Julia Sweig shatters the mythology surrounding the Cuban Revolution in a compelling revisionist history that reconsiders the revolutionary roles of Fidel Castro and Che Guevara and restores to a central position the leadership of the Cuban urban underground, the Llano. Granted unprecedented access to the classified records of Castro's 26th of July Movement's underground operatives--the only scholar inside or outside of Cuba allowed access to the complete collection in the Cuban Council of State's Office of Historic Affairs--she details the ideological, political, and strategic debates between Castro's mountain-based guerrilla movement and the urban revolutionaries in Havana, Santiago, and other cities.

In a close study of the fifteen months from November 1956 to July 1958, when the urban underground leadership was dominant, Sweig examines the debate between the two groups over whether to wage guerrilla warfare in the countryside or armed insurrection in the cities, and is the first to document the extent of Castro's cooperation with the Llano. She unveils the essential role of the urban underground, led by such figures as Frank País, Armando Hart, Haydée Santamaria, Enrique Oltuski, and Faustino Pérez, in controlling critical decisions on tactics, strategy, allocation of resources, and relations with opposition forces, political parties, Cuban exiles, even the United States--contradicting the standard view of Castro as the primary decision maker during the revolution.

In revealing the true relationship between Castro and the urban underground, Sweig redefines the history of the Cuban Revolution, offering guideposts for understanding Cuban politics in the 1960s and raising intriguing questions for the future transition of power in Cuba.

Recipient of the Hubert Herring Memorial Award from the Pacific Coast Council on Latin American Studies for the best unpublished manuscript of 1973, Prose Fiction of the Cuban Revolution is an in-depth study of works by Cubans, Cuban exiles, and other Latin American writers. Combining historical and critical approaches, Seymour Menton classifies and analyzes over two hundred novels and volumes of short stories, revealing the extent to which Cuban literature reflects the reality of the Revolution.

Menton establishes four periods—1959–1960, 1961–1965,1966–1970, and 1971–1973—that reflect the changing policies of the revolutionary government toward the arts. Using these periods as a chronological guideline, he defines four distinct literary generations, records the facts about their works, establishes coordinates, and formulates a system of literary and historical classification. He then makes an aesthetic analysis of the best of Cuban fiction, emphasizing the novels of major writers, including Alejo Carpentier's El siglo de las luces, and José Lezama Lima's Paradiso. He also discusses the works of a large number of lesser-known writers, which must be considered in arriving at an accurate historical tableau.

Menton's exploration of the short story combines a thematic and stylistic analysis of nineteen anthologies with a close study of six authors: Guillermo Cabrera Infante, Calvert Casey, Humberto Arenal, Antonio Benítez, Jesús Díaz Rodríguez, and Norberto Fuentes. Several chapters are devoted to the increasing number of novels and short stories written by Cuban exiles as well as to the eighteen novels and one short story written about the Revolution by non-Cubans, such as Julio Cortázar, Carlos Martínez Moreno, Luisa Josefina Hernández, and Pedro Juan Soto.

In studying literary works to reveal the intrinsic consciousness of a historical period, Menton presents not only his own views but also those of Cuban literary critics. In addition, he clarifies the various changes in the official attitude toward literature and the arts in Cuba, using the revolutionary processes of several other countries as comparative examples.