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By Arenas, Reinaldo; Arenas, Reinaldo; Olivares, Jorge

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And Jacinta, the barren wife in Pérez Galdós’s novel, is transformed into a fecund matriarch, Fortunato’s grandmother, who e√ortlessly produces o√spring. Referencing the two female protagonists of Fortunata y Jacinta in her discussion of El palacio de las blanquísimas mofetas, Julia Kushigian has noted that ‘‘the coincidence of Fortunato y Jacinta reinforces the Spanish family romance that is rewritten in a late twentieth-century, Cuban version’’ (174, emphasis added). These characters’ names, however, are more than a ‘‘coincidence,’’ for there are other links between the two novels.

But, curiously, unlike El mundo alucinante, La Loma del Ángel, and ‘‘El Cometa Halley,’’ the intertexts of which are readily made evident, Arenas’s third novel does not openly acknowledge its kinship with Pérez Galdós’s novel. ’’≥ And yet, despite Arenas’s protestation, Fortunata y Jacinta did make its way into El palacio de las blanquísimas mofetas. While El palacio de las blanquísimas mofetas is not a sustained rewriting of Fortunata y Jacinta, the Cuban novel evokes the Spanish novel in the namchapter two .

Hurry up and say that what I say here is the truth, even if in the future, using torture, they make me say the opposite’’ (‘‘Comunicado’’ 151). In a clandestine meeting at Lenin Park, Arenas gave the communiqué to Joris Lagarde, a Frenchman who knew the Camachos in France and who went to Cuba as part of a plan to help Arenas escape from the island. The plan failed and the communiqué was not published, for fear of the consequences that its publication might have on its author. ’’) was published in the Paris chapter one .

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