Whipping boys and scapegoats cry in pain. Chicos azotadores y chivos expiatorios lloran de dolor. Psychopathic terror during their sleep.
My power asks why, my power is weak. Spineless bundles of my excess. Fardos sin espina de mi exceso. Expurse of innocence and helplessness. Experiencia de inocencia y desamparo.
In the perfumes of my secret orison. Fresh blood of children drops down on me.
Translation of "Come la puta" in English
Madness, crime. Disgrace, plomaine. Excrements, contempt. Violence, kill. Ordeals if a thousand deads congealed in gloom. Las pruebas de miles de muertos se congelaron en la oscuridad. Strike hard and deep, to hell with 'em, master. Golpear duro y profundo, al infierno con ellos maestro. Mighty prophet's stature shall surpass the stars. My passion is the smell of cremation. I spit on your crapulous creed, curse 'em! Sucking your giveth delight and bright glory.
Chupando su deleite de la entrega y gloria brillante.
Strive ever to be more joyous to the death. Don't fear any god will deny you for this. Reportar un problema. Last activities.
Edit translation. Juventud rebelde 14 July Knight, Franklin W. Madison: The University of Wisconsin press, Landers, Jane. Black Society in Spanish Florida. Urbana: University of Illinois Press, Megenny, William W. Cuba y Brazil: Etnohistoria del empleo religioso del lenguaje afroamericano. Miami: Ediciones Universal, Rojas Marta.
Letters to the author. Undated ca , 5 November ,12 June ,. Havana: Editorial Letras Cubanas, Rushdy, Ashraf H. William L. Andrewa et al. New York: Oxford University Press, NewYork Oxford University Press, Other African American women novelists, such as Margaret Walker, Sherley Anne Williams, Octavia Butler, and Toni Morrison have explored, through their fiction, the history and myths that inform Black female subjectivity.
These writers explore the roots of female identity in African, Cuban, and Ecuadorian history as well as in the fictions--the myths, stories, and legends--that emerged from that history. My analysis of these two originary narratives will focus on the phenomenon of passing as a rhetorical strategy for structuring the texts and as a method of subverting social constructions of race, gender, and class.
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Davis defines passing as "the movement of a person who is legally and socially designated black into de white racial category or white identidy" viii , but although the rerm originally had a racial connotation, it is used contemporaneously to indicate the trangresive movement of a person from one socially--constructed subject position to another, often in defiance of social conventions.
The novel focuses on the life Lucila Mendes, a beatiful brown--skinned mulata , who becomes the mistress, wife, and lover of a series of men. A cruel and perverse member of the Cuban bourgeosie, don Antonio rules through "el derecho de bragueta" or penis power, with which he terrorizes and disgusts the enslaved women of this household. It is poetic justice, therefore, when don Antonio dies a "natural" death--that is to say, in fraganti delicto, in the act ravishing a slave girl.
In the language of the church, Lucila and her "angel" experience divine rapture, and at the moment of climax. The mythologized Cecilia has been described as a "lovely, sensual, frivolous woman, all sex and no brains, vain from top to toe" AfroCuba Through this character and others who aspire to pass from one socially--and--legally--defined racial position to another, Rojas examines the fictions of racial origin in Cuban colonial society.
The product of extensive research by an award--winning journalist, this novel underscores the fluidity of racial boundaries, commodification of skin color, and institutionalization of whitening in a multiethnic society built on the economic of slavery. Set in Cuba and Florida during the late eighteenth and early nineteenth centuries, the novel depicts the ethnic diversity of the Spanish colony, where Greek traders, Creole landowners, free mulattoes, Seminole Indians, Spanish noblemen, and fugitive slaves from Georgia form a heterogenous society.
Ironically, it is also a very racist society in which white skin--a marker of race, class, and national origin--has a market value, permiting one to marry, acquire property, and accumulate welth. In a recent paper, Kim Butler described three methods of racial whitening that were officially sanctioned and practised in the America: 1 biological by means of race--,mixing, 2 mechanical resulting from European inmigration, and 3 cultural through psychological programming.
Don Antonio, who wants to writen and legitimate his bastars son, praises Spain for making morenos out of negros, pardos or quinterones out of mulatos But passing, as he points out, is expensive: to become mulato cost reales, quadroon or octoroon cost 1,, and white is 10, ; to become legitimate is 25, reales; to acquire the title of "don" is not too expensive, but the title of "hidalgo" costs , reales.
As a result of these papeles de blanco, the so--callet White population of Cuba continued to grow and this growth was reflected in census figures , ironically, at a time when the Black population was increasing exponentially through the African slave trade.
"La Negra" by La Santa Cecilia, English translation of lyrics - Songlations — LiveJournal
In her scathing critique of racial whitening, Rojas demostrates, with irony, humor, and biting satire how the commodification of race and class in the colonial period created a society intent on deyning its African heritage. An intelligent and talented young man, he becomes a linguist, attoorney, and respeted jurist after acquiring the "white papers" that afford him an education, inheritance, and entry into the highest ranks of Cuban society. In their fictions of origin, both novelists return to the past, to tthat time in the history of the American when Europeans and Africans struggled to define themselves, separately and collectively.
The paper whose extract we have reproduced was presented at the 59th Annual Convention of the U. Language College Association, EE. Miriam Da Costa--Willis, Prof. They are Isabel de Flandes and Francisco Filomeno. Construction of these figures is one of the triumphs of Santa Lujuria , perhaps precisely because their "lechery" gravitates on the development of the narration, infusing it from the title; and the term includes not only the excessive enjoyment of sexual desires, but also the lubricious zeal to obtain determined goals, the passion for delineating and achieving projects in life, the pressure to avoid damaging circumstances and channel them in beneficial ways.
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These are men and women entangled in a scheme of social relations they at once accept and ignore, using them as jewelers use their gems, to violate boundaries or at least take advantage of loopholes. She tries to overcome her social condition first as a slave, then as a free black, with the object of controlling her own destiny and protecting the son snatched from her at birth. That son, Francisco Filomeno, lives obsessed by his ambition to make himself white — a nineteenth century Michael. Jackson - in order to obtain the title of nobility, and install himself without fear of discrimination in the court of the Captain General of the Island.
Others, too, are presented in eloquent relief, giving life to this tapestry of the customs, social strata, interests, contrasts and frustrations of a violent and also a founding epoch. The precise and differentiated characterization of the period is another virtue of Santa Lujuria. Research, documentation and field work sustain the artistic re-creation of people and places. The author presents a convincing picture of the geographical and temporal space in which the story of the novel evolves: Havana; Santiago de Cuba; and St. Augustine, Florida, at the end of the eighteenth and beginning of the nineteenth centuries.
With impacting fluency and great naturalness she shows us the architectonic and urbanistic charms of each villa and the customs and conventions governing the lives of the inhabitants, who express themselves at times in the idiomatic phrases of that historical moment.
At the end, we are filled with the sensation of having seen these well-armed lives and situations break through the dikes of engineering and flood into the suggestive ambience of genuine creation. Santa Lujuria is oriented toward the model exponent of the historical novel, firmly based on solid facts renovated with the aid of stylistic resources and talent. History departs avidly from consultative texts and comes to life, providing factitious action in the newly constructed pages.
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Moreover, the source for all the topics in this novel is life in the Spanish colonies of America, so fascinating as the provenance of this Caribbean stew. It was an epoch of inauguration, triumph, take-off without return, and the formation of an identity whose process, forever inconclusive, is a constant motive of speculation in order to explain to ourselves the eternal uncertainty about who we are. Marta Rojas continues one of our authentic traditions: that of journalism converging with literature.
Marta is also a notable voice in the chorus of "feminine discourse," whose plurality has enriched Latin-American literature — although curiously, in the case of Cuba, very few women are presently cultivating it in the genre of the novel. To read Santa Lujuria is like galloping into the depths of our origins God forbid, on the phallic horse that artist Chago so graphically portrays on the cover and emerging from the protecting forest to look, with clear eyes, at contemporary sufferings.
Even today few studies are available to help probe the labyrinth of aspirations, contradictions and conflicts that constituted Cuban colonial society at the turn of the nineteenth century. It is a novel that escapes easy classification -- anti-slavery? Fortunately, the author undertakes the search for our identity in an artistic rather than a didactic form, for the latter could be quite boring.
Violence, sensuality and excesses rip these people apart, bring them enjoyment and cause them frustrations that lead to multiple contradictions and very modern responses. The author also seasons her stew with more contemporary figures: for instance, the illustrator of the "Middle Ages" Santiago Armada, censured by the Sacred Court of the Inquisition for his erotic behavior; or Pedro de la Hoz leading a band of mulattos and blacks -- gamblers or salsa dancers? Becali, who can be none other than our curious and encyclopedic Zoila Lapique.
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Be careful, though! This is no arbitrary or anarchic mixture. Behind the satire of the discourse, the apparent independence of the figures that sometimes seem to silence the voice of the narrator, lies a secure hand that conducts the narrative action, weaving its threads carefully and delineating its characters skillfully. Some of them are so strong they have tried to escape the guidance of the author who, with little vacillation, castigates such boldness with death. A somewhat ironic overview of the small and large miseries of our colonial past intentionally hides the careful study of the period, the checking of documents and testimonies that permits the recreation of habits, beliefs, tastes, bureaucratic mires, roguishness, flouting of the law — that respect without obedience that accompanies us even today — erotic excesses, ridiculous courtesans and the accurate tracing of currents of thought that spilled into the nineteenth century in the form of autonomy, annexation, and independence.