By Patricia D. Fox
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Additional info for Being and Blackness in Latin America: Uprootedness and Improvisation
Sample text
Thus for peoples of African descent, landless and adrift in a politically reconfigured world, this juridical “liberation” did little more than reenergize the dynamics of uprootedness. This sentiment provides the central motif in Adalberto Ortiz’s Juyungo (1943). A picaresque novel with a healthy dose of romanticism, the comingof-age saga follows Lastre Ascensión who flees from a dysfunctional family to roam from one precarious, poverty-stricken situation to another until finally senselessly succumbing in the long-lived border dispute between Peru and Ecuador.
Conversely, recalling the incoherent, unpredictable—and constant—interruptions of “the most varied and noisy rhythms” (Benítez-Rojo 16), another version of uprootedness fosters the creation of “un algo no escrito . . inventado, entre las notas impresas” insinuating “una serie de acentos desplazados, de graciosas complicaciones, de una ‘manera de hacer’ que creaban un hábito, originando tradición (Carpentier 141–42) [something unwritten . . invented, between the notes on the score, (insinuating) a series of displaced accents, of pleasing complications, of a “way of doing” that creates a habit, originating tradition].
In “Homeaje a Julia de Burgos,” Dávila writes desde nuestro dolor hay mucho espacio mudo de fronteras continuas 40 / Being and Blackness in Latin America hay mucha sombra y mucha canción rota hay mucha historia. ] Again and again uprootedness becomes the motivating pretense for a version of history overlooked or underrepresented in the dominant version of world events. By narrating place in both its material and potential dimensions, subjects also purport to narrate themselves, a theme discussed by anthropologist Jacqueline Nassy Brown in her study of Black participation in Liverpool’s Age of Sail.