"A journey into the past reveals the terrifying truth that destroyed a family. A California farm wife leaves her husband and children to search for the truth about family members caught up in the turmoil of the Castro revolution. She encounters much more than she expected, as her family's tragedy becomes her own personal drama, cast in a modern mystery play of good versus evil, angels versus demons." "An account of the imprisonment of her great uncle Gabriel, once a Castro supporter, swept away by the so-called "Secret War" against the Cuban peasants early in the revolution, sets the mood for this lyrical novel told in the Latin American style of magical realism. The magic, but all too real paradox, is a Cuba where the splendor of natural beauty coexists with moral evil."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Since 2000, this traveling journalist/poet/musician and writer went to Cuba in search of the music of the Caribbean Islands. He took lessons from a Cuban master. His encounters with musicians, Afro-Cuban percussionists and rappers, brought him close to the “real” Cuba. His love for Cuban music and percussion instruments comes to life this book. The book also includes never before published photographs of Che Guevara.

The music of the peoples of South and Central America, Mexico, and the Caribbean is treated with unprecedented breadth in this multi-volume work. Taking a sociocultural and human-centered approach, Music in Latin America and the Caribbean gathers the best scholarship from writers all over the world to cover in depth the musical legacies of indigenous peoples, creoles, African descendants, Iberian colonizers, and other immigrant groups that met and mixed in the New World. From these texts, music emerges as the powerful tool that negotiates identities, enacts resistance, performs beliefs, and challenges received aesthetics. More than two decades in the making, this work privileges the perspectives of cultural insiders and emphasizes the role that music plays in human life. Volume 2, Performing the Caribbean Experience, focuses on the reconfiguration of this complex soundscape after the Conquest and on the strategies by which groups from distant worlds reconstructed traditions, assigning new meanings to fragments of memory and welding a fascinating variety of unique Creole cultures. Shaped by an enduring African presence and the experience of slavery and colonization by the Spanish, French, British, and Dutch, peoples of the Caribbean islands and circum-Caribbean territories resorted to the power of music to mirror their history, assert identity, gain freedom, and transcend their experience in lasting musical messages. Essays on pan-Caribbean themes, surveys of traditions, and riveting personal accounts capture the essence of pluralistic and spiritualized brands of creativity through the voices of an unprecedented number of Caribbean authors, including a representative contingent of distinguished Cuban scholars whose work is being published in English translation for the first time in this book. Two CDs with 52 recorded examples illustrate the contributions to this volume.

Cuban culture has long been available to English speakers via translation. This study examines the complex ways in which English renderings of Cuban texts from various domains—poetry, science fiction, political and military writing, music, film—have represented, reshaped, or amended original texts. Taking in a broad corpus, it becomes clear that the mental image an Anglophone audience has formed of Cuban culture since 1959 depends heavily on the decisions of translators. At times, a clear ideological agenda drives moves like strengthening the denunciatory tone of a song or excising passages from a political text. At other moments, translators’ indifference to the importance of certain facets of a work, such as a film’s onscreen text or the lyrics sung on a musical performance, impoverishes the English speaker’s experience of the rich weave of self-expression in the original Spanish. In addition to the dynamics at work in the choices translators make at the level of the text itself, this study attends to how paratexts like prefaces, footnotes, liner notes, and promotional copy shape the audience’s experience of the text.

Examines Cuba's history and long struggle for independence, its economy and political life since the 1959 Revolution, how history has shaped the country, what its political relations with the U.S. have been and how they are likely to change, and what challenges Cuba faces in the future.

Doing theology requires dissension and tenacity. Dissension is required when scriptural texts, and the colonial bodies and traditions (read: Babylon) that capitalize upon those, inhibit or prohibit “rising to life.” With “nerves” to dissent, the attentions of the first cluster of essays extend to scriptures and theologies, to borders and native peoples. The title for the first cluster — “talking back with nerves, against Babylon” — appeals to the spirit of feminist (to talk back against patriarchy) and RastafarI (to chant down Babylon) critics. The essays in the second cluster — titled “persevering with tenacity, through shitstems” — testify that perseverance is possible, and it requires tenacity. Tenacity is required so that the oppressive systems of Babylon do not have the final word. These two clusters are framed by two chapters that set the tone and push back at the usual business of doing theology, inviting engagement with the wisdom and nerves of artists and poets, and two closing chapters that open up the conversation for further dissension and tenacity. Doing theology with dissension and tenacity is unending.

The place of music in Ranciere's thought has long been underestimated or unrecognised. This volume responds to this absence with a collection of 15 essays by scholars from a variety of music- and sound-related fields, including an Afterword by Ranciere on the role of music in his thought and writing. The essays engage closely with Ranciere's existing commentary on music and its relationship to other arts in the aesthetic regime, revealed through detailed case studies around music, sound and listening. Ranciere's thought is explored along a number of music-historical trajectories, including Italian and German opera, Romantic and modernist music, Latin American and South African music, jazz, and contemporary popular music. Ranciere's work is also set creatively in dialogue with other key contemporary thinkers including Adorno, Althusser, Badiou and Deleuze.

Cuba: Another Side of the Story is a memoir of how life changed for many children growing up in a country slowly dying under constant political conflict. The story is told in three parts: Part I “Before Castro,” Part II “Life under Castro,” Part III “Life in Exile.” This book creates a vivid sense of time and place through childhood memories of pre- and post-Castro Cuba, from 1945 to 1967. The forty two stories, told through the voice of a child, highlight moments of injustice in the eyes of a young girl who does not understand why the world around her is so strange. Her nanny, a poor black woman, shaped her soul and showed her the other side of the story, the story of the poor who are voiceless in a world where only those who can afford to pay for elite private schools can get ahead in life. This nanny becomes the spiritual guide who enables a very sensitive young child to navigate in a confusing world. Every one of the 42 stories focuses on a moment where the child relives memories of what she witnessed growing up. The first story is dedicated to Nana, the person whose memory guides her to write her life story. The title of the stories clearly describe how Nana influenced the author and helped her see the other side of the story. “El Barrio” describes a neighborhood where the rich, middle class and the poor lived in close proximity, a reflection of what Cuban society was in the 1950’s-“Everyone lived under the same sun, moon and stars but our worlds were very different.” The chapter about “Sunday Mass” describes the well-dressed parishioners who every Sunday walked through the park next to the Church and ignored the beggars who held their arms out, palms up, hoping to get a nickel or dime. “I don’t think the beggars got any of the money the priests collected every Sunday because they came back every Sunday. I never understood why God didn’t take care of everybody the same way.” Religious conflict plus the rich versus poor struggles are present throughout the book. Castro started his revolution claiming he wanted to help the poor. In the end, everyone, including the poor, were deceived by a charismatic man who understood what the poor wanted to hear, a promise of equality for all. His communist doctrine doomed the possibility of ever achieving equality for all. During Sunday Mass the priests would often remind poor parishioners how much God loved the needy by quoting verses like, “Blessed are the poor for they shall inherit the Kingdom of God,” or “For it is easier for a camel to go through the eye of a needle than for a rich person to enter the kingdom of God.” Religion and poverty seem to be two themes that prevail throughout this book, expressed clearly by the voice of the author who puts into words her thoughts by writing, “I never understood why God didn’t take care of everybody the same way.” The stories “The Day the Old Cuba Died“ and “The Bay of Pigs Invasion” describe the days leading to the failed attempt by Cuban exiles to get rid of the Castro regime. All hope and dreams died. The only dream left was to find a way to leave the island. The chapter “Adios Cuba” is a vivid memory of what it means to become a political exile. “Exile is more than a change of address, it is a spiritual displacement.” This book is not a research study about Cuban maids, family, religion or politics; it is a story about a young child and the life of her nanny and maids who allowed her to enter their world, a world that many don’t dare to acknowledge.