In The Vintage Book of Latin American Stories, Julio Ortega and Carlos Fuentes present the most compelling short fiction from Mexico to Chile. Surreal, poetic, naturalistic, urbane, peasant-born: All styles intersect and play, often within a single piece. There is "The Handsomest Drown Man in the World," the García Márquez fable of a village overcome by the power of human beauty; "The Aleph," Borges' classic tale of a man who discovers, in a colleague's cellar, the Universe. Here is the haunting shades of Juan Rulfo, the astonishing anxiety puzzles of Julio Cortázar, the disquieted domesticity of Clarice Lispector. Provocative, powerful, immensely engaging, The Vintage Book of Latin American Stories showcases the ingenuity, diversity, and continuing excellence of a vast and vivid literary tradition.

This volume examines the long and complex history of the Greco-Roman tradition in South America, arguing that the Classics have played a crucial, though often overlooked, role in the self-definition in the New World. Chronicling and theorizing this history through a detailed analysis of five key moments, chosen from the early and late colonial period, the emancipatory era, and the 20th and 21st centuries, it also examines an eclectic selection of both literary and cinematographic works and artefacts such as maps, letters, scientific treatises, songs, monuments, political speeches, and even the drafts of proposals for curricular changes across Latin America. The heterogeneous cases analysed in this book reveal cultural anxieties that recur through different periods, fundamentally related to the 'newness' of the continent and the formation of identities imagined as both Western and non-Western – a genealogy of apprehensions that South American intellectuals and political figures have typically experienced when thinking of their own role in world history. In tracing this genealogy, The Classics in South America innovatively reformulates our understanding of well-known episodes in the cultural history of the region, while providing a theoretical and historical resource for further studies of the importance of the Classical tradition across Latin America.

"This book excavates the unequaled reception of Flemish artist Peter Paul Rubens in Latin America in the form of prints made after his works, arguing that colonial artists in the New World forged new frameworks for artistic creativity by conforming to European printed designs"--

Since its U.S. debut a quarter-century ago, this brilliant text has set a new standard for historical scholarship of Latin America. It is also an outstanding political economy, a social and cultural narrative of the highest quality, and perhaps the finest description of primitive capital accumulation since Marx. Rather than chronology, geography, or political successions, Eduardo Galeano has organized the various facets of Latin American history according to the patterns of five centuries of exploitation. Thus he is concerned with gold and silver, cacao and cotton, rubber and coffee, fruit, hides and wool, petroleum, iron, nickel, manganese, copper, aluminum ore, nitrates, and tin. These are the veins which he traces through the body of the entire continent, up to the Rio Grande and throughout the Caribbean, and all the way to their open ends where they empty into the coffers of wealth in the United States and Europe. Weaving fact and imagery into a rich tapestry, Galeano fuses scientific analysis with the passions of a plundered and suffering people. An immense gathering of materials is framed with a vigorous style that never falters in its command of themes. All readers interested in great historical, economic, political, and social writing will find a singular analytical achievement, and an overwhelming narrative that makes history speak, unforgettably. This classic is now further honored by Isabel Allende's inspiring introduction. Universally recognized as one of the most important writers of our time, Allende once again contributes her talents to literature, to political principles, and to enlightenment.

Unpacks the twenty-one most common myths and misconceptions about Native Americans In this enlightening book, scholars and activists Roxanne Dunbar-Ortiz and Dina Gilio-Whitaker tackle a wide range of myths about Native American culture and history that have misinformed generations. Tracing how these ideas evolved, and drawing from history, the authors disrupt long-held and enduring myths such as: “Columbus Discovered America” “Thanksgiving Proves the Indians Welcomed Pilgrims” “Indians Were Savage and Warlike” “Europeans Brought Civilization to Backward Indians” “The United States Did Not Have a Policy of Genocide” “Sports Mascots Honor Native Americans” “Most Indians Are on Government Welfare” “Indian Casinos Make Them All Rich” “Indians Are Naturally Predisposed to Alcohol” Each chapter deftly shows how these myths are rooted in the fears and prejudice of European settlers and in the larger political agendas of a settler state aimed at acquiring Indigenous land and tied to narratives of erasure and disappearance. Accessibly written and revelatory, “All the Real Indians Died Off” challenges readers to rethink what they have been taught about Native Americans and history.