Haiti -- History -- Revolution, -- Fiction. Carpentier, Alejo, Add tags for "The kingdom of this world". Get this from a library! The kingdom of this world. [Alejo Carpentier]. Alejo Carpentier's foundational Latin American text, The Kingdom of This World, is of critical. "Prologue" to The Kingdom of This World. --Alejo Carpentier, ♢. (The Prologue is a key statement about 'marvelous realism' and the place of Haiti in the.
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The kingdom of this world
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Please enter the message. Please verify that you are not a robot. Would you also like to submit a review for this item? Rather, vodou came, to some extent, out into the open to thrive. But haltingly so, as though the people were keeping some of the old secrets hidden, ready to serve in other repressive situations that did not fail to occur. General Donatien Marie Joseph de Vimeur, vicomte de Rochambeau, was responsible for the unparalleled brutality that characterized the last years of the Haitian Revolution, as Carpentier describes: On holidays Rochambeau began to throw Negroes to his dogs, and when the beasts hesitated to sink their teeth into a human body before the brilliant, fi nely clad spectators, the victim was pricked with a sword to make the tempting blood flow.
Donald L. Soliman, wearing only a belt from which a white handkerchief hung as a cache- sexe, his neck adorned with blue and red beads, was hopping around like a bird and brandishing a machete.
Both were uttering deep groans which, as though wrenched from inside, sounded like the baying of dogs when the moon is full. A decapitated rooster was still fluttering amid scattered grains of corn. Inspired by terror and not by faith, it speaks of the practices of Vodou as superstitious mumbo jumbo, practiced—with positive results in as much as she survives—by a harebrained coquette and her manipulative servant.
It inverts and subverts the alliance of Makandal, Boukman, Dessalines, and Henri Christophe with the lwas that had come to their aid in turning the tide of colonial rule, fetishizing the rituals of possession and communion with the gods into an inane version of a danse macabre that titillates the reader with images of a naked white woman prostrate in abjection before her loin-clothed black savior brandishing a bleeding chicken.
After all, the slaves may be deluded by faith into believing in Makandal has survived. The planters and soldiers of the text—and most importantly, Carpentier and his readers—know he has not.
It remains, in this reading, a product of its time. NOT E 1.
Carpentier, Alejo. The Kingdom of this World. New York: Noonday, El reino de este mundo. Dash, Michael. New York: St. Dayan, Joan. Haiti, History, and the Gods. Berkeley: U of California P, Fama, Arturo. James, C. New York: Vintage, Thoby-Marcelin, Phillipe and Pierre Marcelin. The Beast of the Haitian Hills.
New York: Time, He is said to have a magic touch with turtle vol-au-vent or wood pigeons. In Part Three, Henri Christophe has become the first King of Haiti and subjects the black population to worse slavery than that experienced under French rule.
His regime carries out brutal torture and grips the city in fear. He is later tormented by thunder strikes and magical, ghostly appearances of previously tortured subjects.
As the black population revolts against his rule, he finds himself alone and deserted. In this state he commits suicide by shooting himself. His body is taken to be buried in a fortress on a mountain and this becomes his mausoleum.
Carpentier's portrayal of Christophe has been considered "hollow" and one-sided, representing an archetypal tyrant at his most deteriorated state, seen only through the eyes of Ti Noel. She is described as a beautiful woman who, despite her tender years, is familiar with the male body.
She enjoyed tempting the men on board and for that reason would let the wind ruffle her hair and breeze through her clothes to reveal the grace of her breasts. She would also sleep out in the open.
Leclerc dies and Pauline makes her way back to Paris. Pauline Bonaparte is represented as immature, expecting an ideal life of fantasy in the Caribbean , while engaging in affairs with young officers. Minor characters[ edit ] Lenormand de Mezy: Lenormand de Mezy is the white master of a plantation and owns Ti Noel and Macandal among other black slaves. He has multiple wives, mistresses, and sexual encounters during the course of the novel.
Following the quelled black uprising in Part Two, Lenormand de Mezy leaves his state of hiding and arrives in time to spare the lives of Ti Noel and some of his other slaves.
He takes them to Cuba to protect his assets, but while there, he gambles with his slaves, drinks much alcohol, enjoys the company of women, and loses what remains of his wealth.
Having lost Ti Noel in a card game, Lenormand de Mezy dies shortly after in abject poverty.
Lenormand de Mezy's name may be based on an eponymous Haitian plantation where the historical Bouckman is said to have conducted his famous Bois Caiman ritual. He is present when staff is named and an uprising is planned. After the uprising is defeated, Bouckman is killed at the same location as Macandal is burned alive.
He begins to conduct voodoo rituals with Pauline for the sake of Leclerc, who has contracted yellow fever. He is given food and drink freely and his appearance is the subject of much attention. He regales exaggerated and embellished tales of his past and even makes an appearance at theatre performances. He later comes across a marble statue of Pauline and this, coupled with memories of the night that witnessed the demise of Henri Christophe, causes him to fall into madness, flee, and eventually succumb to malaria.
Major themes[ edit ] Reactionary vs. In the novel, the Afro-Caribbean slave population violently react to the oppressive regime imposed on them by the French colonials.
The end result of this armed reaction is the emergence of a brutal regime in which the oppressed become the oppressors. Sadly, the leaders of the newly produced regime fail to break the mold imposed by the French colonials.
The ruling Afro-Caribbeans end up enslaving and oppressing their own kind and the resulting social situation is devoid of any progress. Carpentier's perspective on the Haitian revolution is revealed in the way that he portrays the cyclical nature of reactionary violence.
The theory of hybridization was originally developed by Homi K. Bhabha in an effort to explain the effects of interacting cultures.
As the word "hybrid" suggests, the new identity is a mix of the two original cultures and the end result is a new unique cultural entity. In The Kingdom of This World, Carpentier writes about the struggles and conflicts that arise between the French colonials and the Afro-Caribbean population in Haiti during a time of revolution.
Carpentier's prose is rich with examples of hybridization. One of the most striking examples is found in the chapter titled "San Trastorno," where black priests combine Voodoo and Catholic religious practices to form a hybridized religious entity. The titles of the chapters themselves provide further examples of hybridization.
Carpentier creatively chose chapter titles that had a well established connotative significance and distorted their meaning. For instance, the chapter titled "Las metamorfosis," does not tell the mythic stories of Ovid , but rather speaks of the metamorphosis of the slave Mackandal.
The kingdom of this world
During his time in Paris, there was a profound public interest in the Americas. Instead, he preferred to define himself as a Spanish American writing in French. As a religion, vodou unifies the slaves through common practice and common language.
In the novel, vodou is what motivates and inspires the slaves to rise up in rebellion. Through the use of vodou practices, Mackandal is able to poison thousands of people.
In the novel, vodou is used both to protect the slaves and to wage war against the slave owners. This point is drawn from an article by Rachel Beauvoir Dominique, who says, "During the night of 14 August a Voodoo ceremony held in a place called Bois Caiman was a fundamental step in the unification of the slave population of Saint-Domingue.Bhabha in an effort to explain the effects of interacting cultures.
Ti Noel is well established early on as not only a witness to events, but also as someone who makes observations and offers reflection. Macandal leaves the plantation, attains the ability to transform into various beings, and is represented as having superhuman powers due to his possession by the gods. New York: Time, Carpentier, Alejo. Having lost Ti Noel in a card game, Lenormand de Mezy dies shortly after in abject poverty.
Carpentier's perspective on the Haitian revolution is revealed in the way that he portrays the cyclical nature of reactionary violence.