HISTORIA INTELECTUAL Y LITERATURA

El Uno, el Mismo,
el Otro:
tensiones literarias del “ser negro”
The One, the Same, the Other: literay tensions in “being black”
Silvia Valero*

RESUMEN: El objetivo de este artículo es analizar la perspectiva desde la cual Eliseo Altu-
naga, en su novela En la prisión de los sueños (2002), concibe la posición del “negro” en
los años posteriores a la Revolución y en el presente del Periodo Especial. Mi propuesta es
que a partir de un manejo propio de la dialéctica del amo y el esclavo —idealista y ma-
terialista—, el autor desarrolla un esquema que busca definir a un “negro consciente”,
en el sentido que lo desarrolla Frantz Fanon en Piel negra, máscaras blancas.
PALABRAS CLAVE: Literatura afrocubana, Racialización, Identidades políticas, Eliseo Altu-
naga.
ABSTRACT: The objective of this article is to analyze the perspective from which Eliseo Al-
tunaga, in its novel In the prison of the dreams (2002), reflect on the position of the
“black” in the later years to the Revolution and in the present of the Special Period.
My proposal is that, from a particular use of the dialectic of the master and the slave
—idealistic and materialistic—, the author develops a scheme that he defines to a
“conscious black”, in the sense of Frantz Fanon in Black Skin, White Masks.
KEY WORDS: Afrocuban Literature, Racialization, Policies of the Identity, Eliseo Altunaga.

*
Universidad de Cartagena, Colombia (svalero@unicartagena.edu.co).

55
 SILVIA VALERO

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62 (México 2016/1): 55-78 59

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60 (México 2016/1): 55-78 62

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21
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62 (México 2016/1): 55-78 63

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64 (México 2016/1): 55-78 62

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25
Altunaga, Œ†8œ±´‘ŒhVœ¡¸·¡

66 (México 2016/1): 55-78 62

 EL UNO, EL MISMO, EL OTRO: TENSIONES LITERARIAS DEL “SER NEGRO”

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Œ´YOb¦Áb†8b´O†8Ç8V
26
Ibid¡Vœ¡gg¡
27
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62 (México 2016/1): 55-78 67

 SILVIA VALERO

KhL¼8†ÇbÍ´Œ¼‘´Áœ±b´bŒO8Êt±‘†8O8FbÍ8V´b¼Á±F‘ÁŒŒ´¼8Œ¼bÊ´Œ-
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Romano no podía tener celos de una esclava lavandera de su propia
Y¼8O‘Œ.28

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bǼ8±´Á´8O±oOVYbOYb±bt±b´8±8†8|8ObŒY8œ±¦ÁbV
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œY±9bŒOŒ¼±8±ÁŒb´O†8ǐ‰9´ob†.30

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negros de César Leante o t±8n€8YbÁŒO‰8±±‘ŒYbtÁb† 8±Œb¼V31

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28
Altunaga, Œ†8œ±´‘Œ¡¡¡Vœ¡——¡8´OÁ±´Ç8´´Œ‰€8´¡
29
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30
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31
César Leonte, Los guerrilleros negrosVcÉOV+t†XXI Y¼±b´V—·¶tÁb† 8±Œb¼V
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68 (México 2016/1): 55-78 62

 EL UNO, EL MISMO, EL OTRO: TENSIONES LITERARIAS DEL “SER NEGRO”

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32
Altunaga, Œ†8œ±´‘Œ¡¡¡Vœ¡—p·¡
33
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62 (México 2016/1): 55-78 69

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OŒnb´Œ8†U«+8†b´Yb†8nÁŒb±8±8OŒ†88‰8±t8´bŒ´8O‘ŒYb¦Áb¼Y8

34
 3±t|¼Vop. cit¡Vœ¡—¸¡
35
 ±8Œ¼Í 8ŒŒV Piel negra, máscaras blancas, trad. de Ángel Abad, Buenos Aires,
ÏF±8É8´V—·½¡
36
Altunaga, Œ†8œ±´‘Œ¡¡¡Vœ¡—À·¡
37
Loc. cit.

70 (México 2016/1): 55-78 62

 EL UNO, EL MISMO, EL OTRO: TENSIONES LITERARIAS DEL “SER NEGRO”

¼Á ÇY8 b´ ÁŒ8 ‰8´O8±8Y8 KhL¡ +bŒ¼b´ ¦Áb O±b€´¼b OŒ Œ¦ÁbF±8Œ¼8F†b
O8ŒYYbÍYb‰8´8Y8´O´8´¬¡38
φ¼ÁŒ8t8±b¼‰88¦Á€ÁŒ¼‘œOYb8†tÁŒ8†¼b±8¼Á±8Yb†œ±‰b±œb-
±Y±bǐ†ÁOŒ8±Vb´¼b´Vb†OŒqO¼¦Ábœ±YÁOb†8OŒ¼±8YOO‘Œ
entre la cultura racional, moderna, occidental, y una ideología laica y atea,
YbnbŒYY8´œ±†8*bǐ†ÁO‘ŒÊ†¦Áb´bÇb€8O‰´Áœb±´¼OŒb´±±8-
OŒ8†b´Êœ±‰¼Ç8´Yb†´Œbt±´VF´¼9OÁ†´œ8±8b†8Ç8ŒObYb8¦Áb††8¡
œ±8Í8±V8¦Áb†b´¼8YYbYb´8´´btYb†(±nb´±´bœ±YÁOb†Ábt
YbbŒn±bŒ¼8±´bVbŒÁŒÇb†8¼±V8ÁŒt±ÁœYb«Œbt±8´¬Çb„8´Vn±bŒ¼b8
†8´OÁ8†b´´ÁœbŒ´8‰bŒ¼±bœ±YÁObOŒ´tŒ8´Ê¼Œ´¦Áb´b†bbŒbŒ
‰ÁO|8†¼b±8¼Á±8oOOŒ8†ÊbŒ´8ʀ´¼O8Yb†œ±‰b±œb±Y±bǐ†ÁOŒ8±U
«8´‰±8´OŒYb´YcŒVOŒ±b´bŒ¼‰bŒ¼V¼8†ÇbÍOŒYVœ±¦Áb8´€œ8~
sarán la mayor parte de sus vidas, mirando impotentes a sus muertos,
indolentes, invocando espíritus y orishas”.39
8´¼b±bO±Y8±VbŒb´¼8†€Œb8Yb†bO¼Á±8VÊ8‰8Œb±8Ybœ8±8Œt‘ŒVb†
œ±‘†t Yb (bY± b´O|8‰œ´
|8œb8ÁÉ8 †8ŒÇb†8Yb 8ŒÁb†
oŽV

Á8ŒY†8´8Œt±b´bœ8±bOb8†nÁbtUb†|´¼±8Y±OÁF8ŒV8†´bŽ8†8±
O‰ 8´œbO¼´ Œbt8¼ǐ´ œ8±8 b´b ‰‰bŒ¼ ±bǐ†ÁOŒ8± 8† ‰œb±8-
†´‰ Œ±¼b8‰b±O8Œ Ê †´ œ±b„ÁO´ ¦Áb œb±YÁ±8F8Œ Yb´Yb †8
†-
Œ8V 8t±bt8 †8´ ±b†tŒb´ i«tbŒ¼b´ ¦Áb ´b ‰8±tŒ8Œ œ± ´€ ‰´‰8´V bŒ
´Á‰8¬iV40œ±b´¼8±nÁb±8Yb†OŒ¼8O¼OŒ†8±b8†Y8Y¡ ´¼8´±bqbɐŒb´
Ybb´O|8‰œ´
|8œb8ÁÉV¦ÁbŒ8o±‰8F8¦Áb«†8Yb†t€8±bǐ†ÁOŒ8±8V
´b‰œ±bbŒ8´ObŒ´VÇbŒOb8†8´O±bbŒO8´8ŒOb´¼±8†b´¬V41 encuentra su eco
bŒb†(±nb´±Yb Œ†8(±´‘ŒVOÁÊ8n±‰8O‘ŒYb†‘tO8bŒ¼±8bŒOŒqO-
¼OŒ†8´±b†tŒb´8n±OÁF8Œ8´VÊ8¦Áb|8F€8O±b€YV«OŒŒ¦ÁbF±8Œ¼8F†b
O8ŒYYbͬV¦Áb«†´„‘ÇbŒb´OÁ8Y±´VbYÁO8Y´bŒ Á±œ8VOŒObY±b´
Yb†8YO¼±Œ8‰8±É´¼8†bŒŒ´¼8F8±±b±€8ŒYbÁŒœ†Á‰8͐b´b‰ÁŒY8¼9-
ÇOÊYbœbŒYbŒ¼b¬¡42

38
Ibid¡Vœ¡—ÀÀ¡
39
Loc. cit. Las cursivas son mías.
40
 (bY±b´O|8‰œ´
|8œb8ÁÉV«Œ¼±YÁOO‘Œ¬VbŒ
Á8ŒY†8´8Œt±b´bœ8±bOb8†nÁbt,
88F8Œ8V Y¼±8†Ybϱ¼bʼb±8¼Á±8V—··Vœ¡·¡
41
Ibid¡Vœ¡——¡
42
Altunaga, Œ†8œ±´‘Œ¡¡¡Vœ¡———¡

62 (México 2016/1): 55-78 71

 SILVIA VALERO

¦Áb´bœŒbbŒOÁb´¼Œ8‰bŒ¼VbŒb´¼bœÁŒ¼Vb´†8œ´F†Y8YV
YbŒ¼±Yb†8OŒObœO‘ŒYbYbŒ¼Y8Y±bǐ†ÁOŒ8±8VYb8´Á‰±O‰b´-
œbOoOY8YÁŒ8YbŒ¼Y8YŒbt±8¡
‰´b´bŽ8†‘8†ŒOYbb´¼b8±¼€OÁ†V
b† ‰‰bŒ¼ |´¼‘±O œb±‰¼b †8 ±bÇ´‘Œ Ê O±€¼O8 Yb b´¼´ œ8±8Yt‰8´
y Œ†8œ±´‘ŒVO‰±bn±8O¼8±8Ybb††Vœ¼8œ±YnÁŒY±ÁŒ8Yb8Yb
Œbt±¼ÁYOb±O8Œ88ÁŒ«YbFb±´b±¬V¦Áb´b‰8Œob´¼8bŒ¼bŒ´‘ŒOŒb†
anterior “ser revolucionario”, cuya etnicidad estaba asentada en el mérito
±bǐ†ÁOŒ8±Êb†O‰œ±‰´Yb†‘tO¡
(±b´¼8±8͑ŒV†8nÁŒO‘Œ¦ÁbOÁ‰œ†b
|ÁO|btb†V‰9´¦ÁbOŒ-
YbŒ8±8†(±nb´±œ±b†´‰b¼‰bŒ¼‰‰c¼OVb´†8YbœŒb±†bÁŒ8
´ÁF„b¼ÇY8Y «Œbt±8¬ œ8±8 †8 OÁ8† b´ ŒbOb´8± 8´Á‰± ÁŒ ´b± œ8±8 ´€ bŒ
OÁ8Œ¼OŒObŒO8±8O8†V¦Áb´bYbFb±€8Çb±±bœ±YÁOY8bŒ†8Œ¼b±œ±b¼8-
O‘ŒYb†8´¼±8ʆ8±b8†Y8YOÁF8Œ8´Vœb±V´F±b¼YVbŒ†8OŒObŒO8
‰´‰8Yb†(±nb´±O‰´Á„b¼«Œbt±¬¡
φ¼ÁŒ8t8ÇÁb†Çb8¦Á€8ÁŒ8Yb´Á´F´b´Œb´U†8nÁŒO‘ŒYb††bŒtÁ8„b
¦ÁbŒ‰F±88†«Œbt±¬¡Ïœ8±¼±Ybb´¼8†‘tO8V
|ÁO|btb†OŒYbŒ8
b††bŒtÁ8„bYb†(±nb´±¦ÁbV‰±8YYb´Yb´Áœ±b´ÁœÁb´¼±8O8†VŒ†b
O±±b´œŒYbU« ±b´ÁŒ‰ÁYœb±VÁŒnbŒ‰€‰O¦Áb‰8tŒ8´ÁʐÁŒ
Y´OÁ±´8„bŒ¡¼bŒb´†bŒtÁ8œ±œ8´ŒÁŒ8„b±tŒÍ8OŒ¼8‰Œ8Y8
¦Áb¼bbŒ´bŽ8±ŒKhL¡+tÁb´´bŒYÁŒŒbt±Œ¼b†bO¼Á8†OŒ†8†bŒtÁ8
de un blanco.”43ÁbÇ8‰bŒ¼bb†8Á¼±´b8œÊ8bŒ±8Œ¼Í8ŒŒVOÁÊ8Yb8
Yb†±ct‰bŒYb±bœ±b´bŒ¼8O‘ŒYb†«F†8ŒO¬OŒ±b´œbO¼8†«Œbt±¬Ç8
‰9´8††9Yb†8Yb8Ybœ´OŒ8±†O‰b† ¼±Yb†Y´OÁ±´Y‰Œ8Œ¼b¡
8ŒŒYb´‰bŒÁÍ8†8bɜb±bŒO8O†ŒÍ8Y±8O‰b†8O¼Yb´‰b¼b±8
b´b ¼±8ÁŒ8Œ¼b±±Í8O‘ŒYbb´bOŒO‰bŒ¼ÊYbb´8´ÁF„b¼ÇY8Y
bŒÁŒœ±Ob´¦Áb+¼Á8±¼8††YbŒ‰Œ8±9†Ábtbɜ±œ8O‘ŒŒ¼b±Œ8¡44
†8Á¼±V¼±8ÇbÍV´b´±ÇbYb
|ÁO|btb†Ê´ÁOŒ¼±8Y´OÁ±´œ8±8
œŒb±Yb‰8Œob´¼†´O8‰Œ´œ´F†b´Yb†8´ÁF„b¼ÇY8Y«Œbt±8¬n±bŒ-
¼b8†8´Œ¼b±œb†8OŒb´bɼb±Œ8´¡
‰OŒ¼±8O8±8Yb†(±nb´±V
|ÁO|

43
Ibid¡Vœ¡—ÀpÊ—À¸¡8œ±bOÁœ8O‘Œœ±b††bŒtÁ8„b¦ÁbŒ‰F±88†«Œbt±¬b´OŒ´~
¼8Œ¼bbŒφ¼ÁŒ8t8Ê´bYb´8±±††8OŒ‰9´œ±nÁŒYY8YbŒA medianoche llegan los
muertos.
44
Hall, op. cit¡Vœ¡—½p¡

72 (México 2016/1): 55-78 62

 EL UNO, EL MISMO, EL OTRO: TENSIONES LITERARIAS DEL “SER NEGRO”

btb†V¦Áb|8¼bŒYb†‰´‰ŒOŒ¼b†bO¼Á8†Yb†œ±¼8tŒ´¼8V†t±‘
¼±8´ObŒYb±†8n8†´8YO¼‰€8bŒ†8¦Ább†«Œbt±¬±b´Á†¼8´b‰œ±b ¼±V
œ±†OÁ8†±bOÁb±Y8U
5b±8b†Œbt±¦ÁbO±b€8bŒ†8´Áœb±±Y8YYb†8†bŒtÁ88†b‰8Œ8¡(bŒ´8F8
¦Ább†œbŒ´8‰bŒ¼8†b‰9Œb±8†‰9ɉV(±nb´±¡ ±8ÁŒŒbt±tb±‰8-
Œ´¼8¦Áb8œ±bŒY‘8†b‰9Œœ8±8†bb±88±†8±ÉÊ´bbŒ8‰±‘Ybbtb†Ê
´bnÁb8†8*bœÂF†O8b‰O±9¼O8φb‰8Œ88b´¼ÁY8±†8¼b±€8Yb†OŒO-
‰bŒ¼ÊOŒO‘8bÁb±F8O|KhL¡
 ´¼8ŒYbŒ3b‰8±VÁŒY€8KhLÇÁŒ8´O8‰††8´‰Œ¼8Y8´bŒÁŒO‰-
œ†b„´´¼b‰8YbO8„8´YbF†8´œ8±8‰b¼b±†´O8Y9Çb±b´bŒb†O±b‰8¼±V†8
‰9´´o´¼O8Y8¼bOŒ†t€8œ8±8O8††8±8†´¦ÁbŒœbŒ´8±8ŒO‰b¼|b
O‰¼±Vœ8±8´Áœ±‰±†8´Ynb±bŒO8´Vœ8±8‰8±O|8±|8O8b†nÁ¼Á±¡45

Ϝ8±bŒ¼b‰bŒ¼bVÊO‰Ê88Yb†8Œ¼cV
|ÁO|btb†´b8´Á‰bO‰
b†±b´Á†¼8YYb†8Œbt8O‘ŒYb†8Œbt8O‘Œœb±Yb´Yb†8Y8†cO¼O8‰8¼b±8-
†´¼8Vœ±†OÁ8††8´€Œ¼b´´†t±8Y8b´†8Yb†«Œbt±OŒ´ObŒ¼b¬VÁŒ«Œbt±¬
OŒb´¼8¼Á´Yb´Á„b¼Vb´YbO±VÁŒ8OŒObŒO8œ8±8´€¡b€YYbb´¼b‰YV
´Á±tbYb†¼bɼÁŒ8‰8Œb±8Yb†8Œbt±¼ÁY¦Áb´b8Ob±O88†œbŒ´8‰bŒ¼
Yb¼±´Œ¼b†bO¼Á8†b´Ybb´¼bŒÁbǐœb±Y|´¼‘±OOÁF8ŒUbŒb´¼8
†€Œb8YbœbŒ´8‰bŒ¼´bO†O8†8¼bŒ´‘ŒbŒ†8¦Áb´bYbF8¼bb†(±nb´±V
Ê8¦ÁbO‰«Œbt±¬YbFb±€8VYb´Ybb´¼8œb±´œbO¼Ç8V8´Á‰±ÁŒ8Ç´‘Œ
Yb†‰ÁŒYYb¼b±‰Œ8Y8œ±´Á´¼±8O†bO¼Ç8VOŒ†OÁ8†´bb´¼8F†bOb
ÁŒn8†´FŒ8±´‰bŒ¼±b«8Á¼cŒ¼O´¬Ê«8´‰†8Y´¬¦Áb±b´Á†¼8VbŒ8†tŒ
œÁŒ¼Vb´bŒO8†´¼8¡ŒYÁY8F†b‰bŒ¼bV†¦ÁbFÁ´O8Œ¼Y8´b´¼8´Œ8±±8¼Ç8´
i†8Yb†(±nb´±Êœ±bɼbŒ´‘Œ†8ŒÇb†8bŒ´€‰´‰8VÊbŒtbŒb±8††8´
Œ8±±8¼Ç8´YbŒ‰Œ8Y8´«Yb†88n±Y9´œ±8¬i´Œ±bt€‰bŒb´YbÇ´F†-
Í8O‘Œ†bt€¼‰´œb±¦Ábœ±ÇO8ŒVbŒ8†tÁŒ8´Œ´¼8ŒO8´Vb´¼b¼œYb
Fœ†8±Y8YVbŒOÁ8Œ¼V8†‰´‰¼b‰œ¦Ábœ±YÁObŒœ±9O¼O8´Ê´tŒo-
O8Y´VÇ8ŒtbŒb±8ŒY´Áœ±œ8«t8±8Œ¼€8YbÇb±Y8Y¬8Ob±O8Yb†¦Ább´
´b±Œ´b±«Œbt±¬¡ ´YbO±¦Áb´bOŒn±‰8ÁŒ´bŒ¼YYbœb±¼bŒbŒO8
¦ÁbFÁ´O8O±b8±†8Yb8YbÁŒ8YbŒ¼Y8YO‰œ8±¼Y8¡

45
Altunaga, Œ†8œ±´‘ŒhVœœ¡—À½Ê—Às¡

62 (México 2016/1): 55-78 73

 SILVIA VALERO

ÏoŒYbOÁbŒ¼8´Vb†Y9†tYb†(±nb´±OŒ
|ÁO|btb†Œb´
¼±8O´8¦Ább†b´œ8O¦Áb†8ŒÇb†8OŒObYb8†(±nb´±œ8±8œŒb±bŒ
bÇYbŒO8´Áœ±œ8OŒnÁ´‘Œ¡†b´ÁŒÊb†¼±Vb†´Á„b¼n±8t‰bŒ¼8Y
bŒn±bŒ¼8Y8ÁŒ8±b8†Y8Y¦Áb|8œb±YYb†±YbŒ8Œ¼b±±¡ Œb††¼‰
±b†8¼Yb´Á´´ÁbŽ´Vb†(±nb´±V8¼±8Çc´Yb†8´†ObŒO8´¦Áb†bœb±‰¼bb†
‰ÁŒYŒ€±OVÇ8´Án±bŒYÁŒ8¼±8Œ´n±‰8O‘Œ¦Áb†‰b¼8‰±n´b8bŒ
bt±Vb†œb±´Œ8„bYb´Á´|´¼±8´U
¼b‰†b´¼8¼8Œ¼†œb±YYV´Œ†¦Áb|8´Yb„8Y±Í8ŒYV†8´O-
´8´´ŒYboŒ±V†8´†Á´Œb´¦ÁbYb´œ†8Í8´¼bœ8±88O8¼8±†8´Œ±‰8´¡KhL
«2bŒt8Œ¼Y´V¼b„Á±œ±‰‰8Y±b¦Ább´¼Ê´†¬VYObÁŒ8ǐÍbŒb†
‰Œ¼b¡ O|8´8O±±b±|8O8†8ǐͦÁb8œ8±bŒ¼8b†bOYb¼Át±¼¡t±8´
Y8±ÁŒ´8†¼Ê8´Á´¼8YO±±b´œ±†8´O8††b´¡,b8O´8Œ†´F8O|b´Ê†8´±8¼8´V
†´†8¼Œb´YbF8´Á±8Yb´F±Y8Y´¶Œb´OÁO|8´†´8Á¼´V´‘†b††8¼±Yb†
¼8‰F±¡,±8¼8´Ybt±¼8±VYb´8†¼8±œ8±88†b„8±¼bV8ÁŒ¦Áb¼bYbǐ±bb†œb±±V
8ÁŒ¦Áb8Œ††bŒ¼Á´¼F††´V8ÁŒ¦Áb¼b´Á´œbŒY8ŒbŒÁŒ8O±ÁÍYbÊ8Ê8¡46

†Y9†tOŒ
|ÁO|btb††b|8YbÇÁb†¼8†(±nb´±ÁŒ8YbŒ¼Y8Y
«Œbt±8¬¦Áb‰œ8O¼8OŒ¼±8†´Y´OÁ±´´YbŒ¼¼8±´Yb†8*bǐ†ÁO‘Œ¡ Œ
b´b¼bŒ´Yb´OÁF±‰bŒ¼Yb´ÁŒbt±¼ÁYVb†(±nb´±nÁb|8ObŒYb†O8‰Œ
œ8±8Yb„8±t±8oO8Y8†8œ¼bŒO8†Y8YYb†±±b´†ÁF†bUb†´8O±oOYbbt±V
b†œb±´Œ8„bYb´Á±b†8¼V´b±bŒÁbÇ8bŒc†œ±¦ÁbV´btŒ´Á±tbYb†8ŒÇb†8V
†8|´¼±8b´ÁŒ8´†8¡bŒ¼±8´†´«Œbt±´¬œ±b´´Yb´Á´´ÁbŽ´t±¼8Œ
«KhL¦Áb8F±8Œ†8´t8†b±8´œ8±8¦ÁbŒ´Yb„bŒ±b´œ±8±¬V47bŒO†8±88†Á´‘Œ
8†´F8±O´Œbt±b±´Vb†(±nb´±´bŒ¼b¦Ább†œbO|´b†b8F±bO‰ÁŒ8
±b´U«,b‰±8´b†œbO|V8Fb±¼bŒY´b´´‘†ÁŒ|ÁbObŒb†œ´VbŒÁŒ
O8†Yb±Yb|b±±V¼F8ŒVÊ8Ob¼ÁO±8͑Œ¡KhL8†ÁÍŒO†b‰bŒ¼b´b
Yb´œbY8Í8´F±b†8OÁY8Y¬¡48(O8Œ¼b´|8F€8‰´†b€Yb†oŒ8†Ybbt±U
«bt±¼bŒ€8b†œbO|8Fb±¼bŒY´Ê†b|8F€8Œ´8O8Yb†O±8͑Œ¬¡49

46
Altunaga, Œ†8œ±´‘ŒhVœ¡—p·¡
47
Ibid¡Vœ¡—pg¡
48
Loc. cit.
49
Ibid¡Vœ¡—s·¡

74 (México 2016/1): 55-78 62

 EL UNO, EL MISMO, EL OTRO: TENSIONES LITERARIAS DEL “SER NEGRO”

CONCLUSIÓN
φ¼ÁŒ8t8V8†oOOŒ8†Í8±ÁŒœ±Ob´Yb±8O8†Í8O‘ŒÊYb´±8O8†Í8O‘ŒbŒ
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51
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62 (México 2016/1): 55-78 75

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ALTUNAGA ELISEO, Œ†8œ±´‘ŒYb†´´ÁbŽ´, La Habana, UNEACVÀÎÎÀ¡
___________, A medianoche llegan los muertos, La Habana, Letras

ÁF8Œ8´V—g¡
ÆÆÆÆÆÆÆÆÆÆÆV«8‰8tbŒ¦Áb´bbÇ8Yb¬VbŒEncuentros de la cultura
cubana,ŒÂ‰´¡—ÀÊ—½V—Vœœ¡p—~pp¡
ÆÆÆÆÆÆÆÆÆÆÆV« †¼±O‰œŒbŒ¼b¬VbŒLa Gaceta de CubaVŒÂ‰¡½sV
—¸Vœœ¡½Îʽ—¡
BALIBAR, ETIENNE Y IMMANUEL WALLERSTEIN, *8Í8VŒ8O‘ŒÊO†8´bVcÉOV
bœ8†8V——¡

76 (México 2016/1): 55-78 62

 EL UNO, EL MISMO, EL OTRO: TENSIONES LITERARIAS DEL “SER NEGRO”

BAROT, ROHIT y JOHN BIRDV«*8O8†Í8¼ŒV¼|bbŒb8†tÊ8ŒY

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¸Î—~¸—g¡
BRUBAKER, ROGERS Y FREDERICK COOPER, “Au-delà de l’ ‘identité’ ”, en Actes
de la recherche en sciences socialesVǐ†¡—½VÀÎΗVœœ¡¸¸~gp¡
BUTLER, JUDITHV«2€ŒOÁ†F´¼Œ8YV´‰b¼‰bŒ¼O±œ±8†¡*b†bO¼Á±8Yb
la conciencia desventurada de Hegel”, en bO8Œ´‰´œ´€¦ÁO´Yb†
œYb±¡ ,b±€8´ ´F±b †8 ´Á„bO‘ŒV ¼±8Y¡ Yb 8O¦Áb†Œb
±ÁÍ 28†bŒO8V
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CAMPOS GARCÍA, ALEJANDRO,«*8O8†Í8O‘ŒV±8O8†´‰Ê±8O´‰¡-ŒY´Ob±-
nimiento necesario”, en Universidad de La HabanaVŒÂ‰¡À·½VÀΗÀV
œœ¡—gs~—g¡
DESCHAMPS CHAPEAUX, PEDRO,«Œ¼±YÁOO‘Œ¬VCuando la sangre se parece
8†nÁbtV88F8Œ8V Y¼±8†Ybϱ¼bʼb±8¼Á±8V—··¡
FANON, FRANTZ, Piel negra, máscaras blancas, trad. de Ángel Abad, Bue-
Œ´Ï±b´VÏF±8É8´V—·½¡
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Biblioteca Virtual UniversalV —p¡ Œ |¼¼œV¹¹ÈÈÈVFF†¼bO8V±tV8±¹
†F±´¹—gVœYnžnbO|8YbOŒ´Á†¼8U—·Yb„Á†VÀΗΟ¡
MORÚA DELGADO, MARTÍN, Œ¼bt±8O‘ŒOÁF8Œ8ʐ¼±´bŒ´8ʐ´V¼¡V La
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ture”, en Social ProblemsVǐ†¡s—VŒÂ‰¡—V—sVœœ¡—pÀ~—·¸¡
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de Crítica Literaria Latinoamericana, ŒÂ‰¡g—VÀΗpVœœ¡—¸½~—g¸¡

62 (México 2016/1): 55-78 77

 SILVIA VALERO

ÆÆÆÆÆÆÆÆÆÆÆV«(b±´Œ8„b´8n±OÁF8Œ´bŒ†8Œ8±±8¼Ç8OÁF8Œ8Yb†ŒÁb-
ǐ‰†bŒUÀÎÎÎ~ÀÎ΍¬VbŒRevista IberoamericanaVŒÂ‰¡Às½VÀΗ½V
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___________, *bœ±b´bŒ¼8OŒb´Yb†œb±´Œ8„bYb†Œbt±bŒ†8Œ8±±8~
tiva cubana. Una perspectiva desde los Estudios SubalternosV8Y±YV
2b±FÁ‰VÀΗΡ
VALERO, SILVIA,«Œ¼±YÁOO‘Œ¡¼b±8¼Á±8Ê­8n±Yb´ObŒYbŒO8®¡YbŒ¼Y8Yb´
œ†€¼O8´bŒ†8†¼b±8¼Á±88n±†8¼Œ8‰b±O8Œ8Yb†´t† XXI”, en Revista
de Crítica Literaria LatinoamericanaVŒÂ‰¡g—VÀΗpVœœ¡~—·¡
ÆÆÆÆÆÆÆÆÆÆÆV «+Œ ­±8Í8´® Œ ­O†8´b´®U †8 O‰ÁŒY8Y ‰8tŒ8Y8 Yb †8
Cuba de El columpio, de Rey Spencer”, en Lingüística y Literatura,
ŒÂ‰¡¸¸VÀΗsVœœ¡—·—~—gg¡
___________, Mirar atrás. La importancia del pasado en los relatos
Yb Œ8O‘Œ Ê Œbt±¼ÁY bŒ †8 †¼b±8¼Á±8 8n±OÁF8Œ8 Yb bŒ¼±b ´t†´,
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na”, en Orbis Tertius, vol. XVIVŒÂ‰¡—·VÀΗ—Vœœ¡s—~pΡ Œ|¼¼œV¹¹ÈÈÈ¡
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dernos de Literatura, vol. VVŒÂ‰¡—ÎV—Vœœ¡À¸~pÀ¡

78 (México 2016/1): 55-78 62