The most important difference between the 1882 version and earlier editions is the remarkable climax of the novel: Pimienta's murder of Leonardo. This is an incredible event for several reasons. First of all, although other anti-Cuban anti-slavery novels show slaves suffering at the hands of white owners, this is the first time a slave has had a reactive reaction to this topic. Luis cites Manzano as an example, emphasizing that even in the worst of times, Manzano never reacts violently toward his oppressors. Second, the novel never explicitly says that Pimienta is arrested for his actions: "That's why she pursued the girl... her miserable human shell." » It is unclear if Doña Rosa drops the charges against Cecilia and Pimienta, or if it was just about shared blood. this reduced his bloodlust. But the simple fact that Pimienta was not ostensibly punished proves that Cecilia Valdés was a new dawn for anti-slavery novels. For Luis, Leonardo's death “signals the end of the historical exploitation of black and mulatto women by white men…[which] has existed in Cecilia's family for generations. » On the other hand, another reader might look at Cecilia's conclusion. Valdés with more cynicism. They might assume that Pimienta was caught, and even if he did indeed escape, the life of a mulatto on the run would be full of hardship and pain, especially since he would likely never be able to be with his only true love. Furthermore, and most importantly, Leonardo's murder can be considered a savage crime, devoid of any racial significance. After all, at the heart of murder is cold-blooded murder committed in jealous rage. He is easily manipulated by Cecilia and stupidly misinterprets her orders. In this sense, there is nothing...... middle of paper...... and which still prevails today. The devastating effects of slavery and colonialism are endemic throughout the tragic novel, two other essential elements of the unique Cuban ajiaco. Whatever Villaverde's intentions, Cecilia Valdés contains previously unforeseen progressive elements, and her shadow is still visible in contemporary Cuban literature. The novel also proved to be a magnificent literary achievement, particularly impressive given the difficult circumstances under which Villaverde wrote. Even the most cynical would argue that Cecilia Valdés was a crucial stepping stone to critically acclaimed 20th-century Cuban literature, and most would agree that it is a classic in its own right, demonstrating “the linguistic lucidity and great literary sophistication that we find in some of the texts of the 20th century”. texts from the century by Cuban writers like José Lezama Lima, Alejo Carpentier or Infante.”