A Taste of the Untamed Notorious polo champion Nacho Acosto is restoring his sprawling Argentinian vineyard and he needs a sommelier who can match his exacting tastes... In spite of her inexperience, pretty Grace Lundstrum is perfect for the job – but now it’s not just the wine that has her mouth watering!
Since its U.S. debut a quarter-century ago, this brilliant text has set a new standard for historical scholarship of Latin America. It is also an outstanding political economy, a social and cultural narrative of the highest quality, and perhaps the finest description of primitive capital accumulation since Marx. Rather than chronology, geography, or political successions, Eduardo Galeano has organized the various facets of Latin American history according to the patterns of five centuries of exploitation. Thus he is concerned with gold and silver, cacao and cotton, rubber and coffee, fruit, hides and wool, petroleum, iron, nickel, manganese, copper, aluminum ore, nitrates, and tin. These are the veins which he traces through the body of the entire continent, up to the Rio Grande and throughout the Caribbean, and all the way to their open ends where they empty into the coffers of wealth in the United States and Europe. Weaving fact and imagery into a rich tapestry, Galeano fuses scientific analysis with the passions of a plundered and suffering people. An immense gathering of materials is framed with a vigorous style that never falters in its command of themes. All readers interested in great historical, economic, political, and social writing will find a singular analytical achievement, and an overwhelming narrative that makes history speak, unforgettably. This classic is now further honored by Isabel Allende's inspiring introduction. Universally recognized as one of the most important writers of our time, Allende once again contributes her talents to literature, to political principles, and to enlightenment.
Projects that bring the ‘hard’ sciences into art are increasingly being exhibited in galleries and museums across the world. In a surge of publications on the subject, few focus on regions beyond Europe and the Anglophone world. Decolonizing Science in Latin American Art assembles a new corpus of art-science projects by Latin American artists, ranging from big-budget collaborations with NASA and MIT to homegrown experiments in artists’ kitchens. While they draw on recent scientific research, these art projects also ‘decolonize’ science. If increasing knowledge of the natural world has often gone hand-in-hand with our objectification and exploitation of it, the artists studied here emphasize the subjectivity and intelligence of other species, staging new forms of collaboration and co-creativity beyond the human. They design technologies that work with organic processes to promote the health of ecosystems, and seek alternatives to the logics of extractivism and monoculture farming that have caused extensive ecological damage in Latin America. They develop do-it-yourself, open-source, commons-based practices for sharing creative and intellectual property. They establish critical dialogues between Western science and indigenous thought, reconnecting a disembedded, abstracted form of knowledge with the cultural, social, spiritual, and ethical spheres of experience from which it has often been excluded. Decolonizing Science in Latin American Art interrogates how artistic practices may communicate, extend, supplement, and challenge scientific ideas. At the same time, it explores broader questions in the field of art, including the relationship between knowledge, care, and curation; nonhuman agency; art and utility; and changing approaches to participation. It also highlights important contributions by Latin American thinkers to themes of global significance, including the Anthropocene, climate change and environmental justice.
Sizzling mistletoe kisses… Lucy Lavender knows she should resist wickedly sexy boss, and Brazilian polo champion, Gabe Ortoya. Playboy Gabe is vet Lucy's ticket to a career in equine medicine and she's going to make full use of her valuable new contact, which means no mixing business with pleasure…as tempting as that pleasure is! But spending Christmas with Gabe—and the whole Acosta family!—opens Lucy's eyes to a whole new side of this notorious heartbreaker. After a devastating Christmas kiss under the mistletoe, Lucy finds it increasingly hard not to surrender to the temptation that is Gabe Ortoya… Especially when sinfully delicious Gabe seems to have made it his Christmas mission to get Lucy into his bed! The Acostas! Fiery passion, intense love and rampaging barbarians with hearts of gold!
In its role as handbook, Hispanics and United States Film provides the best single source of information on Hispanic personalities in American film and on American films with a Hispanic focus produced from 1896 to the present time. Hundreds of films, actors, and other figures of the film industry are referenced. This informational component of the book, which provides titles, dates, and other filmographic information, is supplemented by a bibliography on the subject.
Italian boss, proud Miss Prim: "Prim and proper--until she's seduced by her gorgeous Italian boss! Katie Bannister is prim, perky and petite. Worlds apart from her new boss--the dangerous, daring and devilishly handsome Rigo Ruggiero. When she dips her toe in his jet-set world, Katie's sensible brown shoes suddenly seem very out of place. And as Rigo's assistant there's no desk to hide behind ... When she accompanies the magnificent Italian to his newly inherited Tuscan palazzo, Kate witnesses the wolf entering his lair. Finally Rigo has come home--and he's ready to undo Miss Prim's buttons!"--Publisher.
Audible Geographies in Latin America examines the audibility of place as a racialized phenomenon. It argues that place is not just a geographical or political notion, but also a sensorial one, shaped by the specific profile of the senses engaged through different media. Through a series of cases, the book examines racialized listening criteria and practices in the formation of ideas about place at exemplary moments between the 1890s and the 1960s. Through a discussion of Louis Moreau Gottschalk’s last concerts in Rio de Janeiro, and a contemporary sound installation involving telegraphs by Otávio Schipper and Sérgio Krakowski, Chapter 1 proposes a link between a sensorial economy and a political economy for which the racialized and commodified body serves as an essential feature of its operation. Chapter 2 analyzes resonance as a racialized concept through an examination of phonograph demonstrations in Rio de Janeiro and research on dancing manias and hypnosis in Salvador da Bahia in the 1890s. Chapter 3 studies voice and speech as racialized movements, informed by criminology and the proscriptive norms defining “white” Spanish in Cuba. Chapter 4 unpacks conflicting listening criteria for an optics of blackness in “national” sounds, developed according to a gendered set of premises that moved freely between diaspora and empire, national territory and the fraught politics of recorded versus performed music in the early 1930s. Chapter 5, in the context of Cuban Revolutionary cinema of the 1960s, explores the different facets of noise—both as a racialized and socially relevant sense of sound and as a feature and consequence of different reproduction and transmission technologies. Overall, the book argues that these and related instances reveal how sound and listening have played more prominent roles than previously acknowledged in place-making in the specific multi-ethnic, colonial contexts characterized by diasporic populations in Latin America and the Caribbean.
This anthology examines how immigrants and their US-born children use media to negotiate their American identity and how audiences engage with mediated narratives about the immigrant experience (cultural adjustments, language use, and the like). Where this work diverges from other collections and monographs is the area is its intentional focus on how both first- and second-generation Americans’ complex identities and hybrid cultures interact with mediated narratives in general, alongside the extent to which these narratives reflect their experience. In a three-part structure, the collection examines representations, “zooms in” to explore the reception of these narratives through autoethnographic essays, and concludes in a section of analysis and critique of specific media.
Winner of the Montserrat Ordóñez Prize 2018 This book provides an original and exciting analysis of Colombian women’s writing and its relationship to feminist history from the 1970s to the present. In a period in which questions surrounding women and gender are often sidelined in the academic arena, it argues that feminism has been an important and intrinsic part of contemporary Colombian history. Focusing on understudied literary and non-literary texts written by Colombian women, it traces the particularities of Colombian feminism, showing how it has been closely entwined with left-wing politics and the country’s history of violence. This book therefore rethinks the place of feminism in Latin American history and its relationship to feminisms elsewhere, challenging many of the predominant critical paradigms used to understand Latin American literature and culture.
