"What I do believe is that there is always a relationship between writing and reading, a constant interplay between the writer on the one hand and the reader on the other"
About this Quote
Cabrera Infante is quietly detonating the myth of the solitary genius. By insisting on a "constant interplay" between writer and reader, he frames literature less as a monologue than as a negotiated encounter, a performance completed only when someone else steps into it. The phrasing matters: "relationship" suggests intimacy and friction, while "interplay" implies rhythm, give-and-take, even mischief. He is telling you that meaning is not delivered; it is co-produced.
That idea lands with extra charge coming from a Cuban novelist whose career was defined by displacement, censorship, and the politics of who gets to speak - and who is allowed to listen. In exile, the reader is not an abstract consumer but a lifeline: the imagined witness who keeps language from being buried under official narratives. Cabrera Infante's own work, famously dense with puns, allusions, and sonic games, also rigs the text to demand an active reader. You don't just "get" it; you collaborate with it, or you bounce off it. The reader becomes a kind of co-conspirator, decoding the jokes and catching the references that turn a novel into a lived city of voices.
The subtext is a challenge to passive reading and to authoritarian culture alike: if interpretation is always shared, control is never total. A regime can police publication, but it can't fully police the private, improvisational act of reading. Cabrera Infante is staking out a democratic view of literature - not because it flatters the audience, but because it admits the uncomfortable truth that writers need readers as much as readers need writers.
That idea lands with extra charge coming from a Cuban novelist whose career was defined by displacement, censorship, and the politics of who gets to speak - and who is allowed to listen. In exile, the reader is not an abstract consumer but a lifeline: the imagined witness who keeps language from being buried under official narratives. Cabrera Infante's own work, famously dense with puns, allusions, and sonic games, also rigs the text to demand an active reader. You don't just "get" it; you collaborate with it, or you bounce off it. The reader becomes a kind of co-conspirator, decoding the jokes and catching the references that turn a novel into a lived city of voices.
The subtext is a challenge to passive reading and to authoritarian culture alike: if interpretation is always shared, control is never total. A regime can police publication, but it can't fully police the private, improvisational act of reading. Cabrera Infante is staking out a democratic view of literature - not because it flatters the audience, but because it admits the uncomfortable truth that writers need readers as much as readers need writers.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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