When Bloomberg News invited the young American journalist Alex Cuadros to report on Brazil's emerging class of billionaires at the height of the historic Brazilian boom, he was poised to cover two of the biggest business stories of our time: how the giants of the developing world were taking their place at the center of global capitalism, and how wealth inequality was changing societies everywhere. The billionaires of Brazil and their massive fortunes resided at the very top of their country's economic pyramid, and whether they quietly accumulated exceptional power or extravagantly displayed their decadence, they formed a potent microcosm of the world's richest .001 percent. They held sway over the economy, government, media, and stewardship of the environment; they determined the spiritual fates and populated the imaginations of their countrymen. In 2012, Eike Batista ranked as the eighth-richest person in the world, was famous for his marriage to a beauty queen, and was a fixture in the Brazilian press. But by 2015, Batista was bankrupt, his son Thor had been indicted for manslaughter, and Brazil--its president facing impeachment, its provinces combating an epidemic, and its business and political class torn apart by scandal--had become a cautionary tale of a country run aground by its elites. Over four years, Cuadros reported on media moguls and televangelists, energy barons and shadowy figures from the years of military dictatorship, soy barons who lived on the outskirts of the Amazon, and new-economy billionaires spinning money from speculation. His zealous reporting takes us from penthouses to courtrooms, from favelas to art fairs, from scenes of unimaginable wealth to desperate, massive street protests. Within a business narrative that deftly dramatizes the volatility of the global economy, Cuadros offers us literary journalism with a grand sweep.--Adapted from dust jacket.

Reprinted in a large-format, English/Spanish bilingual paperback edition, a School Library Journal and Library of Congress Best Books of the Year selection describes a little girl's childhood in a traditional Mexican-American community. Reprint.

"City of God is an unsparing account of devastation and empowerment in the age of AIDS. From the body’s first mysterious eroticism to its final humiliation and pain, Gil Cuadros gives voice to both the beauty and sorrow of our common fate. His writing cuts like a double-edged sword—at times artful and sharp, at times unfiltered and raw. This is an awesome and haunting book.”—David Trinidad “The sensual, the expressive, the daring, the transformed become the matryrs of every era, every family. Their memoirs, heroics are our most devastating works of art. Gil Cuadros’s story ‘Unprotected’ is a classic of AIDS fiction and deserves a place of honor in the mosaic of American writing.”—Sarah Schulman “In a voice poised between plainspokenness and urgency, Gil Cuadros writes about the remnants of love in a devastated world. The poems and stories in City of God are as dire as they are beautiful, and sharp as a blow to the body.”—Bernard Cooper “I accuse Gil Cuadros of literary seduction in the nth degree … He makes me read on when I want to cry … I do not want to look at his words, and yet I cannot take my eyes away. His images sooth, burn, inspire. I accuse Gil Cuadros of language abuse—his stroke of silk, his pen a bludgeon. I accuse him of heart-bashing.”—Wanda Coleman

An unforgettable collection of diverse, remarkable lives inspired by “Overlooked,” the groundbreaking New York Times series that publishes the obituaries of extraordinary people whose deaths went unreported in the newspaper—filled with nearly 200 full-color photos and new, never-before-published content Since 1851, The New York Times has published thousands of obituaries—for heads of state, celebrities, scientists, and athletes. There’s even one for the person who invented the sock puppet. But, until recently, only a fraction of the Times’s obits chronicled the lives of women or people of color. The vast majority tell of the lives of men—mostly white men. Started in 2018 as a series in the Obituary section, “Overlooked” has sought to rectify this, revisiting the Times’s 170-year history to celebrate people who were left out. It seeks to correct past mistakes, establish a new precedent for equitable coverage of lives lost, and refocus society’s lens on who is considered worthy of remembrance. Now, in the first book connected to the trailblazing series, Overlooked shares 66 extraordinary stories of women, BIPOC and LGBTQIA figures, and people with disabilities who have broken rules and overcome obstacles. Some achieved a measure of fame in their lifetime but were surprisingly omitted from the paper, including Ida B. Wells, Sylvia Plath, Alan Turing, and Major Taylor. Others were lesser-known, but noteworthy nonetheless, such as Katherine McHale Slaughterback, a farmer who found fame as “Rattlesnake Kate”; Ángela Ruiz Robles, the inventor of an early e-reader; Terri Rogers, a transgender ventriloquist and magician; and Stella Young, a disabled comedian who rejected “inspiration porn.” These overlooked figures might have lived in different times, and had different experiences, but they were all ambitious and creative, and used their imaginations to invent, innovate, and change the world. Featuring stunning photographs, exclusive content about the process of writing obituaries, and contributions by writers such as Veronica Chambers, Jon Pareles, Amanda Hess, and more, this visually arresting book compels us to revisit who and what we value as a society—and reminds us that some of our most important stories are hidden among the lives of those who have been overlooked.

With Latining America, Claudia Milian proposes that the economies of blackness, brownness, and dark brownness summon a new grammar for Latino/a studies that she names “Latinities.” Milian’s innovative study argues that this ensnared economy of meaning startles the typical reading practices deployed for brown Latino/a embodiment. Latining America keeps company with and challenges existent models of Latinidad, demanding a distinct paradigm that puts into question what is understood as Latino and Latina today. Milian conceptually considers how underexplored “Latin” participants––the southern, the black, the dark brown, the Central American—have ushered in a new world of “Latined” signification from the 1920s to the present. Examining not who but what constitutes the Latino and Latina, Milian’s new critical Latinities disentangle the brown logic that marks “Latino/a” subjects. She expands on and deepens insights in transamerican discourses, narratives of passing, popular culture, and contemporary art. This daring and original project uncovers previously ignored and unremarked upon cultural connections and global crossings whereby African Americans and Latinos traverse and reconfigure their racialized classifications.