Normal.dotm 0 0 1 55 314 Escritor/Periodista 2 1 385 12.0 Set in Cuba and Miami, from the 1940s to the present, two Afro-Cuban women narrate their life stories. One leaves a small town in the central part of the island to work as a maid in Havana in prerevolutionary Cuba. The other, her friend's daughter, educated in revolutionary Cuba, leaves Havana in the 1980 Mariel boatlift, to find work as a maid in Miami A history full circle?
Cuban Studies 42 focuses on gender and equality issues in post-1959 Cuba, and their impact on cultural and institutional change. It views subjects such as politics, labor, food and diet, race, ethnicity, HIV/AIDS, sex education, tourism and prostitution, masculinity, and feminism, among others.
Authorities in postrevolutionary Cuba worked to establish a binary society in which citizens were either patriots or traitors. This all-or-nothing approach reflected in the familiar slogan “patria o muerte” (fatherland or death) has recently been challenged in protests that have adopted the theme song “patria y vida” (fatherland and life), a collaboration by exiles that, predictably, has been banned in Cuba itself. Lillian Guerra excavates the rise of a Soviet-advised Communist culture controlled by state institutions and the creation of a multidimensional system of state security whose functions embedded themselves into daily activities and individual consciousness and reinforced these binaries. But despite public performance of patriotism, the life experience of many Cubans was somewhere in between. Guerra explores these in-between spaces and looks at Cuban citizens’ complicity with authoritarianism, leaders’ exploitation of an earnest anti-imperialist nationalism, and the duality of an existence that contains elements of both support and betrayal of a nation and of an ideology.
Explores the dimensions of the coming-of-age novel in the Spanish-speaking Caribbean and Brazil, focusing on works by eight major Afro-Latin American writers
Antonio Olliz Boyd is an emeritus professor of Latin American literature at Temple University. He holds a PhD from Stanford University, an MS from Grorgetown University, and a BA from Long Island University. Dr. Olliz Boyd has published various essays on Afro Latino aesthetics in literature in volumes, such as the Dictionary of Literary Biography: Modern Latin-American Fiction Writers; Singular Like a Bird: The Art of Nancy Morejon; Imagination, Emblems and Expressions: Essays on Latin American, Caribbean, and Continental Culture and Identity; Blacks in Hispanic Literature: Critical Essays among others, as well as articles on Afro Latino literary criticism in various refereed journals. --Book Jacket.
The scandalous true crime story about the Papin Sisters, as told by one of comics' most stylized talents. Christine Papin, an overworked live-in maid, is reunited with her younger sister, Lea, who has also been hired by the wealthy Lancelin family. They make the estate's beds, scrub the floors, and spy on the domestic strife that routinely occurs within its walls. What starts as petty theft by the maids ― who are flashing back to their tumultuous time in a convent ― shortly turns into something more nefarious. Madame Lancelin’s increasingly unhinged abuse ignites the sisters' toxic upbringing and social class exploitation and explodes into a ghastly double murder, an event that shocked and fascinated 1930s France and beyond. Maids has high bravura and high intrigue, all drawn in Skelly’s highly stylized manner, which combines the best of pop art, manga, and Eurocomics.
A childhood in a privileged household in 1950s Havana was joyous and cruel, like any other-but with certain differences. The neighbour's monkey was liable to escape and run across your roof. Surfing was conducted by driving cars across the breakwater. Lizards and firecrackers made frequent contact. Carlos Eire's childhood was a little different from most. His father was convinced he had been Louis XVI in a past life. At school, classmates with fathers in the Batista government were attended by chauffeurs and bodyguards. At a home crammed with artifacts and paintings, portraits of Jesus spoke to him in dreams and nightmares. Then, in January 1959, the world changes: Batista is suddenly gone, a cigar-smoking guerrilla has taken his place, and Christmas is cancelled. The echo of firing squads is everywhere. And, one by one, the author's schoolmates begin to disappear-spirited away to the United States. Carlos will end up there himself, without his parents, never to see his father again. Narrated with the urgency of a confession, WAITING FOR SNOW IN HAVANA is both an ode to a paradise lost and an exorcism. More than that, it captures the terrible beauty of those times in our lives when we are certain we have died-and then are somehow, miraculously, reborn.
Out of Havana provides an uncommon ordinary woman's insight into the last half century of Cuba's tumultuous recent history. More powerfully than an academic study or historical account, it allows us intimately to grasp the enthusiasm, commitment and sense of promise that defined many average Cubans' experience of the 1959 Revolution and the first triumphant decades of the Castro regime. As the story shifts into the final decades of the last century (the 1980s Mariel Boatlift, the so-called "special period in time of peace" [from 1991 to the end of the decade], and the 1994 Balseros or Rafters Crisis), it starts gradually to reveal, with understated yet relentless eloquence, an ultimately insuperable rift between the high-flown official rhetoric of uncompromising struggle and revolutionary sacrifice and the harsh conditions and cruelly absurd situations that the protagonist, along with the majority of Cubans, begin routinely to live out. It is a rare and important document, a unique personal chronicle of an everyday Cuban reality that most Americans continue to know only fragmentarily.
Illuminating the activism of Black women during Cuba’s prerevolutionary period Association of Black Women Historians Letitia Woods Brown Book Prize In Black Women, Citizenship, and the Making of Modern Cuba, Takkara Brunson traces how women of African descent battled exclusion on multiple fronts and played an important role in forging a modern democracy. Brunson takes a much-needed intersectional approach to the political history of the era, examining how Black women’s engagement with questions of Cuban citizenship intersected with racial prejudice, gender norms, and sexual politics, incorporating Afro-diasporic and Latin American feminist perspectives. Brunson demonstrates that between the 1886 abolition of slavery in Cuba and the 1959 Revolution, Black women—without formal political power—navigated political movements in their efforts to create a more just society. She examines how women helped build a Black public sphere as they claimed moral respectability and sought racial integration. She reveals how Black women entered into national women’s organizations, labor unions, and political parties to bring about legal reforms. Brunson shows how women of African descent achieved individual victories as part of a collective struggle for social justice; in doing so, she highlights how racism and sexism persisted even as legal definitions of Cuban citizenship evolved.
