Given the play's bleak verdict on the Puerto Rican migrant experience in New York City, La carreta has come in for withering criticism from U.S.-based Latinx critics and writers. Partly countering the high value placed on the play on the island, these critics have challenged La carreta's negative representation of diasporic Puerto Ricans, its essentializing linkage of puertorriquenidad with insular rural life, and its author's Hispanophilic elitism. (3) Juan Flores puts this view efficiently in Divided Borders when he writes that "in La carreta, the entire migration experience is presented as a process of abrupt moral and cultural deterioration" (1993, 169). The family is so damaged by their New York City sojourn that "their only hope for salvation is in return to the Island and the resumption of peasant life on the land" (1993, 169). As Flores and others show, however, the Puerto Rican migration to New York is not merely a story of cultural degradation, injury, and loss, but also one of renewal and invention. In rejecting La carreta's once-hegemonic negative portrayal of the Puerto Rican diaspora, Latinx critics like Flores have found a formidable ally in New York Puerto Rican cultural production, especially the work of Nuyorican poet Tato Laviera. Laviera's ingeniously titled La Carreta Made a U-Turn (1979), published in the year of Marques's death, enacts an intricate intertextual subversion of Marques's play, one that explicitly renounces the Siren-like balm of return migration and--through its linguistic inventiveness and embrace of blackness--stands as a kind of poetic proof of the vitality of diasporic Puerto Rican culture.
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