"Ricanstruction: Reminiscing & Rebuiliding Puerto Rico is an anthology featuring contributions from writers and artists from the comic book industry like Gail Simone [and others] to Puerto Rican and Latinx celebrities like Rosario Dawson [and others]. Produced and also featuring stories written by Edgardo Miranda-Rodriguez, this anthology teams up his original character LA BORINQUENA with some of the most iconic comic book heroes of all time from DC: Wonder Woman, Batman, Superman, Aquaman, The Flash and many others. Original stories also take us to the past to explore the beautiful history of PUERTO RICO as well as tales that envision a stronger and rebuilt island."--Amazon.com.
La Borinqueña is a patriotic symbol presented in a classic superhero story. Her powers are drawn from elements and mysticism found on the island of Puerto Rico. The fictional character, Marisol Rios De La Luz, is a Columbia University Earth and Environmental Sciences Undergraduate student living with her parents Flor De La Luz Rojas and Oscar 'Chango' Rios Velez in Williamsburg, Brooklyn. She takes a semester of study abroad in collaboration with the University of Puerto Rico. There she explores the caves of Puerto Rico: Ventana, La Cueva del Indio, Las Cuevas de Camuy, La Cueva del Viento and the caves at the Julio Enrique Monagas National Park. At each of these caves she finds five similar sized crystals. Atabex, the Taino mother goddess, appears before Marisol once the crystals are united and summons her sons Yúcahu and Juracan. Yúcahu, God of the seas and the mountains gives Marisol her superhuman strength. Juracan, god of the hurricanes gives her the power of flight and control of the wind.
Defending Their Own in the Cold: The Cultural Turns of U.S. Puerto Ricans explores U.S. Puerto Rican culture in past and recent contexts. The book presents East Coast, Midwest, and Chicago cultural production while exploring Puerto Rican musical, film, artistic, and literary performance. Working within the theoretical frame of cultural, postcolonial, and diasporic studies, Marc Zimmerman relates the experience of Puerto Ricans to that of Chicanos and Cuban Americans, showing how even supposedly mainstream U.S. Puerto Ricans participate in a performative culture that embodies elements of possible cultural "Ricanstruction." Defending Their Own in the Cold examines various dimensions of U.S. Puerto Rican artistic life, including relations with other ethnic groups and resistance to colonialism and cultural assimilation. To illustrate how Puerto Ricans have survived and created new identities and relations out of their colonized and diasporic circumstances, Zimmerman looks at the cultural examples of Latino entertainment stars such as Jennifer Lopez and Benicio del Toro, visual artists Juan Sánchez, Ramón Flores, and Elizam Escobar, as well as Nuyorican dancer turned Midwest poet Carmen Pursifull. The book includes a comprehensive chapter on the development of U.S. Puerto Rican literature and a pioneering essay on Chicago Puerto Rican writing. A final essay considers Cuban cultural attitudes towards Puerto Ricans in a testimonial narrative by Miguel Barnet and reaches conclusions about the past and future of U.S. Puerto Rican culture. Zimmerman offers his own "semi-outsider" point of reference as a Jewish American Latin Americanist who grew up near New York City, matured in California, went on to work with and teach Latinos in the Midwest, and eventually married a woman from a Puerto Rican family with island and U.S. roots.
Every nation in the Americas—from indigenous Peru to revolutionary Cuba—has been touched by the cultural and musical impact of rock. Rockin’ Las Américas is the first book to explore the production, dissemination, and consumption of rock music throughout the Caribbean, Mexico, Central America, Brazil, the Andes, and the Southern Cone as well as among Latinos in the United States. The contributors include experts in music, history, literature, culture, sociology, and anthropology, as well as practicing rockeros and rockeras. The multidisciplinary, transnational, and comparative perspectives they bring to the topic serve to address a broad range of fundamental questions about rock in Latin and Latino America, including: Why did rock become such a controversial cultural force in the region? In what ways has rock served as a medium for expressing national identities? How are unique questions of race, class, and gender inscribed in Latin American rock? What makes Latin American rock Latin American? Rockin’ Las Américas is an essential book for anyone who hopes to understand the complexities of Latin American culture today.
A reshaping of traditional understandings of Costa Rica and its national identity The Saints of Progress: A History of Coffee, Migration, and Costa Rican National Identity chronicles the development of the Tarrazú Valley, a historically remote—although internationally celebrated—coffee-growing region. Carmen Kordick’s work traces the development of this region from the early nineteenth century to the first decades of the twenty-first century to consider the nation-building process from the margins, while also questioning traditional scholarly works that have reproduced, rather than deconstructed, Costa Rica’s exceptionalist national mythology, which hail Costa Rica as Central America’s “white,” democratic, nonviolent, and egalitarian republic. In this compelling political, economic, and lived history, Kordick suggests that Costa Rica’s exceptionalist and egalitarian mythology emerged during the Cold War, as revolution, civil war, military dictatorship, and state violence plagued much of Central America. From the vantage point of Costa Rica’s premier coffee-producing region, she examines local, national, and transnational processes. This deeply textured narrative details the inauguration of coffee capitalism, which heightened existing class divisions; a successful armed revolt against the national government, which forged the current political regime; and the onset of massive out-migration to the United States. Kordick’s research incorporates more than one hundred oral histories and thousands of archival sources gathered in both Costa Rica and the United States to produce a human history of Costa Rica’s past. Her work on the recent past profiles the experiences of migrants in the United States, mostly in New Jersey, where many undocumented Costa Ricans find low-paid work in the restaurant and landscaping sectors. The result is a fine-grained examination of Tarrazú’s development from the 1820s to the present that reshapes traditional understandings of Costa Rica and its national past.
A Pulitzer Prize Finalist, this powerful elegy for our disappearing coast “captures nature with precise words that almost amount to poetry” (The New York Times). Hailed as “the book on climate change and sea levels that was missing” (Chicago Tribune), Rising is both a highly original work of lyric reportage and a haunting meditation on how to let go of the places we love. With every record-breaking hurricane, it grows clearer that climate change is neither imagined nor distant—and that rising seas are transforming the coastline of the United States in irrevocable ways. In Rising, Elizabeth Rush guides readers through these dramatic changes, from the Gulf Coast to Miami, and from New York City to the Bay Area. For many of the plants, animals, and humans in these places, the options are stark: retreat or perish. Rush sheds light on the unfolding crises through firsthand testimonials—a Staten Islander who lost her father during Sandy, the remaining holdouts of a Native American community on a drowning Isle de Jean Charles, a neighborhood in Pensacola settled by escaped slaves hundreds of years ago—woven together with profiles of wildlife biologists, activists, and other members of these vulnerable communities. A Guardian, Publishers Weekly, and Library Journal Best Book Of 2018 Winner of the National Outdoor Book Award A Chicago Tribune Top Ten Book of 2018
Early Puerto Rican Cinema and Nation Building focuses on the processes of Puerto Rican national identity formation as seen through the historical development of cinema on the island between 1897 and 1940. Anchoring her work in archival sources in film technology, economy, and education, Naida García-Crespo argues that Puerto Rico’s position as a stateless nation allows for a fresh understanding of national cinema based on perceptions of productive cultural contributions rather than on citizenship or state structures. This book aims to contribute to recently expanding discussions of cultural networks by analyzing how Puerto Rican cinema navigates the problems arising from the connection and/or disjunction between nation and state. The author argues that Puerto Rico’s position as a stateless nation puts pressure on traditional conceptions of national cinema, which tend to rely on assumptions of state support or a bounded nation-state. She also contends that the cultural and business practices associated with early cinema reveal that transnationalism is an integral part of national identities and their development. García-Crespo shows throughout this book that the development and circulation of cinema in Puerto Rico illustrate how the “national” is built from transnational connections. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
In Made in NuYoRico, Marisol Negrón tells the cultural history of salsa, tracing the music’s Nuyorican meanings over a fifty-year period that begins with the establishment of Fania Records in 1964 and how it capitalized on salsa’s Nuyorican imaginary to cultivate a global audience. Drawing on interviews with fans, legendary musicians, and music industry figures as well as analyses of songs, albums, films, and archival documents, Negrón shows how Nuyorican cultural and social histories became embedded in and impacted salsa music's flows during its foundational period in the mid-1960s and its boom in the 1970s. Salsa’s Nuyorican aesthetics challenged mainstream notions of Americanness and Puerto Ricanness and produced an alternative public sphere through which New York’s poor and working-class Puerto Ricans could contest racialization and colonial power. By outlining salsa’s complicated musical, cultural, commercial, racial, gendered, legal, and political entanglements, Negrón demonstrates its centrality to Nuyorican identity and subjectivity.
From the late 1940s to the early 1960s, Puerto Rico was swept by a wave of modernization, transforming the island from a predominantly rural society to an unquestionably urban one. A curious paradox ensued, however. While the island underwent rapid urbanization, and the rhetoric of economic development reigned over official discourses, the newly installed insular government, along with some academic circles and radio and television media, constructed, promoted, and sponsored a narrative of Puerto Rican culture based on rural subjects, practices, and spaces. By examining a wide range of cultural texts, but focusing on the film production of the Division of Community Education, the popular dance music of Cortijo y su combo, and the literary texts of Jose Luis Gonzalez and Rene Marques, Concrete and Countryside offers an in-depth analysis of how Puerto Ricans responded to this transformative period. It also shows how the arts used a battery of images of the urban and the rural to understand, negotiate, and critique the innumerable changes taking place on the island.
