Reinaldo Arenas

by Francisco Soto, David William Foster

Twayne's World Authors SeriesSeries Frank Day, Clemson University Joseph M. Flora, University of North Carolina at Chapel Hill Pattie Cowell, Colorado State University Ruth K. MacDonald A volume in Twayne's Authors Series of literary criticism offers a critical introduction to the life and work of a particular writer, to the history and influence of a literary movement, or to the development of a literary genre. Primarily devoted to critical interpretation and discussion of an author's work, the study not only takes account of major literary trends and important contributions in scholarship and criticism but also provides new critical insights and an original point of view. Authors Series volumes are rooted in the original works themselves and address readers ranging from advanced high school students to university professors. The book suggests to the informed reader new ways of considering a writer's work. A reader new to the work under examination will, after reading the Authors Series study, be compelled to turn to the originals, bringing to the reading a basic knowledge and fresh critical perspectives.Groundbreaking in its bold articulation of homosexual desire in an area of the world traditionally known for its machismo and homophobia, the work of the late Cuban author Reinaldo Arenas became widely known to the English reading public with the publication of the English translation of his autobiography, Before Night Falls. The critical and commercial success of this work marked an important milestone in Latin American letters, for it was the first openly homosexual autobiography ever published. Francisco Soto not only explores the significance of this memoir, but also traces for the first time the representation of homoerotic themes and issues in Arenas's entire oeuvre. Arenas's writings--passionate, rebellious, and irreverent--fascinate readers and provoke further dialogue and discussion concerning the homosexual's problematic relationship with society.

195 pages, Hardcover

First published October 1, 1994

Reviews

[John Dizon · Rating 3 out of 5]

Reinaldo Arenas - The Pentagonia by Francisco Soto is yet another pretentious pedant's didactic effort at translating an author's work while glancing over his shoulder all along, eagerly expecting the pat-on-the-back imprimaturs of his colleagues as he plasters his jargon and quality inspections all over his assessment report. Man, I've still got Geoffrey Bennington's spin on Jacques Derrida on my nightstand, ah din needs no mo' o' dis!!! Well, then again, since I haven't attended a graduate class in almost seven years, might as well take the opportunity to keep my claws sharpened. So, here goes.

It goes without saying that Arenas still has my vote as Cuba's greatest writer, and, no, I still haven't come out of the closet and never will. That seems to be what both Arenas and Soto thinks is Castro's biggest problem with our favorite faerie, along with the fact that none of Arenas' work fails to meet the standards of Revolutionary literature. I'll go along with that, but also point out the fact that Arenas was well ahead of his time. I still haven't seen him listed as a major postmodernist author, but as a card-carrying member of the club, I call him a welcome addition.

As every good literary anaylst should, Soto presents his theory, develops a hypothesis and provides facts supporting his conclusion. He points out all the prerequisites of a Cuban Documentary Novel as specified by La Barba himself, then juxtaposes it against the subversive character of Arenas' work which elevates him to the level of political martyr and breakthrough stylist. He preaches to the choir in my case, being far past that by reading Arenas' novels. Yet, for those getiting acquainted to Arenas, this may be a worthy primer to refer to before trying to tackle an anthology of sprawling, abstract and sometimes indigestible work.

What I found of most value was the interview with Arenas in the Appendix, allowing the author to give his take on why his work was censored and why he was deported and denounced by the Cuban regime. He agrees with Soto that his work was often counterrevolutionary and promoted alternative values and philosophies that were irreconcilable with the social more. Hell, if you couldn't eat it, build it, plant it or salute it, of what use was it?

Making people think is what great literature is about, and though it takes some effort to figure what Arenas wants you to think about, the effort is well worthwhile. It's more than I can say about plodding through Soto, though I'll give him an A for effort (as I'm sure his colleagues did).