Among the forces that took the field in the 1890s in an attempt to overturn the Spanish colonial regime in Cuba were a large number of rural bandits. The alliance between outlaws and more respectable separatists was not accidental, nor did it prove peripheral to Independence strategies. Thieves, extortioners, kidnappers, and killers who cast their lot with veteran insurgents emerged from and contributed to, a century of social and economic upheaval; the reasons cited by many bandits for their outlawry were the same as those that appeared as complaints in revolutionary manifestos. Ransom and extortion money furnished by bandits also often replenished the bankrupt coffers of the rebellion.
Manuel Garcia, a hero-villian of Cuban folklore to this day, was the most notorious of the brigand-patriots and led a gang that spread terror throughout Havana province, contributing to the breakdown of rural order that preceded full-scale rebellion in 1895. Lawless Liberators examines the origins, actions, and ends (often sudden and violent) of the bandit groups such as Garcia’s that paved the way for the revolution and offers a reasoned and balanced analysis of their role in those dramatic events.

Listening in Detail is an original and impassioned take on the intellectual and sensory bounty of Cuban music as it circulates between the island, the United States, and other locations. It is also a powerful critique of efforts to define "Cuban music" for ethnographic examination or market consumption. Contending that the music is not a knowable entity but a spectrum of dynamic practices that elude definition, Alexandra T. Vazquez models a new way of writing about music and the meanings assigned to it. "Listening in detail" is a method invested in opening up, rather than pinning down, experiences of Cuban music. Critiques of imperialism, nationalism, race, and gender emerge in fragments and moments, and in gestures and sounds through Vazquez's engagement with Alfredo Rodríguez's album Cuba Linda (1996), the seventy-year career of the vocalist Graciela Pérez, the signature grunt of the "Mambo King" Dámaso Pérez Prado, Cuban music documentaries of the 1960s, and late-twentieth-century concert ephemera.

In Living Ideology in Cuba, Katherine Gordy demonstrates how the Cuban state and its people engage in an ongoing negotiation that produces a “living ideology.” In contrast to official slogans and fiats, Cuba’s living ideology is a decentralized phenomenon, continually adapting, informing, and responding to daily life, without losing sight of the fundamental national principles of socioeconomic equality, unified leadership, and inclusive nationalism.

Lords of the Mountain is a colorful narrative that views how Cuba's violent history in the late nineteenth and early twentieth-century was also a history of economic violence. From the 1870s, the expanding sugar industry began to swallow up rural communities and destroy the traditional land tenure system, as the great sugar estates-the “latifundia” dominated the economy. Perez chronicles the popular resistance to these powerful landholders, and the violent uprisings and banditry propagated against them.