Pablo's Fandango is an endearing story about a special boy who discovers the cycle of life when he stumbles upon a lifeless animal. He embarks upon a journey through the Sierra Madre and soon discovers a tradition on the brink of extinction. With his grandfather's help, he revives a centuries old genre of Mexican folk music, and through it, his love for animals inspires an unexpected surprise for the entire village.

The Caribbean is the source of one of the richest, most accessible, and yet technically adventurous traditions of contemporary world literature. This collection extends beyond the realm of English-speaking writers, to include stories published in Spanish, French, and Dutch. It brings together contributions from major figures such as V. S. Naipaul, and Gabriel Garcia Marquez, and work from the exciting new generation of Caribbean writers represented by Edwidge Danticat, and Jamaica Kincaid.

Transatlantic Malagueñas and Zapateados is an exploration of two fandango dances, recording the circulations of people, imagery, music, and dance across what were once the Spanish and Portuguese Empires. Although these dance-musics seem to be mirror images, the unbreachable space between them reflects the political fault-lines along which nineteenth-century musical populism and folkloric nationalism extend into present-day debates about globalization, immigration, neoliberalism, and neofascism. If malagueñas are a fantastic incarnation of Spanishness, caught like a fly in amber by their anachronistic references to a fraught imperial past, noisy and raucous zapateado dances cut toward the future. Inherently marked by European conventions of zapatos (shoes), zapateados are nonetheless shaped by Africanist and Native American footwork traditions. In these Afro-Indigenous mestizajes, not only are European aesthetic values reordered and resignified, but the Catholic catechism which indoctrinated the New World yields to alternate spiritual systems springing out of a culture of resistance to European domination.

Why is Cinco de Mayo—a holiday commemorating a Mexican victory over the French at Puebla in 1862—so widely celebrated in California and across the United States, when it is scarcely observed in Mexico? As David E. Hayes-Bautista explains, the holiday is not Mexican at all, but rather an American one, created by Latinos in California during the mid-nineteenth century. Hayes-Bautista shows how the meaning of Cinco de Mayo has shifted over time—it embodied immigrant nostalgia in the 1930s, U.S. patriotism during World War II, Chicano Power in the 1960s and 1970s, and commercial intentions in the 1980s and 1990s. Today, it continues to reflect the aspirations of a community that is engaged, empowered, and expanding.

Little Lola is tired of living in her big sisters shadow. But when she starts taking secret flamenco lessons from her Papi, will she find the courage to share her new skill with the world?

In 2015, the Mexican state counted how many of its citizens identified as Afro-Mexican for the first time since independence. Finding Afro-Mexico reveals the transnational interdisciplinary histories that led to this celebrated reformulation of Mexican national identity. It traces the Mexican, African American, and Cuban writers, poets, anthropologists, artists, composers, historians, and archaeologists who integrated Mexican history, culture, and society into the African Diaspora after the Revolution of 1910. Theodore W. Cohen persuasively shows how these intellectuals rejected the nineteenth-century racial paradigms that heralded black disappearance when they made blackness visible first in Mexican culture and then in post-revolutionary society. Drawing from more than twenty different archives across the Americas, this cultural and intellectual history of black visibility, invisibility, and community-formation questions the racial, cultural, and political dimensions of Mexican history and Afro-diasporic thought.

"In Schnauzer duck, two actors tell the story of a relationship between two brothers: one is a famous writer with a fatal illness who returns to look for his family after nine years of absence, and the other, a petty criminal, is the only person willing to talk to him. A black comedy about the meaning of life, losing your memory, and finding family.