Gina’s political stance and her response to Juani’s relatives also remind the novel’s readers that until the, Mariel exodus of 1980, most Cuban immigrants derived from upper- and middle-class sectors, were, predominantly white or white identifying, and were "favored by the U.S. government and accorded, preferential treatment upon their arrival" (Pérez 261). (11). (, and rejects a proclaimed sexual identity, but she nonetheless recognizes and names it in Juani, much as, Juani does in the photographs of Titi. Juani is never closeted in the novel. 0000001670 00000 n
"Spiritually and psychologically," the author writes, "you are neither aquí nor allá, you are neither Cuban nor Anglo. New York : 10. 0000001573 00000 n
Books for People with Print Disabilities. Cuban and a Puerto Rican? Cerebus: High Society Audio/Digital Experience PDF Kindle . both daughters ought to rent an apartment and have "more space, more time alone to study" (159). first poem in José Martí’s 1891 collection, invention was notable in two ways: the lyrics "could be changed at will with each performance"; and for, eighteen years the news bulletins on his radio program were put into verse, and sung to "the rhythm of the, Guantanamera" (27). Gina’s recognition of the family’s class position is crucial. This patriarchal maneuver to bring Juani back into heteronormative line is not permanent. Caridad and Jimmy, then, are explicable in terms, of the close-dance metaphor, but only when it is regarded as a master-code trope. For López, Cuban-exile "efforts to assemble a, national identity within/out of exile—to reconstruct a national history—have often been seen as the marks, of a strident ethnocentrism already compromised by their challenges to the island’s utopia rather than as, anguished cries of exilic loss, liminality, and deterritorialization coupled with the paradoxical need to, build, to reterritorialize, themselves anew" (40). Ballantine , 2001 . Juani reacts to Jimmy’s constant sexual posturing not by distancing, herself from it, but by gaining a vicarious sexual thrill from it, even to the point of recharging her sexual, fantasies with images of Jimmy’s penis. But the terms "majority" and "minority" are clearly inadequate indexes of the multiplicity, inner contradictions, discontinuities, and changing character of societies. no correct, original, or authoritative lyric. Identification inhabits, organizes, instantiates identity. But there is a sense, too, that Juani is only sure of her decoding, of Titi photographed in disturbed unhappiness because, at times, she recognizes her cousin’s existential, and sexual insularity in herself. The first meeting of the Instituto de Estudios Cubanos was held in Washington, DC in April 1969, and the papers presented were compiled in Exilio: Revista de Humanidades, 3.3-4 (1969). The conjunction of rival bodily codes is again pertinent here. . .’" (78). The example underscores the irony of, Nena’s greeting her visiting sister in Miami with the phrase, "Welcome to Havana, U.S.A." (168), for in, Miami she is able to keep secret from her Chicago-based parents news of her involvement with the mixed-, race Bernie. The novel’s, central mnemonic problem thus means that whether conceived of as monolithic and graspable, or as, plural, complicated, and resonant beyond Cuban-U.S. antagonisms, historical truth is one of the novel’s, victims. Cuban-American Women's Anglophone Novels of the 1990s, National Families and Familial Nations: Communista Americans in Cristina Garcia's Dreaming in Cuban, No es facil: Notes on the Negotiation of Cubanidad and Exilic Memory in Carmelita Tropicana's "Milk of Amnesia", Dance between Two Cultures: Latino Caribbean Literature Written in the United States, US Latino Literature: An Essay and Annotated Bibliography, Encuentros Y Encontronazos: Homeland in the Politics and Identity of the Cuban Diaspora, "Marked by Genetics and Exile": Narrativizing Transcultural Sexualities in Memory Mambo, Queer networks: Writers, artists, and sponsors in the first half of the 20th century, Catalytic Control of Lean-Burn Engine Exhaust Emissions Preface. Be materialized and imagined as a twelve-year, old, she successfully sabotages father. By the master ’ s widow, Celia, defies Cuban conventions by removing the black cloths displacement. 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