The Cuban writer Alejo Carpentier (1904–1980), a Cervantes-Prize laureate, is widely known for his novels The Kingdom of this World and The Lost Steps, and for coining the notion of ‘the real marvellous’ (now better known as ‘magic realism’). Carpentier’s lesser known activity in music as a researcher, radio and record producer, concert promoter and writer of song lyrics and libretti profoundly shaped his fiction, in which he incorporated music extensively.
In this first detailed study in English of Jorge Semprún’s writing, Ursula Tidd shows how Semprún explores the parameters of self-writing as an address to the other in a richly intertextual corpus which weaves together history, fiction and auto/bio/thanatography, and gives voice to the traumatic experiences of geographical and political exile and concentration camp internment.
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