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Public Writers and Clandestine Paper...

Howell, Daniel.

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Public Writers and Clandestine Papers: Labor, Literature, and Insurgency in Colonial Cuba.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Public Writers and Clandestine Papers: Labor, Literature, and Insurgency in Colonial Cuba./
Author:	Howell, Daniel.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	325 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-05, Section: A.
Contained By:	Dissertations Abstracts International80-05A.
Subject:	Latin American literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10928925
ISBN:	9780438635098

Public Writers and Clandestine Papers: Labor, Literature, and Insurgency in Colonial Cuba.
Howell, Daniel.

Public Writers and Clandestine Papers: Labor, Literature, and Insurgency in Colonial Cuba. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 325 p.

Source: Dissertations Abstracts International, Volume: 80-05, Section: A.

Thesis (Ph.D.)--New York University, 2018.

This item must not be sold to any third party vendors.

La Aurora (1865-1868) has been called Cuba's first "workers' periodical with a social program" and first "proletarian newspaper." A number of twentieth-century studies have examined the paper, but all skirt its most central characteristic: that it was a literary publication. On the basis of original archival research, my dissertation undertakes to read the contributors to the paper as literary authors. I argue that their amateur poems, stories, and literary essays document what could not be expressed literally. For this reason, they constitute important historical sources in the study of a late nineteenth-century Havana that was decolonizing, industrializing, and abolishing slavery all more or less at once. Why would the Cuban labor press emerge, of all things, under the banner of literature? The first chapter argues that literature created a space for free workers to begin articulating "public" identities. They imaged their "public" selves as social agents of a different order than the mere workers they had been before. In this way, they laid the groundwork for later radicalization. The second chapter listens to the workers' silences on slavery. Through an examination of texts in La Aurora, as well as the work of more canonical writers (Villaverde, Placido), I argue that white free workers were incapable of representing slavery, even as it made their lives more precarious. The third chapter tracks the themes of conspiracy, association, and insurrection through the writings of the mechanic and intellectual Jose de Jesus Marquez. Throughout his life, Marquez produced radically different kinds of writings about conspiracies, including an historical novel about a terroristic gang and a theoretical blueprint for a worker-run shadow society embedded within the capitalist city. Most astonishingly, in the 1890s, he published essays vindicating the "logic" and "justice" of the anti-white character of historical Cuban slave revolts, making him almost certainly one of the first Cubans to do so in print. The last chapter identifies the literature in La Aurora as a site in which nationalism was brewing during the run-up to the Ten Years' War. I also show how Jose Marti's aesthetic-nationalist career began in 1879 in Guanabacoa, during his brief interlude between exiles, when he was immersed in La Aurora's milieu.

ISBN: 9780438635098Subjects--Topical Terms:

2078811
Latin American literature.

Public Writers and Clandestine Papers: Labor, Literature, and Insurgency in Colonial Cuba.
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300 $a 325 p.
500 $a Source: Dissertations Abstracts International, Volume: 80-05, Section: A.
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500 $a Advisor: Dopico, Ana.
502 $a Thesis (Ph.D.)--New York University, 2018.
506 $a This item must not be sold to any third party vendors.
520 $a La Aurora (1865-1868) has been called Cuba's first "workers' periodical with a social program" and first "proletarian newspaper." A number of twentieth-century studies have examined the paper, but all skirt its most central characteristic: that it was a literary publication. On the basis of original archival research, my dissertation undertakes to read the contributors to the paper as literary authors. I argue that their amateur poems, stories, and literary essays document what could not be expressed literally. For this reason, they constitute important historical sources in the study of a late nineteenth-century Havana that was decolonizing, industrializing, and abolishing slavery all more or less at once. Why would the Cuban labor press emerge, of all things, under the banner of literature? The first chapter argues that literature created a space for free workers to begin articulating "public" identities. They imaged their "public" selves as social agents of a different order than the mere workers they had been before. In this way, they laid the groundwork for later radicalization. The second chapter listens to the workers' silences on slavery. Through an examination of texts in La Aurora, as well as the work of more canonical writers (Villaverde, Placido), I argue that white free workers were incapable of representing slavery, even as it made their lives more precarious. The third chapter tracks the themes of conspiracy, association, and insurrection through the writings of the mechanic and intellectual Jose de Jesus Marquez. Throughout his life, Marquez produced radically different kinds of writings about conspiracies, including an historical novel about a terroristic gang and a theoretical blueprint for a worker-run shadow society embedded within the capitalist city. Most astonishingly, in the 1890s, he published essays vindicating the "logic" and "justice" of the anti-white character of historical Cuban slave revolts, making him almost certainly one of the first Cubans to do so in print. The last chapter identifies the literature in La Aurora as a site in which nationalism was brewing during the run-up to the Ten Years' War. I also show how Jose Marti's aesthetic-nationalist career began in 1879 in Guanabacoa, during his brief interlude between exiles, when he was immersed in La Aurora's milieu.
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