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Guillermo Cabrera Infante Papers
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Held at: Princeton University Library: Manuscripts Division [Contact Us]
This is a finding aid. It is a description of archival material held at the Princeton University Library: Manuscripts Division. Unless otherwise noted, the materials described below are physically available in their reading room, and not digitally available through the web.
Overview and metadata sections
Guillermo Cabrera Infante was born on April 22, 1929, in Gibara, Oriente Province, Cuba. His parents, Guillermo Cabrera López and Zoila Infante, founded the Cuban Communist Party and were routinely persecuted and discriminated against for their criticism of Fulgencio Batista. These early political experiences would influence Cabrera Infante's later politics and career. In 1941 the family moved from the coast to the Cuban capital in search of work opportunities.
Cabrera Infante attended the Universidad de la Havana to study medicine, but left shortly thereafter to write. His early literary activities involved editing the journal Bohemia, founding the magazine Nueva generación, and organizing and directing the Cinemateca de Cuba (1951-1956). In 1952 the Batista regime's censors found Cabrera Infante guilty of incorporating English obscenities in a short story that he wrote in Bohemia. As punishment, he was prohibited from publishing in his own name, although he quickly adopted the pseudonym G. Caín, a contraction of his surnames. On August 18, 1953, Cabrera Infante married Marta Calvo. The couple had two daughters, Ana and Carola, but then later divorced in October 1961.
Under the pseudonym G. Caín, Cabrera Infante wrote film reviews for Carteles (1954) and went on to become the magazine's chief editor (1957). He later assumed the directorship of the Instituto del Cine (1959) and edited Lunes de Revolución (1959-1961), the literary supplement of the pro-Fidel Castro newspaper Revolución. At the same time, Cabrera Infante published his first short story collection, Así en la paz como en la guerra (1960); in 1962 it was nominated for the Prix International de Literature (France). Cabrera Infante married his second wife, Miriam Gómez, a former Cuban stage star, on December 9, 1961.
After Lunes de Revolución was officially banned in 1961 as reprisal for editorial protest against government censorship, Cabrera Infante joined the diplomatic service and worked at the Cuban Embassy in Brussels, Belgium, as a cultural attaché (1962-1965). During this time abroad, he composed Un oficio del siglo veinte (1963), a collection of his film reviews written between 1954 and 1960.
The unpublished manuscript of Tres tristes tigres (1967) won the Biblioteca Breve award (Spain) in 1964, and was nominated for the Prix Formentor–International Publishers Prize in 1965. This novel, perhaps Cabrera Infante's best-known work, provides a vision of Havana nightlife before the revolution through the eyes of several friends. Beginning with the title, the text is full of alliteration, puns, and other wordplay, as well as Cuban colloquialisms. Cabrera Infante would continue this style of writing in his later works.
While in Brussels during the early 60s, Cabrera Infante's disenchantment with the Castro government grew, and finally culminated in 1965 when he resigned from the diplomatic corps and subsequently immigrated to England. There he began a new career writing screenplays (1967-1972), a vocation that combined his love of cinema and literature in a new form. From his home in London, Cabrera Infante continued to contribute to major European and American publications, as well as produce new works. He died in London on February 21, 2005.
The collection consists of at least one manuscript for each of Cabrera Infante's published works and screenplays from 1964 through 1982, including the novels La Habana para un Infante Difunto (1979) and Tres tristes tigres (1967); the essay collections Arcadia todas las noches (1978), Exorcismos del esti(l)o (1976), and O (1975); the vignette collection Vista del amanecer en el trópico (1974); and the screenplays Under the Volcano (1972), Vanishing Point (1970), and Wonderwall (1968). Also included is a manuscript of Three Trapped Tigers (1971), the English translation of Tres tristes tigres. The manuscripts for Cabrera Infante's early works, Así en la paz como en la guerra (1960) and Un oficio del siglo veinte (1963), are not included in the collection since they were not retained by the author.
There is also extensive correspondence between Cabrera Infante and literary agents, publishers, film producers, Latin American writers, and others. The letters consist of a variety of correspondents and cover a wide scope of topics. The Nestor Almendros correspondence includes frequent mention of progress in the Cuban cinematographer's various creative projects. One of the two Reinaldo Arenas letters is in regard to the unauthorized use of Arenas' and Cabrera Infante's respective works in an anthology of Cuban literature written after the revolution. The large amount of Julio Cortázar correspondence includes discussion about a screenplay Cabrera Infante wrote based on Cortázar's short story "La autopista del sur." These letters mostly concentrate on troubles in the film's production and the interest of others in adapting the story. The letters of Calvert Casey contain some written to Cabrera Infante, as well as letters by and to others. Joseph Losey's correspondence covers his direction of Cabrera Infante's film adaptation of the Malcolm Lowry novel Under the Volcano. The letters of both Virgilio Piñera and Manuel Puig with Cabrera Infante are predominately personal in nature. The correspondence of Emir Rodríguez Monegal is extensive and primarily personal; however it also contains letters relating to politics in literature and some discussion of the literary journal Mundo Nuevo from the period when Rodríguez Monegal was its editor. Manuel Scorza's letters are also mostly personal, but they occasionally address literary issues. Also among the open material are Cabrera Infante's letters (1976-1981) to Cuban poet and writer Juana Rosa Pita.
This collection was purchased by the Special Collections directly from the author.
For preservation reasons, original analog and digital media may not be read or played back in the reading room. Users may visually inspect physical media but may not remove it from its enclosure. All analog audiovisual media must be digitized to preservation-quality standards prior to use. Audiovisual digitization requests are processed by an approved third-party vendor. Please note, the transfer time required can be as little as several weeks to as long as several months and there may be financial costs associated with the process. Requests should be directed through the Ask Us Form.
This collection was processed by Claire A. Johnston and Karla J. Vecchia in 2002. Finding aid written by Claire A. Johnston and Karla J. Vecchia in 2002. Finding aid updated by Jill Baron in 2012.
Restrictions of correspondence placed until December 2020 were removed by Armando Suárez.
No appraisal information is available.
Subject
- Cuban fiction -- 20th century
- Exiles -- Cuba. -- 20th century
- Exiles' writings. -- 20th century
- Latin American fiction. -- 20th century
- Latin American literature. -- 20th century
Place
- Publisher
- Manuscripts Division
- Finding Aid Date
- 2002
- Access Restrictions
-
While most of the collection is open for research, some correspondence in Subseries 2B: Letters, 1965-1982, is closed until the correspondent's death.
- Use Restrictions
-
Single copies may be made for research purposes. To cite or publish quotations that fall within Fair Use, as defined under U. S. Copyright Law, no permission is required. For instances beyond Fair Use, it is the responsibility of the researcher to determine whether any permissions related to copyright, privacy, publicity, or any other rights are necessary for their intended use of the Library's materials, and to obtain all required permissions from any existing rights holders, if they have not already done so. Princeton University Library's Special Collections does not charge any permission or use fees for the publication of images of materials from our collections, nor does it require researchers to obtain its permission for said use. The department does request that its collections be properly cited and images credited. More detailed information can be found on the Copyright, Credit and Citations Guidelines page on our website. If you have any questions, please feel free to contact us through the Ask Us! form.
Collection Inventory
Consists of manuscripts for the novels, essays, vignettes, and moving picture plays of Guillermo Cabrera Infante.
This series is arranged into four subseries: Novels, Essays, Moving Picture Plays, and Vignettes.
Physical Description11 boxes
This sub-series consists of the manuscripts for the novels La Habana para un Infante Difunto (1979) and Tres tristes tigres (1967), as well as Three Trapped Tigers (1971), the English translation of the later work. This sub-series is arranged chronologically by publication year. The methodology followed in the organization and cataloguing of the manuscripts precedes the detailed description of each individual title.
Arranged chronologically.
Physical Description6 boxes
As stated by the author in several interviews, Tres tristes tigres (TTT) was originally titled Vista del amanecer en el trópico (VAT). Cabrera Infante considers the first version of VAT to be the initial steps in the creation of TTT. Thus he kept the papers, dated 1962-1964, together. However, formally and thematically, early in the process of production of VAT, TTT came to form an independent literary project. Given this evident differentiation, the drafts of both works were organized independently, using the published versions as models.
TTT is not predominantly a novel organized as a continuous, linear narrative; it is structured as a complex texture of several fragmentary narratives, each with a distinct thematic unity. Given that the early version of TTT held by Princeton is incomplete, the papers order is not according to the pagination of the published version. Instead, we chose to organize the materials according to the thematic zones which form the novel and which were often titled by the author (i.e., "Ella cantaba boleros"). We indicate the corresponding pages in the 1967 edition.
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[with different opening phrase and other changes]
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[two versions]
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[Draft of the two sections of "La casa de los espejos," second section incomplete.]
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[draft as "Seseribo"]
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[incomplete]
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[sessions of woman with psychiatrist]
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[incomplete draft of first part of "Los visitantes"]
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[incomplete draft of "Rompecabeza"]
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[draft of "Epilogo"]
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1 box
[draft not included in TTT]
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[outline of a prospective book of short stories which includes TTT]
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[clipping from Lunes de Revolución 1961 October 23: 8-10]
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[two versions]
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1 folder
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[French translation of "Metafinal"]
Physical Description1 folder
[title page only]
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Composed of corrected galley proofs of a previous version and typed additions. It is not the final version. [loose in box]
Physical Description1 box
Translation from the Cuban by Donald Gardner and Suzanne Jill Levine, in collaboration with the author.
This collection includes preliminary versions of the English translation of Tres tristes tigres. There is a final draft and a series of earlier versions. The collection has the carbon copy of the final draft that runs from page 1 to 467. The collection also has some pages that appear to be from a version immediately prior to the final draft as they have the same page numeration and the same text in each page as in the final draft. Since there are very few of these pages they have been included with the final draft and are placed individually behind the corresponding pages.
For the earlier versions it is less clear how many versions there are. The versions are labeled A, B, C, and D. Version A is the most recent one and it includes the entire book. This version runs from page 1 to 550 and the collection has the carbon copies of most pages. The original version is placed ahead, unless the carbon copy has more recent corrections. There are also versions AAA and AA that have the same numeration as version A, but are more recent. Unless a section of versions AAA and AA can stand by itself, as in the section "The Tale of a Walking Stick," the pages from those two versions are placed in front of the corresponding pages from version A. All these preliminary versions are organized with the most recent version in front. Within version A this is done by page, except where noted above. When sections can stand by themselves they are placed in their entirety ahead of or after the corresponding section. This system follows for version B, C, and D. Section D includes almost the entire book and it is always the last version except for one part where there is an earlier version E.
In all versions each part of the book with a distinctive heading is separated. In the inventory the sections are listed by the first words of the page where the title of subdivision is not at the top of the page.
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Pages: 53-60 [0-12]
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Pages: [C unnumbered, D 62-69]
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["Ekúé was sacred"]
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[should be III]
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[handwritten]
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This collection includes three preliminary versions of La Habana. The first version was started in 1976 and finished on January 30, 1979. Please note that this version apparently combines two as the page numeration suggests. The page numbers cited are those of the version that predominate within the first version, running from page 1 to 587 with gaps between pages 293 and 300, and pages 375 and 428. All chapter titles are the same as in the final version except for the epilogue which in the first version is titled "Facilis Desconsus Avemani" instead of "Función Continua."
In versions two and three, as well as in the first one, the page numeration used is the one given by the author for that particular version. All three versions have been divided in the folders by chapter. When the chapter is too big, it has been divided and the title cited represents the first words on the page. In version three, where chapters sometimes start in the middle of the page, both the first words of the page and the name of the chapter are cited.
Physical Description2 boxes
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This sub-series consists of the manuscripts for the essay collections Arcadia todas las noches (1978), Exorcismos del esti(l)o (1976), and O (1975). This sub-series is arranged chronologically by publication year. The methodology followed in the organization and cataloguing of the manuscripts precedes the detailed description of each individual title.
Arranged chronologically.
Physical Description1 box
O is a collection of essays and fragmentary prose. Holdings include drafts of some of the published texts and several drafts of texts not included in the final edition of O. Among O's papers Cabrera Infante included the issue of Primera Plana, No. 290 (July 16, 1968), in which the journalistic article "Eppur si muove?" was published. The papers also included a letter of May 10, 1968 to Cabrera Infante from Tomás Eloy Martínez, then of Primera Plana, soliciting the article.
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[not included in O]
Physical Description1 folder
[not included in O]
Physical Description1 folder
Incomplete final version of this collection of fragmentary texts–parodies, puns, and literary games. The following arrangement corresponds to the order of the final edition.
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[in same paper as text above]
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[I, II, III]
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[8 pages]
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[draft]
Physical Description1 folder
Arcadia todas las noches is a collection of essays on motion pictures. Holdings consist of the first version of the essays, originally presented as a series of lectures in Havana, Cuba, 1962. The "Miscellaneous" folder contains the essay "Hollywood es la provincia del cine" not included in the final edition of the text.
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[incomplete]
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This sub-series consists of the manuscripts for the screenplays Birthdays (1968), The Jam (1968), The Mercenary (1966) [later version titled The Universal Soldier], On the Speedway (1966) [earlier version of The Jam], Under the Volcano (1972), Vanishing Point (1970), and Wonderwall (1967). Also included are film stills from Wonderwall (1967). This sub-series is arranged chronologically by year.
Arranged chronologically.
Physical Description3 boxes
[Later title: "Universal Soldier"]
Physical Description1 folder
[Later title: "The Jam"]
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[partial revisions]
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[end]
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[partial revision]
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[partial revision]
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[partial revisions]
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[partial revisions]
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[partial revisions]
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This sub-series consists of four draft manuscripts and a galley proof for the vignette collection Vista del amanecer en el trópico (1974). Also included are miscellaneous materials associated with this work but not found in the published version. This sub-series is arranged by draft version, galley proof, and then miscellaneous materials. The methodology followed in the organization and cataloguing of the manuscripts precedes the detailed description of each folder.
Not arranged according to any arrangement scheme.
Physical Description1 box
Vista del amanecer en el trópico (VAT) is a collection of vignettes based on Cuban history. Although published in 1974, many of the texts were dated by the author between 1962-1964, at the time when the first drafts of TTT were also written. VAT, as stated by Cabrera Infante in several interviews, was not only the original title of TTT, but also its first version. However, the published version of VAT, in form and content, proves to be the result of a different literary project. For this reason it constitutes an independent work.
The organization of VAT's drafts follow the order of the Seix Barral edition. As in the index of the published version, the titles correspond to the opening phrases of the texts. Indicated are the page numbers of the published version.
Although there is a certain chronological progression in our disposition of the drafts, this order does not aim at representing the complete process of creation of VAT. Most likely other versions existed.
Physical Description1 box
[Folders 1 and 2 contain version A of VAT. Dated by the author in La Habana, 1962-1964. Typed, with significant corrections by the author. Does not include drafts of all vignettes.]
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[with different opening phrase, as "Pero no era un picnic"]
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[with different opening phrase, as "Lo único que queda de él"]
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[with different opening phrase, as "El día que llegaron la guerra iba mal"]
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[Folders 3 and 4 contain version B of VAT. Dated by the author between 1962-1964. Typed, with several revisions by the author. Does not include drafts of all vignettes.]
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[with different opening phrase, as "Pero no era un picnic"]
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[as "Otros dos se escondieron"]
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[as "Hay una frase popular"]
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[two versions]
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[original title eliminated, published as "La foto es una imagen"]
Physical Description1 folder
[Folders 5 and 6 contain version C of VAT. Carbon copy found among drafts of VAT dated between 1960 and 1962. No corrections by author, although many texts were revised before publication. Pages numbered, however, the following order and pagination corresponds to the final Seix Barral edition.]
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[published as "Pero no era un picnic"]
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[as "Otros dos se escondieron"]
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[as "Hay una frase popular"]
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[published as "Aunque están tumbados en la yerba los tres"]
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[original title eliminated, published as "La foto es una imagen"]
Physical Description1 folder
[Folder 7 contains version D of VAT. Typed draft that includes significant revisions of earlier versions and texts which did not appear in A, B or C.]
Physical Description1 box
[dedication page]
Physical Description1 folder
[two versions]
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[as "La columna enemiga"]
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[as "El general preguntó la hora"]
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[as "Empezó a llover"]
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[version of "Y ahí estará"]
Physical Description1 folder
[Folder 8 contains galley proofs of VAT. In some cases the proofs were corrected by the author. There are not proofs of all the texts that form the final edition.]
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[Folder 9 contains miscellaneous materials: Drafts and proofs of texts associated with the different versions of VAT but not included in the Seix Barral edition. Also included in this folder are clippings of "Yo no puedo escribir" (pp.227-231) from an unidentified newspaper.]
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[four version and proofs]
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[four versions]
Physical Description1 folder
This series contains correspondence between Cabrera Infante and literary agents, publishers, film producers, Latin American writers, and others, and consists of a variety of correspondents and cover a wide scope of topics.
This series is arranged into two subseries as when first processed in which letters from subseries 2B were closed to the public.
Physical Description9 boxes
This sub-series consists of correspondence both by and to Cabrera Infante, as well as among others, and includes the following: Nestor Almendros, Reinaldo Arenas, Calvert Casey, Julio Cortázar, Joseph Losey, Virgilio Piñera, Manuel Puig, Emir Rodríguez Monegal, Juana Rosa Pita, and Manuel Scorza.
This sub-series is arranged alphabetically by the correspondent's last name.
Physical Description2 boxes
51 ALsS, 8 TLsS, 2 TLs (carbon), 2 ACsS, 1 TLS (Xerox), 1 telegram
Physical Description1 folder
3 TLsS, 1 TLs
Physical Description1 folder
3 ALsS, 8 TLsS, 3 TLsS (carbon)
Physical Description1 folder
1 TLS, 1 ALS
Physical Description1 folder
2 TLs (carbon), 1 TLS
Physical Description1 folder
19 ALsS, 5 TLs (carbon)
Physical Description1 folder
3 TLs (carbon), 1 TLS; [autobiographical statement] TMs (carbon), 6 pp., 1972 June 5
Physical Description1 folder
3 TLsS
Physical Description1 folder
1 TLS
Physical Description1 folder
14 ALsS, 28 TLsS, 1 TL, 1 TLS (Xerox), 5 ACsS, 1 telegram, 2 AMssS (poems) by Casey, 2 documents on the death of Casey
Physical Description1 folder
3 TLs (carbon), 8 TLsS, 2 ACsS, 2 ALsS, 1 TLS (Xerox), 2 clippings, 1 envelope
Physical Description1 folder
25 TLsS (1 fragment), 5 TLs (carbons), 1 telegram, 1 TLS (photocopy), 1 check, 1 deposit slip
Physical Description1 folder
2 TLsS, 1 TL (carbon)
Physical Description1 folder
37 items, including the following: 3 telegrams, 2 postcards, 2 ALsS, and 21 TLsS from Carlos Fuentes to Cabrera Infante; 7 TLsS (mostly carbon copies) from Cabrera Infante to Fuentes.
Physical Description1 folder
1 TCS, 8 TLsS, 1 ALS, 1 clipping
Physical Description1 folder
1 ALS
Physical Description1 folder
1 AL, 13 TLsS, 11 TLs (carbon), 4 TLs (photocopy), 1 telegram (photocopy)
Physical Description1 folder
7 TLsS, 3 TLs (carbon), 1 telegram
Physical Description1 folder
7 TLsS, 7 TLs (carbon)
Physical Description1 folder
1 ALS
Physical Description1 folder
1 TLS
Physical Description1 folder
1 ALS, 1 TLS
Physical Description1 folder
2 ALsS, 2 TLsS
Physical Description1 folder
1 telegram, 1 TN, 3 TLsS (carbon), 1 TL, 7 TLsS, 2 ANs
Physical Description1 folder
1 ALS, 10 TLsS, 1 telegram
Physical Description1 folder
30 TLsS, 2 ANsS by Cabrera Infante to Pita, with paper copy of a color photograph of the two taken in 1980 to illustrate her article about his novel La Habana
Physical Description1 folder
24 ALsS, 1 ALS (Xerox), 8 TLs (carbon)
Physical Description1 folder
47 TLsS, 15 TLs (carbon), 3 TLsS (Xerox), 3 TLs (Xerox), 1 ALS (Xerox), 3 ALsS, 1 article
Physical Description1 folder
9 TLsS including manuscript enclosures, 1 TLS (Xerox)
Physical Description1 folder
1 ACS, 15 TLsS, 2 TLsS (Xerox), 2 ALsS, 4 TLs (carbon)
Physical Description1 folder
7 TLsS, 1 ALS
Physical Description1 folder
3 TLsS from Segovia to Cabrera Infante and 1 TLS from Cabrera Infante to Segovia. Correspondence regarding matters with Plural magazine.
Physical Description1 folder
4 ALsS, 5 TLs (carbon)
Physical Description1 folder
4 TLsS, 2 TLs (carbon), 1 TLS (copy)
Physical Description1 folder
1 box
1 ALS
Physical Description1 folder
1 TLS
Physical Description1 folder
[See Allen, Lewis]
Physical Description1 folder
2 TLsS
Physical Description1 folder
4 TLsS, 1 TL (carbon)
Physical Description1 folder
1 TL
Physical Description1 folder
1 ALS
Physical Description1 folder
1 TLS
Physical Description1 folder
1 TL (carbon)
Physical Description1 folder
1 TLS
Physical Description1 folder
1 folder
1 folder
1 TLS
Physical Description1 folder
1 TLS, 1 TL (carbon)
Physical Description1 folder
6 TLsS, 1 TL (carbon), 1 telegram
Physical Description1 folder
1 TLS, 1 TL (carbon)
Physical Description1 folder
2 TLsS, 2 TL (carbon)
Physical Description1 folder
1 TLS
Physical Description1 folder
1 TLS
Physical Description1 folder
1 TLS, 1 TL (carbon) with enclosure (Xerox)
Physical Description1 folder
1 TLS, 1 TL (carbon)
Physical Description1 folder
2 TLsS (carbon and Xerox)
Physical Description1 folder
1 box
1 TLs
Physical Description1 folder
1 TLs
Physical Description1 folder
1 TLs
Physical Description1 folder
1 TLs and 1 TL (carbon)
Physical Description1 folder
1 TLs
Physical Description1 folder
1 TLs with clipping (photocopy)
Physical Description1 folder
1 TLs and 1 TL (carbon)
Physical Description1 folder
1 TLs and 1 TL (carbon)
Physical Description1 folder
1 ALs with two photographs enclosed and 1 postcard
Physical Description1 folder
2 TLsS
Physical Description1 folder
1 TLS and 2 TLs (carbon)
Physical Description1 folder
1 TLS and 1 TL (carbon)
Physical Description1 folder
1 TLS
Physical Description1 folder
1 TLS and 1TL (carbon)
Physical Description1 folder
5 TLsS
Physical Description1 folder
1 TLS
Physical Description1 folder
1 TLS and 1TL (carbon)
Physical Description1 folder
1 TLS
Physical Description1 folder
1 ANS, 3 TLsS and 2 telegrams
Physical Description1 folder
1 TLS and 1 TL (carbon)
Physical Description1 folder
4 TLsS
Physical Description1 folder
1 TLS
Physical Description1 folder
4 TLsS, 1 ALS, and 1 TL (carbon)
Physical Description1 folder
3 TLs and 4 TLs (carbons)
Physical Description1 folder
2 TLsS and 1 TL (carbon)
Physical Description1 folder
1 ACS
Physical Description1 folder
1 TLS and 1 telegram
Physical Description1 folder
1 TL (carbon)
Physical Description1 folder
2 TLsS
Physical Description1 folder
1 ALS and 2 TL (carbons)
Physical Description1 folder
1 TLS
Physical Description1 folder
This sub-series consists of correspondence to and from Cabrera Infante, as well as correspondence of others.
Arranged alphabetically by correspondent.
Physical Description7 boxes
1 folder
1 folder
1 folder
1 folder
1 folder
2 boxes
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
Brandt, Carl D.
Physical Description1 folder
1 box
[See Agencia Literaria Carmen Balcells]
Physical Description1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
[See Editorial Seix Barral]
Physical Description1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 box
1 folder
1 folder
1 folder
[See Harper and Row Publishers]
Physical Description1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
[See Center for Inter-American Relations]
Physical Description1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
Correspondence of Alicia D'amico and Sara Facio
Physical Description1 folder
1 box
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 box
[See Armas Marcelo, J. J.]
Physical Description1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 box
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
[See D'amico, Alicia and Sara Facio, Fotografías]
Physical Description1 folder
[See Editorial Seix Barral]
Physical Description1 folder
[See Editorial Seix Barral]
Physical Description1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 box
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
[See also Editorial Seix Barral]
Physical Description1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 box
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 box
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 box
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 box
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 box
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 box
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
[Maricel?]
Physical Description1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
[See Il Saggiatore]
Physical Description1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
[See also Rodriguez Monegal, Emir (Series II. A., Box 1, Folder 19)]
Physical Description1 folder
1 folder
1 folder
1 box
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
2 boxes
1 folder
1 folder
1 folder
1 folder
2 boxes
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 box
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
[See also Editorial Seix Barral]
Physical Description1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
[See also Zaldívar, Roberto Carlos]
Physical Description1 folder
[See also Editorial Seix Barral]
Physical Description1 folder
1 folder
1 folder
1 folder
1 folder
1 box
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
[Charles?]
Physical Description1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 box
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
[See Legal Correspondence of the Simkins Partnership]
Physical Description1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
[See also Editorial Seix Barral]
Physical Description1 folder
1 folder
1 box
1 folder
[See Legal Correspondence of Irving Teitelbaum]
Physical Description1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
[See Editorial Lumen]
Physical Description1 folder
1 folder