In her new book, Belén Fernández is driven by an urge to expose empire’s death-making machine, even if it means exposing her own absurd participation in it.
Tag: Latin America
If the iconic NASA astronaut is a confident (male) neo-colonist, Forner’s Astronauts are infantile, unprotected, vulnerable.
“As a horror trope, the child is always scary. It turns our notions of purity, innocence, violence, upside down.”
Mr. President shows widespread corruption around a fictional Guatemalan dictator. This did not please the country’s real dictators.
“As a historian and educator of college students, my experience teaching on US imperialism is one of disappointment.”
Exponentially more enslaved Africans were forced to the lands that now make up Latin America rather than the United States. Where is their story?
Latin American authors must defer to “Latin America”—as imagined by centers of literary power—to be translated, to sell, to make money.
On both sides of the border, artivistas—art activists—infuse their creative and political work with minority struggle and solidarity.
Introducing a new series to push forward our thinking and action about immigration and borders.
Latin America shows how hard it is for states dependent on oil and gas—that is, practically the whole world—to break with fossil fuel capitalism.
When creating and selling culture, you’re also selling a story about that culture—for good and for ill.
In Latin America, high levels of violence threaten journalists today, and dissent has been effectively marginalized in the past.
COVID-19 is the first truly comprehensive crisis of the Anthropocene era, affecting virtually everyone on the planet.
Today's neoliberalism emerged when US policymakers built New Deal–style projects abroad—for private gain rather than the public good.
John Cage's concerts taught us to hear silence. Can novels do the same?
“I was shocked to learn that Hispanic conservatives celebrate Cortes’s arrival in Mexico.”
Policing the borders of the Spanish language was a tool of religious and racial discrimination. Yet Spanish is not inherently imperial.
Fernanda Melchor’s Hurricane Season makes other authors’ moral delicacy look like condescension.
Departing from a fixed form, some Latin American writers employed the short story as a laboratory of writing.
Paul Theroux’s On the Plain of Snakes is the richest portrayal of contemporary Mexico available to Americans, and an urgent one.