The Kingdom of This World: Difference between revisions

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women, but also the ability to captivate men. He suffers an accident in which his left hand is caught in machinery, and his arm is dragged in up to the shoulder. Being useless to his owner, he departs for the mountains and discovers many secret herbs, plants, and fungi that appear to have magical qualities. Ti Noel joins Macandal and both learn about the magical attributes of these natural elements. Macandal suggests that the time has come, and no longer goes to the plantation. After the rain season has passed, Ti Noel meets with him in a cave populated with strange items. Macandal has established contact with surrounding plantations, and gives instructions to ensure the death of cows using secret herbs. The poison spreads, killing livestock by the hundreds as well as Frenchmen, wiping out adults and children. Madame Lenormand de Mezy dies as a result, and the deaths continue with entire families suffering the same fate. At gunpoint, a slave eventually explains that Macandal has superhuman powers and is the Lord of Poison. Death within the plantations returns to normal rates as a result and the Frenchmen return to playing cards and drinking, as months pass with no word of Macandal. Macandal, now with the ability to transform into animal forms, like bird, fish, or insect, visits the plantation to affirm faith in his return. The slaves decide to wait four years for Macandal to complete his metamorphoses and once again become a human. After four years, he returns during a celebration and all present are delighted. The chanting alerts the white men, and preparations are made to capture Macandal. He is captured and tied to a post in order to be lashed and burned in front of massive black crowds, but he escapes, flying overhead, and lands among the crowd. He is again captured and burned, but the slaves are certain that he has been saved by African Gods and return to their plantations, laughing.

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gathering of trusted slaves takes place: Bouckman, the Jamaican, speaks of possible freedom for the blacks emerging in France and also mentions the opposition from the plantation landowners. An uprising is planned; as a result of this meeting, conch-shell trumpets sound and slaves, armed with sticks, surround the houses of their masters. Upon hearing the conch-shells Lenormand de Mezy is frightened and manages to hide. The slaves kill the white men and drink much alcohol. Ti Noel, after drinking, rapes Mademoiselle Floridor, who is Lenormand de Mezy's latest mistress. The uprising is defeated and Bouckman is killed. The governor, Blanchelande, advocates for the complete extermination of the colony's black population, as they pose a threat with their voodoo and secret religion. Several of the rebels are gathered to be publicly executed, but Lenormand de Mezy secures the release of his slaves, including Ti Noel, intending to sell them in the slave markets in Cuba. Lenormand de Mezy takes Ti Noel and other slaves to Cuba, where he becomes lazy, conducts no business, enjoys the women, drinks alcohol, and gambles away his slaves. Pauline Bonaparte accompanies Leclerc, her army general husband, to Haiti. On the way there, she enjoys sexually tempting the men on the ship. Solimán, a black slave, massages her body and lavishes loving care on her beauty. Leclerc develops yellow fever, and Pauline trusts in the voodoo and magic of Solimán to cure him. Leclerc dies, and Pauline returns to Paris while the Rochambeau government treats the blacks very poorly. However, there is the emergence of black priests who allow the slaves to conduct more business internally.

3535:<ref>{{Harvnb|Carpentier|2004|p=48}}</ref> and Ti Noel's<ref>{{Harvnb|Carpentier|2004|p=147}}</ref> metamorphoses and Henri Christophe's encounter with a spectre.<ref>{{Harvnb|Carpentier|2004|p=114}}</ref> Carpentier mixes elements of history and fiction with no clear division in between the two,<ref>{{Harvnb|Serra|1995|p=622}}</ref> which has been said to increase the liveliness of the novel.<ref>{{Harvnb|Pontiero|1970|p=528}}</ref> Furthermore, the lack of transition in between perspectives grants authenticity to the marvellous.<ref>{{Harvnb|Sokoloff|1986|p=47}}</ref> The historical episodes and characters were chosen based on which are the most interesting and unusual and not on which are most important to accurately recount the history of Haiti.<ref name=Pontiero529>{{Harvnb|Pontiero|1970|p=529}}</ref> ] questions the historical accuracy of the work by arguing that Carpentier manipulated dates so that he could achieve meaningful associations in his novel.<ref name=Paravisini117/> 3455:<ref>{{Harvnb|Carpentier|2004|p=48}}</ref> and Ti Noel's<ref>{{Harvnb|Carpentier|2004|p=147}}</ref> metamorphoses and Henri Christophe's encounter with a spectre.<ref>{{Harvnb|Carpentier|2004|p=114}}</ref> Carpentier mixes elements of history and fiction with no clear division in between the two,<ref>{{Harvnb|Serra|1995|p=622}}</ref> which has been said to increase the liveliness of the novel.<ref>{{Harvnb|Pontiero|1970|p=528}}</ref> Furthermore, the lack of transition in between perspectives grants authenticity to the marvellous.<ref>{{Harvnb|Sokoloff|1986|p=47}}</ref> The historical episodes and characters were chosen based on which are the most interesting and unusual and not on which are most important to accurately recount the history of Haiti.<ref name=Pontiero529>{{Harvnb|Pontiero|1970|p=529}}</ref> ] questions the historical accuracy of the work by arguing that Carpentier manipulated dates so that he could achieve meaningful associations in his novel.<ref name=Paravisini117/> 3345:''The Kingdom of This World'' is a work of ].<ref name=Rama225/> While the setting and the majority of the characters are based on fact, many of the events that occur during the novel are Carpentier's rendition of the actual events that took place during the course of the Haitian revolution. In the Prologue to the novel, Carpentier defines the phenomenon of ''lo real maravilloso'', which has been considered one of the starting points for the genre of ]. Carpentier and ] are considered "pioneers of the contemporary Spanish-American novel" because of their mythologizing of the Latin American experience.<ref name=Henighan1009>{{Harvnb|Henighan|1999|p=1009}}</ref> Their work in between the late 1940s and early 1960s led to the ], one of whose main features was the use of magic realism.<ref name=Henighan1009/> This being one of the first books in the genre, Carpentier had no guarantee of finding an audience and even covered publication costs himself.<ref>{{Harvnb|Henighan|1999|pp=1010–1011}}</ref> 3338:''The Kingdom of This World'' is a work of ].<ref name=Rama225/> While the setting and the majority of the characters are based on fact, many of the events that occur during the novel are Carpentier's rendition of the actual events that took place during the course of the Haitian revolution. In the Prologue to the novel, Carpentier defines the phenomenon of ''lo real maravilloso'', which has been considered one of the starting points for the genre of ]. Carpentier and ] are considered "pioneers of the contemporary Spanish-American novel" because of their mythologizing of the Latin American experience.<ref name=Henighan1009>{{Harvnb|Henighan|1999|p=1009}}</ref> Their work in between the late 1940s and early 1960s led to the ], one of whose main features was the use of magic realism.<ref name=Henighan1009/> This being one of the first books in the genre, Carpentier had no guarantee of finding an audience and even covered publication costs himself.<ref>{{Harvnb|Henighan|1999|pp=1010–1011}}</ref> 8299:

memories, and sends him into a howl, causing the room to be rushed. He is reminded of the night of Henri Christophe's demise and flees before succumbing to malaria. Ti Noel recalls things told by Macandal, and the former plantation of Lenormand de Mezy has become a happy place, with Ti Noel presiding over celebrations and festivities. Surveyors disrupt the peace at the plantation, and mulattoes have risen to power; they force hundreds of black prisoners to work by whiplash, and many have lost hope as the cycle of slavery continues. Ti Noel, thinking of Macandal, decides to transform into various animals to observe the ongoing events; he metamorphoses into a bird, a stallion, a wasp, and then an ant. He eventually becomes a goose, but is rejected by the clan of geese. He understands that being a goose does not imply that all geese are equal, so he returns to human form. The book concludes with the end of Ti Noel's life, and his own self-reflection upon greatness and The Kingdom of This World.

8290:, formerly a cook and now king due to the black uprising, is using slaves to construct lavish statues, figures, and a magnificent fortress. Ti Noel considers slavery under a fellow black man worse than that endured at the hands of Lenormand de Mezy. In times past, the loss of a slave would be a financial loss, but as long as there are black women to continue supplying slaves, their deaths are insignificant. Ti Noel escapes and returns to the former plantation of Lenormand de Mezy, where he remains for some time, and later returns to the city to find it gripped by fear of Henri Christophe's regime. King Christophe is tormented by thunder strikes and ghosts of formerly tortured subjects, and eventually he and Sans-Souci Palace are overrun by the blacks and by voodoo. Left alone, he commits suicide and his body is taken by the remaining African pages to the magnificent fortress where they bury him in a pile of mortar. The entire mountain becomes the mausoleum of the first King of Haiti. 1088:.<ref name=Stimson149>{{Harvnb|Stimson|1998|p=149}}</ref> He subsequently moved to ] in 1933 (at the age of 29) and returned to Cuba six years later, in 1939.<ref name=Stimson149/> Once in Cuba, Carpentier joined a group of young writers whose goal was to establish a literature faithful to the New World, by recovering origins, history, and tradition.<ref>{{Harvnb|Paravisini-Gebert|2004|p=115}}</ref> In 1943, he travelled to Haiti,<ref>{{Harvnb|Carpentier|2004|p=5}}</ref> where he was made aware of Dominique Hyppolyte's play, '']'', about the ], which features a character named Ti Noel.<ref name=Paravisini117/> As ''The Kingdom of This World'' coincides with Carpentier's return to Cuba, it is very much influenced by the author's re-encounter with himself and his origins.<ref name=Rama225>{{Harvnb|Rama|1981|p=225}}</ref> 1063:.<ref name=Stimson149>{{Harvnb|Stimson|1998|p=149}}</ref> He subsequently moved to ] in 1933 (at the age of 29) and returned to Cuba six years later, in 1939.<ref name=Stimson149/> Once in Cuba, Carpentier joined a group of young writers whose goal was to establish a literature faithful to the New World, by recovering origins, history, and tradition.<ref>{{Harvnb|Paravisini-Gebert|2004|p=115}}</ref> In 1943, he travelled to Haiti,<ref>{{Harvnb|Carpentier|2004|p=5}}</ref> where he was made aware of Dominique Hyppolyte's play, '']'', about the ], which features a character named Ti Noel.<ref name=Paravisini117/> As ''The Kingdom of This World'' coincides with Carpentier's return to Cuba, it is very much influenced by the author's re-encounter with himself and his origins.<ref name=Rama225>{{Harvnb|Rama|1981|p=225}}</ref> 3640:

writer, he instead chose to write in Spanish. However, Carpentier never fully dislocated himself from his European heritage as ] elements are present in all of his works, including ''The Kingdom of this World''.<ref name=Henighan1016>{{Harvnb|Henighan|1999|p=1016}}</ref> More specifically, Carpentier is notorious for writing in a sort of "heightened" language, which is best described as a hybrid of his European and Latin American heritages. Carpentier's heightened language takes the form "Frenchifying" Spanish-American prose.<ref name=Henighan1016/> As such, it is not uncommon for Carpentier to apply French constructions and usages to Spanish words. For example, Carpentier used the intransitive Spanish verb ''desertar'' transitively, as ''déserter'' is used in French.<ref name=Henighan1016/>

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in the chapter titled "San Trastorno," where black priests combine Voodoo and Catholic religious practices to form a hybridized religious entity.<ref name=Kefala1/> The hybridized religious entity can be viewed as heretical since it is a blasphemous, bastardized departure from both pure Voodoo and Catholic practices.<ref name=Kefala1/> Carpentier also has a tendency to hybridize many other components of his novel. The titles of the chapters themselves provide further examples of hybridization. Carpentier creatively chose chapter titles that had a well established connotative significance and distorted their meaning. For instance, the chapter titled "Las metamorfosis," does not tell the mythic stories of ], but rather speaks of the metamorphosis of the slave Mackandal.<ref name=Kefala1/>

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2693:'''Solimán''': Solimán is first introduced in the text as the slave who receives the fortune of massaging the body of Pauline and also lavishing her beauty with great care. He begins to conduct voodoo rituals with Pauline for the sake of Leclerc, who has contracted yellow fever. Following the demise of Henri Christophe, Solimán ends up in Europe, where he enjoys the summers. He is given food and drink freely and his appearance is the subject of much attention. He regales exaggerated and embellished tales of his past and even makes an appearance at theatre performances. He later comes across a marble statue of Pauline and this, coupled with memories of the night that witnessed the demise of Henri Christophe, causes him to fall into madness, flee, and eventually succumb to malaria. 2686:'''Solimán''': Solimán is first introduced in the text as the slave who receives the fortune of massaging the body of Pauline and also lavishing her beauty with great care. He begins to conduct voodoo rituals with Pauline for the sake of Leclerc, who has contracted yellow fever. Following the demise of Henri Christophe, Solimán ends up in Europe, where he enjoys the summers. He is given food and drink freely and his appearance is the subject of much attention. He regales exaggerated and embellished tales of his past and even makes an appearance at theatre performances. He later comes across a marble statue of Pauline and this, coupled with memories of the night that witnessed the demise of Henri Christophe, causes him to fall into madness, flee, and eventually succumb to malaria. 8438:: Lenormand de Mezy is the white master of a plantation and owns Ti Noel and Macandal among other black slaves. He has multiple wives, mistresses, and sexual encounters during the course of the novel. Following the quelled black uprising in Part Two, Lenormand de Mezy leaves his state of hiding and arrives in time to spare the lives of Ti Noel and some of his other slaves. He takes them to Cuba to protect his assets, but while there, he gambles with his slaves, drinks much alcohol, enjoys the company of women, and loses what remains of his wealth. Having lost Ti Noel in a card game, Lenormand de Mezy dies shortly after in abject poverty. Lenormand de Mezy's name may be based on an eponymous Haitian plantation where the historical Bouckman is said to have conducted his famous 8463:: Solimán is first introduced in the text as the slave who receives the fortune of massaging the body of Pauline and also lavishing her beauty with great care. He begins to conduct voodoo rituals with Pauline for the sake of Leclerc, who has contracted yellow fever. Following the demise of Henri Christophe, Solimán ends up in Europe, where he enjoys the summers. He is given food and drink freely and his appearance is the subject of much attention. He regales exaggerated and embellished tales of his past and even makes an appearance at theatre performances. He later comes across a marble statue of Pauline and this, coupled with memories of the night that witnessed the demise of Henri Christophe, causes him to fall into madness, flee, and eventually succumb to malaria. 2909:

name=Henighan1014>{{Harvnb|Henighan|1999|p=1014}}</ref> Although well versed in the French surrealist tradition and possessing a deep mastery of the French language, Carpentier never fully identified himself as a French writer. Instead, he preferred to define himself as a Spanish American writing in French.<ref name=Henighan1014/> Furthermore, Carpentier was known to shuttle between claiming French or Spanish as his mother tongue, which further illustrated his cultural indecisiveness.<ref name=Henighan1015>{{Harvnb|Henighan|1999|p=1015}}</ref> In the end, due to his conflicting cultural influences, Carpentier's own feelings of being somewhat of a hybrid entity himself are mirrored in his prose.<ref name=Henighan1015/>

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1915:. Lenormand de Mezy takes Ti Noel and other slaves to Cuba, where he becomes lazy, conducts no business, enjoys the women, drinks alcohol, and gambles away his slaves. Pauline Bonaparte accompanies Leclerc, her army general husband, to Haiti. On the way there, she enjoys sexually tempting the men on the ship. Solimán, a black slave, massages her body and lavishes loving care on her beauty. Leclerc develops yellow fever, and Pauline trusts in the voodoo and magic of Solimán to cure him. Leclerc dies, and Pauline returns to Paris while the Rochambeau government treats the blacks very poorly. However, there is the emergence of black priests who allow the slaves to conduct more business internally. 1796:. Lenormand de Mezy takes Ti Noel and other slaves to Cuba, where he becomes lazy, conducts no business, enjoys the women, drinks alcohol, and gambles away his slaves. Pauline Bonaparte accompanies Leclerc, her army general husband, to Haiti. On the way there, she enjoys sexually tempting the men on the ship. Solimán, a black slave, massages her body and lavishes loving care on her beauty. Leclerc develops yellow fever, and Pauline trusts in the voodoo and magic of Solimán to cure him. Leclerc dies, and Pauline returns to Paris while the Rochambeau government treats the blacks very poorly. However, there is the emergence of black priests who allow the slaves to conduct more business internally. 930:'''''The Kingdom of This World''''' ({{lang-es|'''El reino de este mundo'''}}) is a novel by ]n author ], published in 1949 in his native Spanish and first translated into English in 1957. A work of ], it tells the story of ] before, during, and after the ] as seen by its central character, Ti Noel, who serves as the novel's connecting thread. Carpentier's work has been influenced by his multi-cultural experience and his passion for the arts, as well as by authors such as ]. The novel stems from the author's desire to retrace the roots and history of the New World, and is embedded with ].<ref name=Rama227>{{Harvnb|Rama|1981|p=227}}</ref> 8508:

Trastorno," where black priests combine Voodoo and Catholic religious practices to form a hybridized religious entity. The hybridized religious entity can be viewed as heretical since it is a blasphemous, bastardized departure from both pure Voodoo and Catholic practices. Carpentier also has a tendency to hybridize many other components of his novel. The titles of the chapters themselves provide further examples of hybridization. Carpentier creatively chose chapter titles that had a well established connotative significance and distorted their meaning. For instance, the chapter titled "Las metamorfosis," does not tell the mythic stories of

2495:] first appears on the ship of dogs being transported from Cuba to Haiti in Part Two of the novel. She is described as a beautiful woman who, despite her tender years, is familiar with the male body. She enjoyed tempting the men on board and for that reason would let the wind ruffle her hair and breeze through her clothes to reveal the grace of her breasts. She would also sleep out in the open. Pauline has Solimán massage her body and tend to her beauty. They form a relationship and when her husband, ], falls ill she puts her faith in the voodoo of Solimán designed to cure him. Leclerc dies and Pauline makes her way back to Paris. 2488:] first appears on the ship of dogs being transported from Cuba to Haiti in Part Two of the novel. She is described as a beautiful woman who, despite her tender years, is familiar with the male body. She enjoyed tempting the men on board and for that reason would let the wind ruffle her hair and breeze through her clothes to reveal the grace of her breasts. She would also sleep out in the open. Pauline has Solimán massage her body and tend to her beauty. They form a relationship and when her husband, ], falls ill she puts her faith in the voodoo of Solimán designed to cure him. Leclerc dies and Pauline makes her way back to Paris. 2844:], or the formation of a hybrid identity, is a theme commonly found in texts that deal with cultural differences. The theory of hybridization was originally developed by ] in an effort to explain the effects of interacting cultures.<ref name=Kefala1>{{Harvnb|Kefala|2007|p=1}}</ref> Bhabha's theory contends that, through the process of what he refers to as cultural translation, the interactions between two distinct cultures result in the formation of a hybrid identity. As the word "hybrid" suggests, the new identity is a mix of the two original cultures and the result is a new unique cultural entity. 8357:

serpent, of a queen who was the Rainbow, and of horses adorned with silver coins. Macandal has his left arm amputated after a machinery accident on the plantation of Lenormand de Mezy and, unable to complete heavy work, is put in charge of pasturing the cattle. He departs for the mountains and discovers many secret herbs, plants, and fungi about which he is taught more by an old, mysterious woman who is something of a witch. Macandal leaves the plantation, attains the ability to transform into various beings, and is represented as having superhuman powers due to his possession by the gods.

8736:, and often employed grotesques in his descriptions to ridicule the ostentation of colonial aristocracy. Examples include Ti Noel's comparison of wax heads at a barber's shop to white men's heads being served at a banquet, or the portrayal of the decadence of Mademoiselle Floridor, a fourth-rate actress who performs for slaves as an outlet for her desire to act. Carpentier further satirizes the pomp of those in power through a series of details of protocol and ceremony whose cumulative effects ridicule the object of description, as is the case with Henri Christophe's chambers. 2833:], or the formation of a hybrid identity, is a theme commonly found in texts that deal with cultural differences. The theory of hybridization was originally developed by ] in an effort to explain the effects of interacting cultures.<ref name=Kefala1>{{Harvnb|Kefala|2007|p=1}}</ref> Bhabha's theory contends that, through the process of what he refers to as cultural translation, the interactions between two distinct cultures result in the formation of a hybrid identity. As the word "hybrid" suggests, the new identity is a mix of the two original cultures and the 2898:

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within cultural settings.<ref name=Unruh58/> In order to achieve such an analysis, Carpentier makes use of spectatorship: his characters perceive a spectacle in alterable ways which parallel their alterable ways of experiencing the world.<ref name=Unruh59>{{Harvnb|Unruh|1998|p=59}}</ref> Spectacle situations are also sometimes used by Carpentier as a tool for the characters to reframe and rethink the world,<ref name=Unruh59/> as well as to establish individual and group identity.<ref name=Unruh68>{{Harvnb|Unruh|1998|p=68}}</ref>

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always takes the form of the slaves' point of view, while the more real interpretation of each event is from the whites' perspective; secondly, because the marvellous is used as a weapon to fight injustice. Instances of cruelty and violence between the groups are recounted grotesquely in great detail, which enhances the rivalry. More importantly, by allowing readers to see through the slaves' point of view, Carpentier brings to light the power and durability of the Haitian community and destabilizes the narrative of Western supremacy.

8235: 8202: 1387:'s body flying off the stake.<ref name=Unruh69/> Through the different, mutable views of the performance that he creates, Carpentier is able to represent an unstable cultural identity.<ref name=Unruh69/> As a second example, the scene that Ti Noel constructs around himself after the sacking of the ] presents the reader with a dramatic rehearsal in which Ti Noel represents culturally mobile subjectivity by performing different identities on his own.<ref name=Unruh70>{{Harvnb|Unruh|1998|p=70}}</ref> 1367:'s body flying off the stake.<ref name=Unruh69/> Through the different, mutable views of the performance that he creates, Carpentier is able to represent an unstable cultural identity.<ref name=Unruh69/> As a second example, the scene that Ti Noel constructs around himself after the sacking of the ] presents the reader with a dramatic rehearsal in which Ti Noel represents culturally mobile subjectivity by performing different identities on his own.<ref name=Unruh70>{{Harvnb|Unruh|1998|p=70}}</ref> 1241:

which is subsequently mentioned, with a focus on the character of Rutilio.<ref>{{Harvnb|Carpentier|2004|pp=5–8}}</ref> The mention of Rutilio is noteworthy, as the episode has been of interest to critics due to its magical subject matter, concerning ].<ref>{{Harvnb|De Armas|1981|p=298}}</ref> Both works feature a distant and exotic land where the marvellous is present by means of metamorphoses, and viewed from the characters' perspective.<ref>{{Harvnb|De Armas|1981|pp=310–315}}</ref>

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described as fertile and bountiful with the plantations, but later as worn down and bare.<ref name=Paravisini122/><ref>{{Harvnb|Carpentier|2004|p=92}}</ref> The powerful climate of the Caribbean is more similar to Africa than Europe, making nature an ally of the slaves.<ref name=Goldberg26>{{Harvnb|Goldberg|1991|p=26}}</ref> Natural elements also act on their own, with Henri Christophe's ] being attacked by fungi and thunderstorms before its completion.<ref name=Goldberg26/>

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characters who are fully conscious of their role in history. Carpentier portrays Henri Christophe, like most leaders, as a pompous fool, since the cycle of history continues regardless of his presence: his influence on the lives of people like Ti Noel is minimal. On the other hand, Christophe has also been seen as a representation of man's potential, rising from cook to soldier to king, reaching extremes of extravagance that exceed that of the previous French rulers, and ultimately falling pathetically.

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and possessing a deep mastery of the French language, Carpentier never fully identified himself as a French writer. Instead, he preferred to define himself as a Spanish American writing in French. Furthermore, Carpentier was known to shuttle between claiming French or Spanish as his mother tongue, which further illustrated his cultural indecisiveness. In the end, due to his conflicting cultural influences, Carpentier's own feelings of being somewhat of a hybrid entity himself are mirrored in his prose.

8368: 8700:, Carpentier creates a succession of characters that engage in very similar actions. This repetition, a stylistic tool that resembles baroque writings, constructs a cyclical pattern in the novel which depicts the author's social views. The succession of characters (as well as places) that replace each other without fully developing on their own (or blocked from developing, in a sense) represent Carpentier's view of the social context in which forces are preventing characters from developing. 3168:

of the magical always takes the form of the slaves' point of view, while the more real interpretation of each event is from the whites' perspective;<ref name=DeArmas312/> secondly, because the marvellous is used as a weapon to fight injustice.<ref>{{Harvnb|De Armas|1981|p=314}}</ref> Instances of cruelty and violence between the groups are recounted grotesquely in great detail, which enhances the rivalry.<ref>{{Harvnb|Pontiero|1970|p=530}}</ref>

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audience. While tied to the post, he metamorphoses into an insect and flies overhead before landing in the crowds. During the ensuing pandemonium he is again captured by ten men and burned in the fire. The slaves are certain that he has been saved and remain in defiant and jubilant spirits. The memory of Macandal is not extinguished in the flames. Ti Noel tells his children the stories he was told by Macandal, and they await his return many years later.

8568:, who says, "During the night of 14 August 1791 a Voodoo ceremony held in a place called Bois Caiman was a fundamental step in the unification of the slave population of Saint-Domingue. A week later the plantations (which were mainly sugarcane) were on fire, and the revolution had started. It was to last for thirteen years, until 1804" (Dominique 103). In conclusion, vodou was an integral practice in unifying the slaves and inspiring the revolt. 2762:''The Kingdom of This World'' has a deep focus on the nature of revolution, and the novel itself can be viewed as a reflection of Carpentier's ideological perspective towards revolutions.<ref>{{Harvnb|Bosch|1976|p=82}}</ref> Carpentier tries to establish the idea that a distinction must be made between revolutions and reactions.<ref>{{Harvnb|Bosch|1976|p=84}}</ref> While a revolution produces progress, a reaction does not. 2755:''The Kingdom of This World'' has a deep focus on the nature of revolution, and the novel itself can be viewed as a reflection of Carpentier's ideological perspective towards revolutions.<ref>{{Harvnb|Bosch|1976|p=82}}</ref> Carpentier tries to establish the idea that a distinction must be made between revolutions and reactions.<ref>{{Harvnb|Bosch|1976|p=84}}</ref> While a revolution produces progress, a reaction does not. 2021:, decides to transform into various animals to observe the ongoing events; he metamorphoses into a bird, a stallion, a wasp, and then an ant. He eventually becomes a goose, but is rejected by the clan of geese. He understands that being a goose does not imply that all geese are equal, so he returns to human form. The book concludes with the end of Ti Noel's life, and his own self-reflection upon greatness and The Kingdom of This World. 2001:, decides to transform into various animals to observe the ongoing events; he metamorphoses into a bird, a stallion, a wasp, and then an ant. He eventually becomes a goose, but is rejected by the clan of geese. He understands that being a goose does not imply that all geese are equal, so he returns to human form. The book concludes with the end of Ti Noel's life, and his own self-reflection upon greatness and The Kingdom of This World. 988:

repetition to emphasize the cyclical nature of events. The novel was largely well-received with much attention paid to Carpentier's inclusion of magic realism and ''The Kingdom of This World'' has been described as an important work in the development of this genre in ] and ]. However, some technical aspects of his style have been ignored by the academic community, and the novel's narrative organization has been criticized.

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8721:. More specifically, Carpentier is notorious for writing in a sort of "heightened" language, which is best described as a hybrid of his European and Latin American heritages. Carpentier's heightened language takes the form "Frenchifying" Spanish-American prose. As such, it is not uncommon for Carpentier to apply French constructions and usages to Spanish words. For example, Carpentier used the intransitive Spanish verb 68: 7802: 8549:, a pivotal figure in the Haitian Revolution, is barely mentioned in the novel, the one page dedicated to him emphasizes his connection to African gods while neglecting to mention any of his other features that made him an effective leader. While Dessaline's belief in African gods is highlighted, Henri Christophe's abandonment of the religion is stressed, being identified as the reason for his downfall. 1509:

his trip to Haiti in 1943 is recounted, as well as some of the research he did to gather facts for the novel. Carpentier also denounces the commonplace and formulaic instances of the marvellous that is found in surrealist novels due to its inorganic and false origins, as opposed to the natural magic that is found in Latin America.<ref>{{Harvnb|Carpentier|2004|pp=5–12}}</ref>

8054: 2272:] is a black slave, first introduced on the same plantation as Ti Noel. He is admired for his qualities that are irresistible to black women and his ability to captivate men. He regales tales of great kingdoms and speaks of epic battles in which the animals were allies of men, of the incarnation of the serpent, of a queen who was the Rainbow, and of horses adorned with silver coins. 2256:] is a black slave, first introduced on the same plantation as Ti Noel. He is admired for his qualities that are irresistible to black women and his ability to captivate men. He regales tales of great kingdoms and speaks of epic battles in which the animals were allies of men, of the incarnation of the serpent, of a queen who was the Rainbow, and of horses adorned with silver coins. 3092:

Macandal is able to poison thousands of people. In the novel, vodou is used both to protect the slaves and to wage war against the slave owners. This point is drawn from an article by ], who says, "During the night of 14 August 1791 a Voodoo ceremony held in a place called Bois Caiman was a fundamental step in the unification of the slave population of Saint-Domingue. A week later

3759:''The Kingdom of This World'' is considered to be Alejo Carpentier's first great novel.<ref name=Baez227>{{Harvnb|Baez-Jorge|1998|p=227}}</ref> He is praised for his skillful inclusion of Haitian voodoo, myth, and history in the work, as well as for contributing to the definition of Latin American identity.<ref name=Baez227/> Although the presence of 3738:''The Kingdom of This World'' is considered to be Alejo Carpentier's first great novel.<ref name=Baez227>{{Harvnb|Baez-Jorge|1998|p=227}}</ref> He is praised for his skillful inclusion of Haitian voodoo, myth, and history in the work, as well as for contributing to the definition of Latin American identity.<ref name=Baez227/> Although the presence of 2796:

to break the mold imposed by the French colonials. The ruling Afro-Caribbeans end up enslaving and oppressing their own kind and the resulting social situation is devoid of any progress. Carpentier's perspective on the Haitian revolution is revealed in the way that he portrays the cyclical nature of reactionary violence.<ref>{{Harvnb|Bosch|1976|p=86}}</ref>

2017:, and the former plantation of Lenormand de Mezy has become a happy place, with Ti Noel presiding over celebrations and festivities. Surveyors disrupt the peace at the plantation, and mulattoes have risen to power; they force hundreds of black prisoners to work by whiplash, and many have lost hope as the cycle of slavery continues. Ti Noel, thinking of 1997:, and the former plantation of Lenormand de Mezy has become a happy place, with Ti Noel presiding over celebrations and festivities. Surveyors disrupt the peace at the plantation, and mulattoes have risen to power; they force hundreds of black prisoners to work by whiplash, and many have lost hope as the cycle of slavery continues. Ti Noel, thinking of 2657:'''Bouckman''': ] is of ]n origin and leads the secret gathering of trusted slaves, where he speaks of French requests for freedom for black slaves, but also of the resistance displayed by plantation landowners. He is present when staff is named and an uprising is planned. After the uprising is defeated, Bouckman is killed at the same location as 2619:'''Bouckman''': ] is of ]n origin and leads the secret gathering of trusted slaves, where he speaks of French requests for freedom for black slaves, but also of the resistance displayed by plantation landowners. He is present when staff is named and an uprising is planned. After the uprising is defeated, Bouckman is killed at the same location as 8259:. Furthermore, his trip to Haiti in 1943 is recounted, as well as some of the research he did to gather facts for the novel. Carpentier also denounces the commonplace and formulaic instances of the marvellous that is found in surrealist novels due to its inorganic and false origins, as opposed to the natural magic that is found in Latin America. 3673:

Ti Noel's comparison of wax heads at a barber's shop to white men's heads being served at a banquet,<ref>{{Harvnb|Carpentier|2004|p=18}}</ref> or the portrayal of the decadence of Mademoiselle Floridor, a fourth-rate actress who performs for slaves as an outlet for her desire to act.<ref>{{Harvnb|Carpentier|2004|p=55}}</ref

8162:) presents two arguments that Carpentier applied to his historical approach: firstly, from the perspective of a Haitian peasant, the Revolution did nothing more than replace leaders, since the exploitation continued; secondly, Price Mars assumes the authenticity of the belief in African gods, in contrast with a shallow Catholicism. 8602:. Often, the characters find that reality does not lie entirely in either world. It is possible that this theme is well-developed in Alejo Carpentier's work because of the author's own personal experience with cultural transplantation (Carpentier grew up in Havana but later moved to France for six years and travelled extensively). 8198:

Carpentier makes use of spectatorship: his characters perceive a spectacle in alterable ways which parallel their alterable ways of experiencing the world. Spectacle situations are also sometimes used by Carpentier as a tool for the characters to reframe and rethink the world, as well as to establish individual and group identity.

3689:<ref>{{Harvnb|Carpentier|2004|p=55}}</ref> Carpentier further satirizes the pomp of those in power through a series of details of protocol and ceremony whose cumulative effects ridicule the object of description, as is the case with Henri Christophe's chambers.<ref>{{Harvnb|Carpentier|2004|pp=121–123}}</ref> 8484:

2525:

representation of white decadence,<ref>{{Harvnb|Shaw|1985|p=30}}</ref> the immorality of the colony,<ref>{{Harvnb|Speratti-Piñero|1985|p=580}}</ref> or sexuality.<ref>{{Harvnb|Torres-Rosado|1991|p=212}}</ref> It is a statue of Pauline that causes the beginning of Solimán's madness.

2517:

1521:

he did to gather facts for the novel. Carpentier also denounces the commonplace and formulaic instances of the marvellous that is found in surrealist novels due to its inorganic and false origins, as opposed to the natural magic that is found in Latin America.<ref>{{Harvnb|Carpentier|2004|pp=5–12}}</ref>

2319:

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4330:*{{citation|last = Dash |first = Michael J |title= The Theater of the Haitian Revolution / The Haitian Revolution as Theater|date = |year= 2005 |journal = Small axe: A Caribbean Journal of Criticism | pages = 16–23 | url = http://smallaxe.dukejournals.org/cgi/reprint/9/2/16.pdf| accessdate =2010-01-18}}. 1654:. He is captured and tied to a post in order to be lashed and burned in front of massive black crowds, but he escapes, flying overhead, and lands among the crowd. He is again captured and burned, but the slaves are certain that he has been saved by African Gods and return to their plantations, laughing. 1604:. He is captured and tied to a post in order to be lashed and burned in front of massive black crowds, but he escapes, flying overhead, and lands among the crowd. He is again captured and burned, but the slaves are certain that he has been saved by African Gods and return to their plantations, laughing. 8499:

in an effort to explain the effects of interacting cultures. Bhabha's theory contends that, through the process of what he refers to as cultural translation, the interactions between two distinct cultures result in the formation of a hybrid identity. As the word "hybrid" suggests, the new identity is

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has a deep focus on the nature of revolution, and the novel itself can be viewed as a reflection of Carpentier's ideological perspective towards revolutions. Carpentier tries to establish the idea that a distinction must be made between revolutions and reactions. While a revolution produces progress,

8415:

first appears on the ship of dogs being transported from Cuba to Haiti in Part Two of the novel. She is described as a beautiful woman who, despite her tender years, is familiar with the male body. She enjoyed tempting the men on board and for that reason would let the wind ruffle her hair and breeze

8387:

In Part Three, Henri Christophe has become the first King of Haiti and subjects the black population to worse slavery than that experienced under French rule. His regime carries out brutal torture and grips the city in fear. He is later tormented by thunder strikes and magical, ghostly appearances of

8383:

first appears at the beginning of Part Two. He is described as a black master chef who has just bought the lodgings at the Auberge de la Couronne from Mademoiselle Monjean. His dishes are famous for the perfection of their seasoning and/or for the abundance of ingredients that allow for visitors from

8360:

He spreads poison and kills much livestock and many Frenchmen to prepare for an uprising, but is forced into exile as the French become aware of his actions and begin to search for him. He returns after four years, but is captured and tied to a post to be lashed and burned in front of a massive black

8356:

is a black slave, first introduced on the same plantation as Ti Noel. He is admired for his qualities that are irresistible to black women and his ability to captivate men. He regales tales of great kingdoms and speaks of epic battles in which the animals were allies of men, of the incarnation of the

8307:

The characters in the novel are integral to its understanding. Not only do they highlight the temporal and political context of voodoo and other forces, but they also allow Carpentier to surpass temporal and spatial limitations to reach the ultimate reality of life: the universal essence that lies in

8225:

Carpentier lastly equates the idea of Western theatre with that of a sham through Ti Noel's realization that disguising oneself to assume a role does not lead to community: "As Ti Noel was there in disguise, and did not for a moment consider himself one of the species, he took refuge by himself under

8084:

in 1933 (at the age of 29) and returned to Cuba six years later, in 1939. Once in Cuba, Carpentier joined a group of young writers whose goal was to establish a literature faithful to the New World, by recovering origins, history, and tradition. In 1943, he travelled to Haiti, where he was made aware

3684:

Carpentier was an admirer of the elegance and wit in the work of satirical French writers and artists of the ], and often employed grotesques in his descriptions to ridicule the ostentation of colonial aristocracy.<ref name=Pontiero534>{{Harvnb|Pontiero|1970|p=534}}</ref> Examples include

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His conception of 'marvellous reality' revolves around the natural fantastic qualities of Latin America and the Caribbean, as opposed to the overly forced and cliché efforts by European surrealists to portray magical occurrences.<ref>{{Harvnb|Carpentier|2004|pp=5–10}}</ref> The result was

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historical account is greatly simplified in order to increase the contrast between the white land owners and their black slaves.<ref name=Pontiero529/> The marvellous, one of the most notable features of the novel, is used as a marker of contrast between the two groups: firstly, because mention

3156:

2318:

2302:

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A sense of destiny is present in the novel through patterns of repetition, including reversals of destiny in a number of characters. Characters who are paired together tend to suffer the same destiny: Ti Noel and Monsieur Lenormand de Mezy both witness the marvels of the age and slowly decline; both

8576:

Carpentier's historical account is greatly simplified in order to increase the contrast between the white land owners and their black slaves. The marvellous, one of the most notable features of the novel, is used as a marker of contrast between the two groups: firstly, because mention of the magical

8532:

Macandal has expert knowledge of the nature of the forest, using its herbs and fungi as weapons against the planters. The ecological landscape of Haiti is used to represent the wreckage of the Revolution, being initially described as fertile and bountiful with the plantations, but later as worn down

8483:

In the novel, the Afro-Caribbean slave population violently react to the oppressive regime imposed on them by the French colonials. The result of this armed reaction is the emergence of a brutal regime in which the oppressed become the oppressors. Sadly, the leaders of the newly produced regime fail

8456:

origin and leads the secret gathering of trusted slaves, where he speaks of French requests for freedom for black slaves, but also of the resistance displayed by plantation landowners. He is present when staff is named and an uprising is planned. After the uprising is defeated, Bouckman is killed at

3288:

The theme of confusion appears through the transplantation of characters from one world to another, for example from the characters' childhood culture to the one imposed upon them as occurs in ''The Kingdom of This World''.<ref name=Stimson149/> Often, the characters find that reality does not

2795:

2114:

Ti Noel, an illiterate slave, is a protagonist of African origin.<ref name=Unruh70/> He begins as a young slave who, during the unravelling of the novel, travels to Cuba before returning to Haiti. He is twice branded as a slave but now is a free man. Although he grows old, he remains a witness

2094:

1808:

and they await his return. A secret gathering of trusted slaves takes place: Bouckman, the Jamaican, speaks of possible freedom for the blacks emerging in France and also mentions the opposition from the plantation landowners. An uprising is planned; as a result of this meeting, conch-shell trumpets

1696:

1508:

most often quoted text,<ref>{{Harvnb|Paravisini-Gebert|2004|p=116}}</ref> in which he coins the term ''lo real maravilloso'' ("marvellous reality") in reference to seemingly miraculous occurrences in ]. This is contrasted with the lack of magic and imagination in European ]. Furthermore,

8757:

has also been criticized for its narrative organization, which predominantly relies on apposition rather than on succession: the novel does not present history in terms of a sequence of events and their consequences. The gaps within chronological time that occur throughout this novel as well as the

8679:

Most moments in which there is a fantastic occurrence constitute a change in point of view, from the omniscient narrator to a specific character with particular beliefs. The introduction of magical events from the perspective of the slaves highlights their otherness, because while they may believe,

8671:

There are many instances of marvelous occurrences in the novel, such as Macandal and Ti Noel's metamorphoses and Henri Christophe's encounter with a spectre. Carpentier mixes elements of history and fiction with no clear division in between the two, which has been said to increase the liveliness of

8515:

Carpentier's fascination with the notion of hybridity, and the associated cultural distortion is inevitably a reflection of his own search for a cultural identity. During his time in Paris, there was a profound public interest in the Americas. Although well versed in the French surrealist tradition

8217:

cultures in opposition through the use of the spectator-performer relationship. In this spectacle situation, Carpentier is able to juxtapose the Europeans' experience of Macandal's body falling into the flames with the autochthonous (Afro-Haitian) experience of Macandal's body flying off the stake.

8116:

takes place prior to, during, and after the Haitian Revolution which began in 1791 and led to the declaration of Haitian independence in 1804. This revolution was a turning point in global history because it was unthinkable that such a massive anti-slavery revolt would not only take place, but also

3768:

rather than on succession: the novel does not present history in terms of a sequence of events and their consequences.<ref name=Sokoloff39>{{Harvnb|Sokoloff|1986|p=39}}</ref> The gaps within chronological time that occur throughout this novel as well as the sudden changes of perspective

3747:

2875:

In ''The Kingdom of This World,'' Carpentier writes about the struggles and conflicts that arise between the French colonials and the Afro-Caribbean population in Haiti during a time of revolution. Carpentier's prose is rich with examples of hybridization. One of the most striking examples is found

2865:

1632:

has established contact with surrounding plantations, and gives instructions to ensure the death of cows using secret herbs. The poison spreads, killing livestock by the hundreds as well as Frenchmen, wiping out adults and children. Madame Lenormand de Mezy dies as a result, and the deaths continue

1579:

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most often quoted text,<ref>{{Harvnb|Paravisini-Gebert|2004|p=116}}</ref> in which he coins the term ''lo real maravilloso'' ("marvellous reality") in reference to seemingly miraculous occurrences in ]. Furthermore, his trip to Haiti in 1943 is recounted, as well as some of the research

987:

Throughout the novel, varying perceptions of reality that arise due to cultural differences between its characters are emphasized and contrasted. Carpentier explores ], nature, ], ethnicity, history and destiny, confusion, violence, and sexuality in a style that blends history with fiction and uses

979:

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because of how the slaves practice. As a religion, vodou unifies the slaves through common practice and common language. In the novel, vodou is what motivates and inspires the slaves to rise up in rebellion. Through the use of vodou practices, Macandal is able to poison thousands of people. In the

8391:

Carpentier's portrayal of Christophe has been considered "hollow" and one-sided, representing an archetypal tyrant at his most deteriorated state, seen only through the eyes of Ti Noel. This goes against the principle of historical accuracy, which should present a faithful portrait of society with

2578:

among other black slaves. He has multiple wives, mistresses, and sexual encounters during the course of the novel. Following the quelled black uprising in Part Two, Lenormand de Mezy leaves his state of hiding and arrives in time to spare the lives of Ti Noel and some of his other slaves. He takes

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with the ] realism of Henri Christophe.<ref name=Paravisini120/> A key aspect of the novel is that the main character is of interest not because of his skin colour, but rather for his human attributes that allow universal reflection beyond the realm of race. In this sense, magic realism is a

2182:

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as seen by its central character, Ti Noel, who serves as the novel's connecting thread. Carpentier's work has been influenced by his multi-cultural experience and his passion for the arts, as well as by authors such as ]. The novel stems from the author's desire to retrace the roots and history of

8688:

Carpentier reduces the individuality of the characters, enhancing the notion of humanity, keeping in line with the theme of history as a repetition of patterns regardless of who is in power. The simultaneous presence of fact and fiction and the cycle of reversal of fortunes presents characters as

8316:

Ti Noel, an illiterate slave, is a protagonist of African origin. He begins as a young slave who, during the unravelling of the novel, travels to Cuba before returning to Haiti. He is twice branded as a slave but now is a free man. Although he grows old, he remains a witness rather than actor and

8285:

Ti Noel has been won in a card game by a plantation owner based in Santiago, and Lenormand de Mezy dies in abject poverty shortly afterwards. Ti Noel saves enough money to buy his passage, and as a free man, he discovers a free Haiti. Now much older, he realizes that he has returned to the former

8197:

Theatre also greatly influenced Alejo Carpentier's work. In all his work, Carpentier uses the characters he creates to explore the notions of subjectivity and identity, analyzing the way in which individuals see themselves and others within cultural settings. In order to achieve such an analysis,

2787:

result of this armed reaction is the emergence of a brutal regime in which the oppressed become the oppressors. Sadly, the leaders of the newly produced regime fail to break the mold imposed by the French colonials. The ruling Afro-Caribbeans end up enslaving and oppressing their own kind and the

2012:

to supply the royal family. Solimán accompanies them and enjoys the summers in Rome, where he is treated well and tells embellished tales of his past. He encounters a statue of Pauline whose form brings back memories, and sends him into a howl, causing the room to be rushed. He is reminded of the

1992:

1416:

Carpentier lastly equates the idea of Western theatre with that of a sham through Ti Noel's realization that disguising oneself to assume a role does not lead to community:<ref name=Unruh70/> "As Ti Noel was there in disguise, and did not for a moment consider himself one of the species, he

1408:

1240:

Carpentier was a great admirer of Spanish author ], having cited him in a number of different texts throughout his career.<ref>{{Harvnb|De Armas|1981|p=297}}</ref> The Prologue begins with a quote from Cervantes' ''Los trabajos de Persiles y Sigismunda'' (''Persiles and Sigismunda''),

1232:

1214:

In contrast to the intense single character focus of his first novel, ''¡Ecue-Yamba-O!'' (''Praised Be the Lord!''), Carpentier offers a diversified understanding of black society and its beliefs in ''The Kingdom of This World''. There exists remarkable respect for accuracy on all sides including

1206:

8630:. While the setting and the majority of the characters are based on fact, many of the events that occur during the novel are Carpentier's rendition of the actual events that took place during the course of the Haitian revolution. In the Prologue to the novel, Carpentier defines the phenomenon of 8427:, while engaging in affairs with young officers. Her function in the novel has been a matter of debate, with different critics viewing her as a representation of white decadence, the immorality of the colony, or sexuality. It is a statue of Pauline that causes the beginning of Solimán's madness. 8320:

Ti Noel is well established early on as not only a witness to events, but also as someone who makes observations and offers reflection. It is he who considers slavery under Henri Christophe worse than that under French rule because blacks are now enslaving fellow blacks. It is also he who offers

8298:

Henri Christophe's widow and children are taken to Europe by English merchants, who used to supply the royal family. Solimán accompanies them and enjoys the summers in Rome, where he is treated well and tells embellished tales of his past. He encounters a statue of Pauline whose form brings back

8267:

Ti Noel recalls the tales that a fellow slave, Macandal, would regale on the plantation of their master, Lenormand de Mezy. Macandal would tell tales of magical characters and mythical kingdoms with rivers rising in the sky. He is said to not only have irresistible qualities that appeal to black

3565:

survived his execution, the whites, and especially the readers, know that he did not.<ref>{{Harvnb|Paravisini-Gebert|2004|p=127}}</ref> The marvellous, emphasized in the Prologue, is a product of the characters' beliefs, which is why there is the shift in perspectives when presenting

3508:

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and Ti Noel.<ref name=DeArmas312>{{Harvnb|De Armas|1981|p=312}}</ref> These events, however, often represent the beliefs of other characters in the novel.<ref name=DeArmas311>{{Harvnb|De Armas|1981|p=311}}</ref> For a more detailed account of the differences between magic

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3103:

the plantations (which were mainly sugarcane) were on fire, and the revolution had started. It was to last for thirteen years, until 1804" (Dominique 103).<ref>{{cite journal|last1=Dominique|first1=Rachel Beauvoir|title=The Social Value of Voodoo throughout History: Slavery, Migrations and

3041:

leader.<ref>{{Harvnb|Paravisini-Gebert|2004|p=123}}</ref> While Dessaline's belief in African gods is highlighted, Henri Christophe's abandonment of the religion is stressed, being identified as the reason for his downfall.<ref>{{Harvnb|Paravisini-Gebert|2004|p=124}}</ref>

3033:

2156:

2148:

1153:

therefore challenged the prejudices of its time.<ref name=Dash18>{{Harvnb|Dash|2005|p=18}}</ref> Haitians became the second nation to break from their European colonizer (following the US).<ref name=Dash18/> The Haitian revolution differed from the ] however, as it involved the

8649:

His conception of 'marvellous reality' revolves around the natural fantastic qualities of Latin America and the Caribbean, as opposed to the overly forced and cliché efforts by European surrealists to portray magical occurrences. The result was the presentation of impossible or fantastic events

3685:

3647:

As a young writer, Carpentier spent a great deal of time in Europe. Due to his European heritage, Carpentier had a firm grasp of the French language and was also well versed in the French ] tradition.<ref name=Henighan1014/> Although Carpentier could have easily become a successful French

3639:

3560:

Most moments in which there is a fantastic occurrence constitute a change in point of view, from the omniscient narrator to a specific character with particular beliefs.<ref name=DeArmas311/> The introduction of magical events from the perspective of the slaves highlights their otherness,

3503:

1304:

Theatre also greatly influenced Alejo Carpentier's work.<ref name=Unruh58>{{Harvnb|Unruh|1998|p=58}}</ref> In all his work, Carpentier uses the characters he creates to explore the notions of subjectivity and identity, analyzing the way in which individuals see themselves and others

1296:

8589:

There is a socio-political cycle of order and disorder where, regardless of who is in power, the same injustices take place: when the blacks take control, they betray their own traditions and follow the example of European states. By means of these repeated scenarios, history is presented as a

8276:

Lenormand de Mezy's second wife has died and the city has made remarkable progress. Henri Christophe is a master chef. Twenty years have gone by and Ti Noel has fathered twelve children by one of the cooks. He has told these children many stories of Macandal and they await his return. A secret

3763:

realism in ''The Kingdom of This World'' has been acclaimed by critics and discussed at length within the academic community, this concern is paralleled by a lack of interest in Carpentier's technical work in the novel.<ref name=Rama227/> In particular, his vision of time has been widely

3742:

2524:

Pauline Bonaparte is represented as immature, expecting an ideal life of fantasy in the ], while engaging in affairs with young officers.<ref>{{Harvnb|Paravisini-Gebert|2004|p=125}}</ref> Her function in the novel has been a matter of debate, with different critics viewing her as a

2516:

1619:

would tell tales of magical characters and mythical kingdoms with rivers rising in the sky. He is said to not only have irresistible qualities that appeal to black women, but also the ability to captivate men. He suffers an accident in which his left hand is caught in machinery, and his arm is

1566:

1374:

As an example, the execution scene in ''The Kingdom of This World'' puts European and ] cultures in opposition through the use of the spectator-performer relationship.<ref name=Unruh69>{{Harvnb|Unruh|1998|p=69}}</ref> In this spectacle situation, Carpentier is able to juxtapose the

1354:

8332:

realism of Henri Christophe. A key aspect of the novel is that the main character is of interest not because of his skin colour, but rather for his human attributes that allow universal reflection beyond the realm of race. In this sense, magic realism is a necessary tool of expression and the

3091:

Vodou is central to ''The Kingdom of This World'' because of how the slaves practice. As a religion, vodou unifies the slaves through common practice and common language. In the novel, vodou is what motivates and inspires the slaves to rise up in rebellion. Through the use of vodou practices,

8672:

the novel. Furthermore, the lack of transition in between perspectives grants authenticity to the marvellous. The historical episodes and characters were chosen based on which are the most interesting and unusual and not on which are most important to accurately recount the history of Haiti.

8507:

Carpentier writes about the struggles and conflicts that arise between the French colonials and the Afro-Caribbean population in Haiti during a time of revolution. Carpentier's prose is rich with examples of hybridization. One of the most striking examples is found in the chapter titled "San

2978:

has expert knowledge of the nature of the forest, using its herbs and fungi as weapons against the planters.<ref name=Paravisini122>{{Harvnb|Paravisini-Gebert|2004|p=122}}</ref> The ecological landscape of Haiti is used to represent the wreckage of the Revolution, being initially

2967:

2276:

has his left arm amputated after a machinery accident on the plantation of Lenormand de Mezy and, unable to complete heavy work, is put in charge of pasturing the cattle. He departs for the mountains and discovers many secret herbs, plants, and fungi about which he is taught more by an old,

2260:

1417:

took refuge by himself under his table."<ref>{{Harvnb|Carpentier|1989|p=179}}</ref> Theatre is also undermined when Ti Noel flees with Ruth (his wife and an actress), and in the end is faced with nothing but theatre on her behalf.<ref>{{Harvnb|Unruh|1998|p=71}}</ref>

1409:

1181:.<ref name=Dash18>{{Harvnb|Dash|2005|p=18}}</ref> Haitians became the second nation to break from their European colonizer (following the US).<ref name=Dash18/> The Haitian revolution differed from the ] however, as it involved the formation of a new national identity.{{ 8342: 8028:, ethnicity, history and destiny, confusion, violence, and sexuality in a style that blends history with fiction and uses repetition to emphasize the cyclical nature of events. The novel was largely well-received with much attention paid to Carpentier's inclusion of magic realism and 2581:

Lenormand de Mezy's name may be based on an eponymous Haitian plantation where the historical Bouckman is said to have conducted his famous ].<ref>{{cite web |url=http://www.webster.edu/~corbetre/haiti/history/revolution/caiman.htm |title=Haiti: THe Bois Caiman Meeting of 1791

1149:''The Kingdom of This World'' takes place prior to, during, and after the Haitian Revolution which led to the declaration of Haitian independence in 1804.<ref>{{Harvnb|Dash|2005|p=16}}</ref> This revolution was a turning point in global history because it was unthinkable 3677:> Carpentier further satirizes the pomp of those in power through a series of details of protocol and ceremony whose cumulative effects ridicule the object of description, as is the case with Henri Christophe's chambers.<ref>{{Harvnb|Carpentier|2004|pp=121–123}}</ref> 8650:

described as if they were completely usual and natural, such as the metamorphoses of Macandal and Ti Noel. These events, however, often represent the beliefs of other characters in the novel. For a more detailed account of the differences between magic realism and Carpentier's

8117:

be successful; therefore, it challenged the prejudices of its time and ultimately influenced abolitionist movements throughout the Americas. Haitians became the second nation to break from their European colonizer (following the US). The Haitian revolution differed from the

3224:

There is a socio-political cycle of order and disorder where, regardless of who is in power, the same injustices take place:<ref>{{Harvnb|Goldberg|1991|p=24}}</ref> when the blacks take control, they betray their own traditions and follow the example of European

3216:

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necessary tool of expression and the technique serves to confront the novel's hero, better develop his purpose as a man, and advance a simultaneously profound and straightforward understanding of the human experience.<ref>{{Harvnb|Barreda-Tomás|1972|p=41}}</ref>

2183:

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The drum is the main feature of ] in the novel, always accompanying the slaves.<ref>{{Harvnb|Goldberg|1991|p=28}}</ref> Drums, including conch shells and even thunder, announce all the armed revolts by the blacks and serve as a means of communication during

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is considered to be Alejo Carpentier's first great novel. He is praised for his skillful inclusion of Haitian voodoo, myth, and history in the work, as well as for contributing to the definition of Latin American identity. Although the presence of fantastic realism in

166: 8680:

for instance, that Macandal survived his execution, the whites, and especially the readers, know that he did not. The marvellous, emphasized in the Prologue, is a product of the characters' beliefs, which is why there is the shift in perspectives when presenting it.

8388:

previously tortured subjects. As the black population revolts against his rule, he finds himself alone and deserted. In this state he commits suicide by shooting himself. His body is taken to be buried in a fortress on a mountain and this becomes his mausoleum.

8286:

plantation of Lenormand de Mezy. Haiti has undergone great development, and the land has come under the control of the black man. Ti Noel is abruptly thrown into prison and once again made to work as a slave among children, pregnant girls, women, and old men.

2579:

them to Cuba to protect his assets, but while there, he gambles with his slaves, drinks much alcohol, enjoys the company of women, and loses what remains of his wealth. Having lost Ti Noel in a card game, Lenormand de Mezy dies shortly after in abject poverty.

2567:

8013:. The novel stems from the author's desire to retrace the roots and history of the New World, and is embedded with what Carpentier calls "lo real maravilloso" or "the marvelous real"—a concept he introduced to the world of literature (not to be confused with 3104:

Solidarity.|journal=Museum International|date=December 2010|volume=64|issue=4|pages=99–105|doi=10.1111/j.1468-0033.2011.01741.x|s2cid=142654011 }}</ref> In conclusion, vodou was an integral practice in unifying the slaves and inspiring the revolt.

2908:

2897:

60: 3277:> Often, the characters find that reality does not lie entirely in either world.<ref name=Stimson149/> It is possible that this theme is well-developed in Alejo Carpentier's work because of the author's own personal experience with cultural 2157:

reflections about the difficulty of this world allowing for the possibility of greatness during the concluding remarks of the novel. His perspective represents that of the folk, including his belief in the African gods.<ref name=Paravisini120/>

2149:

1803:

1691:

3040:

Although ], a pivotal figure in the Haitian Revolution, is barely mentioned in the novel, the one page dedicated to him emphasizes his connection to African gods while neglecting to mention any of his other features that made him an effective

3032:

8752:

has been acclaimed by critics and discussed at length within the academic community, this concern is paralleled by a lack of interest in Carpentier's technical work in the novel. In particular, his vision of time has been widely ignored.

2788:

resulting social situation is devoid of any progress. Carpentier's perspective on the Haitian revolution is revealed in the way that he portrays the cyclical nature of reactionary violence.<ref>{{Harvnb|Bosch|1976|p=86}}</ref>

8614:

through the images of torture, fire, suppression, and hungry dogs for example. Carpentier's characters often find consolation in sexuality (which is closely related to the sadism of the violence theme) after experiencing violence.

8317:

more often reacts to, as opposed to causes, events throughout the novel. He is in admiration of Macandal's qualities prior to the loss of Macandal's arm; he accompanies Macandal into the mountains and is saddened by his departure.

8218:

Through the different, mutable views of the performance that he creates, Carpentier is able to represent an unstable cultural identity. As a second example, the scene that Ti Noel constructs around himself after the sacking of the

3268:

2582:|access-date=2005-03-17 |url-status=dead |archive-url=https://web.archive.org/web/20050317085542/http://www.webster.edu/~corbetre/haiti/history/revolution/caiman.htm |archive-date=2005-03-17 }}</ref><ref>]</ref> 4321:*{{citation | last = Carpentier| first = Alejo | author-link = Alejo Carpentier| title = El Reino de Este Mundo| publisher = Editorial Planeta Mexicana | year = 2004| place = Mexico | isbn = 978-970-749-012-3|language=es}}. 8009:, as seen by its central character, Ti Noel, who serves as the novel's connecting thread. Carpentier's work has been influenced by his multi-cultural experience and his passion for the arts, as well as by authors such as 8321:

8121:

however, as it involved the formation of a new national identity. Unlike in the US, the entire social and economic order that had been put in place through the practice of plantation slavery in Haiti was transformed.

8137:. There exists remarkable respect for accuracy on all sides including historical facts, character names, place names, and even street names. This adds to the key blend of marvellous fantasy and historical accuracy. 1649:

to complete his metamorphoses and once again become a human. After four years, he returns during a celebration and all present are delighted. The chanting alerts the white men, and preparations are made to capture

4024:*{{citation|last = Bosch |first = Rafael |title= Analisis objetivo (O material) del primer Carpentier|year= 1976 |journal = Revista de Crítica Literaria Latinoamericana | volume = 2 | issue = 4 | pages = 81–102 | 3993:{{citation|last = Bosch |first = Rafael |title= Analisis objetivo (O material) del primer Carpentier|year= 1976 |journal = Revista de Crítica Literaria Latinoamericana | volume = 2 | issue = 4 | pages = 81–102 | 2281:

leaves the plantation, attains the ability to transform into various beings, and is represented as having superhuman powers due to his possession by the gods.<ref>{{Harvnb|Carpentier|2004|p=37}}</ref>

2265:

8185:), which is subsequently mentioned, with a focus on the character of Rutilio. The mention of Rutilio is noteworthy, as the episode has been of interest to critics due to its magical subject matter, concerning 3170:

More importantly, by allowing readers to see through the slaves' point of view, Carpentier brings to light the power and durability of the Haitian community and destabilizes the narrative of Western supremacy.

8712:

tradition. Although Carpentier could have easily become a successful French writer, he instead chose to write in Spanish. However, Carpentier never fully dislocated himself from his European heritage as

8646:, one of whose main features was the use of magic realism. This being one of the first books in the genre, Carpentier had no guarantee of finding an audience and even covered publication costs himself. 8416:

through her clothes to reveal the grace of her breasts. She would also sleep out in the open. Pauline has Solimán massage her body and tend to her beauty. They form a relationship and when her husband,

1185:}} <ref name=Dash18/> Unlike in the US, the entire social and economic order that had been put in place through the practice of plantation slavery in Haiti was transformed.<ref name=Dash18/> 1158:}} <ref name=Dash18/> Unlike in the US, the entire social and economic order that had been put in place through the practice of plantation slavery in Haiti was transformed.<ref name=Dash18/> 3225:

states.<ref>{{Harvnb|Goldberg|1991|p=25}}</ref> By means of these repeated scenarios, history is presented as a cyclical re-enactment of the same human dilemmas.<ref name=Sokoloff39/>

3217:

states.<ref>{{Harvnb|Goldberg|1991|p=25}}</ref> By means of these repeated scenarios, history is presented as a cyclical re-enactment of the same human dilemmas.<ref name=Sokoloff39/>

1637:

has superhuman powers and is the Lord of Poison. Death within the plantations returns to normal rates as a result and the Frenchmen return to playing cards and drinking, as months pass with no word of

1584:

1215:

historical facts, character names, place names, and even street names.<ref>{{Harvnb|Barreda-Tomás|1972|p=40}}</ref> This adds to the key blend of marvellous fantasy and historical accuracy.

1207:

historical facts, character names, place names, and even street names.<ref>{{Harvnb|Barreda-Tomás|1972|p=40}}</ref> This adds to the key blend of marvellous fantasy and historical accuracy.

2115:

rather than actor and more often reacts to, as opposed to causes, events throughout the novel.<ref name=Paravisini120>{{Harvnb|Paravisini-Gebert|2004|p=120}}</ref> He is in admiration of

2095:

rather than actor and more often reacts to, as opposed to causes, events throughout the novel.<ref name=Paravisini120>{{Harvnb|Paravisini-Gebert|2004|p=120}}</ref> He is in admiration of

8642:

are considered "pioneers of the contemporary Spanish-American novel" because of their mythologizing of the Latin American experience. Their work in between the late 1940s and early 1960s led to the

3960:*{{citation|last = Barreda-Tomás|first = Pedro M |title= Alejo Carpentier: Dos Visiones del Negro, Dos Conceptos de la Novela |year= 1972|journal = Hispania| volume = 55| issue = 1| pages = 34–44| 3933:{{citation|last = Barreda-Tomás|first = Pedro M |title= Alejo Carpentier: Dos Visiones del Negro, Dos Conceptos de la Novela |year= 1972|journal = Hispania| volume = 55| issue = 1| pages = 34–44| 3289:

lie entirely in either world.<ref name=Stimson149/> It is possible that this theme is well-developed in Alejo Carpentier's work because of the author's own personal experience with cultural

8598:

The theme of confusion appears through the transplantation of characters from one world to another, for example from the characters' childhood culture to the one imposed upon them as occurs in

1620:

dragged in up to the shoulder. Being useless to his owner, he departs for the mountains and discovers many secret herbs, plants, and fungi that appear to have magical qualities. Ti Noel joins

1567:

dragged in up to the shoulder. Being useless to his owner, he departs for the mountains and discovers many secret herbs, plants, and fungi that appear to have magical qualities. Ti Noel joins

15: 8556:

in the novel, always accompanying the slaves. Drums, including conch shells and even thunder, announce all the armed revolts by the blacks and serve as a means of communication during war.

8708:

As a young writer, Carpentier spent a great deal of time in Europe. Due to his European heritage, Carpentier had a firm grasp of the French language and was also well versed in the French

8533:

and bare. The powerful climate of the Caribbean is more similar to Africa than Europe, making nature an ally of the slaves. Natural elements also act on their own, with Henri Christophe's

1701:

kill white men and drink much alcohol. Ti Noel, after drinking, rapes Mademoiselle Floridor, who is Lenormand de Mezy's latest mistress. The uprising is defeated and Bouckman is killed.

1169:

led to the declaration of Haitian independence in 1804.<ref>{{Harvnb|Dash|2005|p=16}}</ref> This revolution was a turning point in global history because it was unthinkable

2901:

In the end, due to his conflicting cultural influences, Carpentier's own feelings of being somewhat of a hybrid entity himself are mirrored in his prose.<ref name=Henighan1015/>

8333:

technique serves to confront the novel's hero, better develop his purpose as a man, and advance a simultaneously profound and straightforward understanding of the human experience.

1817:

white men and drink much alcohol. Ti Noel, after drinking, rapes Mademoiselle Floridor, who is Lenormand de Mezy's latest mistress. The uprising is defeated and Bouckman is killed.

1645:, now with the ability to transform into animal forms, like bird, fish, or insect, visits the plantation to affirm faith in his return. The slaves decide to wait four years for 1592:, now with the ability to transform into animal forms, like bird, fish, or insect, visits the plantation to affirm faith in his return. The slaves decide to wait four years for 149: 8364:

Macandal represents the link between spirituality and history; he is the inspiration for the rebellion, and the first one to employ the marvelous as a weapon of resistance.

8495:, or the formation of a hybrid identity, is a theme commonly found in texts that deal with cultural differences. The theory of hybridization was originally developed by 1628:

suggests that the time has come, and no longer goes to the plantation. After the rain season has passed, Ti Noel meets with him in a cave populated with strange items.

1575:

suggests that the time has come, and no longer goes to the plantation. After the rain season has passed, Ti Noel meets with him in a cave populated with strange items.

941:

by ]n author ], published in 1949 in his native Spanish and first translated into English in 1957. A work of ], it tells the story of ] before, during, and after the ]

8020:

Throughout the novel, varying perceptions of reality that arise due to cultural differences between its characters are emphasized and contrasted. Carpentier explores

8226:

his table." Theatre is also undermined when Ti Noel flees with Ruth (his wife and an actress), and in the end is faced with nothing but theatre on her behalf.

2365:

represents the link between spirituality and history;<ref name=Paravisini122/> he is the inspiration for the rebellion, and the first one to employ the

2351:

represents the link between spirituality and history;<ref name=Paravisini122/> he is the inspiration for the rebellion, and the first one to employ the

10699: 8758:

sudden changes of perspective and minimal transitional narrative have led some to criticize the book for the chaotic first impression it gives the reader.

1600:. After four years, he returns during a celebration and all present are delighted. The chanting alerts the white men, and preparations are made to capture 8676:

questions the historical accuracy of the work by arguing that Carpentier manipulated dates so that he could achieve meaningful associations in his novel.

7801: 90: 8222:

presents the reader with a dramatic rehearsal in which Ti Noel represents culturally mobile subjectivity by performing different identities on his own.

8040:. However, some technical aspects of his style have been ignored by the academic community, and the novel's narrative organization has been criticized. 8189:. Both works feature a distant and exotic land where the marvellous is present by means of metamorphoses, and viewed from the characters' perspective. 3764:

ignored.<ref name=Rama225/> ''The Kingdom of This World'' has also been criticized for its narrative organization, which predominantly relies on

3743:

ignored.<ref name=Rama225/> ''The Kingdom of This World'' has also been criticized for its narrative organization, which predominantly relies on

28: 8586:

Pauline and Solimán indulge in their wealthy positions and then sink into madness. There is a clear pattern of succession from fortune to misfortune.

7438:*{{citation|last = Williams |first = Lorna V|title= The Image of King Christophe|year= 1977 |journal = CLA Journal | volume = 20 | pages = 333–340}}. 9290: 948:

with what Carpentier calls "lo real maravilloso" or "the marvelous real"—a concept he introduced to the world of literature (not to be confused

10704: 8689:

functional variants of each other. Through frequent use of metonymy, whereby a part replaces a whole, for example, referring to soldiers as

8087: 157: 86: 69: 3380:

the presentation of impossible or fantastic events described as if they were completely usual and natural, such as the metamorphoses of

3367:

the presentation of impossible or fantastic events described as if they were completely usual and natural, such as the metamorphoses of

2783:

In the novel, the Afro-Caribbean slave population violently react to the oppressive regime imposed on them by the French colonials. The

3909:= 1998|journal = La Palabra y el Hombre|pages = 23–43|url = http://148.226.9.79:8080/dspace/bitstream/123456789/820/1/1998106P23.pdf| 161: 8420:, falls ill she puts her faith in the voodoo of Solimán designed to cure him. Leclerc dies and Pauline makes her way back to Paris. 8099:

coincides with Carpentier's return to Cuba, it is very much influenced by the author's re-encounter with himself and his origins.

9488:

Dominique, Rachel Beauvoir (December 2010). "The Social Value of Voodoo throughout History: Slavery, Migrations and Solidarity".

8564:

novel, vodou is used both to protect the slaves and to wage war against the slave owners. This point is drawn from an article by

10463: 10073: 10051: 9264: 8814: 8733: 3293:(Carpentier grew up in Havana but later moved to France for six years and travelled extensively).<ref name=Stimson149/> 3281:(Carpentier grew up in Havana but later moved to France for six years and travelled extensively).<ref name=Stimson149/> 10306:

Paravisini-Gebert, Lizabeth (2004), "The Haitian Revolution in Interstices and Shadows: A Re-reading of Alejo Carpentier's

8417: 191: 119: 8177:, having cited him in a number of different texts throughout his career. The Prologue begins with a quote from Cervantes' 10674: 10664: 123: 10659: 10669: 7957: 7948: 10694: 10689: 8673: 184: 108: 8371:

Henri Christophe, a key figure in winning Haiti's independence from France during the 1791–1804 Haitian Revolution

8732:

Carpentier was an admirer of the elegance and wit in the work of satirical French writers and artists of the

8384:

across the world to be satisfied. He is said to have a magic touch with turtle vol-au-vent or wood pigeons.

3773:

some to criticize the book for the chaotic first impression it gives the reader.<ref name=Sokoloff39/>

3752:

some to criticize the book for the chaotic first impression it gives the reader.<ref name=Sokoloff39/>

643:| publisher = Edición y Distribución Iberoamericana de Publicaciones (Spanish) ] (English) 173: 10684: 9944: 97: 2013:

night of Henri Christophe's demise and flees before succumbing to malaria. Ti Noel recalls things told by

1993:

night of Henri Christophe's demise and flees before succumbing to malaria. Ti Noel recalls things told by

9965:

Barreda-Tomás, Pedro M (1972), "Alejo Carpentier: Dos Visiones del Negro, Dos Conceptos de la Novela",

9294: 8655: 10576: 10285:

Müller-Bergh, Klaus (1969), "Corrientes vanguardistas y surrealismo en la obra de Alejo Carpentier",

10083:

Dash, Michael J (2005), "The Theater of the Haitian Revolution / The Haitian Revolution as Theater",

8565: 8037: 8405: 7706: 7690: 7652: 7625: 7591: 7561: 7545: 7529: 7513: 7490: 2574:'''Lenormand de Mezy''': Lenormand de Mezy is the white master of a plantation and owns Ti Noel and 2562:'''Lenormand de Mezy''': Lenormand de Mezy is the white master of a plantation and owns Ti Noel and 3552: 3519: 3495: 3477: 3439: 3419: 2649: 2611: 873: 843: 811: 782: 765: 706: 689: 662: 633: 612: 8639: 1165:''The Kingdom of This World'' takes place prior to, during, and after the Haitian Revolution which 406: 356: 327: 266: 10265:

Miller, Paul B (2001), "Blancas Y Negras: Carpentier and the Temporalities of Mutual Exclusion",

8546: 8170:

made connections between religion and history and was considered a beautiful book by Carpentier.

115: 8534: 10447: 7993:, published in 1949 in his native Spanish and first translated into English in 1957. A work of 3885:= Vodu, Mito e Historia en El Reino de Este Mundo|year= 1998|journal = La Palabra y el Hombre| 10112: 8251:

The prologue to the novel is Carpentier's most often quoted text, in which he coins the term

1811:

Upon hearing the conch-shells Lenormand de Mezy is frightened and manages to hide. The slaves

63: 1633:

with entire families suffering the same fate. At gunpoint, a slave eventually explains that

1580:

with entire families suffering the same fate. At gunpoint, a slave eventually explains that

10654: 8033: 8006: 180: 104: 1171:

that such a massive anti-slavery revolt would not only take place, but also be successful;

8: 8643: 8239: 8174: 8118: 8010: 4252:*{{citation | last = Carpentier| first = Alejo | author-link = Alejo Carpentier| title = 2323:

is not extinguished in the flames. Ti Noel tells his children the stories he was told by

2307:

is not extinguished in the flames. Ti Noel tells his children the stories he was told by

2190:

Ti Noel has been considered a product of ], combining the African magical perspective of

2178:

Ti Noel has been considered a product of ], combining the African magical perspective of

700:= Edición y Distribución Iberoamericana de Publicaciones (Spanish) ] (English) 8423:

Pauline Bonaparte is represented as immature, expecting an ideal life of fantasy in the

4191:{{citation | last = Carpentier| first = Alejo | author-link = Alejo Carpentier| title = 10617: 10590:

Unruh, Vicky (1998), "The Performing Spectator in Alejo Carpentier's Fictional World",

10558: 10529: 10494: 10413: 10405: 10371: 10335: 10327: 10294: 10274: 10247: 10215: 10165: 10140: 10100: 10010: 9982: 9505: 8627: 8439: 8214: 8108: 8092: 8002: 7994: 1461:] depicting a struggle between Polish troops in French service and the Haitian rebels]] 1454:] depicting a struggle between Polish troops in French service and the Haitian rebels]] 10452: 10227: 10679: 10459: 10417: 10347: 10339: 10251: 10104: 10069: 10047: 9509: 9501: 8412: 8219: 8133:), Carpentier offers a diversified understanding of black society and its beliefs in 7953: 7943: 3918:|language = es}}{{Dead link|date=May 2024 |bot=InternetArchiveBot |fix-attempted=yes 2369:

as a weapon of resistance.<ref>{{Harvnb|De Armas|1981|pp=310–311}}</ref>

2355:

as a weapon of resistance.<ref>{{Harvnb|De Armas|1981|pp=310–311}}</ref>

2008:

Henri Christophe's widow and children are taken to Europe by English merchants, who

1988:

Henri Christophe's widow and children are taken to Europe by English merchants, who

937:'''''The Kingdom of This World''''' ({{lang-es|'''El reino de este mundo'''}}) is a 10607: 10599: 10550: 10519: 10486: 10395: 10363: 10319: 10239: 10207: 10198:(1999), "Two Paths to the Boom: Carpentier, Asturias, and the Performative Split", 10195: 10132: 10092: 10061: 10039: 10002: 9974: 9497: 8500:

a mix of the two original cultures and the result is a new unique cultural entity.

8380: 8287: 8242:

depicting a struggle between Polish troops in French service and the Haitian rebels

8163: 8061: 7990: 7972: 7865: 7815: 16: 10473:

Sokoloff, Naomi B (1986), "The Discourse of Contradiction: Metaphor, Metonymy and

8151: 8014: 7881: 10023: 8496: 8325: 7425:

57–77 | jstor = 474775| doi=10.2307/474775|hdl = 1808/17450 |hdl-access = free

3891:

url = http://148.226.9.79:8080/dspace/bitstream/123456789/820/1/1998106P23.pdf|

387:| alt = Book cover featuring a Haitian man with a hat and a sword 10400: 9993:

Bosch, Rafael (1976), "Analisis objetivo (O material) del primer Carpentier",

9314: 3651:

transitively, as ''déserter'' is used in French.<ref name=Henighan1016/>

10648: 10570:

Torres-Rosado, Santos (1991), "La mujer como referente estético-literario en

10524: 8635: 8553: 8492: 8449: 8256: 8025: 8021: 7869: 10383: 8693:(uniforms), Carpentier shifts the focus from individuals to the collective. 8524: 8234: 8032:

has been described as an important work in the development of this genre in

44: 8255:("marvellous reality") in reference to seemingly miraculous occurrences in 7073:

La mujer como referente estético-literario en ''El reino de este mundo'' de

1809:

sound and slaves, armed with sticks, surround the houses of their masters.

1697:

sound and slaves, armed with sticks, surround the houses of their masters.

10323: 10243: 8201: 8186: 8069: 10562: 10533: 10386:(1981), "Los Productivos anos Setenta de Alejo Carpentier (1904–1980)", 10298: 10278: 10169: 8634:, which has been considered one of the starting points for the genre of 1179:

and ultimately influenced abolitionist movements throughout the Americas

10498: 10409: 10331: 10219: 10014: 8709: 8341: 7847: 7806:

Front cover of the first edition of the English translation of the book

1624:

and both learn about the magical attributes of these natural elements.

1571:

and both learn about the magical attributes of these natural elements.

10621: 10612: 10375: 10144: 9986: 8125:

In contrast to the intense single character focus of his first novel,

10554: 10177:

González Bolaños, Aimée (2001), "Novela histórica e ilusión poética:

8610:

The brutality of the Spanish American dictatorship is omnipresent in

8424: 7926: 7922: 1615:, would regale on the plantation of their master, Lenormand de Mezy. 1562:, would regale on the plantation of their master, Lenormand de Mezy. 10490: 10211: 10096: 10006: 8400: 10603: 10506:

Speratti-Piñero, Emma Susana (1980), "Creencias áfro-antillanas en

10367: 10136: 9978: 8367: 8353: 8329: 8065: 1878:

are gathered to be publicly executed, but Lenormand de Mezy secures

10541:

Stimson, Frederick S (1959), "Alejo Carpentier, Cuban Novelist",

8714: 8537:

being attacked by fungi and thunderstorms before its completion.

8512:, but rather speaks of the metamorphosis of the slave Mackandal. 8453: 8328:, combining the African magical perspective of Macandal with the 3385:

realism and Carpentier's ''real maravilloso'', see the page on ].

3372:

realism and Carpentier's ''real maravilloso'', see the page on ].

956:<ref name=Carpentier>{{Harvnb|Carpentier|1967}}</ref> 7879:

Edición y Distribución Iberoamericana de Publicaciones (Spanish)

10228:"The Dialects of Heresy and Authority in Borges and Carpentier" 8571: 8346: 8081: 8073: 958:<ref name=Rama227>{{Harvnb|Rama|1981|p=227}}</ref> 7998: 7982: 8053: 5497:

http://www.jstor.org/stable/30203080| accessdate =2010-01-18

4972:

http://www.jstor.org/stable/3737234 | accessdate =2010-01-22

3071:

war.<ref>{{Harvnb|Goldberg|1991|pp=28–29}}</ref>

3063:

war.<ref>{{Harvnb|Goldberg|1991|pp=28–29}}</ref>

792:| pages = 198 (Spanish) 190 (English) 8509: 8077: 7986: 7902: 1596:

to complete his metamorphoses and once again become a human

10629:

Williams, Lorna V (1977), "The Image of King Christophe",

7246:

http://www.jstor.org/stable/474775| accessdate =2010-01-18

6364:

jstor = 2503136|s2cid = 253114153 |language=es|doi-access

5879:

Interstices and Shadows: A Re-reading of Alejo Carpentier

10152:

Goldberg, Florinda F (1991), "Patterns of Repetition in

3566:

it.<ref>{{Harvnb|De Armas|1981|p=315}}</ref>

3509:

it.<ref>{{Harvnb|De Armas|1981|p=315}}</ref>

1868:

a threat with their voodoo and secret religion. Several

396:| title_orig = {{lang|es|El reino de este mundo}} 3906:= Vodu, Mito e Historia en El Reino de Este Mundo|year 51: 9263:

harvnb error: no target: CITEREFSperatti-Piñero1985 (

10425:

Serra, Ana (1995), "La revolución como simulacro en

8717:

elements are present in all of his works, including

2127:

into the mountains and is saddened by his departure.

2107:

into the mountains and is saddened by his departure.

8528:

View of the Citadelle Laferrière, in northern Haiti

5127:

http://muse.jhu.edu/journals/mln/v122/.2kefala.html

4130:*{{citation|last = Carpentier|first = Alejo|title= 3561:because while they may believe, for instance, that 3504:because while they may believe, for instance, that 10451: 10356:Journal of Interamerican Studies and World Affairs 10068:(in Spanish), Mexico: Editorial Planeta Mexicana, 8590:cyclical re-enactment of the same human dilemmas. 8150:Carpentier was influenced by a number of authors. 3132:===Contrast between black and white ethnicities=== 3125:===Contrast between black and white ethnicities=== 220:(110 intermediate revisions by 78 users not shown) 10305: 9945:"Vodu, Mito e Historia en El Reino de Este Mundo" 9796: 9451: 9439: 9234: 9162: 9121: 9080: 8858: 8827: 8173:Carpentier was a great admirer of Spanish author 5408:20 | doi=10.1353/mln.2007.0042|s2cid = 171052388 10646: 10176: 9198: 9158: 9156: 9154: 9117: 9115: 9113: 8471: 10505: 9857: 9855: 9853: 9669: 9667: 9396: 9394: 9381: 9379: 9377: 9258: 8854: 8852: 8850: 8848: 8540: 8457:the same location as Macandal is burned alive. 8095:, which features a character named Ti Noel. As 1611:Ti Noel recalls the tales that a fellow slave, 1558:Ti Noel recalls the tales that a fellow slave, 9872: 9870: 9521: 9519: 8703: 7787:Latest revision as of 13:21, 21 September 2024 6999:''El reino de este mundo'' de Alejo Carpentier 2277:mysterious woman who is something of a witch. 2261:mysterious woman who is something of a witch. 238:{{Short description|Book by Alejo Carpentier}} 212:uppercase per direct link (Haitian Revolution) 158:Latest revision as of 13:21, 21 September 2024 10569: 10115:(1981), "Metamorphosis as Revolt: Cervantes' 9964: 9708: 9706: 9654: 9652: 9639: 9637: 9635: 9633: 9536: 9534: 9423: 9421: 9277: 9151: 9133: 9110: 9104: 8920: 8813:harvnb error: no target: CITEREFStimson1998 ( 7826: 2327:, and they await his return many years later. 2311:, and they await his return many years later. 10284: 9995:Revista de Crítica Literaria Latinoamericana 9850: 9664: 9391: 9374: 8845: 8804: 8802: 8800: 8798: 8796: 8666: 8572:Contrast between black and white ethnicities 4160:http://www.literatura.us/alejo/deloreal.html 3902:*{{citation|last = Baez-Jorge|first = Felix| 10700:Cultural depictions of Toussaint Louverture 10085:Small Axe: A Caribbean Journal of Criticism 9867: 9516: 3878:{{citation|last = Baez-Jorge|first = Felix| 10060: 10038: 10021: 9942: 9927: 9923: 9921: 9912: 9900: 9888: 9820: 9748: 9736: 9724: 9703: 9697: 9649: 9630: 9531: 9418: 9412: 9364: 9362: 9360: 9358: 9145: 9092: 9056: 9040: 9038: 9036: 9023: 9021: 9019: 8994: 8992: 8979: 8977: 8944: 8839: 8773: 7800: 418:= Front cover of the first edition of the 370:= Front cover of the first edition of the 10611: 10523: 10399: 9487: 8873: 8871: 8869: 8867: 8793: 8783: 8781: 8767: 8605: 8324:Ti Noel has been considered a product of 6048:http://www.jstor.org/stable/2503136?seq=1 1379:'s body falling into the flames with the 1359:'s body falling into the flames with the 854:= 198 (Spanish) 190 (English) 10628: 10472: 10346: 10194: 10151: 10111: 9876: 9861: 9832: 9808: 9784: 9772: 9712: 9685: 9673: 9643: 9624: 9612: 9600: 9588: 9576: 9564: 9552: 9540: 9525: 9475: 9463: 9427: 9400: 9385: 9291:"Haiti: THe Bois Caiman Meeting of 1791" 9222: 9210: 9186: 9174: 8968: 8956: 8932: 8904: 8902: 8900: 8898: 8523: 8399: 8366: 8340: 8233: 8200: 8052: 6848:of Contradiction: Metaphor, Metonymy and 3769:and minimal transitional narrative have 3748:and minimal transitional narrative have 10540: 10046:, New York: Farrar, Straus and Giroux, 9918: 9658: 9355: 9033: 9016: 9004: 8989: 8974: 8808: 8238:Battle on Santo Domingo, a painting by 7712: 7696: 7658: 7631: 7597: 7567: 7551: 7535: 7519: 7496: 4347:Frederick A. |author-link= Frederick A. 2837:result is a new unique cultural entity. 1154:formation of a new national identity.{{ 10647: 10264: 10225: 9368: 8864: 8778: 8580: 8209:As an example, the execution scene in 3558: 3525: 3501: 3483: 3445: 3425: 2655: 2617: 879: 849: 817: 788: 771: 712: 695: 668: 639: 618: 10589: 10424: 9992: 9760: 9349: 9337: 9325: 9068: 9044: 9027: 9010: 8998: 8983: 8895: 8179:Los trabajos de Persiles y Sigismunda 3271:>{{Harvnb|Stimson|1959|p=149}}< 1177:challenged the prejudices of its time 412: 362: 333: 272: 10705:Novels set in the Haitian Revolution 10512:Nueva Revista de Filología Hispánica 10446: 10382: 10082: 9844: 9246: 8908: 8889: 8877: 8787: 8395: 7026:40298391 |language=es|doi = 10.24201 6813:http://www.jstor.org/stable/40298391 5660:http://www.jstor.org/stable/3821348 4628:http://www.jstor.org/stable/20119599 656:| genre = ] ] 434:| translator = Harriet de Onís 77: 43: 8430: 8375: 2746:===Reactionary vs. revolutionary=== 2739:===Reactionary vs. revolutionary=== 865:| isbn = 970-749-012-8 219: 203: 172: 155: 148: 135: 96: 84: 13: 8064:was born on December 26, 1904, in 7789: 3531:occurrences in the novel, such as 3451:occurrences in the novel, such as 2119:'s qualities prior to the loss of 2099:'s qualities prior to the loss of 32: 10716: 5633:'s ''The Kingdom of This World'' 3618:===French stylistic influences=== 3611:===French stylistic influences=== 87:Revision as of 22:53, 14 May 2010 10025:De lo real maravilloso americano 9502:10.1111/j.1468-0033.2011.01741.x 8552:The drum is the main feature of 8487: 8145: 6642:3195071 | accessdate =2010-01-18 4067:author-link = Alejo Carpentier| 10350:(1970), ""The Human Comedy" in 10312:Research in African Literatures 9906: 9894: 9882: 9838: 9826: 9814: 9802: 9790: 9778: 9766: 9754: 9742: 9730: 9718: 9691: 9679: 9618: 9606: 9594: 9582: 9570: 9558: 9546: 9481: 9469: 9457: 9445: 9433: 9406: 9343: 9331: 9319: 9308: 9283: 9271: 9252: 9240: 9228: 9216: 9204: 9192: 9180: 9168: 9139: 9127: 9098: 9086: 9074: 9062: 9050: 8962: 8950: 8938: 8926: 8914: 8466: 8229: 8205:Front view of Sans-Souci Palace 8085:of Dominique Hyppolyte's play, 5770:|author-link= Giovanni Pontiero 10388:Latin American Research Review 10267:Latin American Literary Review 10158:Latin American Literary Review 8883: 8833: 8821: 8001:before, during, and after the 7010:Revista de Filología Hispánica 4909:|author-link= Stephen Henighan 946:the New World, and is embedded 1: 9936: 8683: 8472:Reactionary vs. revolutionary 8302: 8280: 8140: 8043: 7785: 7776: 7765: 7754: 7743: 7732: 7721: 7678: 7665: 7638: 7611: 7480: 7457: 7434: 7377: 7324: 7251: 7177: 7112: 7052: 6973: 6896: 6825: 6748: 6647: 6544: 6457: 6375: 6266: 6158: 6061: 5965: 5858: 5757: 5673: 5590: 5505: 5418: 5321: 5226: 5143: 5063: 4977: 4896: 4818: 4741: 4641: 4558: 4448: 4337: 4326: 4317: 4248: 4183: 4126: 4049: 4020: 3985: 3956: 3925: 3898: 3870: 3817: 3806: 3755: 3734: 3687:<ref name=Pontiero534/> 3680: 3675:><ref name=Pontiero534/ 3668: 3643: 3635: 3542: 3375: 3362: 3284: 3264: 3255: 3242: 3160: 3149: 3099: 3087: 3078: 3003: 2996: 2971: 2960: 2951: 2942: 2904: 2893: 2871: 2861: 2840: 2829: 2791: 2779: 2728: 2671: 2641: 2628: 2597: 2590: 2570: 2558: 2491: 2484: 2461: 2454: 2381: 2374: 2358: 2344: 2314: 2298: 2268: 2252: 2243: 2236: 2223: 2212: 2186: 2174: 2110: 2090: 2004: 1984: 1799: 1687: 1607: 1554: 1516:The prologue to the novel is 1512: 1504:The prologue to the novel is 1500: 1491: 1478: 1457: 1450: 1383:(Afro-Haitian) experience of 1370: 1363:(Afro-Haitian) experience of 1350: 1329: 1322: 1271: 1258: 1161: 1145: 1132: 1121: 1066: 1045: 1036: 1029: 933: 926: 861: 805:| media_type = ] and ] 801: 747: 723: 652: 596: 583: 565: 550: 537: 524: 505: 489: 459: 441: 430: 392: 383: 307: 291: 253: 243: 234: 144:dubious, and drop unprovable. 8761: 8739: 8593: 8541:Voodoo, Vodou, Voudou, Vodun 8293: 3527:There are many instances of 3447:There are many instances of 3321:===Violence and sexuality=== 3314:===Violence and sexuality=== 207: 139: 18:Browse history interactively 7: 8704:French stylistic influences 8674:Roberto González Echevarría 8336: 8271: 8262: 8246: 8080:. He subsequently moved to 7293:mundo'' de Alejo Carpentier 1598:, with testicles like rocks 10: 10721: 10675:Cuban magic realism novels 10665:Novels by Alejo Carpentier 10200:The Modern Language Review 10022:Carpentier, Alejo (1967), 9943:Baez-Jorge, Felix (1998), 8505:The Kingdom of This World, 8311: 8192: 8106: 8102: 7795:The Kingdom of This World 5191:The Modern Language Review 4094:Farrar, Straus and Giroux 205: 137: 10660:20th-century Cuban novels 10577:Cincinnati Romance Review 10401:10.1017/S0023879100028429 10308:The Kingdom of This World 10287:Revista Hispánica Moderna 10154:The Kingdom of This World 10057:. Trans. Harriet de Onís. 10044:The Kingdom of This World 8755:The Kingdom of This World 8750:The Kingdom of This World 8745:The Kingdom of This World 8719:The Kingdom of this World 8698:The Kingdom of This World 8624:The Kingdom of This World 8612:The Kingdom of This World 8600:The Kingdom of This World 8566:Rachel Beauvoir-Dominique 8561:The Kingdom of This World 8519: 8477:The Kingdom of This World 8211:The Kingdom of This World 8135:The Kingdom of This World 8114:The Kingdom of This World 8097:The Kingdom of This World 8048: 8038:Latin American literature 8030:The Kingdom of This World 7968:The Kingdom of This World 7942: 7932: 7918: 7910:Published in English 7908: 7898: 7888: 7875: 7861: 7853: 7843: 7835: 7821: 7811: 7799: 7774: 7763: 7752: 7741: 7730: 7719: 7703: 7687: 7676: 7672: 7649: 7645: 7622: 7618: 7588: 7572: 7556: 7540: 7524: 7508: 7478: 7455: 7432: 6521:Romance Languages Annual 6510:''El siglo de las luces'' 6360:10.1017/S0023879100028429 6123:Studies and World Affairs 5814:Studies and World Affairs 4889:22–34 | jstor = 20119599 4333: 4315: 4122:. Trans. Harriet de Onís. 3602: 3599: 3549: 3540: 3516: 3512: 3474: 3458: 3434: 3329: 3326: 3207: 3204: 3199:===History and destiny=== 3192:===History and destiny=== 3097: 3085: 3076: 2726: 2678: 2667: 2639: 2635: 2608: 2604: 2588: 2421: 2418: 2057: 2054: 1951: 1948: 1913:the slave markets in Cuba 1375:Europeans' experience of 1355:Europeans' experience of 1223: 1220: 996: 993: 870: 859: 840: 836: 829:(Spanish) ISBN 799: 795: 762: 719: 716:| english_pub_date = 1957 686: 682: 650: 646: 609: 437: 403: 399: 381: 377: 324: 287: 232: 227: 224: 154: 124:Pending changes reviewers 83: 10670:Novels about revolutions 10525:10.24201/nrfh.v29i2.1759 10435:Romance Languages Annual 8661: 8618: 7997:, it tells the story of 7791:Book by Alejo Carpentier 7127:|title= Alejo Carpentier 6602:Modern Language Studies 6279:|author-link= Ángel Rama 5728:| volume = 35 | issue = 5646:| volume = 35 | issue = 4308:. Trans. Harriet de Onís 192:Extended confirmed users 120:Extended confirmed users 10695:Novels set in the 1800s 10690:Novels set in the 1790s 10479:Modern Language Studies 8547:Jean-Jacques Dessalines 8183:Persiles and Sigismunda 6854:de este mundo'' |year= 6741:alejocarpentier0000shaw 5714:Alejo Carpentier|year= 5463:Alejo Carpentier|date = 5400:mln/v122/.2kefala.html 5273:Latin American Literary 4608:Latin American Literary 2437:===Pauline Bonaparte=== 2430:===Pauline Bonaparte=== 2123:'s arm; he accompanies 2103:'s arm; he accompanies 885:= (Spanish) 82: 10574:de Alejo Carpentier", 10572:El reino de este mundo 10510:de Alejo Carpentier", 10508:El reino de este mundo 10475:El Reino de este mundo 10427:El reino de este mundo 10352:El Reino de Este Mundo 10226:Kefala, Eleni (2007), 10179:El reino de este mundo 10121:El Reino de Este Mundo 10113:De Armas, Frederick A. 10066:El Reino de Este Mundo 9952:La Palabra y el Hombre 9797:Paravisini-Gebert 2004 9452:Paravisini-Gebert 2004 9440:Paravisini-Gebert 2004 9235:Paravisini-Gebert 2004 9163:Paravisini-Gebert 2004 9122:Paravisini-Gebert 2004 9081:Paravisini-Gebert 2004 8859:Paravisini-Gebert 2004 8828:Paravisini-Gebert 2004 8606:Violence and sexuality 8529: 8409: 8406:François-Joseph Kinson 8372: 8350: 8243: 8206: 8058: 7978:El reino de este mundo 7976: 7828:El reino de este mundo 7827: 7599:{{DEFAULTSORT:Kingdom 7498:{{DEFAULTSORT:Kingdom 7016:| issue = 2 | pages = 6939:| issue = 2 | pages = 6872:| issue = 2 | pages = 6803:| issue = 2 | pages = 6797:de Filología Hispánica 5644:in African Literatures 5183:the Performative Split 5075:|author-link= |title= 4938:the Performative Split 4573:|author-link= |title= 4515:Journal of Criticism | 3009:, Vodou, Voudou, Vodun 2553:===Minor characters=== 2546:===Minor characters=== 2413:===Henri Christophe=== 2406:===Henri Christophe=== 10431:El siglo de las luces 10324:10.1353/ral.2004.0052 10244:10.1353/mln.2007.0042 10117:Persiles y Segismunda 9199:González Bolaños 2001 8640:Miguel Ángel Asturias 8527: 8480:a reaction does not. 8404:Pauline Bonaparte by 8403: 8370: 8344: 8237: 8204: 8056: 7484:{{Authority control}} 7277:estético-literario en 5939:3821348 | doi=10.1353 4698:Reino de Este Mundo'' 4658:Frederick A. de Armas 2601:], a sculpture by ]]] 1183:Dubious|date=May 2010 1072:on December 26, 1904, 9688:, pp. 1010–1011 9490:Museum International 9259:Speratti-Piñero 1985 8559:Vodou is central to 8131:Praised Be the Lord! 8007:Toussaint Louverture 6537:621–625 |language=es 10685:Novels set in Haiti 9954:(in Spanish): 23–43 8729:is used in French. 8644:Latin American Boom 8632:lo real maravilloso 8581:History and destiny 8308:every human being. 8253:lo real maravilloso 8240:January Suchodolski 8175:Miguel de Cervantes 8156:Ainsi parla l'oncle 8119:American Revolution 8011:Miguel de Cervantes 7822:Original title 7796: 7381:*{{citation|last = 7328:*{{citation|last = 7255:*{{citation|last = 7181:*{{citation|last = 7116:*{{citation|last = 6977:*{{citation|last = 6961:org/stable/40097033 6900:*{{citation|last = 6829:*{{citation|last = 6783:de Alejo Carpentier 6548:*{{citation|last = 6461:*{{citation|last = 6270:*{{citation|last = 6065:*{{citation|last = 5862:*{{citation|last = 5761:*{{citation|last = 5677:*{{citation|last = 5594:*{{citation|last = 5509:*{{citation|last = 5325:*{{citation|last = 5230:*{{citation|last = 5147:*{{citation|last = 5067:*{{citation|last = 4981:*{{citation|last = 4900:*{{citation|last = 4822:*{{citation|last = 4645:*{{citation|last = 4562:*{{citation|last = 4452:*{{citation|last = 4341:*{{citation|last = 2824:===Hybridization=== 2817:===Hybridization=== 1049:] was born in ], ] 10458:, Boston: Twayne, 10348:Pontiero, Giovanni 9915:, pp. 121–123 9591:, pp. 531–532 9278:Torres-Rosado 1991 9225:, pp. 530–534 9177:, pp. 310–311 9134:Barreda-Tomás 1972 9105:Barreda-Tomás 1972 8971:, pp. 310–315 8921:Barreda-Tomás 1972 8734:eighteenth century 8654:, see the page on 8628:historical fiction 8530: 8440:Bois Caiman ritual 8410: 8373: 8351: 8244: 8213:puts European and 8207: 8160:So Spoke the Uncle 8109:Haitian Revolution 8093:Haitian Revolution 8059: 8003:Haitian Revolution 7995:historical fiction 7794: 7229:Review | volume = 7060:{{citation|last = 6756:{{citation|last = 6166:{{citation|last = 5973:{{citation|last = 5846:org/stable/174826 5426:{{citation|last = 4749:{{citation|last = 4708:Review | volume = 4610:Review | volume = 4059:last = Carpentier| 827:ISBN 970-749-012-8 773:| english_pub_date 170: 94: 10465:978-0-8057-6606-6 10196:Henighan, Stephen 10119:and Carpentier's 10075:978-970-749-012-3 10062:Carpentier, Alejo 10053:978-0-374-52197-4 10040:Carpentier, Alejo 8725:transitively, as 8638:. Carpentier and 8436:Lenormand de Mezy 8413:Pauline Bonaparte 8396:Pauline Bonaparte 8345:Macandal on a 20 8220:Sans-Souci Palace 7964: 7963: 7899:Publication place 7844:Cover artist 7784: 6889:= 10.2307/3195071 6717:978-0-8057-6606-6 5864:Paravisini-Gebert 1167:began in 1791 and 315:= The Kingdom of 280:= The Kingdom of 156: 85: 65: 10712: 10638: 10624: 10615: 10585: 10565: 10555:10.2307/40097033 10536: 10527: 10501: 10468: 10457: 10454:Alejo Carpentier 10442: 10420: 10403: 10378: 10342: 10301: 10281: 10260: 10259: 10258: 10222: 10206:(4): 1009–1024, 10190: 10172: 10147: 10107: 10078: 10056: 10035: 10034: 10033: 10017: 9989: 9961: 9960: 9959: 9949: 9931: 9925: 9916: 9910: 9904: 9898: 9892: 9886: 9880: 9874: 9865: 9859: 9848: 9842: 9836: 9830: 9824: 9818: 9812: 9806: 9800: 9794: 9788: 9782: 9776: 9770: 9764: 9758: 9752: 9746: 9740: 9734: 9728: 9722: 9716: 9710: 9701: 9695: 9689: 9683: 9677: 9671: 9662: 9656: 9647: 9641: 9628: 9622: 9616: 9610: 9604: 9598: 9592: 9586: 9580: 9574: 9568: 9562: 9556: 9550: 9544: 9538: 9529: 9523: 9514: 9513: 9485: 9479: 9478:, pp. 28–29 9473: 9467: 9461: 9455: 9449: 9443: 9437: 9431: 9425: 9416: 9410: 9404: 9398: 9389: 9383: 9372: 9366: 9353: 9347: 9341: 9335: 9329: 9323: 9317: 9312: 9306: 9305: 9303: 9302: 9293:. Archived from 9287: 9281: 9275: 9269: 9268: 9256: 9250: 9244: 9238: 9232: 9226: 9220: 9214: 9208: 9202: 9196: 9190: 9184: 9178: 9172: 9166: 9160: 9149: 9143: 9137: 9131: 9125: 9119: 9108: 9102: 9096: 9090: 9084: 9078: 9072: 9066: 9060: 9054: 9048: 9042: 9031: 9025: 9014: 9008: 9002: 8996: 8987: 8981: 8972: 8966: 8960: 8954: 8948: 8942: 8936: 8930: 8924: 8918: 8912: 8906: 8893: 8887: 8881: 8875: 8862: 8856: 8843: 8837: 8831: 8825: 8819: 8818: 8806: 8791: 8785: 8776: 8771: 8652:real maravilloso 8431:Minor characters 8381:Henri Christophe 8376:Henri Christophe 8288:Henri Christophe 8168:The Magic Island 8164:William Seabrook 8062:Alejo Carpentier 7991:Alejo Carpentier 7890:Publication date 7866:Historical novel 7830: 7816:Alejo Carpentier 7804: 7797: 7793: 7461:{{good article}} 7170:10.2307/40097033 7075:Alejo Carpentier 5631:Alejo Carpentier 5265:Exclusion|date = 5157:Stephen Henighan 4983:González Bolaños 4771:ilusión poética: 4751:González Bolaños 4427:http://www.jstor 4003:jstor.org/stable 3943:jstor.org/stable 3825:|colwidth=20em}} 3814:|colwidth=20em}} 3594:===Repetition=== 3587:===Repetition=== 2721:==Major themes== 2714:==Major themes== 2661:is burned alive. 2623:is burned alive. 1943:===Part three=== 1936:===Part three=== 1445:==Plot summary== 1438:==Plot summary== 891:|0-374-52197-2}} 593:= ] ] 214: 213: 211: 198: 188: 169: 164: 146: 145: 143: 130: 112: 93: 66: 57: 56: 54: 49: 47: 39: 36: 21: 19: 10720: 10719: 10715: 10714: 10713: 10711: 10710: 10709: 10645: 10644: 10592:Hispanic Review 10491:10.2307/3195071 10466: 10256: 10254: 10212:10.2307/3737234 10125:Hispanic Review 10097:10.1215/-9-2-16 10076: 10054: 10031: 10029: 10007:10.2307/4529801 9957: 9955: 9947: 9939: 9934: 9928:Baez-Jorge 1998 9926: 9919: 9913:Carpentier 2004 9911: 9907: 9901:Carpentier 2004 9899: 9895: 9889:Carpentier 2004 9887: 9883: 9875: 9868: 9860: 9851: 9843: 9839: 9831: 9827: 9821:Carpentier 2004 9819: 9815: 9807: 9803: 9795: 9791: 9783: 9779: 9771: 9767: 9759: 9755: 9749:Carpentier 2004 9747: 9743: 9737:Carpentier 2004 9735: 9731: 9725:Carpentier 2004 9723: 9719: 9711: 9704: 9700:, pp. 5–10 9698:Carpentier 2004 9696: 9692: 9684: 9680: 9672: 9665: 9657: 9650: 9642: 9631: 9623: 9619: 9611: 9607: 9599: 9595: 9587: 9583: 9575: 9571: 9563: 9559: 9551: 9547: 9539: 9532: 9524: 9517: 9486: 9482: 9474: 9470: 9462: 9458: 9450: 9446: 9438: 9434: 9426: 9419: 9413:Carpentier 2004 9411: 9407: 9399: 9392: 9384: 9375: 9367: 9356: 9348: 9344: 9336: 9332: 9324: 9320: 9313: 9309: 9300: 9298: 9289: 9288: 9284: 9276: 9272: 9262: 9257: 9253: 9245: 9241: 9233: 9229: 9221: 9217: 9209: 9205: 9197: 9193: 9185: 9181: 9173: 9169: 9161: 9152: 9146:Carpentier 2004 9144: 9140: 9132: 9128: 9120: 9111: 9103: 9099: 9095:, pp. 5–12 9093:Carpentier 2004 9091: 9087: 9079: 9075: 9067: 9063: 9057:Carpentier 1989 9055: 9051: 9043: 9034: 9026: 9017: 9009: 9005: 8997: 8990: 8982: 8975: 8967: 8963: 8955: 8951: 8945:Carpentier 2004 8943: 8939: 8931: 8927: 8919: 8915: 8907: 8896: 8888: 8884: 8876: 8865: 8857: 8846: 8840:Carpentier 2004 8838: 8834: 8826: 8822: 8812: 8807: 8794: 8786: 8779: 8774:Carpentier 1967 8772: 8768: 8764: 8742: 8706: 8686: 8669: 8667:The "marvelous" 8664: 8621: 8608: 8596: 8583: 8574: 8543: 8522: 8490: 8474: 8469: 8433: 8398: 8378: 8339: 8314: 8305: 8296: 8283: 8274: 8265: 8249: 8232: 8195: 8152:Jean Price Mars 8148: 8143: 8111: 8105: 8072:and grew up in 8051: 8046: 8015:magical realism 7952: 7937: 7919:Media type 7911: 7891: 7882:Alfred A. Knopf 7880: 7868: 7839:Harriet de Onís 7807: 7792: 7781: 7770: 7759: 7748: 7737: 7726: 7715: 7699: 7683: 7670: 7661: 7643: 7634: 7616: 7607: 7605: 7602: 7584: 7579: 7570: 7554: 7538: 7522: 7506: 7504: 7501: 7485: 7474: 7469: 7462: 7451: 7446: 7439: 7428: 7426: 7422: 7418: 7415: 7411: 7407: 7406:Fictional World 7404: 7401: 7398: 7395: 7392: 7388: 7384: 7375: 7373: 7369: 7365: 7362: 7358: 7354: 7351: 7350:Christophe|date 7348: 7345: 7342: 7338: 7335: 7331: 7320: 7318: 7314: 7310: 7306: 7302: 7298: 7294: 7291: 7288: 7285: 7282: 7278: 7275: 7272: 7269: 7266: 7262: 7258: 7249: 7247: 7243: 7239: 7235: 7232: 7228: 7224: 7220: 7217: 7214: 7211: 7207: 7204: 7201: 7198: 7195: 7192: 7188: 7184: 7173: 7171: 7167: 7163: 7159: 7155: 7151: 7148: 7144: 7141: 7137: 7133: 7130: 7126: 7123: 7119: 7110: 7108: 7104: 7100: 7096: 7092: 7089: 7085: 7081: 7078: 7074: 7070: 7067: 7063: 7059: 7048: 7046: 7043: 7039: 7035: 7031: 7027: 7023: 7019: 7015: 7011: 7008: 7004: 7000: 6997: 6994: 6993:áfro-antillanas 6991: 6987: 6984: 6980: 6979:Speratti-Piñero 6971: 6969: 6966: 6962: 6958: 6954: 6950: 6946: 6942: 6938: 6934: 6931: 6927: 6923: 6920: 6917: 6914: 6910: 6907: 6903: 6892: 6890: 6887: 6883: 6879: 6875: 6871: 6867: 6864: 6861: 6857: 6853: 6849: 6846: 6843: 6839: 6836: 6832: 6823: 6821: 6818: 6814: 6810: 6806: 6802: 6798: 6795: 6792: 6788: 6784: 6781:de este mundo'' 6780: 6776: 6773: 6772:áfro-antillanas 6770: 6766: 6763: 6759: 6758:Speratti-Piñero 6755: 6744: 6742: 6738: 6734: 6730: 6726: 6722: 6718: 6714: 6710: 6706: 6702: 6698: 6695: 6692: 6689: 6686: 6683: 6680: 6677: 6674: 6671: 6667: 6664: 6660: 6657: 6653: 6645: 6643: 6639: 6635: 6631: 6627: 6623: 6619: 6615: 6611: 6607: 6603: 6599: 6598:= 1986 |journal 6595: 6592: 6589: 6586: 6583: 6580: 6577: 6574: 6571: 6568: 6565: 6561: 6558: 6555: 6551: 6540: 6538: 6534: 6530: 6526: 6522: 6518: 6515: 6511: 6508: 6505: 6502: 6499: 6496: 6493: 6490: 6487: 6484: 6481: 6478: 6475: 6471: 6467: 6464: 6455: 6453: 6449: 6445: 6441: 6437: 6433: 6429: 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5823: 5819: 5815: 5812: 5809: 5806: 5802: 5798: 5795: 5792: 5789: 5786: 5782: 5779: 5775: 5771: 5768: 5764: 5753: 5751: 5747: 5743: 5739: 5735: 5731: 5727: 5724: 5721: 5717: 5713: 5710: 5707: 5704: 5701: 5698: 5695: 5692: 5688: 5684: 5680: 5671: 5669: 5665: 5661: 5657: 5653: 5649: 5645: 5642: 5638: 5634: 5630: 5629:A Re-reading of 5627: 5624: 5621: 5618: 5615: 5612: 5609: 5605: 5601: 5597: 5586: 5584: 5580: 5576: 5572: 5568: 5564: 5561: 5558: 5554: 5550: 5547: 5544: 5541: 5538: 5535: 5532: 5529: 5526: 5523: 5519: 5516: 5512: 5503: 5502: 5498: 5494: 5490: 5486: 5482: 5478: 5475: 5472: 5468: 5464: 5461: 5458: 5455: 5452: 5449: 5446: 5443: 5440: 5436: 5433: 5429: 5425: 5414: 5413: 5409: 5405: 5401: 5397: 5393: 5389: 5385: 5382:| url = http:// 5381: 5377: 5373: 5369: 5365: 5361: 5358: 5355: 5352: 5349: 5345: 5342: 5339: 5336: 5332: 5328: 5319: 5317: 5313: 5309: 5308:20119856?seq=11 5305: 5301: 5297: 5293: 5290:| url = http:// 5289: 5285: 5281: 5277: 5274: 5270: 5266: 5263: 5260: 5257: 5254: 5250: 5247: 5244: 5241: 5237: 5233: 5222: 5220: 5219:10.2307/3737234 5216: 5212: 5208: 5204: 5200: 5196: 5192: 5188: 5184: 5180: 5177: 5174: 5171: 5168: 5165: 5162: 5158: 5154: 5150: 5141: 5140: 5136: 5132: 5128: 5124: 5120: 5116: 5112: 5108: 5104: 5100: 5096: 5093: 5090: 5087: 5084: 5081: 5078: 5074: 5070: 5059: 5058: 5054: 5050: 5046: 5042: 5038: 5034: 5031: 5028: 5024: 5020: 5017: 5014: 5011: 5008: 5004: 5001: 4998: 4995: 4992: 4988: 4984: 4975: 4973: 4969: 4965: 4961: 4957: 4953: 4952:Language Review 4950: 4947: 4943: 4939: 4936: 4933: 4930: 4926: 4923: 4920: 4917: 4914: 4910: 4907: 4903: 4892: 4890: 4886: 4882: 4878: 4877:Literary Review 4875: 4872: 4868: 4864: 4861: 4858: 4855: 4852: 4849: 4845: 4842: 4839: 4836: 4832: 4829: 4825: 4816: 4814: 4810: 4806: 4802: 4799: 4796: 4792: 4788: 4785: 4782: 4779: 4776: 4772: 4769: 4766: 4763: 4759: 4756: 4752: 4748: 4737: 4735: 4731: 4727: 4723: 4719: 4715: 4711: 4707: 4703: 4699: 4696: 4692: 4688: 4685: 4682: 4679: 4676: 4672: 4669: 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4030:4529801| doi=10 4027: 4018: 4016: 4012: 4008: 4004: 4000: 3996: 3992: 3981: 3979: 3975: 3971: 3967: 3963: 3954: 3952: 3948: 3944: 3940: 3936: 3932: 3921: 3919: 3915: 3912: 3908: 3905: 3896: 3894: 3890: 3887: 3884: 3881: 3877: 3866: 3861: 3854: 3847: 3838: 3833: 3826: 3824: 3815: 3813: 3802: 3795: 3786: 3781: 3774: 3772: 3767: 3762: 3753: 3751: 3746: 3741: 3730: 3725: 3718: 3711: 3702: 3697: 3690: 3688: 3678: 3676: 3664: 3659: 3652: 3650: 3641: 3631: 3626: 3619: 3612: 3595: 3588: 3579: 3574: 3567: 3564: 3545: 3536: 3534: 3530: 3510: 3507: 3490: 3488: 3470: 3465: 3456: 3454: 3450: 3432: 3430: 3414: 3407: 3398: 3393: 3386: 3383: 3373: 3370: 3358: 3353: 3346: 3339: 3322: 3315: 3306: 3301: 3294: 3292: 3291:transplantation 3282: 3280: 3276: 3272: 3269:name=Stimson149 3260: 3259:===Confusion=== 3253: 3251: 3248: 3238: 3233: 3226: 3218: 3200: 3193: 3184: 3179: 3172: 3171: 3166: 3158: 3155: 3145: 3140: 3133: 3126: 3117: 3112: 3105: 3093: 3081: 3072: 3064: 3054: 3049: 3042: 3034: 3024: 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1130: 1128: 1125:{{Main|Haitian 1117: 1110: 1101: 1096: 1089: 1087: 1083: 1080: 1077: 1073: 1064: 1062: 1058: 1055: 1052: 1041: 1034: 1025: 1018: 1009: 1004: 989: 981: 971: 966: 959: 957: 953: 949: 944: 940: 931: 922: 917: 910: 903: 894: 892: 888: 884: 866: 855: 853: 834: 832: 828: 824: 820: 806: 793: 791: 777: 775: 758: 757: 754: 745: 744: 741: 738: 735: 732: 728: 717: 715: 701: 699: 680: 679: 675: 671: 657: 644: 642: 628: 627: 623: 605: 603: 594: 592: 588: 579: 578: 575: 572: 563: 562: 559: 555: 546: 544: 535: 533: 529: 520: 519: 516: 512: 503: 502: 498: 494: 485: 484: 481: 478: 475: 472: 469: 466: 457: 456: 453: 450: 446: 435: 426: 425: 421: 417: 397: 388: 375: 373: 369: 365: 351: 350: 346: 343:The Kingdom of 342: 338: 320: 318: 314: 305: 304: 300: 296: 285: 283: 279: 275: 261: 260: 251: 250: 239: 215: 206: 204: 202: 201: 200: 196: 194: 178: 176: 171: 165: 160: 152: 150:← Previous edit 147: 138: 136: 134: 133: 132: 128: 126: 102: 100: 95: 89: 81: 80: 79: 78: 76: 75: 74: 73: 72: 71: 62: 58: 52: 50: 45: 42: 40: 37: 35:Content deleted 34: 31: 29:← Previous edit 26: 25: 24: 17: 12: 11: 5: 10718: 10708: 10707: 10702: 10697: 10692: 10687: 10682: 10677: 10672: 10667: 10662: 10657: 10641: 10640: 10626: 10604:10.2307/474775 10587: 10580:(in Spanish), 10567: 10549:(2): 149–150, 10538: 10518:(2): 574–596, 10514:(in Spanish), 10503: 10470: 10464: 10444: 10437:(in Spanish), 10422: 10394:(2): 224–245, 10390:(in Spanish), 10380: 10368:10.2307/174826 10362:(4): 528–538, 10344: 10318:(2): 114–127, 10303: 10293:(4): 223–340, 10289:(in Spanish), 10282: 10262: 10238:(2): 342–349, 10223: 10192: 10185:(in Spanish), 10183:Letras de Hoje 10174: 10149: 10137:10.2307/473024 10131:(3): 297–316, 10109: 10080: 10074: 10058: 10052: 10036: 10019: 9997:(in Spanish), 9990: 9979:10.2307/338243 9969:(in Spanish), 9962: 9938: 9935: 9933: 9932: 9917: 9905: 9893: 9881: 9866: 9864:, p. 1016 9849: 9837: 9825: 9813: 9801: 9789: 9777: 9765: 9753: 9741: 9729: 9717: 9702: 9690: 9678: 9676:, p. 1009 9663: 9648: 9629: 9617: 9605: 9593: 9581: 9569: 9557: 9545: 9530: 9515: 9480: 9468: 9456: 9444: 9432: 9417: 9405: 9403:, p. 1015 9390: 9388:, p. 1014 9373: 9354: 9342: 9330: 9318: 9307: 9282: 9270: 9251: 9239: 9227: 9215: 9203: 9191: 9179: 9167: 9150: 9138: 9126: 9109: 9097: 9085: 9073: 9061: 9049: 9032: 9015: 9003: 8988: 8973: 8961: 8949: 8947:, pp. 5–8 8937: 8925: 8913: 8894: 8882: 8863: 8844: 8832: 8820: 8792: 8777: 8765: 8763: 8760: 8741: 8738: 8705: 8702: 8685: 8682: 8668: 8665: 8663: 8660: 8620: 8617: 8607: 8604: 8595: 8592: 8582: 8579: 8573: 8570: 8542: 8539: 8521: 8518: 8497:Homi K. Bhabha 8489: 8486: 8473: 8470: 8468: 8465: 8432: 8429: 8397: 8394: 8377: 8374: 8338: 8335: 8313: 8310: 8304: 8301: 8295: 8292: 8282: 8279: 8273: 8270: 8264: 8261: 8248: 8245: 8231: 8228: 8194: 8191: 8147: 8144: 8142: 8139: 8127:¡Ecue-Yamba-O! 8107:Main article: 8104: 8101: 8050: 8047: 8045: 8042: 7962: 7961: 7946: 7940: 7939: 7936:198 (Spanish) 7934: 7930: 7929: 7920: 7916: 7915: 7912: 7909: 7906: 7905: 7900: 7896: 7895: 7892: 7889: 7886: 7885: 7877: 7873: 7872: 7863: 7859: 7858: 7855: 7851: 7850: 7845: 7841: 7840: 7837: 7833: 7832: 7823: 7819: 7818: 7813: 7809: 7808: 7805: 7790: 7788: 7783: 7782: 7779: 7777: 7775: 7772: 7771: 7768: 7766: 7764: 7761: 7760: 7757: 7755: 7753: 7750: 7749: 7746: 7744: 7742: 7739: 7738: 7735: 7733: 7731: 7728: 7727: 7724: 7722: 7720: 7717: 7716: 7711: 7709: 7704: 7701: 7700: 7695: 7693: 7688: 7685: 7684: 7681: 7679: 7677: 7674: 7673: 7671: 7668: 7666: 7663: 7662: 7657: 7655: 7650: 7647: 7646: 7644: 7641: 7639: 7636: 7635: 7630: 7628: 7623: 7620: 7619: 7617: 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7106: 7102: 7098: 7094: 7091:Romance Review 7090: 7087: 7083: 7079: 7076: 7072: 7068: 7065: 7061: 7057: 7055: 7053: 7050: 7049: 7044: 7041: 7037: 7033: 7029: 7025: 7021: 7017: 7013: 7009: 7006: 7002: 6998: 6995: 6992: 6989: 6985: 6982: 6978: 6976: 6974: 6972: 6967: 6964: 6960: 6956: 6952: 6948: 6944: 6940: 6936: 6932: 6929: 6925: 6921: 6918: 6915: 6912: 6908: 6905: 6901: 6899: 6897: 6894: 6893: 6888: 6885: 6881: 6877: 6873: 6869: 6865: 6862: 6859: 6855: 6851: 6847: 6844: 6841: 6837: 6834: 6830: 6828: 6826: 6824: 6819: 6816: 6812: 6808: 6804: 6800: 6796: 6793: 6790: 6786: 6782: 6778: 6774: 6771: 6768: 6764: 6761: 6757: 6753: 6751: 6749: 6746: 6745: 6740: 6736: 6732: 6728: 6724: 6720: 6716: 6712: 6708: 6704: 6700: 6696: 6693: 6690: 6687: 6684: 6681: 6678: 6675: 6672: 6669: 6665: 6662: 6659: 6655: 6652: 6650: 6648: 6646: 6641: 6637: 6633: 6629: 6625: 6621: 6617: 6613: 6609: 6605: 6601: 6597: 6594:este mundo'' | 6593: 6590: 6587: 6584: 6581: 6578: 6575: 6573:Contradiction: 6572: 6569: 6566: 6563: 6559: 6556: 6553: 6549: 6547: 6545: 6542: 6541: 6536: 6532: 6528: 6524: 6520: 6516: 6513: 6509: 6506: 6503: 6500: 6497: 6494: 6491: 6488: 6485: 6482: 6479: 6476: 6473: 6469: 6465: 6462: 6460: 6458: 6456: 6451: 6447: 6443: 6439: 6435: 6431: 6427: 6424: 6421: 6418: 6415: 6412: 6409: 6406: 6403: 6400: 6397: 6394: 6390: 6386: 6383: 6380: 6378: 6376: 6373: 6372: 6367: 6363: 6359: 6355: 6352: 6349: 6346: 6343: 6339: 6335: 6331: 6327: 6324: 6321: 6318: 6315: 6312: 6309: 6306: 6303: 6300: 6297: 6294: 6291: 6288: 6285: 6282: 6278: 6275: 6271: 6269: 6267: 6265: 6260: 6256: 6252: 6248: 6245: 6242: 6239: 6236: 6232: 6228: 6224: 6220: 6217: 6214: 6211: 6208: 6205: 6202: 6199: 6196: 6193: 6190: 6187: 6184: 6181: 6178: 6175: 6171: 6167: 6163: 6161: 6159: 6156: 6155: 6151:10.2307/174826 6150: 6146: 6142: 6138: 6134: 6130: 6126: 6122: 6119: 6116: 6113: 6109: 6105: 6102: 6099: 6096: 6093: 6090: 6087: 6084: 6081: 6077: 6074: 6073:|author-link= 6070: 6066: 6064: 6062: 6060: 6055: 6051: 6047: 6043: 6039: 6035: 6031: 6027: 6024: 6021: 6018: 6014: 6010: 6007: 6004: 6001: 5998: 5995: 5992: 5989: 5985: 5982: 5981:|author-link= 5978: 5974: 5970: 5968: 5966: 5963: 5962: 5957: 5954: 5950: 5946: 5942: 5938: 5934: 5930: 5926: 5922: 5918: 5915: 5912: 5909: 5905: 5902: 5898: 5895: 5892: 5889: 5886: 5882: 5878: 5874: 5871: 5867: 5863: 5861: 5859: 5857: 5852: 5849: 5845: 5841: 5837: 5833: 5829: 5825: 5821: 5817: 5813: 5810: 5807: 5804: 5800: 5796: 5793: 5790: 5787: 5784: 5780: 5777: 5773: 5769: 5766: 5762: 5760: 5758: 5755: 5754: 5749: 5745: 5741: 5737: 5733: 5729: 5725: 5722: 5719: 5715: 5711: 5708: 5705: 5702: 5699: 5696: 5693: 5690: 5686: 5682: 5678: 5676: 5674: 5672: 5667: 5663: 5659: 5655: 5651: 5647: 5643: 5640: 5636: 5632: 5628: 5625: 5622: 5619: 5616: 5613: 5610: 5607: 5603: 5599: 5595: 5593: 5591: 5588: 5587: 5582: 5578: 5574: 5570: 5566: 5562: 5559: 5557:Latin American 5556: 5552: 5548: 5545: 5542: 5539: 5536: 5533: 5530: 5527: 5524: 5521: 5517: 5514: 5510: 5508: 5506: 5504: 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4397: 4393: 4389: 4386: 4383: 4380: 4377: 4374: 4371: 4368: 4365: 4362: 4359: 4356: 4352: 4349: 4346: 4342: 4340: 4338: 4335: 4334: 4332: 4329: 4327: 4324: 4323: 4320: 4318: 4316: 4313: 4312: 4307: 4303: 4299: 4295: 4291: 4287: 4283: 4279: 4275: 4272: 4269: 4268:| publisher = 4265: 4262: 4259: 4256: 4253: 4251: 4249: 4247: 4242: 4238: 4234: 4230: 4226: 4222: 4218: 4214: 4211: 4208: 4207:| publisher = 4204: 4201: 4198: 4195: 4192: 4188: 4186: 4184: 4181: 4180: 4175: 4171: 4167: 4163: 4159: 4155: 4151: 4147: 4143: 4140: 4137: 4134: 4131: 4129: 4127: 4125: 4121: 4117: 4113: 4109: 4105: 4101: 4097: 4093: 4089: 4085: 4082: 4079: 4076: 4073: 4070: 4066: 4063: 4060: 4057: 4054: 4052: 4050: 4047: 4046: 4041: 4037: 4033: 4029: 4025: 4023: 4021: 4019: 4014: 4010: 4006: 4002: 3998: 3994: 3990: 3988: 3986: 3983: 3982: 3977: 3973: 3969: 3966:338243| doi=10 3965: 3961: 3959: 3957: 3955: 3950: 3946: 3942: 3938: 3934: 3930: 3928: 3926: 3923: 3922: 3917: 3914: 3910: 3907: 3903: 3901: 3899: 3897: 3892: 3889: 3888:pages = 23–43| 3886: 3882: 3879: 3875: 3873: 3871: 3868: 3867: 3864: 3862: 3859: 3856: 3855: 3853:==References== 3852: 3850: 3848: 3846:==References== 3845: 3843: 3840: 3839: 3836: 3834: 3831: 3828: 3827: 3822: 3820: 3818: 3816: 3811: 3809: 3807: 3804: 3803: 3800: 3798: 3796: 3793: 3791: 3788: 3787: 3784: 3782: 3779: 3776: 3775: 3770: 3765: 3760: 3758: 3756: 3754: 3749: 3744: 3739: 3737: 3735: 3732: 3731: 3728: 3726: 3723: 3720: 3719: 3716: 3714: 3712: 3709: 3707: 3704: 3703: 3700: 3698: 3695: 3692: 3691: 3686: 3683: 3681: 3679: 3674: 3671: 3669: 3666: 3665: 3662: 3660: 3657: 3654: 3653: 3649: 3646: 3644: 3642: 3638: 3636: 3633: 3632: 3629: 3627: 3624: 3621: 3620: 3617: 3615: 3613: 3610: 3608: 3605: 3604: 3601: 3597: 3596: 3593: 3591: 3589: 3586: 3584: 3581: 3580: 3577: 3575: 3572: 3569: 3568: 3562: 3557: 3555: 3550: 3547: 3546: 3543: 3541: 3538: 3537: 3532: 3528: 3524: 3522: 3517: 3514: 3513: 3511: 3505: 3500: 3498: 3492: 3491: 3486: 3482: 3480: 3475: 3472: 3471: 3468: 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2226: 2224: 2222: 2217: 2215: 2213: 2210: 2209: 2206: 2204: 2201: 2198: 2197: 2191: 2189: 2187: 2185: 2179: 2177: 2175: 2172: 2171: 2168: 2166: 2163: 2160: 2159: 2155: 2153: 2151: 2147: 2145: 2142: 2141: 2138: 2136: 2133: 2130: 2129: 2124: 2120: 2116: 2113: 2111: 2109: 2104: 2100: 2096: 2093: 2091: 2088: 2087: 2084: 2082: 2080: 2077: 2075: 2072: 2071: 2068: 2066: 2063: 2060: 2059: 2056: 2052: 2051: 2049:==Characters== 2048: 2046: 2044: 2042:==Characters== 2041: 2039: 2036: 2035: 2032: 2030: 2027: 2024: 2023: 2018: 2014: 2009: 2007: 2005: 2003: 1998: 1994: 1989: 1987: 1985: 1982: 1981: 1978: 1976: 1974: 1971: 1969: 1966: 1965: 1962: 1960: 1957: 1954: 1953: 1950: 1946: 1945: 1942: 1940: 1938: 1935: 1933: 1930: 1929: 1926: 1924: 1921: 1918: 1917: 1912: 1909: 1906: 1903: 1900: 1897: 1894: 1891: 1888: 1885: 1882:release of his 1881: 1877: 1874: 1871: 1867: 1864: 1861: 1858: 1854: 1851: 1848: 1845: 1842: 1839: 1836: 1833: 1830: 1827: 1824: 1821: 1818: 1814: 1810: 1805: 1802: 1800: 1798: 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908: 906: 904: 901: 899: 896: 895: 890: 886: 882: 878: 876: 871: 868: 867: 864: 862: 860: 857: 856: 852: 848: 846: 841: 838: 837: 835: 830: 826: 822: 819: 816: 814: 808: 807: 804: 802: 800: 797: 796: 794: 790: 787: 785: 779: 778: 774: 770: 768: 763: 760: 759: 755: 752: 750: 748: 746: 742: 739: 736: 733: 730: 727: 726: 724: 721: 720: 718: 714: 711: 709: 703: 702: 698: 694: 692: 687: 684: 683: 681: 677: 673: 670: 667: 665: 659: 658: 655: 653: 651: 648: 647: 645: 641: 638: 636: 630: 629: 625: 621: 617: 615: 610: 607: 606: 601: 599: 597: 595: 590: 587: 586: 584: 581: 580: 576: 573: 570: 568: 566: 564: 560: 557: 554: 553: 551: 548: 547: 542: 540: 538: 536: 531: 528: 527: 525: 522: 521: 517: 514: 510: 508: 506: 504: 500: 496: 493: 492: 490: 487: 486: 482: 479: 476: 473: 470: 467: 464: 462: 460: 458: 454: 451: 448: 445: 444: 442: 439: 438: 436: 433: 431: 428: 427: 423: 419: 416:caption 415: 411: 409: 404: 401: 400: 398: 395: 393: 390: 389: 386: 384: 382: 379: 378: 376: 371: 367: 364: 361: 359: 353: 352: 349:Eng 1st Ed.jpg 348: 344: 340: 336: 332: 330: 325: 322: 321: 316: 312: 310: 308: 306: 302: 298: 295: 294: 292: 289: 288: 286: 281: 277: 274: 271: 269: 263: 262: 258: 256: 254: 252: 248: 246: 244: 241: 240: 237: 235: 233: 230: 229: 226: 222: 221: 217: 216: 195: 190: 189: 174: 153: 127: 114: 113: 98: 67: 61: 59: 41: 33: 27: 23: 22: 14: 9: 6: 4: 3: 2: 10717: 10706: 10703: 10701: 10698: 10696: 10693: 10691: 10688: 10686: 10683: 10681: 10678: 10676: 10673: 10671: 10668: 10666: 10663: 10661: 10658: 10656: 10653: 10652: 10650: 10643: 10636: 10632: 10627: 10623: 10619: 10614: 10609: 10605: 10601: 10597: 10593: 10588: 10583: 10579: 10578: 10573: 10568: 10564: 10560: 10556: 10552: 10548: 10544: 10539: 10535: 10531: 10526: 10521: 10517: 10513: 10509: 10504: 10500: 10496: 10492: 10488: 10484: 10480: 10476: 10471: 10467: 10461: 10456: 10455: 10449: 10445: 10440: 10436: 10432: 10428: 10423: 10419: 10415: 10411: 10407: 10402: 10397: 10393: 10389: 10385: 10381: 10377: 10373: 10369: 10365: 10361: 10357: 10353: 10349: 10345: 10341: 10337: 10333: 10329: 10325: 10321: 10317: 10313: 10309: 10304: 10300: 10296: 10292: 10288: 10283: 10280: 10276: 10273:(58): 23–45, 10272: 10268: 10263: 10253: 10249: 10245: 10241: 10237: 10233: 10229: 10224: 10221: 10217: 10213: 10209: 10205: 10201: 10197: 10193: 10188: 10184: 10180: 10175: 10171: 10167: 10164:(38): 22–34, 10163: 10159: 10155: 10150: 10146: 10142: 10138: 10134: 10130: 10126: 10122: 10118: 10114: 10110: 10106: 10102: 10098: 10094: 10090: 10086: 10081: 10077: 10071: 10067: 10063: 10059: 10055: 10049: 10045: 10041: 10037: 10027: 10026: 10020: 10016: 10012: 10008: 10004: 10001:(4): 81–102, 10000: 9996: 9991: 9988: 9984: 9980: 9976: 9972: 9968: 9963: 9953: 9946: 9941: 9940: 9930:, p. 227 9929: 9924: 9922: 9914: 9909: 9902: 9897: 9890: 9885: 9879:, p. 534 9878: 9877:Pontiero 1970 9873: 9871: 9863: 9862:Henighan 1999 9858: 9856: 9854: 9847:, p. 230 9846: 9841: 9834: 9833:Sokoloff 1986 9829: 9823:, p. 119 9822: 9817: 9811:, p. 315 9810: 9809:De Armas 1981 9805: 9799:, p. 127 9798: 9793: 9786: 9785:Sokoloff 1986 9781: 9775:, p. 528 9774: 9773:Pontiero 1970 9769: 9763:, p. 622 9762: 9757: 9751:, p. 114 9750: 9745: 9739:, p. 147 9738: 9733: 9726: 9721: 9715:, p. 311 9714: 9713:De Armas 1981 9709: 9707: 9699: 9694: 9687: 9686:Henighan 1999 9682: 9675: 9674:Henighan 1999 9670: 9668: 9661:, p. 150 9660: 9655: 9653: 9645: 9644:Sokoloff 1986 9640: 9638: 9636: 9634: 9626: 9625:Goldberg 1991 9621: 9614: 9613:Goldberg 1991 9609: 9603:, p. 533 9602: 9601:Pontiero 1970 9597: 9590: 9589:Pontiero 1970 9585: 9579:, p. 531 9578: 9577:Pontiero 1970 9573: 9567:, p. 530 9566: 9565:Pontiero 1970 9561: 9555:, p. 314 9554: 9553:De Armas 1981 9549: 9543:, p. 312 9542: 9541:De Armas 1981 9537: 9535: 9528:, p. 529 9527: 9526:Pontiero 1970 9522: 9520: 9511: 9507: 9503: 9499: 9496:(4): 99–105. 9495: 9491: 9484: 9477: 9476:Goldberg 1991 9472: 9465: 9464:Goldberg 1991 9460: 9454:, p. 124 9453: 9448: 9442:, p. 123 9441: 9436: 9429: 9428:Goldberg 1991 9424: 9422: 9414: 9409: 9402: 9401:Henighan 1999 9397: 9395: 9387: 9386:Henighan 1999 9382: 9380: 9378: 9370: 9365: 9363: 9361: 9359: 9351: 9346: 9339: 9334: 9327: 9322: 9316: 9311: 9297:on 2005-03-17 9296: 9292: 9286: 9280:, p. 212 9279: 9274: 9266: 9261:, p. 580 9260: 9255: 9248: 9243: 9237:, p. 125 9236: 9231: 9224: 9223:Pontiero 1970 9219: 9213:, p. 340 9212: 9211:Williams 1977 9207: 9200: 9195: 9189:, p. 334 9188: 9187:Williams 1977 9183: 9176: 9175:De Armas 1981 9171: 9165:, p. 122 9164: 9159: 9157: 9155: 9147: 9142: 9135: 9130: 9124:, p. 120 9123: 9118: 9116: 9114: 9106: 9101: 9094: 9089: 9083:, p. 116 9082: 9077: 9070: 9065: 9059:, p. 179 9058: 9053: 9046: 9041: 9039: 9037: 9029: 9024: 9022: 9020: 9012: 9007: 9000: 8995: 8993: 8985: 8980: 8978: 8970: 8969:De Armas 1981 8965: 8959:, p. 298 8958: 8957:De Armas 1981 8953: 8946: 8941: 8935:, p. 297 8934: 8933:De Armas 1981 8929: 8922: 8917: 8910: 8905: 8903: 8901: 8899: 8891: 8886: 8880:, p. 225 8879: 8874: 8872: 8870: 8868: 8861:, p. 117 8860: 8855: 8853: 8851: 8849: 8841: 8836: 8830:, p. 115 8829: 8824: 8816: 8811:, p. 149 8810: 8805: 8803: 8801: 8799: 8797: 8790:, p. 227 8789: 8784: 8782: 8775: 8770: 8766: 8759: 8756: 8751: 8746: 8737: 8735: 8730: 8728: 8724: 8720: 8716: 8711: 8701: 8699: 8694: 8692: 8681: 8677: 8675: 8659: 8657: 8656:magic realism 8653: 8647: 8645: 8641: 8637: 8636:magic realism 8633: 8629: 8626:is a work of 8625: 8616: 8613: 8603: 8601: 8591: 8587: 8578: 8569: 8567: 8562: 8557: 8555: 8550: 8548: 8538: 8536: 8526: 8517: 8513: 8511: 8506: 8501: 8498: 8494: 8493:Hybridization 8488:Hybridization 8485: 8481: 8478: 8464: 8462: 8458: 8455: 8451: 8447: 8443: 8441: 8437: 8428: 8426: 8421: 8419: 8414: 8407: 8402: 8393: 8389: 8385: 8382: 8369: 8365: 8362: 8358: 8355: 8348: 8343: 8334: 8331: 8327: 8322: 8318: 8309: 8300: 8291: 8289: 8278: 8269: 8260: 8258: 8257:Latin America 8254: 8241: 8236: 8227: 8223: 8221: 8216: 8215:autochthonous 8212: 8203: 8199: 8190: 8188: 8184: 8180: 8176: 8171: 8169: 8165: 8161: 8157: 8153: 8146:Other authors 8138: 8136: 8132: 8128: 8123: 8120: 8115: 8110: 8100: 8098: 8094: 8090: 8089: 8083: 8079: 8075: 8071: 8067: 8063: 8055: 8041: 8039: 8035: 8031: 8027: 8023: 8022:hybridization 8018: 8016: 8012: 8008: 8004: 8000: 7996: 7992: 7988: 7984: 7980: 7979: 7974: 7970: 7969: 7959: 7958:0-374-52197-2 7955: 7950: 7949:970-749-012-8 7947: 7945: 7941: 7938:190 (English) 7935: 7931: 7928: 7924: 7921: 7917: 7913: 7907: 7904: 7901: 7897: 7893: 7887: 7883: 7878: 7874: 7871: 7870:Magic Realism 7867: 7864: 7860: 7856: 7852: 7849: 7846: 7842: 7838: 7834: 7831: 7829: 7824: 7820: 7817: 7814: 7810: 7803: 7798: 7786: 7778: 7773: 7767: 7762: 7756: 7751: 7745: 7740: 7734: 7729: 7723: 7718: 7713: 7710: 7708: 7705: 7702: 7697: 7694: 7692: 7689: 7686: 7680: 7675: 7667: 7664: 7659: 7656: 7654: 7651: 7648: 7640: 7637: 7632: 7629: 7627: 7624: 7621: 7613: 7610: 7598: 7595: 7593: 7590: 7587: 7583: 7581: 7578: 7576: 7575: 7568: 7565: 7563: 7560: 7559: 7552: 7549: 7547: 7544: 7543: 7536: 7533: 7531: 7528: 7527: 7520: 7517: 7515: 7512: 7511: 7497: 7494: 7492: 7489: 7488: 7482: 7477: 7473: 7471: 7468: 7466: 7465: 7459: 7454: 7450: 7448: 7445: 7443: 7442: 7436: 7431: 7421:66| issue = 1 7379: 7326: 7323: 7257:Torres-Rosado 7253: 7179: 7176: 7114: 7069:|author-link= 7062:Torres-Rosado 7054: 7051: 6975: 6898: 6895: 6827: 6750: 6747: 6649: 6546: 6543: 6517:1995 |journal 6459: 6377: 6374: 6268: 6160: 6157: 6120:Interamerican 6063: 5967: 5964: 5860: 5811:Interamerican 5759: 5756: 5694:vanguardistas 5675: 5592: 5589: 5540:Temporalities 5507: 5442:vanguardistas 5435:|author-link= 5428:Müller-Bergh 5420: 5417: 5323: 5256:Temporalities 5228: 5225: 5145: 5065: 5062: 4979: 4898: 4895: 4820: 4758:|author-link= 4743: 4740: 4662:Metamorphosis 4643: 4560: 4557: 4450: 4435:stable/473024 4387:Reino de Este 4357:Metamorphosis 4339: 4336: 4328: 4325: 4319: 4314: 4250: 4185: 4182: 4128: 4062:first = Alejo 4051: 4048: 4022: 3987: 3984: 3958: 3927: 3924: 3900: 3895:=2010-04-19}} 3872: 3869: 3865: 3863: 3860: 3858: 3857: 3851: 3849: 3844: 3842: 3841: 3837: 3835: 3832: 3830: 3829: 3819: 3808: 3805: 3801:==Citations== 3799: 3797: 3794:==Citations== 3792: 3790: 3789: 3785: 3783: 3780: 3778: 3777: 3757: 3736: 3733: 3729: 3727: 3724: 3722: 3721: 3717:==Reception== 3715: 3713: 3710:==Reception== 3708: 3706: 3705: 3701: 3699: 3696: 3694: 3693: 3682: 3670: 3667: 3663: 3661: 3658: 3656: 3655: 3645: 3637: 3634: 3630: 3628: 3625: 3623: 3622: 3616: 3614: 3609: 3607: 3606: 3598: 3592: 3590: 3585: 3583: 3582: 3578: 3576: 3573: 3571: 3570: 3559: 3556: 3554: 3551: 3548: 3544: 3539: 3526: 3523: 3521: 3518: 3515: 3502: 3499: 3497: 3494: 3493: 3484: 3481: 3479: 3476: 3473: 3469: 3467: 3464: 3462: 3461: 3446: 3443: 3441: 3438: 3437: 3426: 3423: 3421: 3418: 3417: 3411: 3409: 3404: 3402: 3401: 3397: 3395: 3392: 3390: 3389: 3377: 3364: 3361: 3357: 3355: 3352: 3350: 3349: 3343: 3341: 3336: 3334: 3333: 3325: 3319: 3317: 3312: 3310: 3309: 3305: 3303: 3300: 3298: 3297: 3286: 3266: 3263: 3257: 3244: 3241: 3237: 3235: 3232: 3230: 3229: 3222: 3220: 3214: 3212: 3211: 3203: 3197: 3195: 3190: 3188: 3187: 3183: 3181: 3178: 3176: 3175: 3162: 3151: 3148: 3144: 3142: 3139: 3137: 3136: 3130: 3128: 3123: 3121: 3120: 3116: 3114: 3111: 3109: 3108: 3101: 3096: 3089: 3084: 3080: 3075: 3068: 3066: 3060: 3058: 3057: 3053: 3051: 3048: 3046: 3045: 3038: 3036: 3030: 3028: 3027: 3023: 3021: 3018: 3016: 3015: 3005: 2998: 2995: 2991: 2989: 2986: 2984: 2983: 2973: 2962: 2959: 2953: 2944: 2941: 2935: 2933: 2928: 2926: 2925: 2921: 2919: 2916: 2914: 2913: 2906: 2895: 2892: 2888: 2886: 2883: 2881: 2880: 2873: 2863: 2860: 2856: 2854: 2851: 2849: 2848: 2842: 2831: 2828: 2822: 2820: 2815: 2813: 2812: 2808: 2806: 2803: 2801: 2800: 2793: 2781: 2778: 2774: 2772: 2769: 2767: 2766: 2760: 2758: 2753: 2751: 2750: 2744: 2742: 2737: 2735: 2734: 2730: 2725: 2719: 2717: 2712: 2710: 2709: 2705: 2703: 2700: 2698: 2697: 2691: 2689: 2684: 2682: 2681: 2673: 2670: 2656: 2653: 2651: 2648: 2647: 2643: 2638: 2630: 2627: 2618: 2615: 2613: 2610: 2607: 2599: 2596: 2592: 2587: 2572: 2560: 2557: 2551: 2549: 2544: 2542: 2541: 2537: 2535: 2532: 2530: 2529: 2522: 2520: 2514: 2512: 2511: 2507: 2505: 2502: 2500: 2499: 2493: 2486: 2483: 2479: 2477: 2474: 2472: 2471: 2463: 2456: 2453: 2449: 2447: 2444: 2442: 2441: 2435: 2433: 2428: 2426: 2425: 2417: 2411: 2409: 2404: 2402: 2401: 2397: 2395: 2392: 2390: 2389: 2383: 2376: 2373: 2360: 2346: 2343: 2339: 2337: 2334: 2332: 2331: 2316: 2300: 2297: 2293: 2291: 2288: 2286: 2285: 2270: 2254: 2251: 2245: 2238: 2235: 2225: 2214: 2211: 2207: 2205: 2202: 2200: 2199: 2188: 2176: 2173: 2169: 2167: 2164: 2162: 2161: 2154: 2152: 2146: 2144: 2143: 2139: 2137: 2134: 2132: 2131: 2112: 2092: 2089: 2085:===Ti Noel=== 2083: 2081: 2078:===Ti Noel=== 2076: 2074: 2073: 2069: 2067: 2064: 2062: 2061: 2053: 2047: 2045: 2040: 2038: 2037: 2033: 2031: 2028: 2026: 2025: 2006: 1986: 1983: 1977: 1975: 1970: 1968: 1967: 1963: 1961: 1958: 1956: 1955: 1947: 1941: 1939: 1934: 1932: 1931: 1927: 1925: 1922: 1920: 1919: 1840:extermination 1825:Blanchelande, 1801: 1759:extermination 1689: 1686: 1680: 1678: 1673: 1671: 1670: 1666: 1664: 1661: 1659: 1658: 1609: 1556: 1553: 1547: 1545: 1540: 1538: 1537: 1533: 1531: 1528: 1526: 1525: 1514: 1502: 1499: 1493: 1480: 1477: 1473: 1471: 1468: 1466: 1465: 1459: 1452: 1449: 1443: 1441: 1436: 1434: 1433: 1429: 1427: 1424: 1422: 1421: 1414: 1412: 1406: 1404: 1403: 1399: 1397: 1394: 1392: 1391: 1381:autochthonous 1372: 1352: 1349: 1345: 1343: 1340: 1338: 1337: 1331: 1324: 1321: 1317: 1315: 1312: 1310: 1309: 1302: 1300: 1294: 1292: 1291: 1287: 1285: 1282: 1280: 1279: 1275:===Theatre=== 1273: 1260: 1257: 1253: 1251: 1248: 1246: 1245: 1238: 1236: 1230: 1228: 1227: 1219: 1212: 1210: 1204: 1202: 1201: 1197: 1195: 1192: 1190: 1189: 1163: 1147: 1144: 1134: 1123: 1120: 1116:===Setting=== 1114: 1112: 1109:===Setting=== 1107: 1105: 1104: 1100: 1098: 1095: 1093: 1092: 1068: 1047: 1044: 1038: 1031: 1028: 1022: 1020: 1015: 1013: 1012: 1008: 1006: 1003: 1001: 1000: 992: 985: 983: 977: 975: 974: 970: 968: 965: 963: 962: 935: 928: 925: 921: 919: 916: 914: 913: 907: 905: 900: 898: 897: 880: 877: 875: 872: 869: 863: 858: 850: 847: 845: 842: 839: 818: 815: 813: 810: 809: 803: 798: 789: 786: 784: 781: 780: 772: 769: 767: 764: 761: 749: 725: 722: 713: 710: 708: 705: 704: 696: 693: 691: 688: 685: 669: 666: 664: 661: 660: 654: 649: 640: 637: 635: 632: 631: 619: 616: 614: 611: 608: 598: 585: 582: 567: 552: 549: 539: 526: 523: 511:translator 507: 491: 488: 461: 443: 440: 432: 429: 413: 410: 408: 405: 402: 394: 391: 385: 380: 368:image_caption 363: 360: 358: 355: 354: 334: 331: 329: 326: 323: 309: 293: 290: 273: 270: 268: 265: 264: 255: 245: 242: 236: 231: 223: 218: 209: 193: 186: 182: 177: 168: 163: 159: 151: 141: 125: 121: 117: 116:Autopatrolled 110: 106: 101: 92: 88: 70: 55: 48: 38:Content added 30: 20: 10642: 10634: 10630: 10598:(1): 57–77, 10595: 10591: 10581: 10575: 10571: 10546: 10543:Books Abroad 10542: 10515: 10511: 10507: 10485:(2): 39–53, 10482: 10478: 10474: 10453: 10448:Shaw, Donald 10438: 10434: 10430: 10426: 10391: 10387: 10359: 10355: 10351: 10315: 10311: 10307: 10290: 10286: 10270: 10266: 10255:, retrieved 10235: 10231: 10203: 10199: 10186: 10182: 10178: 10161: 10157: 10153: 10128: 10124: 10120: 10116: 10091:(2): 16–23, 10088: 10084: 10065: 10043: 10030:, retrieved 10028:(in Spanish) 10024: 9998: 9994: 9973:(1): 34–44, 9970: 9966: 9956:, retrieved 9951: 9908: 9903:, p. 55 9896: 9891:, p. 18 9884: 9840: 9835:, p. 44 9828: 9816: 9804: 9792: 9787:, p. 47 9780: 9768: 9756: 9744: 9732: 9727:, p. 48 9720: 9693: 9681: 9659:Stimson 1959 9646:, p. 39 9627:, p. 25 9620: 9615:, p. 24 9608: 9596: 9584: 9572: 9560: 9548: 9493: 9489: 9483: 9471: 9466:, p. 28 9459: 9447: 9435: 9430:, p. 26 9415:, p. 92 9408: 9352:, p. 86 9345: 9340:, p. 84 9333: 9328:, p. 82 9321: 9310: 9299:. Retrieved 9295:the original 9285: 9273: 9254: 9249:, p. 30 9242: 9230: 9218: 9206: 9201:, p. 18 9194: 9182: 9170: 9148:, p. 37 9141: 9136:, p. 41 9129: 9107:, p. 42 9100: 9088: 9076: 9071:, p. 71 9064: 9052: 9047:, p. 70 9030:, p. 69 9013:, p. 68 9006: 9001:, p. 59 8986:, p. 58 8964: 8952: 8940: 8928: 8923:, p. 40 8916: 8911:, p. 18 8892:, p. 16 8885: 8835: 8823: 8809:Stimson 1998 8769: 8754: 8749: 8744: 8743: 8731: 8726: 8722: 8718: 8707: 8697: 8695: 8690: 8687: 8678: 8670: 8651: 8648: 8631: 8623: 8622: 8611: 8609: 8599: 8597: 8588: 8584: 8575: 8560: 8558: 8551: 8544: 8531: 8514: 8504: 8502: 8491: 8482: 8476: 8475: 8467:Major themes 8460: 8459: 8445: 8444: 8435: 8434: 8422: 8411: 8390: 8386: 8379: 8363: 8359: 8352: 8326:creolization 8323: 8319: 8315: 8306: 8297: 8284: 8275: 8266: 8252: 8250: 8230:Plot summary 8224: 8210: 8208: 8196: 8182: 8178: 8172: 8167: 8159: 8155: 8149: 8134: 8130: 8126: 8124: 8113: 8112: 8096: 8091:, about the 8086: 8060: 8057:Map of Haiti 8029: 8019: 7977: 7967: 7966: 7965: 7825: 7606:World, The}} 7505:World, The}} 7403:Carpentier's 7389:|title= The 7339:|title= The 7058:{{es icon}} 6754:{{es icon}} 6725:registration 6651:*{{citation| 6356:224–245 |doi 6164:{{es icon}} 5971:{{es icon}} 5870:|title= The 5424:{{es icon}} 4747:{{es icon}} 4681:Segismunda'' 4381:Carpentier's 4375:Segismunda'' 4189:{{es icon}} 3991:{{es icon}} 3931:{{es icon}} 3880:author-link= 3876:{{es icon}} 3165:Carpentier's 3154:Carpentier’s 3000:===Voodoo=== 2937:===Nature=== 2930:===Nature=== 2675: 2663: 2632: 1518:Carpentier's 1506:Carpentier’s 1361:autocthonous 1024:===Author=== 1017:===Author=== 571:cover_artist 497:cover_artist 471:{{lang|es|El 10655:1949 novels 10631:CLA Journal 10384:Rama, Ángel 9371:, p. 1 9369:Kefala 2007 9315:Limbé, Nord 8842:, p. 5 8187:lycanthropy 8070:Switzerland 7419:| volume = 7412:|journal = 7366:| volume = 7359:|journal = 7303:| volume = 7299:|journal = 7231:66| issue = 7225:|journal = 7147:33| issue = 7145:| volume = 7138:|journal = 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