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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
"But, unfortunately, such is Havana. It is impossible to change its
condition as a port, as a crossroad, or its cosmopolitism, its
vicious immigration, its propitiatory hiding places, its mixture of
races, its fiery sun, all that diabolical entanglement of factors
and circumstances that is here, amongst us, the board where the
shady games of love and hatred are played"(Ruben Martinez Villena,
68). Throughout 1926, the literary journal Social publishes the
detection narrative Fantoches (Puppets), a collective endeavor of
eleven writers and eleven illustrators associated with the Grupo
Minorista. Halfway between a Surrealist collective improvisation
and a British detective novel, Fantoches 1926 is a unique creation,
a confluence of intellectual currents that combine the innovations
of the European avant-grade and autochthonous socio-political
movements during the early Cuban Republic. An irreverent work
influenced by the British sensation novels and the French romans a
clef, Fantoches blurs the boundaries that separate fiction from
reality by featuring writers as characters and by incorporating
analytical essays into the plot. The inclusion of digressions about
Cuba's African heritage anticipates the mature works of writers and
artists from the thirties such as Carpentier, Guillen, Abela and
Enriquez. This edition, gleaned from the issues of Social in the
collection of the New York Public Library, reproduces the
illustrations and typographical ornamentations from the original.
Editorial changes have been kept to a minimum, modernizing the
spelling of fue, vio, dio and other monosyllabic words, and
standardizing the spelling of some names that vary among authors.
On a few occasions, unusual spellings that were interpreted as
typographical errors ("vendabal" for "vendaval"; "Brocadero" for
"Trocadero") were changed. The original subtitle "A Modern Novel by
Twelve Cuban Writers" was changed to "Eleven Cuban Writers" since
the same author, Carlos Loveira, writes the first and the last
chapters.
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