IN: Alejo Carpentier y Valmont (December 26, 1904 - April 24, 1980) was a Cuban novelist, essayist, and musicologist who greatly influenced Latin American literature during its famous "boom" period. Born in Lausanne, Switzerland, Carpentier grew up in Havana, Cuba, and despite his European birthplace, he strongly self-identified as Cuban throughout his life. He traveled extensively, particularly in France, and to South America and Mexico, where he met prominent members of the Latin American cultural and artistic community. Carpentier took a keen interest in Latin American politics and often aligned himself with revolutionary movements, such as Fidel Castro's Communist Revolution in Cuba in the mid-20th century.

The Baroque style dates back to the cultural period of the 17th and early 18th centuries. It is most often defined as "the dominant style of art in Europe between the Mannerist and Rococo eras, a style characterized by dynamic movement, overt emotion and self-confident rhetoric". Carpentier first became fascinated with this style in architecture and sculpture; however, he later describes el barroco as un espiritu, and not un estilo historico ("a spirit, not an historical style"). Wakefield insists that this attitude towards the Baroque stemmed from Carpentier's background in both Europe and Latin America which allowed him to take on a superior front in the face of post-colonialism and ultimately have the literary upper-hand where he could use European style to tell the Latin American story. Carpentier developed his vision of the baroque in his early works before he described himself as a baroque writer. He experimented with the technique in several developmental stages: "first as a cultural style of aesthetic fascination, later as a literary device to create period ambiance, and finally as a weapon of postcolonial pride, defiance and one-upmanship". This style strongly presents itself when comparing works such as the early Ecue-Yamba-O to the celebrated El reino de este mundo, regarding Carpentier's use of more historically eloquent vocabulary in the latter, instead of the authentic language of the ethnically-inspired characters. Here he escapes the stereotype of "nativism" by incorporating European standards, but continues to achieve a sense of normalcy without the expected use of the colloquialisms which the protagonist Ti Noel would undoubtedly use. Kaup claims that Carpentier utilizes what is known as the "New World Baroque", since Latin America didn't come into contact with the Enlightenment or "European modernity". This contraconquista (counter conquest) allows the New World authors to experiment with new identities and the manners of expressing them. As such, Carpentier observed in his 1975 essay that "American Baroque develop[ed] along with criollo culture ...: the awareness of being Other, of being new, of being symbiotic, of being a criollo; and the criollo spirit is itself a Baroque spirit." This criollo of the New World Baroque is often seen as the dominant style of European literature emerging as a subordinate literary construction in Latin America.

Did he have any famous works?

OUT: Carpentier observed in his 1975 essay that "American Baroque develop[ed] along with criollo culture ...: the awareness of being Other, of

input: Orr joined the Bruins for the 1966-67 season, his first as a professional. The Bruins were not convinced Orr belonged on defence, trying him out at centre first. Through the pre-season, Orr was given jersey number 27. At the season's start, the Bruins offered him jersey number 5, that of past Bruins star Dit Clapper, but Orr chose jersey number 4. Orr made his NHL regular-season debut on October 19, 1966, against the Detroit Red Wings, getting one assist. On October 22, he scored his first NHL goal against the Montreal Canadiens. It was a slap shot past Gump Worsley and the Boston Garden crowd gave Orr a standing ovation. In that first season, Orr was challenged by the veterans, and he earned respect by defeating Montreal tough guy Ted Harris in his first NHL fight. On December 4, 1966, Toronto Maple Leafs' defenceman Marcel Pronovost checked him into the boards, injuring Orr's knees for the first time in the NHL. He would miss nine games and the Bruins would lose six of them. The team finished with a 17-43-10 record, leaving the Bruins in last place. However, attendance at Boston Garden increased by forty-one thousand fans. For the season, Orr scored 13 goals and 28 assists, one of the best rookie seasons in NHL history to that point by a defenceman. Orr won the Calder Memorial Trophy as the league's outstanding rookie and was named to the NHL's Second All-Star team. New York Rangers defenceman Harry Howell won the Norris Trophy as the league's best defenceman that year. In accepting the award, Howell said he was glad to win when he did, predicting "Orr will own this trophy from now on." Orr was runner-up in voting.

Answer this question "Was he challenged"
output:
In that first season, Orr was challenged by the veterans, and he earned respect by