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State University of New York Press - Lanie Millar

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159 pages

English

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In Forms of Disappointment, Lanie Millar traces the legacies of anti-imperial solidarity in Cuban and Angolan novels and films after 1989. Cuba's intervention in Angola's post-independence civil war from 1976 to 1991 was its longest and most engaged internationalist project and left a profound mark on the culture of both nations. After the fall of the Berlin Wall, Millar argues, Cuban and Angolan writers and filmmakers responded to this collective history and adapted to new postsocialist realities in analogous ways, developing what she characterizes as works of disappointment. Revamping and riffing on earlier texts and forms of revolutionary enthusiasm, works of disappointment lay bare the aesthetic and political fragmentation of the public sphere while continuing to register the promise of leftist political projects. Pushing past the binaries that tend to dominate histories of the Cold War and its aftermath, Millar gives priority to the perspectives of artists in the Global South, illuminating networks of anticolonial and racial solidarity and showing how their works not only reflect shared feelings of disappointment but also call for ethical gestures of empathy and reconciliation.
List of Illustrations
Acknowledgments
Introduction

Part I. Allegory and Aesthetics in the Post-Revolution

1. Silence and the People in Boaventura Cardoso’s Maio, Mês de Maria and Mãe, Materno Mar

2. Postwar Cinematic Politics and the Structures of Disappointment

Part II. The Mobility of Form

3. The War Abroad and the War at Home: Eliseo Alberto’s Caracol Beach

4. Revolution from the South in J. E. Agualusa’s O Ano em que Zumbi Tomou o Rio

Part III. Genre, Style, and Empire

5. Deferred Time and Belated Histories in Leonardo Padura’s El hombre que amaba a los perros

6. Post-Revolutionary Pastiche in Pepetela’s Jaime Bunda Novels

Epilogue
Notes
Works Cited
Index

Sujets

Latin American

Película fotográfica

África

Visual culture

Latin America

Caribbean

Africa

Film

Informations

Publié par	State University of New York Press
Date de parution	01 septembre 2019
Nombre de lectures	1
EAN13	9781438475929
Langue	English

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FORMS OF DISAPPOINTMENT
SUNY series in Latin American and Iberian Thought and Culture

Jorge J. E. Gracia and Rosemary G. Feal, editors
FORMS OF DISAPPOINTMENT
CUBAN AND ANGOLAN NARRATIVE AFTER THE COLD WAR
LANIE MILLAR
Published by State University of New York Press, Albany
© 2019 State University of New York
All rights reserved
Printed in the United States of America
No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher.
For information, contact State University of New York Press, Albany, NY www.sunypress.edu
Library of Congress Cataloging-in-Publication Data
Names: Millar, Lanie, 1979– author.
Title: Forms of disappointment : Cuban and Angolan narrative after the Cold War / Lanie Millar.
Other titles: Realigning revolution
Description: Albany : State University of New York Press, [2019] | Series: SUNY series in Latin American and Iberian thought and culture | Revision of author’s thesis (doctoral)—University of Texas at Austin, 2011, titled Realigning revolution : the poetics of disappointment in Cuban and Angolan narrative. | Includes bibliographical references and index.
Identifiers: LCCN 2018045646 | ISBN 9781438475912 (hardcover : alk. paper) | ISBN 9781438475929 (ebook)
Subjects: LCSH: Cuban literature—20th century—History and criticism. | Angolan literature (Portuguese)—20th century—History and criticism. | Angola—History—Civil War, 1975–2002—Participation, Cuban. | Angola—History—Civil War, 1975–2002—Literature and the war.
Classification: LCC PQ7378 .M466 2019 | DDC 860.9/7291—dc23
LC record available at https://lccn.loc.gov/2018045646
10 9 8 7 6 5 4 3 2 1
Contents
List of Illustrations
Acknowledgments
Introduction
P ART I A LLEGORY AND A ESTHETICS IN THE P OST -R EVOLUTION
1 Silence and the People in Boaventura Cardoso’s Maio, Mês de Maria and Mãe, Materno Mar
2 Postwar Cinematic Politics and the Structures of Disappointment
P ART II T HE M OBILITY OF F ORM
3 The War Abroad and the War at Home: Eliseo Alberto’s Caracol Beach
4 Revolution from the South in J. E. Agualusa’s O Ano em que Zumbi Tomou o Rio
P ART III G ENRE , S TYLE, AND E MPIRE
5 Deferred Time and Belated Histories in Leonardo Padura’s El hombre que amaba a los perros
6 Post-Revolutionary Pastiche in Pepetela’s Jaime Bunda Novels
Epilogue
Notes
Works Cited
Index
Illustrations Figure 3.1 Public mural in Havana, Cuba. Photo by the author. Figure 3.2 Unión de Jóvenes Comunistas de Cuba (the Young Communist League of Cuba) at the 1st of May parade in 2010. Photo by the author.
Acknowledgments
I owe the existence of this book to many communities of scholars, writers, artists, colleagues, and friends. My first thanks go to the authors, filmmakers, and critics whose work appears in the pages of this book. I am very grateful to my editor Rebecca Colesworthy for her support and guidance, to Michael Rinella for taking on this project, to Jorge Gracia and Rosemary Feal for including it in the Latin American and Iberian Thought and Culture series, to Eileen Nizer, Rafael Chaiken, and to the rest of the staff at SUNY Press. I owe enormous thanks to the anonymous reviewers for their generous, insightful, and constructive readings of the manuscript.
I am extremely grateful for research support from the Kluge Center at the US Library of Congress, the Fundação Luso-Americana para o Desenvolvimento and the Arquivo Nacional Torre do Tombo in Lisbon, and the Oregon Humanities Center. Travis Hensley and Mary Lou Reker provided invaluable logistical support during my time at the Kluge Center, and together with the other fellows made each day there a joy. I owe many thanks to Mattye Laverne Page in the African and Middle East Reading Room at the Library of Congress for facilitating my access to archives on Angola. Thank you to Maria Remédios Amaral at the ANTT and Miguel Vaz at FLAD for making my research in Lisbon possible. Paul Peppis, Julia Heydon, Melissa Gustafson, and Peg Freas Gearhart are responsible for a wonderful and productive quarter writing at the OHC. My research has also benefitted enormously from conversations and events throughout the years organized by the wonderful staff at the Fundación Alejo Carpentier in Havana, especially the inimitable Luisa Campuzano. Thank you to Constance Arvis at the US Embassy in Angola for facilitating my research in Luanda, and to Eric Benjaminson for making the connection. I am also grateful to the Embassy staff and the administration, faculty, and students of the English Department at the Universidade Agostinho Neto for my reception there.
SOCE—Amanda Doxtater, Karen Emmerich, Leah Middlebrook, Fabienne Moore, and Casey Shoop—have been incisive and indefatigable readers and patient cheerleaders; the book has benefitted enormously from their brilliant eyes. Ex-Socista Marc Schachter, Nathalie Hester, Roy Chan, and Stephen Henighan all read portions of the manuscript, and I am grateful for their suggestions. Mayra Bottaro provided invaluable discussion, encouragement, and solidarity. Other colleagues have offered bibliography, provided feedback on works-in-progress, modeled outstanding scholarship, or offered encouragement as I wrote and revised the manuscript, including Annette Rubado-Mejia, Michael Gibbs Hill, Samira Mehta, Pedro García-Caro, Gina Hermann, Cecilia Enjuto Rangel, Sonja Boos, Cory Browning, Sergio Rigoletto, and Kirby Brown. A special thank you to Robert Long for helping make the research opportunities that supported this manuscript possible. The rest of the Romance Languages department and colleagues in Latin American and African Studies at the University of Oregon have been unfailingly supportive. Thank you.
This book got its start as a dissertation project in the Program in Comparative Literature at the University of Texas. I am grateful to my adviser Jossianna Arroyo-Martínez, who encouraged and shaped this study from its earliest inception, and has continued to support its development. Thank you to Hélène Tissières, my co-adviser, who provided invaluable guidance and perspective on African and postcolonial literatures. I owe a great deal to César Salgado, whose mentorship and scholarship through my graduate training and in the years since has greatly influenced my work. I benefitted from direction and conversations with Inocência Mata at the Universidade de Lisboa and from Sonia Roncador and Niyi Afolabi at the University of Texas, as well as Elizabeth Richmond-Garza, who always guided me in the right direction. My graduate student colleagues in Comparative Literature and Spanish and Portuguese were a source of vital support during my time at UT, especially Lorna Torrado, Naminata Diabate, and Nandini Dhar.
I am also indebted to discussions, collaborations, and conference invitations from Charlotte Rogers, Anne Garland Mahler, Jerry Carlson, Pilar Cabrera, José Antonio Michelena, Kerry Bystrom, and Magalí Armillas-Tiseyra. A special thanks to Emilio Óscar Alcalde for supplying me with a copy of his film El encanto del regreso . I appreciate weekly discussions over the past three years with Susan Stein-Roggenbuck and Tom Grano, who have kept me on track with research and writing. The students of my seminars “Runaways, Rebellions, and Revolutions in the Black Atlantic” and “The Cuban Revolution in Context” at the University of Oregon supplied enthusiastic and insightful discussions which benefitted early drafts of several chapters. Thank you to Elizabeth Peterson and the UO Library Services and CMET staff with their technological expertise, and to Alyson Millar-Blevins for proofreading work.
I appreciate Magalí Armillas-Tiseyra, Kerry Bystrom, and Joseph Slaughter for their editorial work on previous versions of chapters in this book. My thanks to the publishers for permission to reprint material that appeared as follows: an early version of chapter 2 was published as “Postwar Politics in O herói and Kangamba ” in The Global South Atlantic , Ed. Kerry Bystrom and Joseph Slaughter, Fordham UP, 2018, pp. 207–24. A previous version of Chapter 3 appeared as “Circling the South Atlantic: Revolution in J. E. Agualusa’s The Year That Zumbi Took Rio ” in The Global South , vol. 7, no. 2, 2014, pp. 87–109. Subvention support from the Oregon Humanities Center and the University of Oregon College of Arts and Sciences helped make publication of this book possible.
Finally, thank you to my family, especially my parents and sisters for your unfailing encouragement, and most especially to Felipe.
Introduction
Forms of Disappointment traces significant connections between Cuban and Angolan post-Cold War narrative and film, particularly their reconsiderations of past revolutionary forms, texts, and cultural politics. In this book, I argue for the relevance of disappointment as a concept that describes both the negative feelings associated with the collapse of confidence in the promise of ongoing revolutionary transformations after 1989, and the continued longing for the inheritances of revolutionary transformation and interlinked anti-imperial solidarity among artists and writers from Cuba and Angola