glbtq: an encyclopedia of gay, lesbian, bisexual, transgender & queer culture
social sciences
special features
about glbtq


   member name
   Forgot Your Password?  
Not a Member Yet?  

  Advertising Opportunities
  Permissions & Licensing
  Terms of Service
  Privacy Policy






Alpha Index:  A-B  C-F  G-K  L-Q  R-S  T-Z

Subjects:  A-B  C-E  F-L  M-Z

Bookmark and Share
Arenas, Reinaldo (1943-1990)  
page: 1  2  

Persecuted for his homosexuality by the Castro government he had once championed, Cuban novelist, essayist, and poet Reinaldo Arenas challenged all types of ideological dogmatism.

Arenas was born on July 16, 1943, in the rural poverty of the Cuban countryside, and his childhood can only be described as wretched and harsh. One of his first memories was of eating dirt because of a scarcity of food. As an idealistic teenager, he joined the revolutionary rebel forces of Fidel Castro and fought against the dictatorial government of Fulgencio Batista.

Two years after the triumph of the Revolution, Arenas moved to Havana where his literary career officially began. In 1967, at the age of twenty-four, he published his first novel, Celestino antes del alba (Singing from the Well), the story of a child, persecuted by his family as well as by the impoverished conditions of his rural existence, who must rely on his imagination to survive.

Shortly after its publication in a limited print run of 2,000 copies, Arenas's novel, a free-flowing narrative that undermines the realistic mode of writing, fell out of favor with the revolutionary cultural policymakers who demanded a literature that clearly contributed to a revolutionary consciousness.

In the mid-1960s, when the Castro regime openly persecuted homosexuals, Arenas turned away from the Revolution. His dissatisfaction with the government deepened when his writings--transgressive, unconventional, and supportive of the individual's right to self-expression--were declared "antirevolutionary" and censored.

Soon afterward, Arenas was no longer permitted to publish on the island. Defiant, he secretly sent his manuscripts abroad where they were immediately published, an act that infuriated the regime, which on various occasions confiscated and destroyed his work and ultimately branded him a nonperson in Cuba.

While his novels were being read and praised in Europe and Latin America for their intelligence and wit, Arenas was reduced to living a somewhat picaresque life in Havana, moving constantly and working at odd jobs simply to survive. Finally in 1980, as a result of a bureaucratic blunder, he managed to escape from the island through the Mariel exodus.

After his arrival in the United States, Arenas settled in New York City. Having been censored in Cuba for so long, the author, as if intoxicated with his newly found freedom, began to write prodigiously: novels, short stories, poetry, dramatic pieces, essays, newspaper articles. For him, writing was both a liberating act of self-expression and an act of fury in which he challenged, undermined, and subverted all types of ideological dogmatism, all forms of absolute "truths."

On December 7, 1990, suffering from AIDS and too sick to continue writing, Arenas committed suicide. In a moving farewell letter sent to the Miami Spanish newspaper Diario las Américas, the writer made it quite clear that his decision to take his life should not be interpreted or construed as defeat. "My message is not a message of failure," he declared, "but rather one of struggle and hope. Cuba will be free, I already am." These final words reveal the self-determination and indomitable spirit of this gifted writer and political activist.

Like many Latin American writers who find it impossible to separate their literary careers from the sociopolitical realities of their countries, Arenas was an outspoken critic of Fidel Castro's regime. But Arenas's criticism of the Cuban Revolution was much more than an attack on communism; it was an angry cry against a system under which he, like many others, had been persecuted for being homosexual.

Although there are implicit and explicit homosexual characters, episodes, and scenes in practically every text that Arenas wrote, it is in Otra vez el mar (Farewell to the Sea, 1982), Arturo, la estrella más brillante ("The Brightest Star," 1984), Viaje a La Habana (Trip to Havana, 1990), El color del verano (The Color of Summer, 1991), and Antes que anochezca (Before Night Falls, 1992), the author's autobiography, where the reader finds the greatest explicitness in the depiction of gay characters and homosexual desire.

Arenas's representation of homosexuality cannot be considered "positive" in the way that much of contemporary Anglo-American gay literature strives to celebrate homosexual identity and represent ideal gay relationships based on mutual respect and equality. Nonetheless, if one carefully examines Arenas's entire oeuvre, one finds an argumentative center that persistently resurfaces supporting the rights of all individuals, regardless of their sexual orientation.

"The Brightest Star," a fictitious account of one man's experience in the notorious forced labor camps in which homosexuals were interned in the mid-1960s, is of particular interest. The story is a moving defense of the individual's right to dream, to rise above the oppression that threatens his or her experience.

As a study of oppression, "The Brightest Star" is a companion piece to Arenas's earlier La Vieja Rosa (1980), with which it has been published in translation as Old Rose. A Novel in Two Stories. Like his work generally, these two stories defend the individual's imaginative capabilities and right to self-expression in a world beset by ignorance, intolerance, and persecution.

The last text Arenas wrote before his death was Antes que anochezca (Before Night Falls), his autobiography. Central to this memoir is the sexual and political repression the author had to endure in Cuba. Far from being a traditional autobiography, Antes que anochezca utilizes a combination of historical facts and delirious and exaggerated fiction. Curiously, this mixing of fact and fiction in no way diminishes the strength of the testimony.

    page: 1  2   next page>  
Contact Us
Join the Discussion
Related Entries
More Entries by this contributor
A Bibliography on this Topic

Citation Information
More Entries about Literature
Popular Topics:


Williams, Tennessee
Williams, Tennessee

Literary Theory: Gay, Lesbian, and Queer

The Harlem Renaissance
The Harlem Renaissance

Romantic Friendship: Female
Romantic Friendship: Female

Feminist Literary Theory

American Literature: Gay Male, 1900-1969
American Literature: Gay Male, 1900-1969

Erotica and Pornography
Erotica and Pornography

Mishima, Yukio
Mishima, Yukio

Sadomasochistic Literature

Beat Generation
Beat Generation




This Entry Copyright © 1995, 2002 New England Publishing Associates is produced by glbtq, Inc., 1130 West Adams Street, Chicago, IL   60607 glbtq™ and its logo are trademarks of glbtq, Inc.
This site and its contents Copyright © 2002-2006, glbtq, Inc.  All Rights Reserved.
Your use of this site indicates that you accept its Terms of Service.