In this moving account of the Cuban Revolution and its aftermath, eleven women who lived through it as children or young adults recall the events of the last forty years. In Torres's words, This book, which began in Miami, looking toward the island, ends on the island as it gazes toward the exile community. These poets, artists and scholars represent each post-revolution exile generation. Some left Cuba in the Peter Pan airlift, some left afterward, some never left at all. Others - like the editor - left as children only to return and leave again, disillusioned with both the exile community and with Castro's island. Together they testify to the powerful intersections of memory, politics, nation, and exile.

For much of the nineteenth century and all of the twentieth, the per capita rate of suicide in Cuba was the highest in Latin America and among the highest in the world--a condition made all the more extraordinary in light of Cuba's historic ties to the Catholic church. In this richly illustrated social and cultural history of suicide in Cuba, Louis A. Perez Jr. explores the way suicide passed from the unthinkable to the unremarkable in Cuban society. In a study that spans the experiences of enslaved Africans and indentured Chinese in the colony, nationalists of the twentieth-century republic, and emigrants from Cuba to Florida following the 1959 revolution, Perez finds that the act of suicide was loaded with meanings that changed over time. Analyzing the social context of suicide, he argues that in addition to confirming despair, suicide sometimes served as a way to consecrate patriotism, affirm personal agency, or protest injustice. The act was often seen by suicidal persons and their contemporaries as an entirely reasonable response to circumstances of affliction, whether economic, political, or social. Bringing an important historical perspective to the study of suicide, Perez offers a valuable new understanding of the strategies with which vast numbers of people made their way through life--if only to choose to end it. To Die in Cuba ultimately tells as much about Cubans' lives, culture, and society as it does about their self-inflicted deaths.

Offers a detailed picture of the lives of Cuban Americans through interviews with artists, writers, and philosophers. This fascinating volume contains interviews with nineteen prominent Cuban-American artists, writers, and philosophers who tell their stories and share what they consider important for understanding their work. Struggling with issues of Cuban-American identity in particular and social identity in general, they explore such questions as how they see themselves, how they have dealt with the diaspora and their memories, what they have done to find a proper place in their adopted country, and how their work has been influenced by the experience. Their answers reveal different perspectives on art, literature, and philosophy, and the different challenges encountered personally and professionally. The interviews are gathered into three groups: nine artists, six writers, and four philosophers. An introductory essay for each group is included, and the interviews are accompanied by brief biographical notes, along with samples of the work of those interviewed. Jorge J. E. Gracia is SUNY Distinguished Professor and Samuel P. Capen Chair in Philosophy at the University at Buffalo, State University of New York. His many books include Race or Ethnicity? On Black and Latino Identity. Lynette M. F. Bosch is Professor of Art History at SUNY College at Geneseo and author of Cuban-American Art in Miami: Exile, Identity and the Neo-Baroque. Isabel Alvarez Borland is Monsignor Edward G. Murray Professor of Arts and Humanities at the College of the Holy Cross and author of Cuban-American Literature of Exile: From Person to Persona.

Offering a unique perspective on the very notions and practices of storytelling, history, memory, and language, Clio’s Laws collects ten essays (some new and some previously published in Spanish) by a revered voice in global history. Taking its title from the Greek muse of history, this opus considers issues related to the historian’s craft, including nationalism and identity, and draws on Tenorio-Trillo’s own lifetime of experiences as a historian with deep roots in both Mexico and the United States. By turns deeply ironic, provocative, and experimental, and covering topics both lowbrow and highbrow, the essays form a dialogue with Clio about idiosyncratic yet profound matters. Tenorio-Trillo presents his own version of an ars historica (what history is, why we write it, and how we abuse it) alongside a very personal essay on the relationship between poetry and history. Other selections include an exploration of the effects of a historian’s autobiography, a critique of history’s celebratory obsession, and a guide to reading history in an era of internet searches and too many books. A self-described exile, Tenorio-Trillo has produced a singular tour of the historical imagination and its universal traits.

The Cuban Revolution has generated extraordinary literary achievements by writers both within Cuba and in exile. This book focuses on selected works by Edmundo Desnoes, Senel Paz and Elías Miguel Muñoz and the transformations of their texts from prose to film and theatre. Performing Cuba breaks new ground by clearly demonstrating how these multiple rewritings and additional authorial voices from the filmic and theatrical media rewrite the characters' gender performances in order to manipulate the texts' reading.

El diccionari UB anglès-català és el resultat d’una activitat conjunta de diferents agents que, de manera complementària, han sumat coneixements, continguts i tecnologia per fer una obra de referència rigorosa, posada al dia, útil a un ampli sector de la ciutadania i que contribueixi a eixamplar els horitzons culturals i lingüístics no solament de la comunitat universitària, sinó de la societat catalana...Pel seu contingut, constitueix una obra idònia tant per als usuaris comuns de la llengua com per a especialistes d’un ampli ventall de sectors professionals, així com per al professorat i estudiants universitaris i de cursos avançats de secundària. La mobilitat estudiantil a nivell internacional el converteix en un company de viatge imprescindible per als estudiants catalans que viatgen a l’estranger i en una eina bàsica per al coneixement de la llengua i la cultura catalanes per als qui vénen a completar els seus estudis al nostre país.

The reflexive constructions that are the focus of this book are the constructions broadly described with the term “middle”: i.e., those that can appear in all persons, and in which the reflexive marker (RM) cannot be understood as a full referential pronoun. One goal of this study is to provide a corpus-based typology of middle and related uses that allow us to compare the behaviour of the RM in these constructions with previous typological accounts, where competing models (based either on changes of diathesis or on the semantics of the verbal event) can be found. A second goal is to shed light on the evolution of the different functions of the RM, by exploring the factors that affect its productivity, with a specific focus on those verbs where reflexive marking is most variable, that is, anticausative verbs and verbs with no change of valency. These reflexive constructions show a notable difference in productivity in Spanish and Galician, although the languages are closely related and contiguous. The languages are thus good candidates for a contrastive and variationist analysis serving these two goals. The semantic class of the predicate, its aspectual properties and the animacy of the subject are some of the most relevant factors that are taken into account to understand the motivations behind the presence (or absence) of the RM. By relying on a corpus of interviews from rural communities across peninsular Spain (except Catalonia), space as a relevant extra-linguistic variable is taken into account, helping uncover previously unknown geographical patterns.