The Cambridge History of Latin American Literature. Vol. 2: The Twentieth Century

Abstract

The coverage offered in volume 2 of The Cambridge History of Latin American Literature is, in fact, broader than the twentieth-century delimitation indicated by the title. Volume 2 takes up the developing story of Latin American literature in the late 1870s, when modernismo was coming clearly into view. The decision to extend coverage into the late nineteenth century was a sound one, since it allows for greater continuity in the two accounts of modernismo included in the Cambridge History. Both of these, “Modernist Poetry” by Cathy L. Jrade and “Modernist Prose” by Aníbal González, are expertly composed summaries by knowledgeable specialists. The latter draws upon many of the insights of González’s La novela modernista hispanoamericana (1987), especially concerning the portrayal of intellectuals in modernist fiction.The organization of the volume, which eventually proves worthwhile, takes some getting used to. On the whole, the volume follows the historical progression one would expect from a literary history. The first three chapters cover modernismo (Jrade and González) and the avant-gardes (Hugo J. Verani), while chapters late in the volume cover the Spanish American novel from 1950 to 1975 (Randolph D. Pope) and from 1975 to 1990 (Gustavo Pellón). Not all the chapters, however, cover a period or a literary movement that unfolds within a time frame. José Miguel Oviedo’s “The Modern Essay in Spanish America,” for instance, ranges from 1900 to the late years of the century. Some chapters are defined by period, others by literary movement, others by genre. Ethnic groups are the basis for “Afro-Hispanic American Literature” by Vera M. Kutzinski, “Chicano Literature” by Luis Leal and Manuel M. Martin-Rodríguez, and “Latin American (Hispanic Caribbean) Literature Written in the United States” by William Luis. Occasional overlap is inevitable. For example, Ariel by José Enrique Rodó, as the outstanding example of the modernista essay, is discussed once in the essay on modernista prose and again in the chapter on the essay; there is some repetition between the chapter on the avant-garde and “Spanish American Poetry from 1922 to 1975” (José Quiroga). However, avoidance of repetition is less important than coverage of the most significant writers, works, and general tendencies, and the volume is successful on this latter count. In addition, the nonuniform assignment of chapters allows critics to exhibit their special flair with a topic, as does Sylvia Molloy in her brief but absorbing “The Autobiographical Narrative.” While the organization is undeniably idiosyncratic, after using the volume for a while a reader learns to navigate in it. Fortunately, the index is complete and accurate.The editors of the Cambridge History have sought diversity in the choice of authors and texts treated. In volume 2, the essays touch upon the literary manifestations of nonmainstream ethnic groups, both native-born and immigrant, gay and lesbian writers, writers from lower-than-usual social classes, and youth movements. Women writers are represented in relative abundance. This volume of the Cambridge History can be recommended for its up-to-dateness, range, and thoroughness of coverage and for allowing the contributors the freedom to exhibit their particular expertise and critical approaches.

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