2014 Runner-Up, MLA Prize in United States Latina and Latino and Chicana and Chicano Literary and Cultural Studies In Unbecoming Blackness, Antonio López uncovers an important, otherwise unrecognized century-long archive of literature and performance that reveals Cuban America as a space of overlapping Cuban and African diasporic experiences. López shows how Afro-Cuban writers and performers in the U.S. align Cuban black and mulatto identities, often subsumed in the mixed-race and postracial Cuban national imaginaries, with the material and symbolic blackness of African Americans and other Afro-Latinas/os. In the works of Alberto O’Farrill, Eusebia Cosme, Rómulo Lachatañeré, and others, Afro-Cubanness articulates the African diasporic experience in ways that deprive negro and mulato configurations of an exclusive link with Cuban nationalism. Instead, what is invoked is an “unbecoming” relationship between Afro-Cubans in the U.S and their domestic black counterparts. The transformations in Cuban racial identity across the hemisphere, represented powerfully in the literary and performance cultures of Afro-Cubans in the U.S., provide the fullest account of a transnational Cuba, one in which the Cuban American emerges as Afro-Cuban-American, and the Latino as Afro-Latino.

In Translating Blackness Lorgia García Peña considers Black Latinidad in a global perspective in order to chart colonialism as an ongoing sociopolitical force. Drawing from archives and cultural productions from the United States, the Caribbean, and Europe, García Peña argues that Black Latinidad is a social, cultural, and political formation—rather than solely a site of identity—through which we can understand both oppression and resistance. She takes up the intellectual and political genealogy of Black Latinidad in the works of Frederick Douglass, Gregorio Luperón, and Arthur Schomburg. She also considers the lives of Black Latina women living in the diaspora, such as Black Dominicana guerrillas who migrated throughout the diaspora after the 1965 civil war and Black immigrant and second-generation women like Mercedes Frías and Milagros Guzmán organizing in Italy with other oppressed communities. In demonstrating that analyses of Black Latinidad must include Latinx people and cultures throughout the diaspora, García Peña shows how the vaivén—or, coming and going—at the heart of migrant life reveals that the nation is not a sufficient rubric from which to understand human lived experiences.

2014 Runner-Up, MLA Prize in United States Latina and Latino and Chicana and Chicano Literary and Cultural Studies In Unbecoming Blackness, Antonio López uncovers an important, otherwise unrecognized century-long archive of literature and performance that reveals Cuban America as a space of overlapping Cuban and African diasporic experiences. López shows how Afro-Cuban writers and performers in theU.S. align Cuban black and mulatto identities, often subsumed in the mixed-race and postracial Cuban national imaginaries, with the material and symbolic blackness of African Americans and other Afro-Latinas/os. In the works of Alberto O’Farrill, Eusebia Cosme, Rómulo Lachatañeré, and others, Afro-Cubanness articulates the African diasporic experience in ways that deprive negro and mulato configurations of an exclusive link with Cuban nationalism. Instead, what is invoked is an “unbecoming” relationship between Afro-Cubans in the U.S and their domestic black counterparts. The transformations in Cuban racial identity across the hemisphere, represented powerfully in the literary and performance cultures of Afro-Cubans in the U.S., provide the fullest account of a transnational Cuba, one in which the Cuban American emerges as Afro-Cuban-American, and the Latino as Afro-Latino.

A Black Puerto Rican–born scholar, Arturo Alfonso Schomburg (1874–1938) was a well-known collector and archivist whose personal library was the basis of the Schomburg Center for Research in Black Culture at the New York Public Library. He was an autodidact who matched wits with university-educated men and women, as well as a prominent Freemason, a writer, and an institution-builder. While he spent much of his life in New York City, Schomburg was intimately involved in the cause of Cuban and Puerto Rican independence. In the aftermath of the Spanish-Cuban-American War of 1898, he would go on to cofound the Negro Society for Historical Research and lead the American Negro Academy, all the while collecting and assembling books, prints, pamphlets, articles, and other ephemera produced by Black men and women from across the Americas and Europe. His curated library collection at the New York Public Library emphasized the presence of African peoples and their descendants throughout the Americas and would serve as an indispensable resource for the luminaries of the Harlem Renaissance, including Langston Hughes and Zora Neale Hurston. By offering a sustained look at the life of one of the most important figures of early twentieth-century New York City, this first book-length examination of Schomburg's life as an Afro-Latino suggests new ways of understanding the intersections of both Blackness and latinidad.

Elizabeth B. Schwall aligns culture and politics by focusing on an art form that became a darling of the Cuban revolution: dance. In this history of staged performance in ballet, modern dance, and folkloric dance, Schwall analyzes how and why dance artists interacted with republican and, later, revolutionary politics. Drawing on written and visual archives, including intriguing exchanges between dancers and bureaucrats, Schwall argues that Cuban dancers used their bodies and ephemeral, nonverbal choreography to support and critique political regimes and cultural biases. As esteemed artists, Cuban dancers exercised considerable power and influence. They often used their art to posit more radical notions of social justice than political leaders were able or willing to implement. After 1959, while generally promoting revolutionary projects like mass education and internationalist solidarity, they also took risks by challenging racial prejudice, gender norms, and censorship, all of which could affect dancers personally. On a broader level, Schwall shows that dance, too often overlooked in histories of Latin America and the Caribbean, provides fresh perspectives on what it means for people, and nations, to move through the world.

Despite their literary and cultural significance, Afro-Latino memoirs have been marginalized in both Latino and African American studies. Trent Masiki remedies this problem by bringing critical attention to the understudied African American influences in Afro-Latino memoirs published after the advent of the Black Arts movement. Masiki argues that these memoirs expand on the meaning of racial identity for both Latinos and African Americans. Using interpretive strategies and historical methods from literary and cultural studies, Masiki shows how Afro-Latino memoir writers often turn to the African American experience as a model for articulating their Afro-Latinidad. African American literary production, expressive culture, political ideology, and religiosity shaped Afro-Latino subjectivity more profoundly than typically imagined between the post-war and post-soul eras. Masiki recovers this neglected history by exploring how and why Black nationalism shaped Afro-Latinidad in the United States. This book opens the border between the canons of Latino and African American literature, encouraging greater intercultural solidarities between Latinos and African Americans in the era of Black Lives Matter.

This work demonstrates how Latina/os have been integral to US and Latin American literature and history since the nineteenth century.

Analyzing the ideology and rhetoric around race in Cuba and south Florida during the early years of the Cuban revolution, Devyn Spence Benson argues that ideas, stereotypes, and discriminatory practices relating to racial difference persisted despite major efforts by the Cuban state to generate social equality. Drawing on Cuban and U.S. archival materials and face-to-face interviews, Benson examines 1960s government programs and campaigns against discrimination, showing how such programs frequently negated their efforts by reproducing racist images and idioms in revolutionary propaganda, cartoons, and school materials. Building on nineteenth-century discourses that imagined Cuba as a raceless space, revolutionary leaders embraced a narrow definition of blackness, often seeming to suggest that Afro-Cubans had to discard their blackness to join the revolution. This was and remains a false dichotomy for many Cubans of color, Benson demonstrates. While some Afro-Cubans agreed with the revolution's sentiments about racial transcendence--"not blacks, not whites, only Cubans--others found ways to use state rhetoric to demand additional reforms. Still others, finding a revolution that disavowed blackness unsettling and paternalistic, fought to insert black history and African culture into revolutionary nationalisms. Despite such efforts by Afro-Cubans and radical government-sponsored integration programs, racism has persisted throughout the revolution in subtle but lasting ways.

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.

In From the Tricontinental to the Global South Anne Garland Mahler traces the history and intellectual legacy of the understudied global justice movement called the Tricontinental—an alliance of liberation struggles from eighty-two countries, founded in Havana in 1966. Focusing on racial violence and inequality, the Tricontinental's critique of global capitalist exploitation has influenced historical radical thought, contemporary social movements such as the World Social Forum and Black Lives Matter, and a Global South political imaginary. The movement's discourse, which circulated in four languages, also found its way into radical artistic practices, like Cuban revolutionary film and Nuyorican literature. While recent social movements have revived Tricontinentalism's ideologies and aesthetics, they have largely abandoned its roots in black internationalism and its contribution to a global struggle for racial justice. In response to this fractured appropriation of Tricontinentalism, Mahler ultimately argues that a renewed engagement with black internationalist thought could be vital to the future of transnational political resistance.