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The article analyzes the work of Alejo Carpentier and his exploration of Afro-Cuban identity in his librettos. It highlights how Carpentier uses experimental language that combines music, gesture, and dance to represent Afro-Cuban reality. Garí Barceló's book focuses on the librettos written by Carpentier between 1927 and 1933, in which the interweaving of gesture, music, and text is emphasized. The article also questions the representation of American identity and explores the relationship between language and reality in Carpentier's work. It mentions the author's collaborations with different artists in Cuba and Paris, as well as his most radical project with Edgar Varèse. The article also points out the change in Carpentier's convictions and his subsequent dedication to radio and film. Overall, the text reconsiders Carpentier's trajectory and highlights the importance of his work as a librettist in relation to his novels and essays. [Extracted from the article]

This paper analyzes the poetic of Valeria Luiselli's Los niños perdidos. The text, which is subtitled «Un ensayo en treinta preguntas», is actually a hybrid form made of essay and fiction. Three elements are key to its structure: the voice of the narrator, a series of questions from an immigration questionnaire, and the different answers that the «niños perdidos» offer to it. In addition, due to its hybrid layout, the mobile development of its writng and its presentation of the political refugee crisis as an intersection of statements, Los niños perdidos can be understood as a reflection of the Postmodern thought that that signals the delegitimization of metanarratives. [ABSTRACT FROM AUTHOR]