By Carmen Santos
En l. a. Habana del siglo XIX, una mujer come to a decision tomar las riendas de su vida y forjar su propio destino.
En 1858, cuando Valentina partió desde España hacia los angeles colonia de Cuba en pasaje de tercera clase, tenía un joven marido a su lado y el corazón repleto de ilusiones. A su llegada a l. a. isla, sin embargo, sus sueños se resquebrajan: su esposo ha muerto durante los angeles agotadora travesía y el lugar, de pronto, se revela como un entorno hostil.
Sólo Tomás Mendoza, un atractivo médico que viajaba en el mismo barco que ella, intenta ayudarla proponiéndole matrimonio. Pero Valentina le rechaza por orgullo, pues no está dispuesta a inspirar lástima, aunque eso signifique tener que vender su cuerpo en un refinado prostíbulo caribeño. Lo que no sospecha es que hay hombres que no se conforman con unas horas de lujuria comprada y que algunos, como el rico y apuesto Leopoldo Bazán, bajo sus caballerosas formas esconden l. a. más abyecta crueldad.
Con el pulso firme y sagaz de los grandes novelistas, Carmen Santos ha tejido una historia inolvidable que tiene mucho de las grandes sagas. De las calles habaneras al prostíbulo y de allí a los fastuosos salones de l. a. alta sociedad isleña, enriquecida hasta lo inimaginable con el cultivo de los angeles caña de azúcar, El sueño de las Antillas nos cuenta l. a. historia de una mujer fuerte, valiente y carismática que, en una época de intrigas políticas por l. a. independencia de Cuba y por l. a. abolición de los angeles esclavitud, se debate entre los angeles ambición, los angeles venganza y el amor verdadero.
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In the poem “Early and Late,” near “Teas and teas,” Stein writes “Tease and tease” (245). In “Decorations,” she writes: “I do not wish to write down what I hear” (186); but ten pages later, in “What Is This,” she writes: “I love conversation. / Do you like it printed. / I like it descriptive. / Not very descriptive. / Not very descriptive. / I like it to come easily / Naturally” (196–97). Perhaps Stein’s “auditory consciousness” led her to wonder about the difference between the sight and the sound of words (independent of a particular voice or even other limiting contexts).
Copiers “know what they want to be and can build it up by little pieces and do again and again. [They] know what they are and see it as a complete thing and make that thing in daily living” (Making, 644). . inventing themselves in daily living and in dressing” (644). In other words, we can grow a self from the parts of us we like, arranging and discarding pieces of ourselves like clothing, but Stein is sure we cannot be comfortable in these borrowed and cobbled robes. People can copy “the repeating that once came out of them in feeling,” copy “others around them,” copy “themselves in their way of talking, sometimes in their loving, often in their way of walking, of moving their hands and shoulders, in their ways of smiling, there have been some and always will be some who copy themselves so in all their living, in their eating and drinking, in every moment of their daily living” (195).
If she’s right about herself, then this method corresponds to the type of resistance I see Stein generating toward the common language of our society. Her doubts and questions undress us, unmake our mask of Americanisms, and force us to try building ourselves again more legitimately. Much of this discussion has had little to do with conversation but much to do with change, with sensing something wrong in the United States, and with Stein’s eventually prescribing a change in our behaviors. The Making of Americans, then, is a history of the making of the nation itself, not its origins as much as its ongoing creation, its self-production in the eyes, by the hands, and as told by the voices of Americans themselves.