisition. He has gathered tales of earlier expeditions made by Vikings which had reached Greenland and even further west.

The old sailor is revealed as Christopher Columbus who confesses that he is an ambitious fake. He has constructed the myth of exploration westwards and promoted it in order to find sponsors. He operates from Portugal, and embellishes his reputation with exaggeration and lies. Despite repeated setbacks, he eventually wins the support of Queen Isabella and King Ferdinand, who have recently driven the Muslims and Jews out of Granada.

He sets off with an inexperienced crew who soon become discouraged because of the length of the journey. He falsifies the ship’s records to make the distance seem shorter. When they finally sight land Columbus is filled with a vainglorious sense of his own importance and his ‘achievement’.

They think they have reached the East Indes. Columbus hopes no other missionaries have already reached there. Worthless gifts are exchanged with the natives, but Columbus is immediately in search of gold. He takes hostages by force and they sail on to Cuba which he finds beautiful – but it doesn’t contain the spices and the gold he expects. He does not know where they are, and he fears going back empty-handed.

They sail on to Haiti (Hispaniola) laying claim to ownership of all the places they visit, but they still find no spices and no gold. Reading over his journal of the voyage, he is ashamed by his obsession with gold, and unconvincingly vows to make religious penances.

They sail back to europe where he is given a hero’s welcome and summoned to the court in Barcelona. There he displays the captured ‘Indians’ (who are dying) and describes his expedition as a great triumph. But Queen Isabella sees through his claims as a vain bluff. Nevertheless she commissions another expedition in order to compete with the Portugese.

On the second voyage Columbus still doesn’t find any gold, but instead he captures natives and turns them into slaves. He argues that this is equally profitable, and regards the captives as ‘rebels against the Crown’.

He makes further journeys, still finds nothing, and lapses into a delusion that he has located an ‘earthly paradise’ in the ‘orient’. He proclaims by decree that Cuba is not an island but a continent. He feels that he has been overtaken by rivals and has been dispossessed of a national identity. He then faces the final confession before death.

The Shadow

The third part of the novel takes place in the late nineteenth century.

In the Vatican under pope Leo XIII the petition for beatification for Columbus is being considered by a tribunal. His bones and remains have frequently been moved and cannot be authenticated. There is a debate about the validity of his claims, with contributions from Victor Hugo, Jules Verne, and Leon Bloy. The tribunal considers his illegitimate son and his involvement in slavery – for which two reasons he is denied sainthood.

Columbus meets Andrea Doria after the tribunal. They discuss the limitations of fame and justice as two Genoan sailors.


The Harp and the Shadow – characters
Giovanni Mastai-Ferretti a young clergyman, later Pope Pius IX (1792-1878)
Christobal Colon a seafaring navigator and explorer (1451-1506)
Bernado O’Higgins leader of the Chilean independence movement (1778-1842)
Queen Isabella I Spanish monarch and patroness of Columbus (1451-1504

© Roy Johnson 2017


More on Alejo Carpentier
More on the novella
More on literary studies
More on short stories


Filed Under: Alejo Carpentier Tagged With: Alejo Carpentier, Literary studies, Magical realism, The novel

Get in touch

info@mantex.co.uk

Content © Mantex 2016
  • About Us
  • Advertising
  • Clients
  • Contact
  • FAQ
  • Links
  • Services
  • Reviews
  • Sitemap
  • T & C’s
  • Testimonials
  • Privacy

Copyright © 2025 · Mantex

Copyright © 2025 · News Pro Theme on Genesis Framework · WordPress · Log in