Editing Alejo Carpentier (section)

===Cuba and exile in France===
In 1921, while studying in Havana, Carpentier became a cultural journalist, writing mostly about avant-garde developments in the arts, particularly music."{{sfn|Bergh|1972|p=19}} He contributed columns to ''La Discusión'', a daily journal from Havana. His journalistic work, which was considered leftist, helped establish the first Cuban Communist Party.<ref name="Colchie"/>
During 1923 and 1924 he continued to work as a columnist and also edited musical and theatre reviews for ''La Discusión'' and ''[[El Heraldo de Cuba]]''.{{sfn|Bergh|1972|p=24}} In 1927, with the help of Jorge Mañach, Juan Marinello, Francisco Ichaso, and Martí Casanovas, he became a founding member of ''[[Revista de Avance]]'', a magazine devoted to nationalism, radicalism and new ideas in the arts.{{sfn|Bergh|1972|p=33}}

The first issue appeared on March 15, 1927; it lasted until September 15, 1930, and became the "voice of the vanguard" and the primary voice of expression of the Cuban movement.{{sfn|Bergh|1972|p=19}} Because of his involvement in such projects, Carpentier was often suspected of having subversive and ultramodern cultural ideas. Carpentier was arrested in 1927 for opposing [[Gerardo Machado y Morales]] dictatorship and had signed a democratic and anti-imperialist manifesto against Machado's regime and, as a result, spent forty days in jail.{{sfn|Bergh|1972|p=19}} During this brief period in jail he started working on his first novel, ''Ecué-Yamba-O'', an exploration of Afro-Cuban traditions among the poor of the island.<ref name="Colchie"/> (The book was eventually completed in 1933.)

After his release, he escaped Cuba with the help of journalist [[Robert Desnos]] who lent him his passport and papers.<ref name="Colchie"/> Carpentier decided on a voluntary exile to France and arrived in Paris in 1928; he remained there until 1939, when he returned to Havana. When he left Cuba, he was fortunate enough to avoid the political conflicts which had occurred during the 1930s. During this time certain positions were unacceptable to the authorities and Cuban intellectuals were forced to define their political position and for these and other political reasons he decided to leave.

During this time abroad, his disconnection from Cuba and the interaction with different groups of intellectuals and artists in Paris helped with his "critical vision".{{sfn|Bergh|1972|p=18}} Carpentier felt that it was important for him to remain outside the influences of movements because he believed in maintaining a "balance against the insularity of his homeland".<ref name="Echevarría 1990, p.34">{{harvnb|Echevarría|1990|p=34}}</ref> Upon arriving in Paris he immediately began working on poems and editorials in Parisian and Cuban magazines. Contributions to the Parisian Journal such as the short story "Cahiers du Sud" (1933), in French, were an effort to acquire European readers as a way to improve his recognition.<ref name="Echevarría 1990, p.34"/> He also contributed to the magazines ''Documents'' and ''L'Intransigeant''.{{sfn|Bergh|1972|p=42}} Carpentier was familiar with the activities of the ''Comité de Jeunes Revolutionnaires Cubains'', a group of exiled Cuban leftists who had published ''La Terreur á Cuba'', a brochure against the Machado government. He documented the latest news about this group and their activities in his book ''Homenaje a nuestros amigos de Paris''.{{sfn|Bergh|1972|p=43}} It was also during this time that, with the help of Robert Desnos, Carpentier became part of the surrealist movement which became a positive influence in his work. While in France, Carpentier also founded a literary magazine called ''Imán'' in 1931, for which he became editor-in-chief.<ref>{{harvnb|Mocega-González|1980|p=54}}</ref> Most of the authors who worked with him in ''La Revolution Surrealiste'' also contributed works in ''Imán'' under the title "''Conocimiento de America''".<ref name="Janney 1981, p.69">{{harvnb|Janney|1981|p=69}}</ref> Carpentier contributed the short story ''Histoire de Lunes'' (1933); it was experimental for its time as it contained elements of fantasy and folklore characterized as magical reality.<ref name="Janney 1981, p.69"/>

Surrealism helped Carpentier to see contexts and aspects, especially those of American life, which he did not see before and after working among the leading artistic figures for some time, Carpentier did not feel overly enthusiastic about his work within surrealism and had felt that his "surrealist attempts ha[d] been in vain" describing his frustration, as he felt he had "nothing to add to this movement in France".{{sfn|Bergh|1972|p=45}}

As Carpentier became acquainted with those among the arts community he had several encounters to meet other famous authors such as [[Pablo Neruda]], who had sent him a draft of his book ''[[Residencia en la Tierra]]'' to review; Guatemalan author [[Miguel Ángel Asturias]], whose work on pre-Columbian mythology influenced his writing;<ref name="Colchie"/>  and [[Pablo Picasso]], an introduction made possible through Carpentier's connection with friends in the arts.{{sfn|Bergh|1972|p=32}}

Throughout his time in France Carpentier was occupied with not only literary works, but also other projects that kept him engaged within the arts. He collaborated with French composer Marins François Gaillard on the musical ''Yamba-O'', "a burlesque tragedy", that was presented in the ''Théâtre Beriza'' in Paris (1928); and with composer [[Amadeo Roldán]] helped organize the Cuban premieres of works by [[Stravinsky]] and [[Francis Poulenc|Poulenc]]. In film, Carpentier wrote text and edited music for the French documentary ''Le Vaudou''.{{sfn|Bergh|1972|p=31}} He continued to earn his living by writing on contemporary culture, both in French and Spanish. He also began working for a French radio station as a sound-technician and producer. From 1932 until 1939 Carpentier worked on several projects produced by Foniric Studios.<ref name="Echevarría 1990, p.34"/> He directed the production of ''[[Le Livre de Christophe Colomb]]'' and collaborated with Desnos on arranging readings of Edgar Allan Poe's ''The Murders in the Rue Morgue'', and Walt Whitman's ''Salute to the World''. Although abroad, Carpentier still maintained contact with Cuba by sending articles and poems to contribute to Havana publications such as ''Ensayos Convergentes''.<ref name="Echevarría 1990, p.34"/>

When the Machado regime came to an end in 1933, Carpentier decided to make plans to return to his native land to visit, and in 1936 he made the trip back to Cuba. The time he had spent in Paris for over eleven years had enriched and "oriented his expressive abilities".{{sfn|Bergh|1972|p=77}} Carpentier himself indicated that he was tiring of Paris, and "...in 1939 without any other reason than the nostalgia of Cuba, I vacated my apartment and started the return to La Habana".{{sfn|Bergh|1972|p=131}}