Anniversaries of Lezama and Carpentier

December brings happy twists of fate, the authors of Paradiso and El Reino de este Mundo would be on their birth anniversaries

Ana Margarita Sánchez Soler  asanchez@enet.cu

Who would say that history can also hit the nail on the head? Two of the most important Latin American novelists of the twentieth century and pillars of Cuban letters were born in the last month of the year.

José Lezama Lima (December 1910-1976) and Alejo Carpentier (December 1904-1980) were part of the same literary generation with generally different creative scenarios. Lezama lived most of his life in Cuba, although he spent some time in Mexico and Jamaica. Carpentier, however, settled in Paris and traveled through Spain, Venezuela and Haiti. The works El Reino de este Mundo and Los Pasos Perdidos are influenced by the experience of the novelist in the land of Mackandal and the Venezuelan nation.

The two writers coincide in the Orígenes magazine from the 1940s. This publication, considered as the most important of Cuban literature by many critics had the contribution of both essayists. With Lezama Lima leading it, Alejo Carpentier was part of the group of collaborators.

The magazine approached art and letters. The Editorial Board consisted of writers and plastic exponents such as Alfredo Lozano, Mariano and Lezama himself; and the most outstanding narrators, poets, artists and researchers of the time published in Orígenes. For example, texts by Lydia Cabrera, Cintio Vitier, Eliseo Diego, Fina García Marruz and Virgilio Piñera are included on their pages.

The creators of Paradiso and El siglo de las luces have bequeathed to our culture a fruitful and insurmountable work. Muerte de Narciso (1937) and Dador (1960) are valuable pieces in the insular and Lezama’s poetic production.

Carpentier’s  creations brought unprecedented concepts and relationships in the exploration of the world and the Caribbean region. Lo Real Maravilloso is almost obligatory reference for scholars of the Latin American narrative.

Alejo Carpentier also expanded his interest in research and critics to the field of melody. Harold Gramatges said about one of his books: “(…) we will know why in 1945 Alejo Carpentier was to sign Music in Cuba, which our historical bibliography awaited.”

Two universes and a common goal for these authors: The Cuban culture.

Translated by ESTI