{"id":244469,"date":"2021-10-07T17:35:26","date_gmt":"2021-10-07T21:35:26","guid":{"rendered":"https:\/\/oncubanews.com\/en\/?p=244469"},"modified":"2021-10-07T17:35:26","modified_gmt":"2021-10-07T21:35:26","slug":"cuban-american-status-in-literature","status":"publish","type":"post","link":"https:\/\/oncubanews.com\/en\/cuba-usa\/cuban-american-status-in-literature\/","title":{"rendered":"Cuban-American status in literature"},"content":{"rendered":"

In the late 1970s and mid-1980s, a new phenomenon began to emerge in the United States among Cubans, a reflection of cultural processes characteristic of the crossover. It is about the existence of a human group, descended in this case from the historical exile, which vindicated for itself the category of Cuban-Americans, in a similar sense as had already happened with the descendants of other ethnic groups emigrated to the Union such as Italians, Poles and Asians, in whom the awareness of their own, specific and differentiated identity was already part of the so-called melting pot, according to what Brazilian sociologist Darcy Ribeiro once called \u201ctransplanted peoples,\u201d that is, formed based on a strong and dissimilar migratory component and historically nurtured by different waves from various regions of the planet.<\/span><\/p>\n

This process appears documented in various social moments, one of them \u2014 and certainly not the least important \u2014 in a joke by Cuban comedian Guillermo \u00c1lvarez Guedes, that kind of Bernal D\u00edaz del Castillo of the exile, who alludes to the new reality with a sense of criticism, sarcasm and distancing, since assimilation implied in some way to de-exile and take root in the host culture, often through relationships with American men and women, or with other Latinos. But the Cuban actor does it his way, adopting bilingualism in his now famous \u201cCuban language\u201d lessons.<\/span><\/p>\n