Who are the people of Cuba? Readers will probe this question through this lively book about the cultural traditions, festivals, music, art, dance, and food of this Caribbean island nation. Analyzing how the country's history has shaped the cultural identity of its people, this comprehensive text sheds light on the unique contributions Cubans have made. Readers also learn that it is the largest island and most populated country in the Caribbean. Each spread features stunning photographs, which make the information pop. This engaging take on curricular social studies concepts is sure to capture readers' attention.

Who are the people of Cuba? Readers will probe this question through this lively book about the cultural traditions, festivals, music, art, dance, and food of this Caribbean island nation. Analyzing how the country's history has shaped the cultural identity of its people, this comprehensive text sheds light on the unique contributions Cubans have made. Readers also learn that it is the largest island and most populated country in the Caribbean. Each spread features stunning photographs, which make the information pop. This engaging take on curricular social studies concepts is sure to capture readers' attention.

This work attempts to cast new light on the Generacion del Treinta, a group of Creole intellectuals who situated themselves as the voice of a new cultural nationalism in Puerto Rico. Through a feminist lens, it focuses on the interlocking themes of nationalism, gender, class and race.

Honorable Mention, Barbara T. Christian Literary Award, Caribbean Studies Association, 2017 In the wake of the 1959 Cuban Revolution, a key state ideology developed: racism was a systemic cultural issue that ceased to exist after the Revolution, and any racism that did persist was a result of contained cases of individual prejudice perpetuated by US influence. Even after the state officially pronounced the end of racism within its borders, social inequalities tied to racism, sexism, and homophobia endured, and, during the economic liberalization of the 1990s, widespread economic disparities began to reemerge. Cuban Underground Hip Hop focuses on a group of self-described antiracist, revolutionary youth who initiated a social movement (1996–2006) to educate and fight against these inequalities through the use of arts-based political activism intended to spur debate and enact social change. Their “revolution” was manifest in altering individual and collective consciousness by critiquing nearly all aspects of social and economic life tied to colonial legacies. Using over a decade of research and interviews with those directly involved, Tanya L. Saunders traces the history of the movement from its inception and the national and international debates that it spawned to the exodus of these activists/artists from Cuba and the creative vacuum they left behind. Shedding light on identity politics, race, sexuality, and gender in Cuba and the Americas, Cuban Underground Hip Hop is a valuable case study of a social movement that is a part of Cuba’s longer historical process of decolonization.

This history for the first time charts the literature of the entire Caribbean, the islands as well as continental littoral, as one cultural region. It breaks new ground in establishing a common grid for reading literatures that have been kept separate by their linguistic frontiers. Readers will have access to the best current scholarship on the evolution of popular and literate cultures in the various regions since their earliest emergence."The History of Literature in the Caribbean" brings together the most distinguished team of literary Caribbeanists ever assembled, cutting across ideological commitments and critical methods. Differences in point of view between individual contributors are left intact here as the sign of the colonial inheritance of the region. Introductions and conclusions to the various sections of the History written by the respective subeditors, set them in proper perspective. The unique synoptic aspect of the History lies in its comprehensiveness and its range, which are unequaled."Contributors" A. James Arnold, Julio Rodriguez-Luis, H. Lopez Morales, Maria Elena Rodriguez Castro, Silvio Torres Saillant, Seymour Menton, Ian I. Smart, Efrain Barradas, Raquel Chang-Rodriguez, Carlos Alonso, Ivan A. Schulman, W.L. Siemens, William Luis, Gustavo Pellon, Emilio Bejel, Sandra M. Cypess, Peter Earle, Adriana Mndez Rodenas, J. Michael Dash, Ulrich Fleischmann, Maximilien Laroche, Rgis Antoine, Lon-Franois Hoffmann, Randolph Hezekiah, Bridget Jones, F.I. Case, Marie-Denise Shelton, Beverly Ormerod, J. Michael Dash, Jack Corzani, Anthea Morrison, Juris Silenieks, Frantz Fanon, Vere Knight.

Readers and critics alike have found the dense - Joyce-like - verbal inventions of these two experimental Latin American novels gratuitous and incomprehensible. This study, however, by articulating the «grammar» of the neologisms, relating them to the thematic, stylistic, and semiotic elements of the text, and exposing their linguistically motivated nature, reveals the textual languages not as a descent into Babel but as attempts to storm a linguistic Eden. The study sets up a comparative framework for both works through a new, formal definition of the Latin American novel of language. The ensuing discussion establishes that whereas the Brazilian author shapes language into a more transparent and «natural» copy of (his vision of) the world, Cabrera Infante invents a pure, non-referential «anti-language» as secret as the Havana nightworld of Tres tristes tigres.