By Laura E Pla

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Tablada’s list of the displayed human spectacles includes references to “Chinese curiosities, Chinese tightrope walkers and Japanese wrestlers,” as cited above. Here, the exotic mode of ethnographic spectacle dovetails with Tablada’s own well-known fascination with East Asia, thus blurring the line between a detached and critical observation and participation in the scene. The performance of the crónica takes place through the persuasive voice of print media that at once critically undermines its own ability to educate and entertain.

Martí writes, “Y los creadores de este puente, y los que lo mantienen, y los que lo cruzan, parecen, salvo el excesivo amor a la riqueza que como un gusano los roe la magna entraña, hombres tallados en granito, como el puente” (Crónicas, 147) [And the creators of this bridge, and those who maintain it, and those who cross it seem—but for the excessive love of wealth that gnaws at their intestines like a worm—men carved out of granite, like the bridge itself ] (Selected Writings, 141). While the phrase seems to oppose the impenetrable granite of the bridge to the horrifying intestinal flesh-asworm, the juxtaposition at once creates a jarring link between the bridge and the gnawing worm.

Society. S. culture, yet for an 1881 Coney Island, much of this display was marked by uncertain transformation, specifically by an immigrant population with no guarantee of social or economic integration into the new society. “Coney Island indeed helped to displace genteel culture with a new mass culture,” writes Julio Ramos, citing from Kasson’s history of Coney Island. For Ramos, this new mass culture, and its implications for the displaced or compromised role of U. S. intellectuals, serves as a point of contrast to Martí’s critical position as Latin American intellectual subject in opposition to the culture industry (22–22).

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