An anthology of Pedro Pietri's theater compiled and prologued by Alfredo Matilla.

Are all governments--east and west, Muslim and secular, authoritarian and constitutional, Republican and Democratic--fundamentally the same, all of them under the extraordinary, growing power of "technique" and bureaucracy? Is all politics, then, just an illusory affair of lies, deception, propaganda, partisan passions, and chaos on the surface of government and party? In his vast and penetrating writings, Bordeaux sociologist Jacques Ellul (1912-1994) points in those directions. Political Illusion and Reality is a collection of twenty-three essays on Ellul's political thought. Veteran as well as younger Ellul scholars, political leaders, activists, and pastors, discuss aspects of Ellul's thought as they relate to their own fields of study and political experience. Beginning with his 1936 essay "Fascism, Son of Liberalism," translated and published here in English for the first time, Ellul and these authors will provoke readers to think some new thoughts about politics and government, and think more deeply about the main issues we face in our politically divided and troubled times.

Since the 1960s, Nuyorican poets have explored and performed Puerto Rican identity both on and off the page. Emerging within and alongside the civil rights movements of the 1960s, the foundational Nuyorican writers sought to counter the ethnic/racial and institutional invisibility of New York City Puerto Ricans by documenting the reality of their communities in innovative and sometimes challenging ways. Since then, Nuyorican poetry has entered the U.S. Latino literary canon and has gained prominence in light of the spoken-word revival of the past two decades, a movement spearheaded by the Nuyorican Poetry Slams of the 1990s. Today, Nuyorican poetry engages with contemporary social issues such as the commodification of the body, the institutionalization of poetry, the gentrification of the barrio, and the national and global marketing of identity. What has not changed is a continued shared investment in a poetics that links the written word and the performing body. The first book-length study specifically devoted to Nuyorican poetry, In Visible Movement is unique in its historical and formal breadth, ranging from the foundational poets of the 1960s and 1970s to a variety of contemporary poets emerging in and around the Nuyorican Poets Cafe “slam” scene of the 1990s and early 2000s. It also unearths a largely unknown corpus of poetry performances, reading over forty years of Nuyorican poetry at the intersection of the printed and performed word, underscoring the poetry’s links to vernacular and Afro-Puerto Rican performance cultures, from the island’s oral poets to the New York sounds and rhythms of Latin boogaloo, salsa, and hip-hop. With depth and insight, Urayoán Noel analyzes various canonical Nuyorican poems by poets such as Pedro Pietri, Victor Hernández Cruz, Miguel Algarín, Miguel Piñero, Sandra María Esteves, and Tato Laviera. He discusses historically overlooked poets such as Lorraine Sutton, innovative poets typically read outside the Nuyorican tradition such as Frank Lima and Edwin Torres, and a younger generation of Nuyorican-identified poets including Willie Perdomo, María Teresa Mariposa Fernández, and Emanuel Xavier, whose work has received only limited critical consideration. The result is a stunning reflection of how New York Puerto Rican poets have addressed the complexity of identity amid diaspora for over forty years.

The Cambridge History of Latina/o American Literature emphasizes the importance of understanding Latina/o literature not simply as a US ethnic phenomenon but more broadly as an important element of a trans-American literary imagination. Engaging with the dynamics of migration, linguistic and cultural translation, and the uneven distribution of resources across the Americas that characterize Latina/o literature, the essays in this History provide a critical overview of key texts, authors, themes, and contexts as discussed by leading scholars in the field. This book demonstrates the relevance of Latina/o literature for a world defined by the migration of people, commodities, and cultural expressions.

As far back as she could remember Anna Veneziano felt misplaced, "As is I had slipped into the wrong womb at the wrong time." The daughter of a Baptist minister in a predominantly Catholic country Anna retraces her memories of an Italian girl born under Mussolini's regime, trapped by fears grown out of religious beliefs and the dangers of war. Her experiences come to life on stitch at a time wrapped with a strong sense of place, history, mysticism, folklore, laughter, and tears. After the war, her journey to America brings her to find in her own life the truth which only the story can reveal.

Verzameling boekrecencies over Caribische literatuur die Gerald Guinness tussen 1977 en 1998 schreef voor de krant San Juan star.

The Understanding of One's Spiritual Counterpart, One's Divinity, the Free Spiritual Laws of Creation, and the Five Major Spiritual Insights.

Honorable Mention, 2020 Barnard Hewitt Award for Outstanding Research in Theatre History, given by the American Society for Theatre Research Argues that Ricanness operates as a continual performance of bodily endurance against US colonialism In 1954, Dolores “Lolita” Lebrón and other members of the Puerto Rican Nationalist Party led a revolutionary action on the chambers of Congress, firing several shots at the ceiling and calling for the independence of the island. Ricanness: Enduring Time in Anticolonial Performance begins with Lebrón’s vanguard act, distilling the relationship between Puerto Rican subjectivity, gender, sexuality, and revolutionary performance under colonial time. Ruiz argues that Ricanness—a continual performance of bodily endurance against US colonialism through different measures of time—uncovers what’s at stake politically for the often unwanted, anticolonial, racialized and sexualized enduring body. Moving among theatre, experimental video, revolutionary protest, photography, poetry, and durational performance art, Ricanness stages scenes in which the philosophical, social, and psychic come together at the site of aesthetics, against the colonization of time. Analyzing the work of artists and revolutionaries like ADÁL, Lebrón, Papo Colo, Pedro Pietri, and Ryan Rivera, Ricanness imagines a Rican future through the time travel extended in their aesthetic interventions, illustrating how they have reformulated time itself through nonlinear aesthetic practices.