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The article "Azares de lo cubano. Lecturas al margen de la nación" analyzes Cuban literary works from an innovative and subjective perspective. The author questions the gender stereotypes assigned to the authors and their creations. The poetry of Luisa Pérez de Zambrana and her challenge to gender stereotypes is examined. The encounter between Antonio Maceo and Julián del Casal is also analyzed, and how they were excluded from traditional criticism due to their Afro-descendance and sexual orientation. Reflection is made on writing about race and racism in culturally distant contexts through the thoughts of Rafael Serra. The article seeks to promote a broader and more diverse understanding of Cuban literature. Rafael Serra's writings on the United States and the civil rights of Afro-descendants in Cuba are also examined, as well as the last days of José Martí and his reflection on national identity. The epilogue invites questioning the limits of the literary canon and being open to differences and contradictions. [Extracted from the article]

The article presents a discussion regarding the various approaches and processes necessary in order to form and uphold a literary canon for Cuba. Particular emphasis is given to the vision of Cuba as a revolutionary place in a revolutionary moment, leading the author to highlight the need for inclusion of revolutionary literature in the canon. The tension between traditional, classic works of Cuban literature and contemporary, reformist pieces is explored and various models of literary canons are described within the context of Cuba's political and intellectual situation.

Self-construction and the relationship between writing and the body are two essential problems in the works of Severo Sarduy. This article discuses then the discursive strategies by which the Cuban writer puts the body into play as a basis from which to build his own representation as an artist and as a rebel intellectual and from which he argues against the modern categories on the ground of the canon-forming process put into practice in Cuba since 1959. It also endeavours to show the way in which the use of these discursive devices tries to carry out a transgression of the disciplinary traits of writing and of the disciplined features of the body in order to make illness literary, as if it were only through language that it can be represented. [ABSTRACT FROM AUTHOR]

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