In Cuban Fire, the prize-winning author Isabelle Leymarie tells the thrilling story of popular music of Cuban origin and its major artists from the 1920s to today. Afro-Cuban music derives its richness from the fusion of many cultures. On the island of tobacco, rum and coffee, nicknamed 'The Green Caiman' because of its long and curvy shape, the wedding of sacred and secular African musical genres with Spanish and French melodies gave rise to numerous genres that have gained international fame- son, rhumba, guaracha, conga, mambo, cha-cha-cha, pachanga, and nueva timba. The history of Cuban music also unfolds in the United States, where large Cuban, Puerto Rican, Dominican and other Hispanic communities have established themselves over the years. It was in New York, indeed, that the boogaloo, salsa and Latin jazz, created by such musicians as Machito, Mario Bauz , Dizzy Gillespie and Chano Pozo, emerged out of the contact with the Puerto Ricans and African-Americans of that city. This major reference book also deals with the incandescent rhythms of Puerto Rico and -- to a lesser degree -- Santo Domingo, integrated today into salsa and Latin jazz.

The story of popular music of Cuban origin and its major artists from the 1920s to today.

It was the closest we ever came to unleashing the Third World War.... The image of that world was so horrible to contemplate that both sides stepped away from that precipice and opted for peace. Fires of October is the exhilarating military history of the Cuban Missile Crisis exploring in detail the strategic plans implemented by American Armed Forces as they headed towards a catastrophic nuclear collision with Cuba and the USSR. Using recently declassified material, Blaine Pardoe systematically recounts the origins of the crisis, from the Berlin Crisis of 1961 and Cuba s military metamorphosis, to the internal disorganization of the US military, which exacerbated tensions between the USA, Cuba, and the USSR. Pardoe reveals that the invasion plans were based on old intelligence, outdated maps, and misconceptions about the size, strength, and composition of the Soviet forces in Cuba; for the first time, and with harrowing results, he scrutinizes the potential fallout had the invasion gone ahead. Gripping and unnerving, Fires of October shows us just how close the world came to nuclear war.

“Impressive . . . [Cristina García’s] story is about three generations of Cuban women and their separate responses to the revolution. Her special feat is to tell it in a style as warm and gentle as the ‘sustaining aromas of vanilla and almond,’ as rhythmic as the music of Beny Moré.”—Time Cristina García’s acclaimed book is the haunting, bittersweet story of a family experiencing a country’s revolution and the revelations that follow. The lives of Celia del Pino and her husband, daughters, and grandchildren mirror the magical realism of Cuba itself, a landscape of beauty and poverty, idealism and corruption. Dreaming in Cuban is “a work that possesses both the intimacy of a Chekov story and the hallucinatory magic of a novel by Gabriel García Márquez” (The New York Times). In celebration of the twenty-fifth anniversary of the novel’s original publication, this edition features a new introduction by the author. Praise for Dreaming in Cuban “Remarkable . . . an intricate weaving of dramatic events with the supernatural and the cosmic . . . evocative and lush.”—San Francisco Chronicle “Captures the pain, the distance, the frustrations and the dreams of these family dramas with a vivid, poetic prose.”—The Washington Post “Brilliant . . . With tremendous skill, passion and humor, García just may have written the definitive story of Cuban exiles and some of those they left behind.”—The Denver Post

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.

From 1895 to 1898, Cuban insurgents fought to free their homeland from Spanish rule. Though often overshadowed by the "Splendid Little War" of the Americans in 1898, according to John Tone, the longer Spanish-Cuban conflict was in fact more remarkable, foreshadowing the wars of decolonization in the twentieth century. Employing newly released evidence--including hospital records, intercepted Cuban letters, battle diaries from both sides, and Spanish administrative records--Tone offers new answers to old questions concerning the war. He examines the origin of Spain's genocidal policy of "reconcentration"; the causes of Spain's military difficulties; the condition, effectiveness, and popularity of the Cuban insurgency; the necessity of American intervention; and Spain's supposed foreknowledge of defeat. The Spanish-Cuban-American war proved pivotal in the histories of all three countries involved. Tone's fresh analysis will provoke new discussions and debates among historians and human rights scholars as they reexamine the war in which the concentration camp was invented, Cuba was born, Spain lost its empire, and America gained an overseas empire.

Gangsterismo is an extraordinary accomplishment, the most comprehensive history yet of the clash of epic forces over several decades in Cuba. It is a chronicle that touches upon deep and ongoing themes in the history of the Americas, and more specifically of the United States government, Cuba before and after the revolution, and the criminal networks known as the Mafia. The result of 18 years’ research at national archives and presidential libraries in Kansas, Maryland, Texas, and Massachusetts, here is the story of the making and unmaking of a gangster state in Cuba. In the early 1930s, mobster Meyer Lansky sowed the seeds of gangsterismo when he won Cuban strongman Fulgencio Batista’s support for a mutually beneficial arrangement: the North American Mafia were to share the profits from a future colony of casinos, hotels, and nightclubs with Batista, his inner circle, and senior Cuban Army and police officers. In return, Cuban authorities allowed the Mafia to operate its establishments without interference. Over the next twenty-five years, a gangster state took root in Cuba as Batista, other corrupt Cuban politicians, and senior Cuban army and police officers got rich. All was going swimmingly until a handful of revolutionaries upended the neat arrangement: and the CIA, Cuban counterrevolutionaries, and the Mafia joined forces to attempt the overthrow of Castro. Gangsterismo is unique in the literature on Cuba, and establishes for the first time the integral, extensive role of mobsters in the Cuban exile movement. The narrative unfolds against a broader historical backdrop of which it was a part: the confrontation between the United States and the Cuban revolution, which turned Cuba into one of the most perilous battlegrounds of the Cold War. ……………………………… “The anti-communist hysteria generated by the Cold War frequently unhinged the policy judgments of US government officials in many areas, but nowhere so completely as in our relations with Cuba. This conclusion is inescapable as Gangsterismo brilliantly unravels the bizarre tale of the Mafia army the Kennedy brothers recruited in their manic determination to rid Cuba of Castro, that vexing, seemingly indomitable Communist.” —Martin J. Sherwin, co-winner of the Pulitzer Prize (together with Kai Bird) for American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer “What is shocking is not what is new, but how much that is old – already on the record in presidential and other archives, CIA and FBI files, memoirs and histories – in Jack Colhoun’s Gangsterismo. Drawing on the National Security Archives, papers and books, public and private, he damningly documents the pathetic, incompetent and sometimes comic, but always inappropriate and anti-democratic, attempts by the CIA and/or its confederates, working in tandem with members of the mob, to assassinate Castro and overthrow the Cuban revolution.” —Victor S. Navasky, publisher emeritus, The Nation; professor, Columbia University Graduate School of Journalism “Gangsterismo is an invaluable addition to our background knowledge about that small island nation that has incurred so much devotion and ire from U.S. Americans. Books about Cuba abound, but this one lays bare an often forgotten pre-revolutionary history of U.S.-based organized crime, and subsequent hidden U.S. government covert action. Colhoun has done his homework. This is a must-read.” —Margaret Randall, author of To Change the World: My Years in Cuba “Few aspects of Cuba-U.S. relations have so doggedly resisted serious inquiry as the subject of organized crime in Cuba. Much of what we know has reached us by way of popular culture, principally through film and fiction, to which the subject of the underworld in the tropics so aptly lends itself. Colhoun represents a breakthrough: serious scholarship on a serious subject. He casts light upon one of the darkest recesses of a dark history, calling attention to the convergence of interests between the underworld of criminal activity and nether world of covert operations – and reveals in the process that film and fiction have actually only scratched the surface of a sordid story.” —Louis A. Pérez, Jr.editor, Cuba Journal; professor of history, University of North Carolina at Chapel Hill