ALEJO CARPENTIER JOURNEY BACK TO THE SOURCE PDF

He was also a musicologist, an essayist, and a playwright. Though born in Lausanne to a French father and a Russian mother, Carpentier claimed throughout his life that he was Cuban-born. He was taken to Havana as an infant. In the s Carpentier was among the founders of the Afro-Cuban movement that sought to incorporate African forms into avant-garde art, particularly music, dance, and the theatre. He remained in France until , when he returned to Havana. In he left Havana again, this time for Caracas , Venezuela.

Author:Dikora Mezikree
Country:Bolivia
Language:English (Spanish)
Genre:Love
Published (Last):13 October 2018
Pages:174
PDF File Size:9.2 Mb
ePub File Size:7.14 Mb
ISBN:529-2-69805-667-7
Downloads:43005
Price:Free* [*Free Regsitration Required]
Uploader:Zulkitilar



What is important, then, is not the source but rather the journey, the stories people spin out in idleness as they wait for death, a destination reached by the "hours growing on the right-hand side of the clock. A mumbling old black man roves the ruins of a dilapidated colonial mansion being demolished by workmen. Although the story includes other Afro-Cubans, he is not among them. Outside the house, before the old man acts, a rich, baroque, typically encrusted description establishes the simultaneity of decay and renewal.

Walls have sloughed their paper like snakes shed their old skins; capitals lie fallen against their natural propensities, yet the vines recognize their affinity with the acanthus of fallen columns and twine round them. A door frame lets in the darkness. Once the house is reassembled, in the room where the marquess lies the tall candles grow longer and longer until a nun puts them out with a light.

When the doctor shakes his head to indicate that there is no hope, the dying man feels better at once. Thus, gradually, delightedly, the reader realizes that he is moving not forward but backward in time. Going back, everything passes much more quickly. The ruined marquess trades bankruptcy for mourning, mourning for romance, romance for spiritual crisis, spiritual crises for toy grenadiers, the groom, and the only true perspective on a house—the one from the floor.

He finally renounces the light, and all grows dark, warm, moist again. As he "slips towards life," everything else in the house rushes still faster and farther back: wool gloves unravel to return to their sheep, palm trees close their fronds and slip into the earth, metal dissolves, all things return to their original state, and a desert appears where the house once was.

The next day the workmen return, but the house they were to demolish is gone, the statue of Ceres carted off and sold. So they sit out the day. Nor does he spoil it in the telling. Carpentier is not the first author to put time in reverse. Wells and observes that film runs its action backwards or forwards with equal ease. The storyteller makes comprehensible and forces the reader back through the text the otherwise indecipherable death of the marquesa by water.

He thus supplements the other story we have just been told and returns us to our own forward time. Critics dispute whether the conclusion represents a glorious return to nature or a dismal annihilation of the human race.

This antithesis is too simple, since the fiction enacts an exuberant, uniquely human contemplation of the dismal reality, always and forever impending, of the annihilation of our last trace. In Spanish the title of the story, "Viaje a la semilla," literally means "journey" or "voyage" to the "seed," which is feminine.

Since "seed" in English denotes semen, which is masculine, spurting out to join the egg, it cannot be used to describe the trip back up the vaginal canal to our source. Yet the ironic balance is maintained: of two deaths in the story, one takes us to water, the other to clay.

Though the new growth may be unrecognizable, seeds in clay and water do come up again.

ADVANCED PERL PROGRAMMING SRIRAM SRINIVASAN PDF

Alejo Carpentier

What is important, then, is not the source but rather the journey, the stories people spin out in idleness as they wait for death, a destination reached by the "hours growing on the right-hand side of the clock. A mumbling old black man roves the ruins of a dilapidated colonial mansion being demolished by workmen. Although the story includes other Afro-Cubans, he is not among them. Outside the house, before the old man acts, a rich, baroque, typically encrusted description establishes the simultaneity of decay and renewal. Walls have sloughed their paper like snakes shed their old skins; capitals lie fallen against their natural propensities, yet the vines recognize their affinity with the acanthus of fallen columns and twine round them. A door frame lets in the darkness.

DESIGNING AND MANAGING THE SUPPLY CHAIN DAVID SIMCHI-LEVI PDF

Journey Back to the Source (Viaje a la Semilla) by Alejo Carpentier, 1944

An old Negro sits in a garden where he watches an ancient house in the process of being demolished. Part 2. In a reversal of time, the house is re-assembled, and the man enters the house where Don Marcial, its owner, is lying on his death bed. Part 3. Don Marcial gradually recovers and retracts the dying confession he has made to his priest. His mistress gets out of bed, gets dressed, and leaves the house.

BULLZIP COMBINE PDF

The Journey Back To The Source English Literature Essay

.

Related Articles