Sobras espectrales: gestiones estético-políticos de los residuos es una antología de crítica cultural inspiradora y en resonancia con el actual giro material en las humanidades. El conjunto de ensayos indaga sobre el dispositivo de lo residual para repensar nuestro presente a través de expresiones culturales mayoritariamente latinoamericanas. Estéticas que se enfocan en la presencia y agencia de los restos de memoria, en las sobras del hiperconsumo, y en los desechos reales y simbólicos. El libro piensa cómo puede leerse aquello que está fuera del sistema de producción, como síntoma de lo social, lo ecológico y lo político. Sin caer en la nostalgia romántica, Adriana López-Labourdette y Valeria Wagner convierten la crítica cultural en arqueología de nuestro presente y plantean modos reivindicativos de pensar el mundo basurizado, el vertedero y la ruina (económica, ambiental y social). Asumiendo una multiplicidad de enfoques de diferentes disciplinas, este volumen colectivo abarca desde la poesía brasileña, la narrativa cubana, peruana, chilena y argentina, hasta la vanguardia venezolana, el cine transnacional y los vertederos cubiertos en Ginebra (Suiza) y Uranium City (Canadá). Se encontrará aquí una lectura de nuestra imposibilidad de gestionar la producción de desechos, o de archivar completamente los restos del pasado. Una lectura hecha desde América Latina hacia el mundo y una reflexión aguda sobre los procesos (insuficientes) de reciclaje tanto en el propio arte, como en nuestros sistemas sociales, políticos y estéticos. Nanne Timmer, Universidad de Leiden

Winner of the Montserrat Ordóñez Prize 2018 This book provides an original and exciting analysis of Colombian women’s writing and its relationship to feminist history from the 1970s to the present. In a period in which questions surrounding women and gender are often sidelined in the academic arena, it argues that feminism has been an important and intrinsic part of contemporary Colombian history. Focusing on understudied literary and non-literary texts written by Colombian women, it traces the particularities of Colombian feminism, showing how it has been closely entwined with left-wing politics and the country’s history of violence. This book therefore rethinks the place of feminism in Latin American history and its relationship to feminisms elsewhere, challenging many of the predominant critical paradigms used to understand Latin American literature and culture.

"The essays and dialogues in the book are drawn from the inSite_05 Conversations, which took place in San Diego - Tijuana from November 2003 through November 2005. Envisioned as working sessions centered around questions pertinent to the terrain of San Diego - Tijuana, the Conversations were conceived to rethink issues of local import within a broader frame"--Page 2 of cover.

The English-language debut of one of the most thrilling and accomplished young Mexican writers Winner of the Queen Sofía Spanish Institute's Tanslation Prize Longlisted for the National Book Award Shortlisted for the Booker Prize Winner of the Internationaler Literaturpreis New York Public Library Best Books of 2020 Chicago Public Library Best Book of 2020 The Witch is dead. And the discovery of her corpse has the whole village investigating the murder. As the novel unfolds in a dazzling linguistic torrent, with each unreliable narrator lingering on new details, new acts of depravity or brutality, Melchor extracts some tiny shred of humanity from these characters—inners whom most people would write off as irredeemable—forming a lasting portrait of a damned Mexican village. Like Roberto Bolaño’s 2666 or Faulkner’s novels, Hurricane Season takes place in a world saturated with mythology and violence—real violence, the kind that seeps into the soil, poisoning everything around: it’s a world that becomes more and more terrifying the deeper you explore it.

"Substantially the book that devotees of the director have been waiting for: a full-length critical work about Ozu's life, career and working methods, buttressed with reproductions of pages from his notebooks and shooting scripts, numerous quotes from co-workers and Japanese critics, a great many stills and an unusually detailed filmography."—Sight and Sound Yasujiro Ozu, the man whom his kinsmen consider the most Japanese for all film directors, had but one major subject, the Japanese family, and but one major theme, its dissolution. The Japanese family in dissolution figures in every one of his fifty-three films. In his later pictures, the whole world exists in one family, the characters are family members rather than members of a society, and the ends of the earth seem no more distant than the outside of the house.