The most important difference between the 1882 version and previous editions is the novel's notable climax: Pimienta's assassination of Leonardo. This is an incredible event for a few reasons. First of all, although other Cuban anti-slavery novels show the suffering of slaves at the hands of white owners, this is the first time a slave has a reactive reaction. Luis cites Manzano as an example, pointing out that even in the worst moments Manzano never reacts violently towards his oppressors. Second, the novel never explicitly says that Pimienta is captured for his actions: “This is why he chased the girl…her miserable human shell.” which reduced his bloodlust. But the fact that Pimienta was not punished in an ostentatious way already demonstrates that Cecilia Valdés represented a new dawn for anti-slavery novels. For Luis, Leonardo's death "signals the end of the historic 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 Valdés's conclusion with more cynicism. They might assume that Pimienta has been captured, and even if he actually escaped, life for a runaway mulatto would be full of hardship and pain, especially since he will probably never get to be with his one true love. Furthermore, and above all, Leonardo's murder can be considered a heinous crime, devoid of any racial significance. After all, at the heart of the murder is a cold-blooded murder, committed in the throes of anger and jealousy. He is easily manipulated by Cecilia and foolishly misunderstands her orders. In this sense there is nothing... middle of paper... and still prevalent today. The devastating effects of slavery and colonialism run rampant throughout the tragic novel, two more vital components of the unique Cuban ajiaco. Regardless of Villaverde's intentions, Cecilia Valdés features previously unanticipated progressive elements, and her shadow is still visible in contemporary Cuban literature. The novel also proved to be a magnificent literary achievement, especially impressive considering the difficult circumstances in which Villaverde wrote. Even the greatest cynic could not 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, that shows "linguistic lucidity and high literary sophistication that we find in some of the books of the 20th century". texts of the century by Cuban writers such as José Lezama Lima, Alejo Carpentier or Infante.”