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For over a hundred years, Venezuelans have referred to themselves as a café con leche (coffee with milk) people. This colorful expression well describes the racial composition of Venezuelan society, in which European, African, and Indian peoples have intermingled to produce a population in which almost everyone is of mixed blood. It also expresses a popular belief that within their blended society Venezuelans have achieved a racial democracy in which people of all races live free from prejudice and discrimination. Whether or not historical facts actually support this popular perception is the question Winthrop Wright explores in this study.

Wright's research suggests that, contrary to popular belief, blacks in Venezuela have not enjoyed the full benefits of racial democracy. He finds that their status, even after the abolition of slavery in 1854, remained low in the minds of Venezuelan elites, who idealized the European somatic type and viewed blacks as inferior. Indeed, in an effort to whiten the population, Venezuelan elites promoted European immigration and blocked the entry of blacks and Asians during the early twentieth century.

These attitudes remained in place until the 1940s, when the populist Acción Democrática party (AD) challenged the elites' whitening policies. Since that time, blacks have made significant strides and have gained considerable political power. But, as Wright reveals, other evidence suggests that most remain social outcasts and have not accumulated significant wealth. The popular perception of racial harmony in Venezuela hides the fact of ongoing discrimination.

Ever since its scientific discovery, the great Nasca site of Cahuachi on the south coast of the Central Andes has captured the attention of archaeologists, art historians, and the general public. Until Helaine Silverman's fieldwork, however, ancient Nasca culture was seen as an archaeological construct devoid of societal context. Silverman's long-term, multistage research as published in this volume reconstructs Nasca society and contextualizes the traces of this brilliant civilization (ca. 200 B.C.-A.D. 600).

Silverman shows that Cahuachi was much larger and more complex than portrayed in the current literature but that, surprisingly, it was not a densely populated city. Rather, Cahuachi was a grand ceremonial center whose population, size, density, and composition changed to accommodate a ritual and political calendar. Silverman meticulously presents and interprets an abundance of current data on the physical complexities, burials, and artifacts of this prominent site; in addition, she synthesizes the history of previous fieldwork at Cahuachi and introduces a corrected map and a new chronological chart for the Rio Grande de Nazca drainage system.

On the basis of empirical field data, ethnographic analogy, and settlement pattern analysis, Silverman constructs an Andean model of Nasca culture that is crucial to understanding the development of complex society in the Central Andes. Written in a clear and concise style and generously illustrated, this first synthesis of the published data about the ancient Nasca world will appeal to all archaeologists, art historians, urban anthropologists, and historians of ancient civilizations.

Roberto Fernández Retamar--poet, essayist, and professor of philology at the University of Havana--has long served as the Cuban Revolution’s primary cultural and literary voice. An erudite and widely respected hispanist, Retamar is known for his meticulous efforts to dismantle Eurocentric colonial and neocolonial thought. Since its publication in Cuba in 1971, “Caliban"--the first and longest of the five essays in this book--has become a kind of manifesto for Latin American and Caribbean writers; its central figure, the rude savage of Shakespeare’s Tempest, becomes in Retamar’s hands a powerful metaphor of their cultural situation--both its marginality and its revolutionary potential.

Retamar finds the literary and historic origins of Caliban in Columbus’s Navigation Log Books, where the Carib Indian becomes a cannibal, a bestial human being situated on the margins of civilization. The concept traveled from Montaigne to Shakespeare, on down to Ernest Renan and, in the twentieth century, to Aimé Césaire and other writers who consciously worked with or against the vivid symbolic figures of Prospero, Calivan, and Ariel. Retamar draws especially upon the life and work of José Marti, who died in 1895 in Cuba’s revolutionary struggle against Spain; Marti’s Calibanesque vision of “our America” and its distinctive mestizo culture-Indian, African, and European-is an animating force in this essay and throughout the book.

Henry A. Wallace Award, The Agricultural History Society, 2018

Brazil has the second-largest cattle herd in the world and is a major exporter of beef. While ranching in the Amazon—and its destructive environmental consequences—receives attention from both the media and scholars, the states of Mato Grosso and Mato Grosso do Sul actually host the most cattle. A significant beef producer in Brazil beginning in the late nineteenth century, the region served as a laboratory for raising cattle in the tropics, where temperate zone ranching practices do not work. Mato Grosso ranchers and cowboys transformed ranching’s relationship with the environment, including the introduction of an exotic cattle breed—the Zebu—that now dominates Latin American tropical ranching.

Cattle in the Backlands presents a comprehensive history of ranching in Mato Grosso. Using extensive primary sources, Robert W. Wilcox explores three key aspects: the economic transformation of a remote frontier region through modern technical inputs; the resulting social changes, especially in labor structures and land tenure; and environmental factors, including the long-term impact of ranching on ecosystems, which, he contends, was not as detrimental as might be assumed. Wilcox demonstrates that ranching practices in Mato Grosso set the parameters for tropical beef production in Brazil and throughout Latin America. As the region was incorporated into national and international economic structures, its ranching industry experienced the entry of foreign investment, the introduction of capitalized processing facilities, and nascent discussions of ecological impacts—developments that later affected many sectors of the Brazilian economy.

Geography has always played a major role in world politics. In this study, Philip Kelly maps the geopolitics of South America, a continent where relative isolation from the power centers in North America and Eurasia and often forbidding internal terrain have given rise to a fascinating and unique geopolitical structure.

Kelly uses the geographical concepts of "checkerboards" and "shatterbelts" to characterize much of South America's geopolitics and to explain why the continent has never been unified nor dominated by a single nation. This approach accounts for both historical relationships among South American countries and for such current situations as Brazil's inability to extend its authority across the continent from Atlantic to Pacific, its traditional competition with Argentina, its territorial expansion toward the continental heartlands, its encirclement by neighbors fearful of such expansion, and its recent rapprochement with Argentina.

An important component of this book is the incorporation of the thinking and writing of South American geopolitical analysts, which leads to an interesting inventory of viewpoints on frontier conflicts, territorial expansion, industrial development, economic cooperation, and United States and European relations. Kelly's findings will be important reading for geographers, political scientists, and students and scholars of Latin American history.

A unique contribution to film studies, Richard Gordon’s Cinema, Slavery, and Brazilian Nationalism is the first full-length book on Brazilian films about slavery. By studying Brazilian films released between 1976 and 2005, Gordon examines how the films both define the national community and influence viewer understandings of Brazilianness. Though the films he examines span decades, they all communicate their revised version of Brazilian national identity through a cinematic strategy with a dual aim: to upset ingrained ways of thinking about Brazil and to persuade those who watch the films to accept a new way of understanding their national community.

By examining patterns in this heterogeneous group of films, Gordon proposes a new way of delineating how these films attempt to communicate with and change the minds of audience members. Gordon outlines five key aspects that each film incorporates, which describe their shared formula for and role in constructing social identity. These elements include the ways in which the films attempt to create links between the past and the viewers’ present and their methods of encouraging viewers to identify with their protagonists, who are often cast as a prototype for the nation. By aligning themselves with this figure, viewers arrive at a definition of their national identity that, while Afrocentric, also promotes racial and ethnic inclusiveness. Gordon’s innovative analysis transcends the context of his work, and his conclusions can be applied to questions of national identity and film across cultures.

Fútbol, or soccer as it is called in the United States, is the most popular sport in the world. Millions of people schedule their lives and build identities around it. The World Cup tournament, played every four years, draws an audience of more than a billion people and provides a global platform for displays of athletic prowess, nationalist rhetoric, and commercial advertising. Fútbol is ubiquitous in Latin America, yet few academic histories of the sport exist, and even fewer focus on its relevance to politics in the region. To fill that gap, this book uses amateur fútbol clubs in Chile to understand the history of civic associations, popular culture, and politics.

In Citizens and Sportsmen, Brenda Elsey argues that fútbol clubs integrated working-class men into urban politics, connected them to parties, and served as venues of political critique. In this way, they contributed to the democratization of the public sphere. Elsey shows how club members debated ideas about class, ethnic, and gender identities, and also how their belief in the uniquely democratic nature of Chile energized state institutions even as it led members to criticize those very institutions. Furthermore, she reveals how fútbol clubs created rituals, narratives, and symbols that legitimated workers' claims to political subjectivity. Her case study demonstrates that the relationship between formal and informal politics is essential to fostering civic engagement and supporting democratic practices.

A decolonial study of the toys that were produced and collected in Latin America during the Cold War. 

Cold War Toys examines playthings manufactured, promoted, and commercialized in Argentina, Chile, and Uruguay during the second half of the twentieth century. Establishing connections and conversations with toys produced in earlier periods, including nineteenth-century dollhouses and building blocks created in the 1920s by Joaquín Torres-García, it goes on to analyze, among other items, construction sets made in 1970s Chile during Salvador Allende’s Popular Unity government, scale-model household appliances distributed by the Eva Perón Foundation, and more recent figurines such as the Latin American versions of G.I. Joe and Latin Barbie dolls.

The book approaches toys as “dispositifs”—cultural formations that condense the discourses, institutions, architectural forms, scientific statements, and philosophical propositions of Latin America’s Cold War. Drawing on a rich compendium of objects, many inspired by European or US brands, it shows how South American toys incorporated local characters, designs, messages, and materials through a process of creative adaptation, thereby acquiring new identities. These and other original artifacts are examined variously as commodities from a once-flourishing industry, works of art, originators of cultural myths, and training tools for Cold War childhoods. They are also seen as undervalued expressions of children’s material culture, imbued with the collective memory of a turbulent and contested era.

Contributing to the historiography of transnational and global transmission of ideas, Connections after Colonialism examines relations between Europe and Latin America during the tumultuous 1820s. 

In the Atlantic World, the 1820s was a decade marked by the rupture of colonial relations, the independence of Latin America, and the ever-widening chasm between the Old World and the New. Connections after Colonialism, edited by Matthew Brown and Gabriel Paquette, builds upon recent advances in the history of colonialism and imperialism by studying former colonies and metropoles through the same analytical lens, as part of an attempt to understand the complex connections—political, economic, intellectual, and cultural—between Europe and Latin America that survived the demise of empire.

Historians are increasingly aware of the persistence of robust links between Europe and the new Latin American nations. This book focuses on connections both during the events culminating with independence and in subsequent years, a period strangely neglected in European and Latin American scholarship. Bringing together distinguished historians of both Europe and America, the volume reveals a new cast of characters and relationships including unrepentant American monarchists; compromise-seeking liberals in Lisbon and Madrid who envisioned transatlantic federations; British merchants in the River Plate who saw opportunity where others saw risk; public moralists whose audiences spanned from Paris to Santiago de Chile; and plantation owners in eastern Cuba who feared that slave rebellions elsewhere in the Caribbean would spread to their island.

Contributors
Matthew Brown / Will Fowler / Josep M. Fradera / Carrie Gibson / Brian Hamnett / Maurizio Isabella / Iona Macintyre / Scarlett O’Phelan Godoy / Gabriel Paquette / David Rock / Christopher Schmidt-Nowara / Jay Sexton / Reuben Zahler