This chapter examines the tensions between the supporters of two modes of writing Latin America – magical realism and testimonial writing – under the lens of the figures of the falcon and the tortoise, a simile employed by one of Cuba’s first and most prominent theorists of testimonio, Miguel Barnet. It explores how the hybrid mode of testimonio was conceptualized in the first two decades of the 1959 Cuban Revolution and, more generally, in Latin America, and how these concepts presented a challenge to the literary establishment in Latin America and beyond. Through examining the key positioning of Cuban testimonio in the first two decades of the Cuban Revolution, the chapter argues that the role assigned to testimonio in these early conceptual formulations shared many commonalities with the aims of magical realism, but also some important differences based on positionality and power. As such, the schism of 1971 represented not only a political fracture between Cuba and some Latin American nations but also a tipping point, or moment of transition, in terms of Latin American literatures’ potential in the world.

This chapter examines the tensions between the supporters of two modes of writing Latin America – magical realism and testimonial writing – under the lens of the figures of the falcon and the tortoise, a simile employed by one of Cuba’s first and most prominent theorists of testimonio, Miguel Barnet. It explores how the hybrid mode of testimonio was conceptualized in the first two decades of the 1959 Cuban Revolution and, more generally, in Latin America, and how these concepts presented a challenge to the literary establishment in Latin America and beyond. Through examining the key positioning of Cuban testimonio in the first two decades of the Cuban Revolution, the chapter argues that the role assigned to testimonio in these early conceptual formulations shared many commonalities with the aims of magical realism, but also some important differences based on positionality and power. As such, the schism of 1971 represented not only a political fracture between Cuba and some Latin American nations but also a tipping point, or moment of transition, in terms of Latin American literatures’ potential in the world.