El socialismo y el hombre en Cuba es una carta enviada por Ernesto Che Guevara a Carlos Quijano, director del Semanario Marcha. Se publicó el 12 de marzo de 1965, bajo el título «Desde Argelia, para Marcha, La Revolución Cubana Hoy». Carlos Quijano (abogado, político y ensayista, fundador y director del mencionado semanario uruguayo, nació en Montevideo el 21 de marzo de 1900 y murió en México el 10 de junio de 1984). En la edición original Quijano añadió la siguiente nota: «Che Guevara envió esta carta a Marcha desde Argelia. Este documento es de la más significativa importancia, especialmente en aras de entender el objetivo y la meta de la Revolución cubana, visto por uno de los principales actores en el proceso. Las tesis presentadas son un intento por provocar debate y, al mismo tiempo, ofrecer una nueva perspectiva sobre una de las presentes fundamentaciones del pensamiento socialista.» El 5 de noviembre de 1965, volvió a publicarse y se presentó con el rótulo de «exclusiva: una nota especial del Che Guevara». Se explicaba que los lectores de Marcha en Argentina no podieron leer la publicación original. La semana en que ésta apareció por primera vez, la revista se prohibió en Buenos Aires.

A collection of essays that discuss abstract expressionist art.

1990s' Cuban literature, caught between a beleaguered socialism and an encroaching global capitalism.

Illuminates hot button issues in contemporary Latin America from an intellectually radical perspective: a sociological theory of democracy as civil sphere.

This book examines and critiques the fact that Chile’s claims to economic exceptionalism have been embodied, often quite aggressively, in a heterosexual, and primarily male, ideal. Despite the many shifts Chilean economics and politics have undergone over the past fifty years, the country’s view of itself as a “model” in contrast to other Latin American countries has remained constant. By deploying an artistic, literary, and cinematic archive of queer figures from this period, this book draws parallels among the exceptionalisms of Chile’s economic discourse, the subjects deemed most (and least) apt to embody it, and the maneuvers of its cultural production between local and global ideas of gender and politics to delineate its place in the world. Queering the Chilean Way thus sheds light on the sexual, economic, and aesthetic dimensions of exceptionalism—at its heart, a discourse of exclusion that often comprises a major element of nationalism—in Chile and throughout the Americas.

Culture and the Cuban State examines the politics of culture in communist Cuba. It focuses on cultural policy, censorship, and the political participation of artists, writers and academics such as Tania Bruguera, Jesús Díaz, Rafael Hernández, Kcho, Reynier Leyva Novo, Leonardo Padura, and José Toirac. The cultural field is important for the reproduction of the regime in place, given its pretense and ambition to be eternally “revolutionary” and to lead a genuine “cultural revolution”. Cultural actors must be mobilized and handled with care, given their presumed disposition to speak their mind and to cherish their autonomy. This book argues that cultural actors also seek recognition by the main (for a long time the only) sponsor and patron of the art in Cuba: the “curator state”. The “curator state” is also a “gatekeeper state,” arbitrarily and selectively opening and closing the space for public expression and for access to foreign currencies and the global market. The time when everything was either mandatory or forbidden is over in Cuba. The regime seems to have learned from egregious mistakes that led to a massive exodus of artists, writers and academics. In a country where things change so everything could stay the same, the controlled opening in the cultural field, playing on the actors' ambition and fear, illuminates a broader phenomenon: the evolving rules of the political game in the longest standing dictatorship of the hemisphere.