Archival Dissonance in the U.S. Cuban Post-Exile Novel documents a body of emergent US Cuban literature published in Spanish and English beyond the scope and historicity of exile. Focusing on the work of Roberto G. Fernández, Ana Menéndez, and Antonio Benítez Rojo, the book proposes that, rather than reinforce US Cuban exile ethnic identity developed between 1960 and the 1980s, or demonstrate a tendency toward cultural assimilation (“Americanization”) over three generations of writers, the discussed historical novels incorporate Caribbean and Latin American archival sources and interpretive frameworks in order to develop a critical and investigative approach to the politics of Cuban exile historiography. Published before the recent apertura between the US and Cuban governments, these post-exile novels anticipate themes of displacement, migration, and social marginalization as common, rather than exceptional, features of modern (and historical) life, as well as such other current (and historical) topics as gender construction and performance, figurations of race, the commoditization of culture, and urban poverty. The post-exile historical novel points to a future for US Cuban narrative and historiography, in part by investigating and featuring dissonances hidden or unacknowledged in previous Cuban exile historical fiction. The literature studied in this book further reinforces a view of two-way migration between Cuba and the United States as a normal phenomenon predating 1959, and, at the same time, as a likely shape of things to come.

Archival Dissonance in the U.S. Cuban Post-Exile Novel documents a body of emergent US Cuban literature published in Spanish and English beyond the scope and historicity of exile. Focusing on the work of Roberto G. Fernàndez, Ana MenÃ(c)ndez, and Antonio BenÃ-tez Rojo, the book proposes that, rather than reinforce US Cuban exile ethnic identity developed between 1960 and the 1980s, or demonstrate a tendency toward cultural assimilation (â oeAmericanizationâ ) over three generations of writers, the discussed historical novels incorporate Caribbean and Latin American archival sources and interpretive frameworks in order to develop a critical and investigative approach to the politics of Cuban exile historiography. Published before the recent apertura between the US and Cuban governments, these post-exile novels anticipate themes of displacement, migration, and social marginalization as common, rather than exceptional, features of modern (and historical) life, as well as such other current (and historical) topics as gender construction and performance, figurations of race, the commoditization of culture, and urban poverty. The post-exile historical novel points to a future for US Cuban narrative and historiography, in part by investigating and featuring dissonances hidden or unacknowledged in previous Cuban exile historical fiction. The literature studied in this book further reinforces a view of two-way migration between Cuba and the United States as a normal phenomenon predating 1959, and, at the same time, as a likely shape of things to come.

An astonishing account of Cuban exiles, CIA informants, and cocaine traffickers in Florida by the New York Times–bestselling author of South and West. In Miami, the National Book Award–winning author of The Year of Magical Thinking looks beyond postcard images of fluorescent waters, backlit islands, and pastel architecture to explore the murkier waters of a city on the edge. From Fidel Castro and the Bay of Pigs invasion to Lee Harvey Oswald and the Kennedy assassination to Oliver North and the Iran–Contra affair, Joan Didion uncovers political intrigues and shadowy underworld connections, and documents the US government’s “seduction and betrayal” of the Cuban exile community in Dade County. She writes of hotels that offer “guerrilla discounts,” gun shops that advertise Father’s Day deals, and a real-estate market where “Unusual Security and Ready Access to the Ocean” are perks for wealthy homeowners looking to make a quick escape. With a booming drug trade, staggering racial and class inequities, and skyrocketing murder rates, Miami in the 1980s felt more like a Third World capital than a modern American city. Didion describes the violence, passion, and paranoia of these troubled times in arresting detail and “beautifully evocative prose” (The New York Times Book Review). A vital report on an immigrant community traumatized by broken dreams and the cynicism of US foreign policy, Miami is a masterwork of literary journalism whose insights are timelier and more important than ever.

Handmade in Cuba is an in-depth examination of Ediciones Vigía, an artisanal press that published exquisite books crafted from simple supplies during some of Cuba’s most dire economic periods. Vividly illustrated, this volume shows how the publishing collective responded to the nation’s changing historical and political situation from the margins of society, representing Cuban culture across the boundaries of race, age, gender, and genre. In this volume, poets and scholars reflect on the unique artistic direction of Rolando Estévez, who oversaw the creation of over 500 handmade books and magazines between 1985 and 2014. They highlight the beautiful designs and unusual materials selected, including fabric, metals, wood, feathers, and discarded items. Through diverse perspectives, including an interview with Estévez himself, the essays showcase the unlimited inventive possibilities of books as objects, as sculptural pieces, and as installations. Even in the age of technology, Estévez generated enormous excitement and admiration for these hand-crafted books, and this volume offers the first inside view of this important alternative publishing space. Contributors: Ruth Behar | Juanamaría Cordones-Cook | Gwendolyn Díaz | Erin Finzer | William Luis | Nancy Morejón | Kim Nochi | Carina Pino Santos | Kristin Schwain | Elzbieta Sklodowska

“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

DIVReflects on changes in the politics of the Cuban exile community in the forty years since the Cuban revolution /div