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This is a political biography of one of the 20th century’s most emblematic left-wing figures - Salvador Allende, who was president of Chile until he was ousted by General Pinochet in a US-supported coup in 1973.

Victor Figueroa Clark guides us through Allende's life and political project, answering some of the most frequently asked questions. Was he a revolutionary or a reformist? A bureaucrat or inspirational democrat? Clark argues that Allende and the Popular Unity Party created a unique fusion which was both revolutionary and democratic.

The process led by Allende was a symbol of hope for the left during his short time in power. Forty years on, and with left governments back in power across Latin America, this book looks back at the man and the process in order to draw vital lessons for the left in Latin America and around the world today.

Satire, the use of criticism cloaked in wit, has been employed since classical times to challenge the established order of society. In colonial Spanish America during the sixteenth through the eighteenth centuries, many writers used satire to resist Spanish-imposed social and literary forms and find an authentic Latin American voice. This study explores the work of eight satirists of the colonial period and shows how their literary innovations had a formative influence on the development of the modern Latin American novel, essay, and autobiography.

The writers studied here include Sor Juana Inés de la Cruz, Juan del Valle y Caviedes, Cristóbal de Llerena, and Eugenio Espejo. Johnson chronicles how they used satire to challenge the "New World as Utopia" myth propagated by Spanish authorities and criticize the Catholic church for its role in fulfilling imperialistic designs. She also shows how their marginalized status as Creoles without the rights and privileges of their Spanish heritage made them effective satirists. From their writings, she asserts, emerges the first self-awareness and national consciousness of Spanish America.

By linking the two great periods of Latin American literarure—the colonial writers and the modern generation—Satire in Colonial Spanish America makes an important contribution to Latin American literature and culture studies. It will also be of interest to all literary scholars who study satire.

A study of domestic religious sculptures in Quito.

During the eighteenth century, the colonial capital of Quito established itself as a prolific producer of wooden polychrome sculpture. With large glass eyes, smooth shiny surfaces, and minute attention to detail, the sculptures possessed an artistic refinement that enchanted contemporaries. While these objects depicted Christian sacred personages, they were not always sequestered in churches and shrines. They filled domestic spaces, becoming signifiers not only of holiness but also of a distinctive Quitenian culture.

Devotional sculpture was, on its face, an aesthetic reifiction of the colonial project, commissioned by creole elites. However, drawing on published accounts and archival evidence, including wills and dowries, Leslie Todd shows that sculpture was diffused across society, contributing to a complex localized identity. As makers, viewers, and owners of sculpture, Quiteños of Indigenous and mixed heritage and varying socioeconomic backgrounds took active roles in creating the city’s visual culture. In doing so, Todd argues, they simultaneously underscored and challenged colonial class and power systems, investing a European form with styles that revealed and reinforced specifically Spanish American subjectivity.

Toward the close of the last century, the poetry of the Spanish-speaking world was pallid, feeble, almost a corpse. It needed new life and a new direction. The exotic, erratic, revolutionary poet who changed the course of Spanish poetry and brought it into the mainstream of twentieth-century Modernism was Félix Rubén García Sarmiento (1867-1916) of Nicaragua, who called himself Rubén Darío.

Since its original publication in 1965, this edition of Darío's poetry has made English-speaking readers better acquainted with the poet who, as Enrique Anderson Imbert said, "divides literary history into 'before' and 'after.'" The selection of poems is intended to represent the whole range of Darío's verse, from the stinging little poems of Thistles to the dark, brooding lines of Songs of the Argentine and Other Poems. Also included, in the Epilogue, is a transcript of a radio dialogue between two other major poets, Federico García Lorca of Spain and Pablo Neruda of Chile, who celebrate the rich legacy of Rubén Darío.

The first Latin American to receive a Nobel Prize for Literature, the Chilean writer Gabriela Mistral (1889-1957) is often characterized as a healing, maternal voice who spoke on behalf of women, indigenous peoples, the disenfranchised, children, and the rural poor. She is that political poet and more: a poet of philosophical meditation, self-consciousness, and daring. This is a book full of surprises and paradoxes. The complexity and structural boldness of these prose-poems, especially the female-erotic prose pieces of her first book, make them an important moment in the history of literary modernism in a tradition that runs from Baudelaire, the North American moderns, and the South American postmodernistas. It's a book that will be eye-opening and informative to the general reader as well as to students of gender studies, cultural studies, literary history, and poetry.

This Spanish-English bilingual volume gathers the most famous and representative prose writings of Gabriela Mistral, which have not been as readily available to English-only readers as her poetry. The pieces are grouped into four sections. "Fables, Elegies, and Things of the Earth" includes fifteen of Mistral's most accessible prose-poems. "Prose and Prose-Poems from Desolación / Desolation [1922]" presents all the prose from Mistral's first important book. "Lyrical Biographies" are Mistral's poetic meditations on Saint Francis and Sor Juana de la Cruz. "Literary Essays, Journalism, 'Messages'" collects pieces that reveal Mistral's opinions on a wide range of subjects, including the practice of teaching; the writers Alfonso Reyes, Alfonsina Storni, Rainer Maria Rilke, and Pablo Neruda; Mistral's own writing practices; and her social beliefs. Editor/translator Stephen Tapscott rounds out the volume with a chronology of Mistral's life and a brief introduction to her career and prose.

PROSE Awards Subject Category Finalist—Biological Anthropology, Ancient History, and Archaeology, 2021

Best Nineteenth-Century Book Award, Latin American Studies Association Nineteenth-Century Section, 2021​

Analyzing a wide variety of late-nineteenth-century sources, Sex, Skulls, and Citizens argues that Argentine scientific projects of the era were not just racial encounters, but were also conditioned by sexual relationships in all their messy, physical reality.

The writers studied here (an eclectic group of scientists, anthropologists, and novelists, including Estanislao Zeballos, Lucio and Eduarda Mansilla, Ramón Lista, and Florence Dixie) reflect on Indigenous sexual practices, analyze the advisability and effects of interracial sex, and use the language of desire to narrate encounters with Indigenous peoples as they try to scientifically pinpoint Argentina's racial identity and future potential.

Kerr's reach extends into history of science, literary studies, and history of anthropology, illuminating a scholarly time and place in which the lines betwixt were much blurrier, if they existed at all.

Since the 1991 publication of his groundbreaking book Gay and Lesbian Themes in Latin American Writing, David William Foster has proposed a series of theoretical and critical principles for the analysis of Latin American culture from the perspectives of the queer. This book continues that project with a queer reading of literary and cultural aspects of Latin American texts.

Moving beyond its predecessor, which provided an initial inventory of Latin American gay and lesbian writing, Sexual Textualities analyzes questions of gender representation in Latin American cultural productions to establish the interrelationships, tensions, and irresolvable conflicts between heterosexism and homoeroticism. The topics that Foster addresses include Eva Peron as a cultural/sexual icon, feminine pornography, Luis Humberto Hermosillo's classic gay film Doña Herlinda y su hijo, homoerotic writing and Chicano authors, Matias Montes Huidobro's Exilio and the representation of gay identity, representation of the body in Alejandra Pizarnik's poetry, and the crisis of masculinity in Argentine fiction from 1940 to 1960.

Driven by an unfulfilled desire for the unattainable, ultimately indefinable Other, the protagonists of the novels and stories of acclaimed Brazilian writer Clarice Lispector exemplify and humanize many of the issues central to poststructuralist thought, from the nature of language, truth, and meaning to the unstable relationships between language, being, and reality. In this book, Earl Fitz demonstrates that, in turn, poststructuralism offers important and revealing insights into all aspects of Lispector's writing, including her style, sense of structure, characters, themes, and socio-political conscience.

Fitz draws on Lispector's entire oeuvre—novels, stories, crônicas, and children's literature—to argue that her writing consistently reflects the basic tenets of poststructuralist theory. He shows how Lispector's characters struggle over and humanize poststructuralist dilemmas and how their essential sense of being is deeply dependent on a shifting, and typically transgressive, sense of desire and sexuality.

Social Fabric: Art and Activism in Contemporary Brazil brings together the work of ten artists who reflect upon the long-standing histories of oppressive power structures in the territory now known as Brazil. Blurring the line between art and activism and spanning installation, painting, performance, photography, sculpture, and video, these artists contribute to local and global conversations about the state of democracy, racial injustice, and the violence inflicted by the nation-state. This first English-language, book-length study of contemporary Brazilian art in relationship to activism assembles artist-authored texts, interviews, essays, and a conceptual mapping of Brazilian history to illuminate the function of art as a platform for critical engagement with the historical, political, and cultural configurations of a particular place. By refusing to remain neutral, these artists create spaces of vibrant and vital community and self-construction to explore how healing and justice may be possible, especially in the Black, LGBTQIA+, and Indigenous communities to which many of them belong.

In Aztec and colonial Central Mexico, every individual was destined for lifelong placement in a legally defined social stratum or estate. Social mobility became possible after independence from Spain in 1821 and increased after the 1910–1920 Revolution. By 2000, the landed aristocracy that was for long Mexico's ruling class had been replaced by a plutocracy whose wealth derives from manufacturing, commerce, and finance—but rapid growth of the urban lower classes reveals the failure of the Mexican Revolution and subsequent agrarian reform to produce a middle-class majority. These evolutionary changes in Mexico's class system form the subject of Social Stratification in Central Mexico, 1500–2000, the first long-term, comprehensive overview of social stratification from the eve of the Spanish Conquest to the end of the twentieth century.

The book is divided into two parts. Part One concerns the period from the Spanish Conquest of 1521 to the Revolution of 1910. The authors depict the main features of the estate system that existed both before and after the Spanish Conquest, the nature of stratification on the haciendas that dominated the countryside for roughly four centuries, and the importance of race and ethnicity in both the estate system and the class structures that accompanied and followed it. Part Two portrays the class structure of the post-revolutionary period (1920 onward), emphasizing the demise of the landed aristocracy, the formation of new upper and middle classes, the explosive growth of the urban lower classes, and the final phase of the Indian-mestizo transition in the countryside.

Ramón López Velarde (1888-1921) was one of the most Mexican of Mexican poets, whose sense of history found expression in many poems, including his best-known "La suave Patria" ("Sweet Land"). This bilingual collection, drawn primarily from Poesías completas y el minutero, offers English-language readers our first book-length introduction to his poetry.

Often called a "poet of the provinces," López Velarde gives us a glimpse into a slower and more gentle way of life. His poems present the contrast between city and hometown and between urban and pastoral landscapes. Through these contrasts runs the thread of religious faith, while urgency of language informs the entire body of his poetic production.

Original, specially commissioned drawings by noted contemporary Mexican artist Juan Soriano complement the poems. This combination of poetry and art speaks to universal emotions; indeed the poetry of López Velarde belongs to everyone who sings the Song of the Heart.

Has poetry lost its relevance in the postmodern age, unable to keep pace with other forms of cultural production such as film, mass media, and the Internet? Quite the contrary, argues Jill Kuhnheim in this pathfinding book, which explores how recent Spanish American poetry participates in the fundamental cultural debates of its time.

Using a variety of interdisciplinary approaches, Kuhnheim engages in close readings of numerous poetic works to show how contemporary Spanish American poetry struggles with the divisions between politics and aesthetics and between visual and written images; grapples with issues of ethnic, national, sexual, and urban identities; and incorporates rather than rejects technological innovations and elements from the mass media. Her analysis illuminates the ways in which contemporary issues such as indigenismo and Latin America's postcolonial legacy, modernization, immigration, globalization, economic shifts toward neoliberalism and informal economies, urbanization, and the technological revolution have been expressed in—and even changed the very form of—Spanish American poetry since the 1970s.

Bridging print culture and performance, Spectacular Wealth draws on eighteenth-century festival accounts to explore how colonial residents of the silver-mining town of Potosí, in the viceroyalty of Peru, and the gold-mining region of Minas Gerais, in Brazil, created rich festive cultures that refuted European allegations of barbarism and greed. In her examination of the festive participation of the towns’ diverse inhabitants, including those whose forced or slave labor produced the colonies’ mineral wealth, Lisa Voigt shows how Amerindians, Afro-descendants, Europeans, and creoles displayed their social capital and cultural practices in spectacular performances.

Tracing the multiple meanings and messages of civic festivals and religious feast days alike, Spectacular Wealth highlights the conflicting agendas at work in the organization, performance, and publication of festivals. Celebrants and writers in mining boomtowns presented themselves as far more than tributaries yielding mineral wealth to the Spanish and Portuguese empires, using festivals to redefine their reputations and to celebrate their cultural, spiritual, and intellectual wealth.

Specters of War explores mourning practices in postwar Central America, particularly in El Salvador and Guatemala. Ignacio Sarmiento delves into the intricate dynamics of grieving through an interdisciplinary lens, analyzing expressions of mourning in literature, theater, and sites of memory. At the heart of this analysis is the contention over who has the right to mourn, how mourning is performed, and who is included in this process. Sarmiento reveals mourning not as a private affair but as a battleground where different societal factions vie for the possibility of grieving the dead.

Through meticulous research and theoretical nuance, Specters of War sheds light on the politics of mourning in postconflict societies. Sarmiento argues that mourning is not merely a personal experience but a deeply political act intertwined with power struggles and societal divisions. From victims of state terrorism to military elites, various groups engage in a complex dance of grief, revealing the fraught nature of public mourning in postwar Central America. By examining cultural artifacts and memorialization projects, Sarmiento uncovers the multifaceted nature of mourning and its implications for memory, justice, and reconciliation.

This groundbreaking work is essential reading for scholars, students, and professionals interested in Central American history and culture, as well as post-authoritarian societies. Specters of War promises to deepen our understanding of postwar Central America and the legacy of loss in shaping collective identities and narratives of the past.

A massive land-seizure movement first erupted in Peru in 1958 and spread across the Andean highlands in 1963–1964. Several hundred peasant communities in the Peruvian Andes occupied neighboring haciendas in an attempt to retake lands they felt had been stolen from them over the years. Hacienda peasants also participated in this movement, forming peasant sindicatos (unions) to improve their labor conditions.

The land-seizure movement brought with it an upsurge in community political mobilization. Throughout the highlands, village leaders banded together in regional federations, often allying themselves with progressive or radical urban groups. Radical activists from labor unions and university student groups joined with indigenous peasant leaders, breaking down the highland peasantry’s traditional isolation from the political system.

Struggle in the Andes is an analysis of the causes and consequences of extensive social and political mobilization among Peru’s peasant population in the 1960s. In addition to describing the growth of the peasant land movement, Howard Handelman investigates the social and economic conditions that contributed to rural unrest. Using data that he collected in forty-one diverse highland communities, Handelman examines the correlates of peasant political activity, concluding that land seizures in the traditional southern sierra had different origins and political implications than did unrest in the more socioeconomically modernized central highlands.

The data suggest a model of peasant mobilization that calls into question prevailing scholarly hypotheses on the relationships between modernization, peasant political mobilization, and radicalization. Handelman discusses the land-reform program and the accompanying rural mobilization that was being implemented by Peru’s reformist military regime. Using his model of peasant mobilization, he speculates on the possible effects of the government’s contemporary programs on future peasant political behavior.

Calls for aesthetic education to unite cultural practices of radical imagination with everyday practices of care

While Latin America was neoliberalism’s laboratory, Argentina and Chile have been crucibles for its cultural logics. In this book, D. Bret Leraul examines the rise of neoliberal culture in the Southern Cone through the educational infrastructures that disseminate and reproduce it. Leraul draws on literature and criticism, the history of higher education, and examples of recent social movements to propose a theory of cultural production for social transformation.

Study Without Ends charts the cultural consequences of introducing a neoliberal rationality into the region’s higher education landscape. The university’s increasing centrality within the literary institution and the rise of theoretical prose fiction suggest that poetics today is less about crafting literary works than instructing readers. At the same time, despite efforts to reduce education to human capital investment, it remains a process of personal and social transformation, as recent activism by Chilean students and Argentinean unemployed workers shows. In response to the compounding crises of social reproduction represented by the informal work and precarious livelihoods of people rendered surplus populations, and inspired by the decommodified labor of students, artists, women, and the unemployed, Leraul calls for a materialist aesthetic education that unites artistic culture’s practices of radical imagination and everyday culture’s practices of care.

The title of this book, Supermadre, is ironic. It means, not that women have begun to exercise real power in Latin American political life, but that their participation is mostly confined to roles that are extensions of their roles as mothers—health, education, welfare, for example—and then only on the lower levels of policy-making.

Elsa Chaney begins her study with an examination of various attempts to explain women's virtual absence from decision-making councils not only in Latin America but also world-wide, concluding that their motherhood role has had the profoundest effect on the nature of their political activities. She then analyzes the images and realities of women in Latin American society from colonial times to the present.

The remainder of the book is a detailed study of women in politics and government in Latin America, with emphasis on the contrasting cases of Peru and Chile. In conclusion, Chaney suggests that women will make only slow progress toward full participation in public life until they themselves stop seeing their role in politics as that of the supermadre.