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 Into the Mainstream
Essays on Spanish American
and Latino Literature and Culture

Edited by

Jorge Febles

CAMBRIDGE SCHOLARS PRESS

Into the Mainstream: Essays on Spanish American and Latino Literature and Culture, edited by Jorge
Febles

This book first published 2006 by

Cambridge Scholars Press

15 Angerton Gardens, Newcastle, NE5 2JA, UK

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library

Copyright © 2006 by Jorge Febles and contributors

All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system,
or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or
otherwise, without the prior permission of the copyright owner.
ISBN 1-84718-079-5
To Pat, for always riding along
 TABLE OF CONTENTS

Acknowledgements..............................................................................................x

Introduction.........................................................................................................xi

Part One: Musical Chairs

Chapter One
U.S. Cuban Theatre: Music and the Evolution of Cultural Identity
Elsa M. Gilmore...................................................................................................2

Chapter Two
Tuning in to Boleros in Sirena Selena Vestida de Pena: A Character’s Flawed
Defense Mechanism
Hortensia R. Morell............................................................................................15

Chapter Three
A Revolution in Rap: Cuban Rappers and the Works of Nicolás Guillén•
Laura Redruello..................................................................................................26

Chapter Four
Song as Text, Song in Text: “He Perdido Contigo” in Corrales’s El Vestido
Rojo
Jorge Febles .......................................................................................................49

Part Two: Postmodern Tropes

Chapter Five
Verse and Reverse: Contesting Public Authority in Nicaraguan Newspaper
Poetry
Bruce Campbell .................................................................................................60

Chapter Six
Taking on the Chicago Boys: Raúl Zurita’s Poetry as a Response to
Privatization
Roberto Vela Córdova .......................................................................................76
viii Table of Contents

Chapter Seven
Returning to Eros: Body and Language in Cristina Peri Rossi’s Erotic Poetry
Nuria Ibáñez Quintana .......................................................................................91

Chapter Eight
Lobas de mar: Women Pirates and the Postmodern
Dinora Cardoso ................................................................................................105

Chapter Nine
The Matriarch’s Husband: Latina Writers and Male Authority
Eduardo R. del Río...........................................................................................116

Part Three: Filmic Visions

Chapter Ten
Medellín at the Movies: Film Narrative and the Crisis of National Lettered
Culture in Colombia*
Corey Shouse Tourino .....................................................................................126

Chapter Eleven
Enchanting Melodies: Charlie Chaplin in the Poetry of Fina García Marruz
Stacy Hoult.......................................................................................................142

Chapter Twelve
Film as a Locus of Memory: Remembrances of Dictatorship in La Boda
Raquel Rivas Rojas ..........................................................................................159

Chapter Thirteen
Portraying Plague: The Possibilities in Luis Puenzo’s La peste
April Marshall..................................................................................................170

Part Four: Identity Games and the Popular Psyche

Chapter Fourteen
Puerto Rican Identities: Re-Readings of the Popular Culture in Edgardo
Rodríguez Juliá’s A Night with Iris Chacón
María Teresa Vera-Rojas .................................................................................184

Chapter Fifteen
The Chilean Ghost Ship: The Caleuche
David Petreman................................................................................................202
 Into the Mainstream: ix
Essays on Spanish American and Latino Literature and Culture

Chapter Sixteen
Mattos Cintrón and Rodríguez Juliá: Puertorriqueñidad and the P.I.
Benjamín Torres Caballero ..............................................................................215

Contributors .....................................................................................................231
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 ACKNOWLEDGEMENTS

Compilations such as Into the Mainstream: Essays on Spanish American

and Latino Literature and Culture require that a group of scholars commit to a
complex intellectual endeavor by trusting an editor whom they may know well
or hardly at all. Therefore, I thank the sixteen contributors for their goodwill
and hard work. In this particular instance, I must also extend a special note of
gratitude to them as well as to Cambridge Scholars Press for their patience.
When I undertook this project, I did not know that my academic career would
take a sudden turn toward university administration. Nor did I anticipate that,
after many years at Western Michigan University, in July 2006 I would find
myself chairing the Department of World Languages at the University of North
Florida. These career changes prevented me from completing the manuscript as
promptly as promised. For this I apologize to the contributors and to Cambridge
Scholars Press.
Finally, I thank my dear colleague Patricia Montilla (Western Michigan
University). Professor Montilla allowed me to fly solo with this venture, so to
speak, despite the fact that she and I co-chair the Caribbean and Latin American
Literature and Culture Area of the American Culture Association and the
Popular Culture Association. The original idea for Into the Mainstream evolved
from our participation in the annual conference of the ACA/PCA. Therefore,
Professor Montilla has always been a reliable ideological partner with whom I
discussed every facet of this project.
 INTRODUCTION

CONCEPTUALIZING DIFFERENCES
THROUGH CULTURAL ANALYSIS

JORGE FEBLES

Some two decades ago, I began to participate in the annual meeting of the
American Culture Association and the Popular Culture Association. At the
time, Helen Ryan-Ransom organized several sessions for the gathering under
the rubric “Latin American, Caribbean and Continental Literature and Culture.”
These sessions constituted in a sense a conference within the conference, an
academic ghetto of sorts that brought together scholars who worked often on
supposedly inconsequential topics residing in the periphery of serious
mainstream cultural matters. In hindsight, we deceived ourselves while viewing
as novel this collective enterprise. Basically, the now oldtimers who, yearly,
crafted conference papers focusing directly or indirectly on the so-called
“popular” merely struggled with what Hugo Achugar describes in an essay on
Rodó, Hugó and Star Trek, as the perpetually unresolved tension between high
culture and mass culture (386), intensified paradoxically during a postmodern
era when intellectuals redefine the canon by obliterating borders and denying
the very ellitism they consciously or unconsciously profess. Achugar concludes
his very perceptive essay with a series of questions that, in essence, summarizes
the angst experienced by those who struggle with supposedly ephemeral topics
whose often incomprehensible force vanquish or at least obscure transcendental
ideas in the era of globalization:
Ariel y Rodó no fueron derrotados sólo por su enemigo Calibán o por el Calibán
diseñado por Retamar sino también por Archie Bunker, por Madonna y por el
tándem Lucas-Spielberg. La comprobación de esta derrota no implica nostalgia
alguna ni rechazo de la cultura mediática, sólo es una lectura. ¿Puede Rodó o, a
los efectos, los intelectuales latinoamericanos, evitar hoy quedar atrapados entre
Victor Hugo y Start Trek? ¿Pueden evitar, como dice Sarlo, caer en la
“celebración neo-populista de lo existente” y abandonar “los prejuicios elitistas
que socavan la posibilidad de articular una perspectiva democrática?….” ¿Existe
otro lugar, otro discurso? (386)
xii Introduction

[Ariel and Rodó were defeated not only by their enemy Caliban or the Caliban
conceived by Retamar, but also by Archie Bunker, Madonna and the duo Lucas-
Spielberg. Affirming this defeat does not imply nostalgic longing nor
repudiation of mass culture; rather, it is a mere reading of reality. Can Rodó, or
for that matter, Latin American intellectuals, avoid being entrapped between
Victor Hugo and Star Trek? Can they avoid falling prey, as Sarlo stated, to the
“neo-populist celebration of that which exists” and abandon “the elitist
prejudices that undermine the possibility of articulating a democratic
perspective?…” Is there another place, another discourse?]

I cite Achugar’s essay not to trace precise parallels with either the objectives or
the ideological intent of those of us who participated enthusiastically in those
sessions of the eighties and early nineties. Rather, I underscore how, often in
spite of ourselves, we reflected a prevailing mood, critical and otherwise, not
definitively theorized at the time despite predominant postmodern tenets. If
truth be told, the papers read at the conference ambled often uncomfortably
between political reflection akin to Achugar’s, imbued with the protestant
principles manufactured by Retamar in his essay on Caliban, and the mere
juissance experienced when approaching local traditions or, for that matter,
folklore, fable, art films, or, why not?, the very opiates meant to induce lethargy
on the proletariate during this era of high capitalism.
In so doing, I believe that, as a group, we were at least timidly reflecting the
prevalent concern with the location of culture deconstructed by Homi Bhabha in
a book whose date of publication coincides with Ryan-Ransom’s Imagination,
Emblems and Expressions: Essays on Latin American, Caribbean, and
Continental Culture and Identity. As I will explain forthwith, this collection
synthethizes to a degree the scope of the panels on popular culture presented at
the conference over the years while opening itself as well to the works of non-
participants equally intent on exploring the themes in question vis-à-vis popular
culture. On referring to “the invention of tradition,” Bhabha has averred:
The borderline engagements of cultural difference may as often be consensual as
conflictual; they may confound our definitions of tradition and modernity;
realign the customary boundaries between the private and the public, high and
low; and challenge normative expectations of development and progress. (3)

By disjointedly discussing a multiplicity of subjects in which cultural spheres

coalesced, or for that matter by inquiring into the insertion of popular images or
the very essence of the popular in a text ascribed a high designation and
viceversa, numerous essays questioned the integrity of culture itself. Instead,
ambiguity became a codified signifier, laden with a multiplicity of meanings.
The ruling principle in those early days of the Latin American, Caribbean
and Continental Literature and Culture Area of the ACA/PCA seemed to center
 Into the Mainstream: xiii
Essays on Spanish American and Latino Literature and Culture

on inscribing a place for the popular (defined in overarching terms) within the
academic arena. Ryan-Ransom sought to summarize the venture by collecting
in her book essays that, to her mind, reflected the critical rigor and the scope of
countless sessions which, when pieced together, represented a collective project.
As the title implies, Imagination, Emblems and Expressions includes papers that
focus on quite precise themes, so as to minimize, it seems, the dangerous
triviality associated within academe with the diverse ramifications of “the
popular.” According to Ryan-Ransom the book broaches
[t]he theme of culture and identity … in a very broad sense. Culture included its
expression in literature, cinema, art, or mass media; identity encompassed self,
regional, or national identity. Any approach to the topic (semiotic, thematic,
feminist, historicist, cultural materialist, etc.) also was acceptable. (x)

She discloses that, upon issuing a nationwide call for papers, aspiring authors
submitted some seventy essays, out of which a group of referees selected
twenty-four for publication. Thus she justifies the intellectual validity of her
book.
Furthermore, Ryan-Ransom’s Imagination, Emblems and Expressions
encloses what may be characterized as a secondary introduction: David William
Foster’s splendid essay, “Popular Culture: The Roots of Literary Tradition,” in
which this noted critic, while examining almost in passing the Argentine tango
as idiosyncratic genre, reflects at lenght on the manner in which Latin American
writers such as Daniel Kon, Elena Poniatowska, Julio Cortázar, Luis Rafael
Sánchez and Juan Acevedo have dealt with numerous manifestation of popular
cultur,. For our purposes, however, the most significant feature of Foster’s
paper is the first paragraph, in which he lucidly confronts the prevailing
academic views regarding the popular. Foster writes:
Were the Western cultural tradition not so fragmented in its conception of the
hierarchichal relations between the vast and diverse phenomena that arise from a
reasonable definition of culture, this essay would not be necessary.… The very
fact that our approach to culture is dominated by categories based on high,
academic, institutionalized phenomena poses from the very outset the question of
how to deal with all of those other cultural manifestations that do not
comfortably assimilate to the accepted canon. It is true that one of the lasting
projections of the countercultural movement of the 1960s … was the imperative,
often uneasily fulfilled, to expand the scope of our humanities programs to
include many topics previously considered outside the margins of the purview.
So-called “popular culture” is one such phenomenon. (3)

In the second paragraph, after describing those university sectors where the
popular has traditionally resided, he adds:
xiv Introduction

[T]he most salient feature of what is called “postmodernist culture” is the mixing
or blending of categories, the decentering and “anarchicalization” of cardinal
points of reference, and simply the flouting of all definitions that attempt
repressively to hold the line on the game of exclusions and inclusions. We may
see, therefore, that keeping popular culture out of academia may be difficult, but
fitting it in is going to be a hellish task. (4)

Foster, hence, conveys emphatically the instability regarding popular culture, its
role within academia and the manner in which it should be approached critically
that to a substantial degree define many of the essays chosen by Ryan-Ransom
for her collection, as well as in the conference sessions organized throughout the
eighties and early nineties. Nonetheless, the critic vests his theorizing with an
aura of inevitability. Thinking about popular culture by employing the same
tools used to explore the high realm of elitist texts will become paradigmatic as
postmodernity increases its foothold on the collective mindset, and as efforts to
expand on the notions of voice and otherness prevail both within and without
the academic arena. Eclecticism, juxtaposition, blending are traits that define
contemporary texts as well as the critical outlook, or better yet outlooks, from
which they are examined.
Therefore, crafting a collection similar to Ryan-Ransom’s in 2007 requires a
somewhat different approach. After all, as Benhabib stresses, we live in “a
globalized world of uncertainty, hybridity, fluidity, and contestation” (186)
marked by “an egalitarian understanding of culture” (3) in which the popular—
albeit not frequently in its mass-mediatic form—is assigned a prestigious role.
Thus, one may readily dispense with any need to emphasize the validity of
dealing with topics that fluctuate between “the high and the low.” Equally
unnecesary is any effort to clarify why certain highly “literary” analyses coexist
with sociopolitical approaches or endeavors to deconstruct elements of popular
culture within texts or, for that matter, specific aspects of popular culture itself.
Contemporary reality invites by its very nature such arbitrary mixing of
attitudes, genres, images and ideas.
Nonetheless, my intent in putting together this collection parallels at least
slightly Ryan-Ransom’s. The book compiles essays that convey analytical
preoccupations of scholars who strove to insert their ideas within the
constrictive parameters of the Caribbbean and Latin American Literature and
Culture area that Patricia Montilla and I organize for the annual meetings of the
American Culture Association and the Popular Culture Association. Rather than
extending a call for papers, I chose to invite to participate in the project a
number of scholars whose presentations impressed me for a variety of reasons
during the period 2001-2005. Once they accepted my invitation, I requested that
each prepare their essays for publication by expanding them and in some cases
translating them into English. My goal in articulating the project was twofold.
 Into the Mainstream: xv
Essays on Spanish American and Latino Literature and Culture

First, I meant to provide a coherent sample of the varying manner in which

participants understand the designation “popular culture” which presides over
the entire conference. In doing so, I expected to illustrate a hybridity that
unfolds from postmodern ideological ambiguity. For those scholars
anthologized in the book, the so-called popular possesses a highly chamaleonic
nature rather difficult to harmonize within a single anthology. Indeed, the
collection emphasizes, albeit indirectly, that “the meaning and symbols of
culture have no primordial unity or fixity; that even the same signs can be
appropriated, translated, rehistoricized and read anew” (Bhabha 55). Second,
while pursuing the panoramic method described, I focused notwithstanding on
certain representative topics, framed by four rubrics that, to my mind, synthetize
a certain continuity of scope. The categories in question are the following:
“Musical Chairs”; “Postmodern Tropes”; “Filmic Visions”; and “Identity Games
and the Popular Psyche.” In each instance, I opted for quasi-descriptive titles
meant to summarize a whole. Thus, “Musical Chairs” encompasses essays that
delve quite differently into the use of music in particular texts. “Postmodern
Tropes,” on the other hand, includes papers that focus on the figurative or
representative quality of several contemporary artifacts. By centering on the
pluridimenstional metaphoric nature of the writings analyzed, the critics in
question broach the essentialist nature of tropological language, corroborating
that, as Frye, Baker and Perkins avow, it conveys a “fundamental [way] of
thinking … necessary to precise communication” (472). As the title implies,
“Filmic Visions” gathers essays intent on viewing movie images or happenings
from diverse perspectives, at times detailing mass-mediatic purport, at times
stressing political and aesthetic implications. Finally, “Identity Games and the
Popular Psyche” consists of essays that discuss matters akin to those which lie at
the core of Ryan-Ransom’s book. In this instance, however, critical approach
depends on a non-judgmental postmodern outlook. Hence, rather than pretend
to characterize identity the authors play with the concept as well as with the
popular psyche whence it emanates, submitting to what Huizinga calls “the ludic
function” (25), that is, to a serious self-induced game whose purpose is to
question the nature of the individual within quite distinct imagined
communities.
“Musical Chairs” consists of four essays, three of which deal overtly with
the integration of music within literary texts, while another one ponders the
appropriation in song lyrics of paradigmatic poetic fragments. In “U.S. Cuban
Theatre: Music and the Evolution of Cultural Identity,” Elsa M. Gilmore
cleverly deconstructs Dolores Prida’s Beautiful Señoritas and Manuel Martín
Jr.’s Rita and Bessie. She elucidates how cited lyrics and the depiction of
musical icons contribute to the theatrical problematization of identitary
positionalities. Gilmore succeeds in comparing two diverse artifacts (a
xvi Introduction

caustically satirical one act play and a musical) by describing their inherent
hybridity, posited in ethnic as well as musical terms. Thus, through these
representative samples, she inscribes U.S. Cuban theater, and by extension U.S.
Cubans, within those postmodern transnational boundaries where Latino identity
undergoes processes of perpetual redefinition not only in its contact with
hegemonic society but also as Hispanics reinvent themselves within this country
as a community or a series of communities.
In “Tuning in to Boleros in Sirena Selena vestida de pena: A Character’s
Flawed Defense Mechanism,” Hortensia Morell pursues a different sociocritical
endeavor. She analyzes Mayra Santos Febres’s provocative novel within the
context of other works that approprite popular songs with parodic intention. As
Morell demonstrates, in this particular instance the Puerto Rican author debases
with bittersweet irony the male-dominant ideology implicit in the Caribbean
bolero or melodramatic love ballad. In so doing, the critic also probes into those
questions of gender and sexuality that conform the essence of Sirena Selena.
She argues in convincing manner that by intertextualizing musical lyrics at
precise moments, Santos Febres succeeds in underscoring—like Puig in
Boquitas pintadas (Painted Little Mouths)—the nefarious effect of popular song
in torn social beings like the protagonist. Thus, Morell unveils the degree to
which music carries the burden of storytelling in Santos Febres’s novel.
Laura Redruello, instead, chooses to address counterdiscursive tactics
portrayed in several texts representative of Cuban hip-hop. “A Revolution in
Rap: Cuban Rappers and the Works of Nicolás Guillén” explores the
interpolation of countless lines by the quintessential revolutionary poet into
songs that problematize the island’s current racial reality. Redruello deftly
address this controversial topic, stressing that, despite the Revolution’s official
assertions, at least in song many Afro-Cubans still perceive themselves as
unredeemed masses relegated to subaltern status within the so-called new
society. While grappling with her subject, the critic assumes a pluridimensional
postmodern focalization, citing Castro and Guevara, alluding to critical sources
as diverse as Derrida, Bajtín, De Andrade, García Canclini and Rama among
others, and evincing her knowledge of Cuban literature and music by referring
not only to numerous compositions but also to works by Morejón, Guillén,
Allan West, Mirta Aguirre, Emilio Bejel, Augier, and many others.
In my “Song as Text, Song in Text: “He perdido contigo” in Corrales’s El
vestido rojo,” I pursue an objective that replicates to an extent aspects of the
previous three essays. My analysis of José Corrales’s usage of María Teresa
Vera’s famous version of Luis Cárdenas Triana’s frivolous bolero suggests that,
like Santos Febres, the playwright toys with issues related to Cuban sexual
identity lucidly discussed by Bejel in his seminal Gay Cuban Nation.1
Indirectly, Corrales scenifies the foibles of Cuban macho culture, implying that
 Into the Mainstream: xvii
Essays on Spanish American and Latino Literature and Culture

they reside at the center of far deeper sociopolitical dilemmas. But he does so
within a parodic construct where song constitutes an ambiguous intertext.
“Postmodern Tropes” includes five eclectic essays, which—when examined
as a group—evince Hutcheon’s declaration that “postmodernism is a
contradictory phenomenon, one that uses and abuses, installs and then subverts,
the very concepts it challenges” (3). Therefore, the designation “tropes” in this
context must be depoetized after a fashion, since it refers to images or manners
of perception devised to inquire into specific cultural, social and political
essentialities. Hutcheon, when characterizing her Poetics of Postmodernism,
concludes:
Instead of a “poetics” … perhaps what we have here is a “problematics”: a set of
problems and basic issues that have been created by the various discourses of
postmodernism, issues that were not particularly problematic before but certainly
are now. (224)

The “Postmodern Tropes” anthologized in this book respond to such a

problematics either by working on the boundaries of criticism or by analyzing
texts that emanate from those boundaries.
Bruce R. Campbell’s “Verse and Reverse: Contesting Public Authority in
Nicaraguan Newspaper Poetry” illustrates vividly the will to labor at the
margins in order to scrutinize the creative impulses of destitute masses once
they acquire spaces in which to enunciate their inspiration and their ideas.
Campbell studies how popular poetry conveys dynamically the voice of the
voiceless. Particularly during the Sandinista period but also beyond, these
“poets of the people” have acquired forums where they may advance their
causes in writing despite the ups-and-downs of national politics. Readers-
turned-authors, therefore, imagine themselves members of a collectivity that
they seek to address emphatically in their rudimentary efforts, as Campbell
infers, basing his arguments on Benedict Anderson. Informative, lucid and
profound, “Verse and Reverse: Contesting Public Authority in Nicaraguan
Newspaper Poetry” articulates—to paraphrase Hutcheon—a postmodern
volition to change consciousness through popular art.2
In his “Taking on the Chicago Boy: Raúl Zurita’s Poetry as a Response to
Privatization,” Roberto Vela Córdova undertakes a critical assignment that
complements Campbell’s progressive outlook. He reads Raúl Zurita’s
academically-grounded political poetry as counterdiscourse to the prevailing
Chilean economic wisdom during the latter part of the twentieth century. In so
doing, the poet denounces as well the dictatorial regime that victimized the
writer and so many others while imposing a neoliberal capitalist system in the
country. Vela Córdova examines a postmodernist author with postmodern eyes,
xviii Introduction

probing perspicaciously into the relationship between poetry, economics and

politics.
Nuria Ibáñez Quintana’s essay, “Returning to Eros: Body and Language in
Cristina Peri Rossi’s Erotic Poetry,” broaches another facet of literary creation.
She assumes a feminist viewpoint to discuss bodily representation in the
writings of the Uruguayan author, describing how language obtains a certain
corporality in order properly to convey pluridimensional female sexuality.
Ibáñez Quintana grounds her analysis on Peri Rossi’s ex-centricity, on her need
to operate on the margins of eroticism to forge what Hutcheon describes as “a
different perspective” (67) inherent to contemporary feminist thought.
Rather appropriately, the segment’s fourth component is Dinora Cardoso’s
“Lobas de mar: Women Pirates and the Postmodern.” Cardoso examines those
qualities of Zoé Valdés’s novel that entwine it to a prevalent literary current.
The critic discusses Valdés’s re-creation of pirates Anne Bonny and Mary Reed
to accentuate their difference, their innate exceptionality. Ironically, their
antisocial behavior and sexual deportment make Bonny and Reed, as real as
well as fictional entities, quite palatable character within a postmodern context.
This section of Into the Mainstream concludes with Eduardo del Río’s take
on the role ascribed to men in works written in the United States by three
Hispanic women authors. In “The Matriarch’s Husband: Latina Writers and
Male Authority,” del Río studies books by Nicholasa Mohr, Sandra Cisneros
and Christina García (a Nuyorrican, a Chicana and a Cuban American
respectively). Given their ethnic heritage, these writers represent the three
dominant groups of U.S. Latinos. The critic’s argument is quite simple:
Conventional perception of these communities emphasize an inborn paternalistic
nature that assigns a subservient role to women. According to del Río, Mohr,
Cisneros and García undermine at times parodically this credo. They debase the
paradigm by juxtaposing to male figures strong women who, in essence, provide
the basis for communal survival within hegemonic society. Thus, del Río
avows, albeit implicitly, that postmodern feminism defines Latina fiction much
like it does the writings of Latin American authors like Peri Rossi or Zoé
Valdés.
“Filmic Visions” includes four essays, three of which deal specifically with
contemporary Latin American films, while another one centers on a poet’s
textual manipulation of several movie images. In his “Medellín at the Movies:
Film Narrative and the Crisis of National Lettered Culture in Colombia,” Corey
Shouse Tourino theorizes on the decline of the mythical quasi-Athenian
enlightened meritocracy that this South American nation’s elites claimed to have
forged. Shouse Tourino employs a neo-Marxist postmodern approach to dissect
three recent Colombian films: Víctor Gaviria’s Rodrigo D.: No futuro (Rodrigo
D: No Future) and La vendedora de rosas (The Rose Vendor), as well as Barbet
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