PAC

Postscript Batista: The Bigoted Education 1

The Bigoted Education of a Dominican Young Man

or the Narrator-Protagonist of El masacre se pasa a pie as Dilettante.

Jos Batista

University of North Carolina at Charlotte

In the 1973 novel El masacre se pasa a pie written by Freddy Prestol Castillo, an

influential scholar asks the narrator-protagonist, a nameless young magistrate, Couldnt

you be a great free pen of Spanish America Por qu no podra ser usted una gran

pluma libre de Amrica (Prestol Castillo 188).1 The narrator is flattered by the

intellectuals words, and is encouraged to continue fulfilling what he believes to be his

vocation: writing. The exchange underscores the position of the narrator as subject to the

ideology of the Trujillo dictatorship. Rafael Leonidas Trujillo is the omnipresent

godhead of the dictatorship and the elder scholar a proxy of the same godhead. More

importantly, the Althusserian interpellation highlights the utility of arielista discourse,

the role of the intellectual in a repressive state, and the submission of the scholar or

author to the godhead (Althusser).

I propose to analyze the personal and collective memories of the narrator of El

masacre se pasa a pie in order to highlight the authors representation of the ideological

formation of the notion of the Haitian as Other. In the analysis, I discuss the impact of

the persona and work of Jos Enrique Rod and Pedro Henrquez Urea on the narrator-

protagonist as the young lawyer and aspiring writer who fantasizes about being a great

1
All translations are mine.
PAC Postscript Batista: The Bigoted Education 2

free pen of Spanish America una gran pluma libre de Amrica (Prestol Castillo 188). I

look into the role of arielismo in the narrators adoption of an identity as writer, the

possible motives for donning a writers mask, and the social and personal implications of

posing as a writer on an island that, by extension, may be understood as a metonym of

Latin America and a symbol of its historical ills: authoritarianism, violence, corruption,

and poverty. I consider the narrators allegiance to the dominant ideology through

episodes that occur in the hallowed spaces of school, home, and prison: the recollection

of the so-called geography lesson taught by his primary school teacher Sr. Maestro, the

recollection of his childhood home and friend Pablo while under the tutelage of Aunt

Elosa, the mule ride through the countryside, and the dream sequence that passes for the

Dominican peoples buried historical conscience and call to arms.

Jos Enrique Rodos two influential essays: Ariel and Prometheuss Motives

The impact on Spanish American letters of Uruguayan Jos Enrique Rods most

influential work, Ariel, published in 1899, can hardly be overestimated, for it shaped the

intellectual field for the first half of the twentieth century. According to the Costa Rican

scholar Arnoldo Mora Rodrguez, up until the 1940s to think or produce scholarly works

was synonymous with to Arielize arielizar (151). Jos Enrique Rod deemed Greco-

Roman culture and Christian ethics as twin pillars of Western Civilization and, by

extension, universal culture (qtd. in Mora Rodrguez 186). Thus, any local or Creole

culture of worth must be predicated on the so-called universal truths, or in postmodern

terms, the metanarratives of modernity. Jos Enrique Rod aimed his work at the
PAC Postscript Batista: The Bigoted Education 3

studious white-identified young men of the middle class, the university graduates that

were critical, sensitive, and least contaminated by ambition or avarice (Mora Rodriguez

186). Yet, Ariel had a broader and more profound appeal to the Latin American

intelligentsia and ruling elites, for the Uruguayan scholar adopts and propagates a Latin

American identity based on a shared culture and spiritual ideal that strategically contested

the materialist and utilitarian ethos of the nascent imperialism of the United States

(Juregui 314; Mora Rodrguez 132, 136). It should be noted that Jos Enrique Rods

utopian ideal excluded the majority of its own people: laborers, unionists, women, as well

as ethnic and racial minorities (Juregui 342; Mora Rodrguez 188-189).

Ariel is composed of a famous frame story and essay. The frame story that

envelops the long literary and philosophical ruminations of Ariel takes place in a

classroom in which a teacher prepares to impart lessons to his pupils who listen

attentively. In the opening lines, the mesmerizing teacher is deliberately called

Prspero by the students, in a direct reference to Shakespeares The Tempest, and the

classrooms centerpiece, a bronze statue of Ariel, is a symbol of the classical ideals

espoused by the author (Rod 139). Caliban is conspicuously absent from the imagined

space yet ever present given that he represents, as Mabel Moraa confirms, the

countervailing forces that threaten Western Civilization (qtd. in Juregui 342). Through

said Shakespearean allegory, Rod canonizes the concept of Latin American identity as

an inheritor of spiritual and aesthetic values in the character of Ariel (Juregui 329). On

an individual level, the allegory is meant to show that the function of a true teacher is to
PAC Postscript Batista: The Bigoted Education 4

challenge students to strive for a higher ideal, that is, to vanquish their inner Caliban

(Mora Rodrguez 186).

The second influential book by Jos Enrique Rod is Prometheuss Motives

(Motivos de Prometeo) published in 1909. In the spirit of Plato and Seneca, the book is a

collection of brief articles on fulfilling ones life purpose. The writings reflect two basic

philosophical tenets: first, to be oneself is to know oneself, and second, to know oneself

is to understand the mutable nature of the self. In Prometheuss Motives, Rod uses

philosophical, ethical, and mystical reflections as a path to personal discovery (Mora

Rodrguez 196-197). Authenticity, assures Rod, comes from fulfilling ones true

vocation, and existence is meaningful only when ones actions combine moral rectitude

and aesthetic beauty (203).

In sum, Ariel, an essay that points Latin Americans to a utopian ideal of spiritual

and aesthetic attainment during a period of uneasiness with their North American

counterparts, and Prometheuss Motives, a collection of literary and philosophical

reflections that demand collaboration from the reader in the construction of meaning,

helped inspire many arielistas as well as several distinct arielismos across Latin America.

The three most important were Jos Vasconcelos in Mxico; Pedro Henrquez Urea in

the Dominican Republic; and Jos Maritegui in Per. Of the three, we shall consider

Henrquez Urea for two reasons. First, as Maestro de Nuestra Amrica he best

embodies the fulfillment of Rods precepts in Latin American letters (Girardot,

Pensamiento 160; Mora Rodriguez 218). Second, according to the author of El masacre
PAC Postscript Batista: The Bigoted Education 5

se pasa a pie, the elderly scholar in the novel named Dr. Fadrquez, who interpellates the

narrator, is loosely based on Henriquez Urea (Sommer 165).

The Dominican arielista: Pedro Henrquez Urea

Pedro Henrquez Urea, the Dominican philologist, scholar, critic, educator, and essayist

may very well be the first disciple of Jos Enrique Rods arielismo. Arguably,

Henrquez Ureas greatest contribution to Latin American letters is a history of Spanish

American literature published in 1945 titled Literary Currents in Hispanic America, a

reworking of the Charles Eliot Norton Lectures he delivered at Harvard University from

1940 to 1941 (Girardot, Ensayos 250). He also contributed prolifically to the fields of

philology and education with essays and articles. I would like to address two classic

essays that are pertinent to the discussion at hand: The Fatherland of Justice Patria de

la justicia, an homage to Carlos Snchez Viamonte delivered in 1925, and The

discontent and the promise El descontento y la promesa, a conference for Amigos del

Arte delivered in Buenos Aires in 1926 (Prez 149, 177).

In Patria de la justicia, Henrquez Urea famously states: The ideal of justice

comes before the ideal of culture: superior is the passionate man of justice to the man

who only aspires to his own intellectual perfection. El ideal de la justicia est antes que

el ideal de cultura: es superior el hombre apasionado de justicia al que solo aspira a su

propia perfeccin intelectual. In the same essay, Henrquez Urea considers the latter

man an example of egoist dilettantism diletantismo egoista (Prez 152). Out of

context, the initial statement regarding justice is admirable. However, in order to

PAC Postscript Batista: The Bigoted Education 6

promote justice, as qualified in the article, it is an individuals duty to help in the

collective effort to build a utopian society based on Greco-Roman ideals where each

individual is free to pursue his or her own vocation as defined by Rod. In the essay, the

United States is singled out as a champion of democracy that had lost its way to become a

state of tyranny given that its people are no longer free to pursue their own vocations

because they are slaves to utilitarianism (Prez 151). Through this critique of a spiritual

decline in the U.S., Henrquez Urea resurrects the notion of Latin America as a vessel of

Western Civilization: If in Latin America utopias are not to flourish, where shall they

find refuge? Si en Amrica no han de fructificar las utopas, dnde encontrarn asilo?

(Prez 151). While he acknowledges the virtual impossibility of a politically unified

Latin America that can counter US imperial power, he still insists on attempting to build

a utopia that does not betray its origins, as did the United States. The US as cautionary

tale in building a utopia, unfortunately, fails to address a fundamental prejudice against

non-western cultures and, by extension, ethnic and racial minorities. In spite of Girardots

insistence that Rods and Henrquez Ureas utopian visions are not racist because they

incorporate the so-called lessons of Bartolom de las Casas, the stance promotes an

unacceptable colonialist brand of benevolent paternalism (Girardot, Pensamiento 144).

Asian, African, and indigenous cultures are of necessity excluded from this polity

because, according to Rod, historically they seek stasis or equilibrium, while the West

strives for progress and innovation (Prez 73). Ironically, the racially mixed Caribbean

islander Pedro Henrquez Urea uncritically shares the orientalist views of Rod, a

Uruguayan of Catalan extraction. Hence, the impassioned men of justice like

PAC Postscript Batista: The Bigoted Education 7

Henrquez Urea must zealously protect the elites freedom to pursue a vocation at the

expense of the masses (Juregui 338). In this light, Dr. Fradrquezs rhetorical question

to the narrator Could you not be a great free pen of Spanish America? becomes a call to

help build an exclusionist society for the good of the elite (Prestol Castillo 188; my

emphasis).

In another essay, El descontento y la promesa, Henrquez Urea expounds on

Spanish American literary expression from the colonial period to the avant-garde. The

essay ponders the continued search for Latin American authenticity. As Andrs Bello

pontificated in the nineteenth century, Henrquez Urea advises to confidently cultivate

in the language of the former imperial master, Spain, but to cherish the unique accents

and phrases that are markers of a national difference. He also underscores that Latin

American culture is an inheritor of Rome, or part of a trans-historical Romania and that

even though Europe may provide the form of Spanish American literary and artistic

expression, creole culture provides the content. Finally, Henrquez Urea suggests that

creators from the Americas must aim for profundity and purity of expression, the only

path to achieving literary perfection. He especially warns against lack of effort, lack of

discipline, sons of laziness and ignorance, or the life in perpetual disarray and flux, full of

concerns removed from the purity of the work la falta de esfuerzo y la ausencia de

disciplina, hijos de la pereza y la incultura, o la vida en perpetuo disturbio y mudanza,

llena de preocupaciones ajenas a la pureza de la obra (Prez 191). Literary expression,

then, is consecrated as a highly valued contribution to the identity of a people. However,

the consecration of any literary expression produced and controlled by the lettered elite is
PAC Postscript Batista: The Bigoted Education 8

the manufacture of a national identity and not necessarily representative of an entire

peoples historical reality. More importantly, the gift of writing comes with great

responsibility, motivating Pedro Henrquez Urea to single out those that squander their

gifts as failures or frauds who subscribe to egoist dilettantism (Prez 152).

Thus, a white-identified Spanish American university graduate in twentieth

century Dominican Republic has powerful reasons to determine his aptitude for writing in

order to contribute to the national culture and join the rank of highly regarded

intellectuals who enjoy great honor and prestige. Such a youth would champion the

Greco-Roman ideal as an ongoing and desirable cultural project at the expense of ethnic

minority subcultures. The same youth would exercise his freedom to pursue a vocation to

confirm that he lives in a just society, and even record his philosophical, ethical or

mystical musings about life without the interference or impurity of current affairs in

sociopolitical matters. The narrator of El Masacre, the young university graduate that

fancies himself a writer, embodies this arielista ideal.

The Massacre River: The Narrator

Freddy Prestol Castillos classic 1973 novel El masacre se pasa a pie is about the 1937

genocide that took somewhere between 5,000 and 30,000 lives, and the Dominican social

reality that fostered it through the perspective of a young white-identified (or blanco)

Dominican male of privilege. The novel describes the horrors of the genocide and offers

a perceptive look at the operations of the state in the execution, cover-up, and impact of

the genocide from multiple perspectives crossing social, economic, racial, generational,
PAC Postscript Batista: The Bigoted Education 9

and gender lines. We shall now consider four fundamental moments, two of which the

narrator exposes as formative experiences in the construction of his identity.

The first chapter opens with a schoolroom scene, a parody of Ariels frame story,

in which the narrator recalls a geography lesson of the nation or Geography of the

Fatherland Geografa Patria taught by his teacher Sr. Maestro. The teacher had

pronounced the strange word: Dajabn El maestro haba pronunciado una palabra

rara: Dajabn, recalls the narrator (Prestol Castillo 17). Dajabn, a frontier town in

the northeast of the Dominican Republic, sounds peculiar to the narrator because it is an

unfamiliar place name of Taino origin. The narrators childhood memory is stirred as he

rides in a car to the remote town to fulfill his new appointment as magistrate, a job he

attained through the benevolence of a well-connected government bureaucrat that

sympathized with the recent graduates financial predicament. Although the narrator is

of the privileged land-owning class, he witnessed his fathers wealth dry up before his

death due to socioeconomic forces beyond state control (20-21). Now penniless, he must

fend for himself in a country where state employment provides economic security for the

newly minted college graduate. The carefree memories of his early childhood contrast

with the hardships he now faces.

The narrator characterizes Sr. Maestro as an individual of the privileged class that

lives within the bounds of the colonial zone of the capital city, ignorant of his own

countrys geography (and history), yet well versed in international affairs, sports, arts,

and fashion because he prefers to read the Times and other foreign publications. Sr.

Maestros fawning interest in U.S. print media suggests that he subscribes to a

PAC Postscript Batista: The Bigoted Education 10

panamericanist identity, a perspective that embraces U.S. culture and influence as

opposed to a latinamericanist identity that defines itself against U.S. hegemony as

espoused by Rod and Henrquez Urea. In fact, while flipping through a foreign

magazine during the geography lesson, Sr. Maestro says out loud, This is civilization!

Esto es civilizacin! (Prestol Castillo 17). His comment implies that the countrys

region that borders Haiti, with its distinct frontier culture, rich history, and indigenous

place names, merits no more than a scant reference. For Sr. Maestro, the Dominican

Republic is a backwater of the U.S., and the more heavily African-derived cultures within

its borders like Haitian and Haitian-Dominican cultures are even further removed from

civilization. More importantly, the narrator observes that his conscience as a young boy

was forged by the sophisticated maestro, full of empty courtesy las forja un maestro

sofisticado, lleno de cortesa vaca (18-19).

In other words, the halls of the elementary school, under the direction of Sr.

Maestro, notes the narrator, were the sites of ideological transmission. Aside from a

biased curricular content, Sr. Maestro was a role model whose class interests, attitudes,

and thoughts shaped him.

A typical urban dweller of an illustrious family of Santo Domingo, Sr. Maestro is

an elitist with refined tastes whose open contempt for border towns and frontier culture

echoes Jos Marts characterization of the exotic creole criollo extico, a conceptual

character that has a sense of entitlement to his native countrys resources, and suffers

from false erudition falsa erudicin or knowledge of foreign peoples, histories, and

cultures, yet is ignorant of local people, culture, and history (Mart 23). Or, as Pedro
PAC Postscript Batista: The Bigoted Education 11

Henrquez Urea would have it, Sr. Maestro is an egoist dilettante, an individual who

has yet to discover, or fails to fulfill, his own vocation because of his refusal to vanquish

his inner Caliban since he doesnt really know nor cares to know the geography of his

own country, even when its his responsibility to do so as a primary school teacher.

Although the narrator clearly attempts to distance himself from Sr. Maestro, the parallels

between Sr. Maestro and the narrator, who were both raised in the urban spaces of Santo

Domingo, rarely ventured beyond the city limits, and harbor prejudice toward the Haitian

people, only strengthen the argument that the narrators own ambiguous behavior in the

face of injustice stems from the fact that perhaps he, like Sr. Maestro, is an egoist

dilettante. Ironically, if the narrator were authentic, as prescribed by Henrquez Urea,

and thus free to create masterworks that would contribute to Dominican culture, he would

not necessarily transcend anti-Haitian discourse.

In the final chapter, the narrator is under the custody of the municipal court of

Santo Domingo for having fled his post in Dajabn (Prestol Castillo 195). He deserted

his post as magistrate to flee the country, and failed (183). His job as magistrate, initially

unbeknownst to him, was to fabricate affidavits or testimonies in order to punish

reservists (mostly prisoners) for the genocide and exonerate all military personnel (152).

He complied, under the close watch of the despicable Mayor Ozuna who desperately

wanted to bed the narrators girlfriend (175-6). Once discovered to be on the run, Mayor

Ozuna declared him a communist threat and a manhunt ensued (185).

Behind bars, the narrator recalls his childhood as he did in the first chapter. He

fondly describes the Arcadian scene of a secret garden full of autochthonous plants in his
PAC Postscript Batista: The Bigoted Education 12

fathers luxurious home where he would play with black, ugly, poor negro, feo, pobre

Pablo (Prestol Castillo 195). However, the narrators tutor, Aunt Eloisa, would end the

fun and games by accosting the intruding child as if he were a pest in order to drive him

off the property (Prestol Castillo 196).

Subtly, the narrator blasts what Paolo Freire calls the banking system of

education on which Rods allegory is based by demonstrating how a child of the slums,

another sort of Caliban, can be a better teacher than a licensed instructor like Sr. Maestro.

Pablo, the narrator confesses, was the first to make him aware of his wealth and privilege,

a powerful civics lesson in a stratified society of haves and have-nots. Indeed, the

narrator did not even understand Pablos simple observation, You are rich, because he

thought everybody enjoyed the same living conditions. Unlike the narrator, Pablo lived

in a makeshift dwelling near the citys major port that his family would have to abandon

during heavy rain falls or floods (Prestol Castillo 195). Ultimately, the narrator learns

from Pablo that class and color are inextricably twined in Dominican society. Yet its

from Aunt Eliosas reaction to Pablos presence in the garden that the narrator learns

about racism and how it sustains the color and socioeconomic divide so characteristic of

the island. Like the halls of the elementary school, the narrators luxurious home, under

the tutelage of Aunt Eloisa, functions as a site of transmission of state ideology. Once

again, the narrator learns to which social group he belongs and, furthermore, regardless of

the attitude he may assume towards the societys other, he inhabits a position of privilege

from which he draws countless benefits.

PAC Postscript Batista: The Bigoted Education 13

From prison, the narrator recalls another memory not so distant in the past when

he explored the province of Dajabn upon a mule. Unlike the locus amoenus of his

childhood homes garden, the memory captures the narrator in a killing field, a veritable

locus terribilis:

Esta es una luna nada potica. Luna acusadora, ms bien. Blanquea sobre ms de

trescientas cabezas que han quedado intactas a la candela a lo largo de la senda.

Las cabezas son de hombres jvenes, ancianos y mujeres. La langosta asoladora

tena uniforme de soldado y traje rayado de presidario. []

Mientras mi mula va saltando sobre los crneos dispersos como los pedernales del

ro, pienso:

I [sic] dnde est el alma?... Existe el alma?... Y la conciencia?... Existe la

conciencia?... (59)

This moon is not poetic. An accusatory moon, more like it. Whitening the more

than three hundred heads that have remained intact after the fire along the path.

The heads are of young men, the elderly, and women. The devastating locusts

wore soldier uniforms and striped prison outfits. []

While my mule jumps over the craniums like river stones, I think:

Where is the soul?... Does the soul exist?... What about the conscience?... Does

the conscience exist?...

Following Rods prescription to philosophize on the road to self-discovery, the narrator

ponders metaphysical conundrums atop a heap of charred bodies reduced to bone and

cinder. The narrator resorts to a highly poetic form of direct speech to address the
PAC Postscript Batista: The Bigoted Education 14

macabre scene and convey a sense of culpability: the biblical allusion of a plague to

characterize the military and reservists, the personification of the moon as his conscience,

and the enumeration of metaphysical and moral rhetorical questions. The shockingly

ghastly scenario seems to brilliantly subvert arielista discourse as it pits the horrors of

genocide against the quaint musings of the narrator as egoist dilettante. The absurdity

of the situation begs for a redefinition of justice, a reformulation of a just society, and a

vocation of identifying with the Haitian Other. However, in context, the critique is

contained, for even though the episode seems to undermine Henrquez Ureas cultural

project based on so-called universal ideals and the deliberate exclusion of local politics, it

actually serves as a reinforcement of the status quo given the narrators willingness to

pose as a poet, for his own literary gain and the potential greater glory of Culture, at the

expense of Haitian victims. Ultimately, the scene is an emblem or a concise allegorical

image that expresses the dark side of the execution of arielismo as a utopian project.

Finally, in another important chapter, the narrator recounts a disturbing dream that

seems to disinter the historical memory of the 1822 Haitian invasion of Hispaniola

presented as the remembrance of diverse members of a society that coalesced around an

emergent Dominican consciousness. The ghoulish perspective in the form of dialogue, of

course, is that of the Spanish clergy and colonial officials as well as the landed Creole

elite. The nightmare, as the narrator recalls, parades a chorus of voices including those of

the perpetrators. The Haitian leaders like Toussaint LOuverture are depicted as

bloodthirsty men of superstition motivated by hate and revenge against the French

colonists and Napoleons army (Prestol Castillo 178). The dream makes strikingly vivid
PAC Postscript Batista: The Bigoted Education 15

the official historical accounts of the Haitian invasion: the flight eastward to avoid the

invading army, the fires that burned entire towns to the ground, the rapes, mutilations,

and killings (Prestol Castillo 179-181).

The dream sequence functions as a discursive justification for the states

unpardonable 1937 genocide. The entire episode begins with the narrator in a state of

delirium and a visit from a clergyman who may or may not be part of the nightmare:

That black priest arrived. He sat by my side. He began to speak to me. Then, at my

bedside, tenebrous shadow figures began to arrive. Lleg aquel sacerdote negro. Se

sent a mi lado. Comenz a hablarme. Despus comenzaron a llegar hasta mi cama

figuras en sombra, tenebrosas. (Prestol Castillo 178). Given his complicity, the dream

serves as a rationalization for the genocide and subsequent cover up to ease the narrators

conscience. Moreover, the incorporation of the dream in the narrators writings suggests

the inescapable power of the dictatorships ideology. The priest represents the powerful

institution of the church and its collaboration with the state in sustaining the dominant

ideology. Ultimately, the dreamscape underscores the narrators usefulness to the regime

as an unconscious perpetuator of the status quo, even when he seems to undermine the

prevailing discourse as dilettante, or as one who fails to live out his vocation as

consummate man of letters.

Conclusion

The narrator is a youth trying to fulfill the calling of his upper middle-class upbringing

but struggles with the gruesome reality of the states concrete plans to make the utopian
PAC Postscript Batista: The Bigoted Education 16

ideal that informs his social group by exterminating its Other, the Haitian. Unable to

silence the horrors by blindly adopting Pedro Henrquez Ureas prescription of purity

or avoiding the interference of current political affairs in a personal narrative, he goes

off-script and instead of strictly writing a personal journal of self-discovery, he mixes his

personal ruminations of a spiritual quest and keen insights drawn from childhood

experiences with scenes and testimonies of the genocide (which he may or may not have

witnessed first-hand). He produces a work that must go underground, or unpublished,

since it contests the official story of the 1937 genocide, and betrays his class interest.

The moral ambivalence of the narrators exposition of testimonial accounts of

crimes against humanity and his own stories of personal, artistic and sentimental

challenges condemn him, if not the implied author, as the subject of an ideology that

facilitates the perpetuation of arielista discourse through its own educators like Sr.

Maestro, scholars like Dr. Fradrquez, and, perhaps, the unqualified canonization of

thinkers like Jos Enrique Rod. Ironically, by failing to live up to Henrquez Ureas

ideal of a scholar, and ultimately embodying the disparaged egoist dilettante, the

narrator exposes a thoroughly corrupt society that engenders a people willing to betray

their own human dignity and suppress their own moral compass for the sake of a

Dominican nationalism as defined by a ruthless dictator.

PAC Postscript Batista: The Bigoted Education 17

Works Cited

Althusser, Louis. Trans. Ben Brewster. Ideology and Ideological State Apparatuses

(Notes towards an Investigation) in The Louis Althusser Internet Archive. Marxist

Internet Archive Library. Web. 2 June 2016.

Girardot, Rafael Gutirrez. La historiografa literaria de Pedro Henrquez Urea:

Promesa y desafo and Jos Enriquez Rod, Revisited in Pensamiento

hispanoamericano. UNAM, 2006. 139-162, 251-276. Print.

---. La utopa de Amrica en Pedro Henrquez Urea. In Ensayos sobre Alfonso Reyes y

Pedro Henrquez Urea. 197-231. Print.

Henrquez, Urea P, and Odals Prez. Pedro Henrquez Urea: Historia cultural,

historiografa y crtica literaria. Santo Domingo: Archivo General de la Nacin,

2010. Print.

Juregui, Carlos A. Canibalia: canibalismo, calibanismo, antropofagia cultural y

consumo en Amrica latina. Madrid: Iberoamericana, 2008. Print.

Mart, Jos. Nuestra Amrica in Ensayo Cubano del Siglo XX. Antologa. Comp. and

Prologue Rafael Hernndez and Rafael Rojas. D.F.: Fondo de Cultura Econmica,

2002. Print.

Mora Rodriguez, Arnoldo. El arielismo: de Rod a Garca Monge. San Jos, Costa Rica:

EUNED, Editorial Universidad Estatal a Distancia, 2008. Print.

Prestol Castillo, Freddy. El masacre se pasa a pie. Santo Domingo: Ediciones de Taller,

1998. Print.
PAC Postscript Batista: The Bigoted Education 18

Rod, Jos E, and Beln Castro. Ariel. Series: Coleccin Letras Hispnicas. Madrid:

Ctedra, 2000. Print.

Sommer, Doris. El Masacre se pasa a pie: Guilt and Impotence under Trujillo. Studies

in Afro-Hispanic Literature 2-3 (1978-1979): 164-188. Print.