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First published in Spanish in 2010, Art beyond Itself is Néstor García Canclini's deft assessment of contemporary art. The renowned cultural critic suggests that, ideally, art is the place of imminence, the place where we glimpse something just about to happen. Yet, as he demonstrates, defining contemporary art and its role in society is an ever more complicated endeavor. Museums, auction houses, artists, and major actors in economics, politics, and the media are increasingly chummy and interdependent. Art is expanding into urban development and the design and tourism industries. Art practices based on objects are displaced by practices based on contexts. Aesthetic distinctions dissolve as artworks are inserted into the media, urban spaces, digital networks, and social forums. Oppositional artists are adrift in a society without a clear story line. What, after all, counts as transgression in a world of diverse and fragmentary narratives? Seeking a new analytic framework for understanding contemporary art, García Canclini is attentive to particular artworks; to artists including Francis Alÿs, León Ferrari, Teresa Margolles, Antoni Muntadas, and Gabriel Orozco; and to efforts to preserve, for art and artists, some degree of independence from religion, politics, the media, and the market.

Embers of the Past is a powerful critique of historicism and modernity. Javier Sanjinés C. analyzes the conflict between the cultures and movements of indigenous peoples and attention to the modern nation-state in its contemporary Latin American manifestations. He contends that indigenous movements have introduced doubt into the linear course of modernity, reopening the gap between the symbolic and the real. Addressing this rupture, Sanjines argues that scholars must rethink their temporal categories. Toward that end, he engages with recent events in Latin America, particularly in Bolivia, and with Latin American intellectuals, as well as European thinkers disenchanted with modernity. Sanjinés dissects the concepts of the homogeneous nation and linear time, and insists on the need to reclaim the indigenous subjectivities still labeled "premodern" and excluded from the production, distribution, and organization of knowledge.

Revolution in the Andes is an in-depth history of the Túpac Amaru insurrection, the largest and most threatening indigenous challenge to Spanish rule in the Andean world after the Conquest. Between 1780 and 1782, insurgent armies were organized throughout the Andean region. Some of the oldest and most populous cities in this region—including Cusco, La Paz, Puno, and Oruro—were besieged, assaulted, or occupied. Huge swaths of the countryside fell under control of the rebel forces. While essentially an indigenous movement, the rebellion sometimes attracted mestizo and Creole support for ousting the Spanish and restoring rule of the Andes to the land's ancestral owners. Sergio Serulnikov chronicles the uprisings and the ensuing war between rebel forces and royalist armies, emphasizing that the insurrection was comprised of several regional movements with varied ideological outlooks, social makeup, leadership structures, and expectations of change.

Eduardo Lalo is one of the most vital and unique voices of Latin American literature, but his work is relatively little known in the English-speaking world. That changes now: this masterful translation of his most celebrated novel, Simone—which won the 2013 Rómulo Gallegos International Novel Prize—will introduce an English-language audience to this extraordinary literary talent.

A tale of alienation, love, suspense, imagination, and literature set on the streets of San Juan, Puerto Rico, Simone tells the story of a self-educated Chinese immigrant student courting (and stalking) a disillusioned, unnamed writer who is struggling to make a name for himself in a place that is not exactly a hotbed of literary fame. By turns solipsistic and political, romantic and dark, Simone begins with the writer’s frustrated, satiric observations on his native city and the banal life of the university where he teaches—forces utterly at odds with the sensuality of his writing. But, as mysterious messages and literary clues begin to appear—scrawled on sidewalks and walls, inside volumes set out in bookstores, left on his answering machine and under his windshield wiper—Simone progresses into a cat-and-mouse game between the writer and his mystery stalker. When the eponymous Simone’s identity is at last revealed, the writer finds in the life of this Chinese immigrant a plight not unlike his own. Traumatized and lonely, the pair moves towards bittersweet collaborations in passion, grief, and art.

Ángel Rama was one of twentieth-century Latin America's most distinguished men of letters. Writing across Cultures is his comprehensive analysis of the varied sources of Latin American literature. Originally published in 1982, the book links Rama's work on Spanish American modernism with his arguments about the innovative nature of regionalist literature, and it foregrounds his thinking about the close relationship between literary movements, such as modernism or regionalism, and global trends in social and economic development.

In Writing across Cultures, Rama extends the Cuban anthropologist Fernando Ortiz's theory of transculturation far beyond Cuba, bringing it to bear on regional cultures across Latin America, where new cultural arrangements have been forming among indigenous, African, and European societies for the better part of five centuries. Rama applies this concept to the work of the Peruvian novelist, poet, and anthropologist José María Arguedas, whose writing drew on both Spanish and Quechua, Peru's two major languages and, by extension, cultures. Rama considered Arguedas's novel Los ríos profundos (Deep Rivers) to be the most accomplished example of narrative transculturation in Latin America. Writing across Cultures is the second of Rama's books to be translated into English.