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I was also brutally beaten for refusing to shave and stand up to salute the soldiers in the prison who would do the prisoner recount twice a day. In addition to this treatment, I also received terrible beatings for refusing to use the common prisoner uniform, as I was a prisoner of conscience.
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The cell was dark at all times, and my family was prevented from bringing me a light-bulb or lamp to illuminate the cell. During the time which I was confined to a walled-in “tapiada” cell, I was also denied sunlight and artificial illumination. This results in no ventilation.Īccording to the Regulations of Interior Order of Jails and Prisons in Cuba, a prisoner has a right to a daily hour of sunlight. The other walls are made of cement, without windows. Tapiada cells have a double-layered steel door instead of bars. For two years and eight months I was kept in a walled-in or “tapiada” cell. I was put under the cellular system which consists of living in a solitary cell without human contact. I was kept in solitary confinement for seven years and seven months. I would like to thank UN Watch and the coalition of non-governmental organizations for the invitation which has made possible my presence here today. parallel summit in New York, on September 21, 2011: Este trabajo es parte de un proyecto mas amplio, que pretende demistificar a Martí al revelar la maquinaria narrativa que ata su mito al proyecto de construcción nacional.Testimony given by former Cuban prisoner of conscience, Fidel Suárez Cruz, before U.N. Un paso indispensable para esta naturalización de contingencia en mito manejable es la supresión de elementos que desafían la coherencia interna del mito, lo que amenaza con desatar el imaginario nacional en el momento crucial de la auto-creación. Este ensayo presenta la muerte de Martí como parte de un proceso discursivo de invención nacional, por el cual acontecimientos son transformados por el acto de narrar en un mito de orígenes. Quizás el hecho del vacío histórico que envuelve la muerte de Martí ha inclusive habilitado fabricación: contingencia histórica moldeada en mito, endurecido con el tiempo en ortodoxia incuestionable. Pero sería difícil encontrar un evento histórico en la vida de Martí del cual sabemos menos en concreto, o que ha sido expuesto a mas especulación y hasta invención. El mito de la muerte heroica de José Martí lleva tanta importancia para su posición de icono nacional cubano que hasta Abel Prieto - ministro de cultura de Cuba - se ha preguntado que nos quedaría del mito de martirio sin él. My work shares the broader objectives of recent scholarship that seeks to demystify Martí by revealing the narrative machinery binding his myth to the nation-building project. An indispensable step in this naturalization of contingency into manageable myth is suppression of elements that challenge the myth's internal coherence, thus threatening to unravel the national imaginary at the crucial moment of self-creation.
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This essay presents Martí's death as part of a larger discursive process of national invention, by which the historical real is transformed in the act of narration into a myth of origins. Perhaps the very fact of the historical vacuum surrounding Martí's death has even enabled fabrication: historical contingency molded into myth and hardened over time into unquestioned orthodoxy. Yet one would be hard pressed to find a historically significant event in Martí's life about which less is concretely known, or that has been subjected to more speculation and outright invention. The myth of José Martí's heroic death is so central to his standing as Cuba's national icon that no less a prominent figure than Abel Prieto-Cuba's former minister of culture-has wondered what would be left of his myth of martyrdom if it were ever proven less than glorious.