Patricia Nater

Puerto Rican Literature

and its Impact

I.  Overview of Origins

            The conquest and rule of countries around the world has spurred creativity in all of those involved.  The conquerors often write about their conquest and the peasants involved often write about the conditions of the conquest.  The history of Puerto Rican literature is no different in this respect to any other literature.  Much of the original writing to come out of Puerto Rico were letters and descriptions of the island by the original Spanish conquerors.  Juan Ponce de Leon’s letters to the Spanish church and monarchs seems to be the first written account to come out of Puerto Rico.  Before this time of settlement, Puerto Rico’s inhabitants consisted of the Taino Indians.  The Taino Indians, indigenous to the Caribbean islands, were no different from many of the Native American tribes.  Tainos focused most of their time on nature and family and most of their stories or “literature” was spoken.  As with many conquered nations, the original inhabitants began to learn to read and write the language of the settlers.  With this emergence of literacy came the true movement of literature out of Puerto Rico.  The mixture of the Spanish legacy and the Taino’s legends became the roots of all Puerto Rican literature.

II.  Personal Note

            I have always been proud to be from the beautiful island, Puerto Rico.  Being born in Bayamon, Puerto Rico has been one of the greatest honors I can think of.  Throughout my life, so far, I have been able to travel to many different places, but nothing compares with stepping off the plane in Luis Munoz Marin airport and breathing the air of my home.  This being said, I have never really paid attention to the artistic output of the island until I began this class.  When we began to examine the reasons and origins of other nationalities literature and the depth to which each group needed to be heard, I came to question my own literary roots.  At first inspection, I was astonished to note that there were not many known Puerto Rican authors.  We as a people had no real Maya Angelou or Zitkala –Sa to speak for our us.  The realization that young Puerto Rican writers had no real role models, or not that were very well known, was a very disheartening discovery.  Based on this discovery, I decided that my final project should enlighten me and others on Puerto Rican literature and its relationship to their minority status. That is my quest and the rest are my own discoveries.

III.  Early Literature

            During the late 18^th century, an important piece of literature emerged from Puerto Rico.  Historia Geografica, Civil, y Politica de la isla de San Juan Bautista de Puerto Rico (Geographic, Civil, and Political History of the Island of St. John the Baptist of Puerto Rico), written by Fray Inigo Abbad y Lasierra, was a complete description of the history of the island.  Not only was it rich in information, but also in it’s descriptions.  Due to Abbad y Lasierra’s love of nature and folklore, his descriptions of the island and it’s people were filled with beauty. 

Between 1843 and 1898, Puerto Rico experienced a boom in it’s literary development.  Drawing influences from old Taino tales, African slave song and dance, church rituals, and an overall celebration of Puerto Rican life and it’s people, poets and writers began to express themselves on paper.  Lola Rodriquez de Tio, who was born in 1843, was a notable Puerto Rican poet that wrote patriotic poetry and musical lyrics.  She, in essence, was the first Puerto Rican writer to achieve a following in the Pan-West Indies.  Some of her most famous poems are “La Borinquena” and “Cuba y Puerto Rico Son”.  During this time also came one of the most notable works of Puerto Rican literature even to this day.  El Jibaro, written in 1849 by Manuel Alonzo Pacheco, described partly in prose and partly in poetry, the rustic lifestyle of the Puerto Rican people that lived in the mountains.  Other notable writers to emerge during this time are as follows:

·        Jose Gautier Benitez (1851-1880)

·         Jose Gualberto Padilla a.k.a “El Caribe”(1829-1896)

·         Salvador Brau (1842-1912)

·         Eugenio Maria De Hostos (1839-1903)

·         Alejandro Tapia y Rivera (1826-1882)

IV. Spanish-American War

            The year of 1898 marked a huge change for the Puerto Rican people.  After years and years of Spanish rule, Puerto Rico came under United States rule.  In a period known as Generation ’98, the written works to come out of the island changed drastically; long gone were the works drenched in folklore and admiration of nature.  Poetry and books now became a place to exhaust feelings of confusion and misunderstanding of the current situation.  Issues like the Americanization of the island and the loss of the traditional Hispanic culture became the focus point of these authors.  This also became the starting point of the language battle for the Puerto Rican people.  After so many years under Spanish rule, it was difficult on the native people to adopt another language.  Because of these conflicts, many of the writers of this time became not only famous for their works but also for their political voice. 

One of the most notable writers to emerge at this time was Jose de Diego.  Born in 1867 in Aguadilla, Puerto Rico, Diego wrote poetry, essays, and journals dealing with the political conflict on the island.  Most notably for keeping the dream of independence alive in the people, Diego is said to be the forerunner of the modernist period of Puerto Rican literature.  Diego died in 1921 while reciting poetry in New York. Some of his more important works are “Pomarrosas”, “Jovillos”, “Cantos de Rebeldía” and “Cantos del Pitirre”.  Diego inspired many other authors to tackle the issues facing the Puerto Rican people.  Some of these authors are as follows:

·         Luis Llorens Torres (1877-1941)

·         Nemesio Canales (1878-1923)

·         Manuel Zeno Gandia- “La Charca”

(The Stagnant Pool)

V.  Modern Movement

            Poets and writers of the modern movement followed in Diego’s footsteps, unlike Diego however these poets became more concerned with the techniques of the poems.  Luis Pales Matos, a prominent modernist poet to emerge at this time, was well known all around the world for his ability to interpret Negro rhythms into his poetry.  Most notably was his piece “Tun Tun de Pasa y Griferia” a lyrical pentagram pleasing to the ear.  The poets of this time also began to move away from the struggle caused by the Spanish-American War and started to focus on themselves.  Many of these writers became obsessed with the idea of euphoria.  In 1923 these poets came together and proclaimed “euforismo” as their ideal.  In a desire to imitate the Italian futurists, many of these poets focused on the wholeness or oneness of the mind and body, and the ability to resist pain.  This spawned some very interesting poetry mixed with this idea of euphoria with the sentimentality and vitality of the Puerto Rican people. 

Another group to emerge at this time was the No Group.  Focusing on the idea of complete negation towards everything, they began the movement Noismo.  Some of the poets associated with this movement are as follows:

·         Vicente Geigel Polanco

·         Samuel R Quinones

·         Emilio Delgado

·         Vicente Pales

Most notably however was the poet Julia de Burgos.  Born in Puerto Rico in 1914, Burgos began writing very early.  In the 1930’s she became a member of the Vanguard movement in San Juan.  Publishing many poems and collections of poems, her first was published when she was only 19.  Her most famous poem “Rio Grande de Loiza” was just an example of the ideas encompassed in the vanguard movement.  These poets were interested in re-examining the pride of the Puerto Rican people.  The ideas of criollismo and boricuismo became the central ideas of the works to emerge from the vanguard poets.

VI.  Puerto Ricans and the U.S. Life

            During the 1930’s many Puerto Ricans began to revisit the feelings stemming from their relationship with the United States.  Again, many found it a struggle to maintain their Spanish roots, while at the same time becoming more and more Americanized.  In 1934 a very poignant essay emerged that focused on the cultural diversity of the island after 36 years of American domination.  The essay Insulaismo written by Antonio S. Pedreira, was just the beginning of the intellectual introspection dealing with the cultural struggles of the people.  In Pedreira’s footsteps have followed many writers dealing with this same issue.  Even today, many Puerto Ricans (both on the island and mainland) struggle with their dual heritage.  This time period also saw economic struggle on the island.  These new problems brought an influx of Puerto Ricans into the United States.  Puerto Rican’s dispersed through out the United States from areas like Hawaii all the way to North East; however, New York saw the greatest growth in Puerto Rican population.  A census of the population in New York, taken in 2000, noted that the number of Puerto Ricans or those of Puerto Rican heritage was equal to the sum of the Puerto Rican population in the other 49 states.

VII. Emergence of Nuyorican

            As has been the case through out much of the history of Puerto Rican literature, much of the literature to emerge from New York dealt with the duality of the heritage involved.  Many 2^nd and 3^rd generation Puerto Ricans struggled with living in America, while still holding many traditional Spanish traditions.  Unlike the original Puerto Ricans on the island, many of the new Nuyoricans began to struggle with the aspects of bilingualism and racism.  1901 saw the birth of the founding father of the Nuyorican movement.  Jesus Colon, born in Puerto Rico, immigrated to New York in 1918 looking for economic stability for himself and his family.  Along with him came many other Puerto Ricans looking for the same economic prosperity.  Luis Munoz Rivera father of Luis Munoz Marin, immigrated with his family around the same time.  Munoz Marin lived most of his youth in the United States where he wrote poetry and lived a “Bohemian intellectual” lifestyle of a journalist.  When Marin returned to Puerto Rico, he was elected to the senate where he fought for Puerto Rico’s independence from the United States.  Most importantly, Luis Munoz Marin became the first ever elected governor of Puerto Rico.

 Gov. Luis Munoz Marin (1898-1980)

VIII.  Nuyorican Today

            Most of the Puerto Rican writers of today have emerged from the Nuyorican movement.  Among the many notable writers, Pedro (Juan) Pietri (1944-2004) is known most notably for his ode to the Puerto Rican community’s troubles in America entitled Puerto Rican Obituary. Along with Pietri, who died of stomach cancer this year, are many other notable writers that continue carrying the torch which burns bright in New York.  Miguel Algarin and Miguel Pinero founded the Nuyorican Poets Café.  From this poetry café emerged what is now known as Poetry Slams.  This has become a very popular method for creativity for many of the young and talented Puerto Rican writers of today.

IX.   Where is the Literature?

            With all of the information I was able to gather about the history and current status of Puerto Rican literature, I was still baffled to discover that I had only heard of one or two of the authors mentioned above.  I began to wonder why these passionate writers with so much to say were so localized in their followings.  This is where a few very notable points began to come through in the reading.  First and foremost is the aspect of the language barrier.  Many Puerto Rican poets, especially those in the early history of the island’s literature only wrote in Spanish.  This being said, it is difficult to import a product that most of the nation is not going to understand.  America has always been English driven and has had no real interest in learning the language of other nations.  Ironically places such as Texas, New York, and Florida have an enormous Spanish speaking population, but again, the literature of the Spanish speaking community has been difficult to import.  In contrast, the literature of the African American community, along with that of the Native Americans has always been in the original Euro-American language, English.  The fact that no translation was necessary to grasp the points being made by the African Americans and Native Americans, allowed for an easier acceptance into mainstream. 

            This battle of language leads to another problem faced by many young Puerto Rican writers.  In an effort to stay true to their roots, many choose to hang on to their Spanish language.  Again 2^nd and 3^rd generation Puerto Ricans have lost most of the traditional heritage their parents or grandparents brought with them upon immigration into the U.S.  Their only link to their past is the Spanish language and they have fought to keep that part of them.  Some poets have, however, given in and made mainstream friendly, English works.  Victor Hernandez Cruz has found an interesting compromise to the problem of English vs. Spanish. With the belief that writers should be masters of more than one language, Hernandez Cruz has become the forerunner of Amalgam or Code Switching.  This technique blends both Spanish and English in unique ways that make the most out of both languages.  His “spanglish” approach to poetry offers great variety in content along with a less traditional style of writing.  Most of Hernandez Cruz’s works have been written for oral delivery incorporating music with the style. In the following poem, written by Hernandez Cruz, code switching can be seen in effect:

Tradicion(Tradition)

Let the water rain into the forest

So that the vines holding up the guiros

Can flourish

Craft attack the vegetable kingdom

And make the lines that will sound

In Baltasar's ears

On the day of the astrologers

Along with the guitar of the

fourth dimension

Those that know themselves within: dance

Those that know themselves within: song

Those that know themselves within: relations

Those that know themselves within: food

Those that know themselves within: Religion

Those that know themselves within: Prayer

hose that know well the place of their tongue

The shape of their sound

Can go then and make everything disappear.

Here, the title and the guiro (Puerto Rican musical instrument) are remnants of his heritage.  It is also interesting to see his attention to nature, his mention of religion, and the mention of song and dance.  All of these things have been running themes through out the history of Puerto Rican literature.  This being said, the meshing of the dominant language, English, with the native language, Spanish, has not facilitated the commerciality of Puerto Rican literature.  Writers like Hernandez Cruz remain localized, mostly in the New York scene.

X.  Immigrant or Minority Literature?

            Along with the question of why Puerto Rican literature has not become a prominent figure in American literature, lies the question of where exactly does this literature fit in?  Puerto Ricans have had a unique relationship with its dominant countries throughout it’s history.  First under Spanish rule and then a commonwealth of the United States, Puerto Ricans have faced many distinct problems.  The main struggle that has plagued the Puerto Ricans is their craving for independence.  This was reflected in their literature during the Nationalist movement during the beginning of United States domination over the island. 

In the poem by Luis Llorens Torres entitled “A Puerto Rico” the effects of multicultural occupation can be seen.

A PUERTO RICO

(A Tomás Carrión)

La América fue tuya. Fue tuya en la corona
embrujada de plumas del cacique Agüeybana,
que traía el misterio de una noche de siglos
y quemóse en el rayo de sol de una mañana.

El África fue tuya. Fue tuya en las esclavas
que el surco roturaron, al sol canicular.
Tenían la piel negra y España les dio un beso
y las volvió criollas de luz crepuscular.

También fue tuya España. Y fue San Juan la joya,
que aquella madre vieja y madre todavía,
prendió de tu recuerdo como un brillante al aire sobre el aro de oro que ciñe la bahía.

¿Y el Yanki de alto cuerpo y alma infantil quizás?...
¡El Yanki no fue tuyo ni lo será jamás!

(Translation)

America was yours. It was yours in the crown
bewitched of pens of the Agüeybana cacique,
that it brought the mystery of one night of centuries
and quemóse in the sun ray a morning.

Africa was yours. She was yours in the slaves
that the furrow plowed, to the sun to canicular.
They had the black skin and Spain gave a kiss them
and she returned them Creole from light to crepuscular.

Also it was yours Spain. And the jewel was San Juan,
that that old mother and mother still,
it caught of your memory like a brilliant to the air on the gold hoop that fits the bay.

And the Yanki of high body and infantile soul perhaps?...
¡The Yanki was not yours nor will be it never!

Torres beautifully depicts the effects of all of the different people to envelop the small island of Puerto Rico, but in the end, it is evident that Puerto Ricans will always be their own.  Being the subculture to dominant cultures such as the Spaniards and the Americans throughout their history, Puerto Ricans have always maintained their minority status, especially upon immigration into the U.S. In his refusal of the Yanki (Yankee), Torres expresses his patriotism and emphasizes the point that Puerto Rico will never belong to the Yankee. 

            Through out all of the different cultural influences Puerto Rico has endured, the people have tried to maintain their own identity.  Unlike the African American narratives, early Puerto Rican literature focuses on the beauties of the island home.  Early Taino Indians were forced into slavery by early Spanish settlers but this did not really become a fact in the formation of the literature of the times.  The idea of involuntary participation associated with the African American minority narratives can be associated to the Puerto Rican narratives as well.  Puerto Ricans have been under United States rule for 106 years.  This relationship, although not under the terms of slavery like with the African Americans, has had an impact on the people and the literature of the people.  In response to this domination, writers have clung to their roots in an effort to remain apart from the dominant culture.  In relation to time, Puerto Ricans freely gave up their past in search of economic prosperity, however, many of these same people have struggled with the wounds of being an “owned” people.  They often try to reconnect with the past, especially 2^nd and 3^rd generation Puerto Ricans living in the United States.  This is evident in the Nuyorican poetry movement.  The one traditional immigrant ideal that has differed Puerto Ricans from the other minority groups is that of family.  Where as many African Americans, Native Americans and Mexican Americans have experienced fragmented family lifestyles, Puerto Ricans make an effort to keep their family intact.  With frequent visits to the homeland, Puerto Ricans living in the United States often and freely travel to and from the island and their family.

XI. Summary and End Notes

            Puerto Rico’s literature is as diverse as its history.  Being traded from hand to hand, the little island has experienced some very unique situations, causing a very interesting relationship between writers and their muse.  Using topics such as patriotism, loss and survival, love, and nature, the prolific writers to come out of Puerto Rico have tried to make a name for themselves.  Unfortunately due to many different factors, much of this literature has remained very localized to areas like New York and Puerto Rico itself.  No one knows what the future may hold for this group of talented writers, however, hopefully they will gain more notoriety while still remaining “true to their roots”.  In my research I have come to understand many things about my people.  It has offered me a new perspective into the life of a Puerto Rican writer (whom I hope to be one of one day).  Literature, as a venue of expression, whether of pain, love, joy or sorrow, is a very powerful medium, this being said, many young writers, especially those of Puerto Rican decent, could use a role model to look up to.  Hopefully they can find that in those that came before them such as Jose de Diego and Lola Rodriquez de Tio.  If these are not sufficient, maybe, just maybe they will take it upon themselves to be the role model for future generations.

Puerto Rico’s Anthem

La Borinquena

La tierra de Borinquén
donde he nacido yo,
es un jardín florido
de mágico fulgor.

Un cielo siempre nítido
le sirve de dosel
y dan arrullos plácidos
las olas a sus pies.

Cuando a sus playas llegó Colón;
Exclamó lleno de admiración;
"Oh!, oh!, oh!, esta es la linda
tierra que busco yo".

Es Borinquén la hija,
la hija del mar y el sol,
del mar y el sol,
del mar y el sol,
del mar y el sol,
del mar y el sol.

Translation

The land of Borinquen
where I have been born.
It is a florid garden
of magical brilliance.

A sky always clean
serves as a canopy.
And placid lullabies are given
by the waves at her feet.

When at her beaches Columbus arrived,
he exclaimed full of admiration:
Oh! Oh! Oh!
This is the beautiful land, that I seek.

It is Borinquen the daughter,
the daughter of the sea and the sun.
of the sea and the sun,
of the sea and the sun,
of the sea and the sun,
of the sea and the sun!

References

http://welcome.topuertorico.org

http://www.ncteamericancollection.org/assets/pdf/aaw_poetry_essay.pdf

http://www.mla.org/ade/bulletin/n091/091039.htm

Puerto Rico: A Political and Cu