The title of Nicolás Guillén’s foundational 1958 poem, "El apellido," translates directly to English as Subtitled "Elegía familiar" (Family Elegy), this masterpiece stands as a monumental critique of transatlantic slavery, colonial erasure, and the fragmentation of Afro-Cuban identity.
Here is a comprehensive guide to the meaning, structure, and cultural legacy behind the name Nicolás Guillén. The Literal Translation Broken Down
¿Eh, ¿usted? Sí, yo. ¿Cómo dice? ¡Que me roben el apellido!
Notice the repetition of “mine.” He claims legal ownership of the name (he uses it daily), but he rejects its legitimacy. The translation uses “conquerors” instead of “Spaniards” here to emphasize violence, not nationality. el apellido nicolas guillen english translation
Despite not knowing his “true” name, Guillén does not ask for a new one. He interrogates the name he has. This is not a victim’s poem – it is an accuser’s poem. He turns the Spanish name into evidence of a crime.
In this seminal poem, Guillén explores the forced erasure of African identity due to the transatlantic slave trade.
The poem is a dramatic monologue, a powerful poem that questions the reader directly. It begins with the speaker stating that he was given his name—his "surname"—as a child. This name is the European one, a "saint and sign" to speak with the stars, the "thirteen letters I carry on my back" everywhere he goes. The title of Nicolás Guillén’s foundational 1958 poem,
Understanding the English translation of Nicolás Guillén helps bridge the gap between his Spanish-Caribbean roots and a global audience. Whether you are researching your own family history or diving into Latin American literature, the name stands as a testament to "the victory of the people" and "resolute protection" of cultural identity.
¡Pero que me lo roben, que me lo quiten! Oiganme, muchachos, que me lo roben: en la calle, en la hamaca, en la siesta, en la noria, en la fonda, en el café con leche, en el trago de ron que me bebo en silencio.
Tierra adentro, sonaban tambores; temblaban flautas de caña. Y mis abuelos, abuelo de allá, abuela de acullá, arriba de esto, abajo de lo otro, no dijeron nada. Sí, yo
: The speaker reflects on how his true family name was lost during the transatlantic slave trade. Transculturation
Did you find this translation helpful? For more Afro-Caribbean poetry in English, explore our translations of Nancy Morejón’s “Mujer negra” and Luis Palés Matos’s “Canción festiva.”
The title of Nicolás Guillén’s foundational 1958 poem, "El apellido," translates directly to English as Subtitled "Elegía familiar" (Family Elegy), this masterpiece stands as a monumental critique of transatlantic slavery, colonial erasure, and the fragmentation of Afro-Cuban identity.
Here is a comprehensive guide to the meaning, structure, and cultural legacy behind the name Nicolás Guillén. The Literal Translation Broken Down
¿Eh, ¿usted? Sí, yo. ¿Cómo dice? ¡Que me roben el apellido!
Notice the repetition of “mine.” He claims legal ownership of the name (he uses it daily), but he rejects its legitimacy. The translation uses “conquerors” instead of “Spaniards” here to emphasize violence, not nationality.
Despite not knowing his “true” name, Guillén does not ask for a new one. He interrogates the name he has. This is not a victim’s poem – it is an accuser’s poem. He turns the Spanish name into evidence of a crime.
In this seminal poem, Guillén explores the forced erasure of African identity due to the transatlantic slave trade.
The poem is a dramatic monologue, a powerful poem that questions the reader directly. It begins with the speaker stating that he was given his name—his "surname"—as a child. This name is the European one, a "saint and sign" to speak with the stars, the "thirteen letters I carry on my back" everywhere he goes.
Understanding the English translation of Nicolás Guillén helps bridge the gap between his Spanish-Caribbean roots and a global audience. Whether you are researching your own family history or diving into Latin American literature, the name stands as a testament to "the victory of the people" and "resolute protection" of cultural identity.
¡Pero que me lo roben, que me lo quiten! Oiganme, muchachos, que me lo roben: en la calle, en la hamaca, en la siesta, en la noria, en la fonda, en el café con leche, en el trago de ron que me bebo en silencio.
Tierra adentro, sonaban tambores; temblaban flautas de caña. Y mis abuelos, abuelo de allá, abuela de acullá, arriba de esto, abajo de lo otro, no dijeron nada.
: The speaker reflects on how his true family name was lost during the transatlantic slave trade. Transculturation
Did you find this translation helpful? For more Afro-Caribbean poetry in English, explore our translations of Nancy Morejón’s “Mujer negra” and Luis Palés Matos’s “Canción festiva.”