By Susan Antebi (auth.)
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Additional resources for Carnal Inscriptions: Spanish American Narratives of Corporeal Difference and Disability
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This crowd, therefore, indicates the slippery nature of Martí’s corporeal metaphors and those of the freak show, caught between broad categories of representation and material particularity that defies such categories. And the crowd, like Martí’s subject of exile, finds itself oscillating between performance and spectatorship. S. mass culture (“Such people eat quantity; we, quality” [321]) suggests the explicitly metaphorical vision of monstrosity he evokes in lines such as the following: “como monstruos que vaciase toda su entraña en las fauces hambrientas de otro monstruo, aquella muchedumbre colosal, 34 Carnal Inscriptions Figure 2.
Mass culture from gentility and refinement toward a greater freedom and heterogeneity that would eventually incorporate multiple social sectors. Yet, at the time of Martí’s writing, the transition was in its early stages; in fact, during this period, Coney Island was known as “Sodom by the Sea,” under the administration of local politician John McKane, until his arrest in 1894 (Kasson 34). S. 21 In addition, although freak shows were enjoyed by a broad sector of the population, and even 32 Carnal Inscriptions considered appropriate family entertainment, in large part thanks to the efforts of P.
S. ” More recent critical approaches to the figure of Caliban, particularly in the context of debates emerging from Roberto Fernández Retamar’s crucial 1971 essay, “Calibán: apuntes sobre la cultura de Nuestra América,” indicate the complexity inherent in the processes of articulating and unraveling nexuses between the metaphorical body—now frequently the malleable symbol of postcolonial or subaltern otherness—and the materiality of a given body. 16 reflects a commitment to the specificity of marginalized communities and subjects.