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(Bandia 62) thatenabled theHarlem bardto recreateBodasde sangreasBloodWeddingthrough the poetics ofmarginalization—an aesthe-tics that embraced race, ethnicity, and sensibility. Ifwe keep in mind thatHughes, like otherwriters from abroad, went to Spain to support the Spanish people in their struggle for freedom dur-ing the CivilWar, and that the oppressed Iberian population includedconversos, Jews and gyp-sies—theblackpeople of Spain—then we might conclude that his rendition ofBlood Weddingblackens Spanish discourse in the sameway thatMulatto darkens theAmerican canon in theUni-ted States. Consequently, the appearance on stage in 1935 of black Langston Hughes’sBloodWeddingalongwith Jewish JoséWeissberger’sBitterOleanderwould have been tantamount to acoup-d’ taton Broadway. The planetwas simply not ready for tha,t and soBloodWeddingvan-ished into themiry clay until itwas dug up in 1992.　The lifeworlds ofLangstonHughes andNicolásGuillén coalesce in theHarlem writer’s trans-lation from Spanish toEnglish ofvarious poems by the Cuban bard written during the 1930s andgathered in the collectionCuba libre(1948). Hughes collaboratedwith Ben Carruthers in produ-cing thatbook ofpoems and they chose to keep the title in Spanish because“... itwas the orig-inal cry for freedom by black, mixed-race, andwhite‘patriots’who fought forCuban independ-ence during twomajorwars of the nineteenth century—theTenYearsWarof1868-1878 and theSpanishAmericanWar of 1895-1898”(Martin-Ogunsola 7). Cross-cultural transference andthe aesthetic expression ofcorresponding experiences are easier to perceive in theworksofHughesand Guillén than inHughes and Lorca.Cuba libre“sets a rebellious tone for a diverse collectionofson-poems from the ghettoes; ballads on Cuba’s dual (AfricanHispanic) heritage; elegies forsugarcane laborerswho resisted theMachado and Batista dictatorships; odes to fellowwriters likeLorca; and dirges to the unsungheroes and victimsof the SpanishCivilWar”(Martin-Ogunsola7-8). Guillén, too, was partof the internationalbrigade ofwriters and intellectualswhowent toSpain in 1937-1938. LikeHughes, Guillén embraced the poetics ofmarginalization to inserthiswriting into the canon ofWestern literature.　A piece called“Blues”is the second example of how the poetics ofmarginalization achievescross-cultural transference. The Spanish version of that text is the seventh (untitled) section andlastpartofa lengthy poem called“WestIndiesLtd.”published byGuillén in 1934 in a collectionby the same name. The Spanish passage is prefaced by an announcementby Juan elBarbero, theson-playerwho orchestrates the whole piece:“Cinco minutos de interrupción. La charanga deJuan elBarbero toca un son.”　　　　

　Ayer vi a un hombremirando,　mirando el sol que salía;　Ayer vi a un hombremirando　mirando el sol que salía:　elhombre estabamuy serio,　porque elhombre no veía. (Sóngoro Cosongo/West IndiesLtd. 97-98)　　I die if I don’tworkIt is important to note thatGuillén’s textwas inspired by Hughes’s 1932 poem“ScottsboroLtd.”, which dealswith the conviction ofnine innocentblack youngsters for the alleged rape oftwowhite female prostituteswho had hopped the same freight train the teen-agerswere riding nearScottsboro, Alabama (Mullen 112). Outof thatSouthernUnited Statesmatrix of racial and sexu-al violence comes the culturalpointofcontact thatenablesHughes to transmit the similarity ofex-perience from one poem to another. However, theHughes/Carruthers translation takes本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。