Debates over the undocumented migration of Latin Americans invariably focus on the southern US border, but most migrants never cross that arbitrary line. Instead, many travel, via water, among the Caribbean islands. The first study to examine literary and artistic representations of undocumented migration within the Hispanophone Caribbean, Crossing Waters relates a journey that remains silenced and largely unknown.

Analyzing works by novelists, short-story writers, poets, and visual artists replete with references to drowning and echoes of the Middle Passage, Marisel Moreno shines a spotlight on the plight that these migrants face. In some cases, Puerto Rico takes on a new role as a stepping-stone to the continental United States and the society migrants will join there. Meanwhile the land border between Haiti and the Dominican Republic, the only terrestrial border in the Hispanophone Caribbean, emerges as a complex space within this cartography of borders. And while the Border Patrol occupies US headlines, the Coast Guard occupies the nightmares of refugees.

An untold story filled with beauty, possibility, and sorrow, Crossing Waters encourages us to rethink the geography and experience of undocumented migration and the role that the Caribbean archipelago plays as a border zone.

A CHOICE Outstanding Academic Book

Modernismo arose in Spanish American literature as a confrontation with and a response to modernizing forces that were transforming Spanish American society in the later nineteenth century. In this book, Cathy L. Jrade undertakes a full exploration of the modernista project and shows how it provided a foundation for trends and movements that have continued to shape literary production in Spanish America throughout the twentieth century.

Jrade opens with a systematic consideration of the development of modernismo and then proceeds with detailed analyses of works-poetry, narrative, and essays-that typified and altered the movement's course. In this way, she situates the writing of key authors, such as Rubén Darío, José Martí, and Leopoldo Lugones, within the overall modernista project and traces modernismo's influence on subsequent generations of writers.

Jrade's analysis reclaims the power of the visionary stance taken by these creative intellectuals. She firmly abolishes any lingering tendency to associate modernismo with affectation and effete elegance, revealing instead how the modernistas' new literary language expressed their profound political and epistemological concerns.

Satire, the use of criticism cloaked in wit, has been employed since classical times to challenge the established order of society. In colonial Spanish America during the sixteenth through the eighteenth centuries, many writers used satire to resist Spanish-imposed social and literary forms and find an authentic Latin American voice. This study explores the work of eight satirists of the colonial period and shows how their literary innovations had a formative influence on the development of the modern Latin American novel, essay, and autobiography.

The writers studied here include Sor Juana Inés de la Cruz, Juan del Valle y Caviedes, Cristóbal de Llerena, and Eugenio Espejo. Johnson chronicles how they used satire to challenge the "New World as Utopia" myth propagated by Spanish authorities and criticize the Catholic church for its role in fulfilling imperialistic designs. She also shows how their marginalized status as Creoles without the rights and privileges of their Spanish heritage made them effective satirists. From their writings, she asserts, emerges the first self-awareness and national consciousness of Spanish America.

By linking the two great periods of Latin American literarure—the colonial writers and the modern generation—Satire in Colonial Spanish America makes an important contribution to Latin American literature and culture studies. It will also be of interest to all literary scholars who study satire.

In the postdictatorial era, Latin American cultural production and criticism have been defined by a series of assumptions about politics and art—expecially the claim that political freedom can be achieved by promoting a more direct experience between the textual subject (often a victim) and the reader by eliminating the division between art and life. The Vanishing Frame argues against this conception of freedom, demonstrating how it is based on a politics of human rights complicit with economic injustices. Presenting a provocative counternarrative, Eugenio Claudio Di Stefano examines literary, visual, and interdisciplinary artists who insist on the autonomy of the work of art in order to think beyond the politics of human rights and neoliberalism in Latin American theory and culture.

Di Stefano demonstrates that while artists such as Diamela Eltit, Ariel Dorfman, and Albertina Carri develop a concept of justice premised on recognizing victims’ experiences of torture or disappearance, they also ignore the injustice of economic inequality and exploitation. By examining how artists such as Roberto Bolaño, Alejandro Zambra, and Fernando Botero not only reject an aesthetics of experience (and the politics it entails) but also insist on the work of art as a point of departure for an anticapitalist politics, this new reading of Latin American cultural production offers an alternative understanding of recent developments in Latin American aesthetics and politics that puts art at its center and the postdictatorship at its end.

When a master novelist, essayist, and critic searches for the wellsprings of his own work, where does he turn? Mario Vargas Llosa—Peruvian writer, presidential contender, and public intellectual—answers this most personal question with elegant concision in this collection of essays. In “Four Centuries of Don Quixote,” he revisits the quintessential Spanish novel—a fiction about fiction whose ebullient prose still questions the certainties of our stumbling ideals. In recounting his illicit, delicious discovery of Borges’ fiction—“the most important thing to happen to imaginative writing in the Spanish language in modern times”—Vargas Llosa stands in for a generation of Latin American novelists who were liberated from their sense of isolation and inferiority by this Argentinean master of the European tradition.

In a nuanced appreciation of Ortega y Gasset, Vargas Llosa recovers the democratic liberalism of a misunderstood radical—a mid-century political philosopher on a par with Sartre and Russell, ignored because “he was only a Spaniard.” And in essays on the influence of Karl Popper and Isaiah Berlin, the author finds an antidote to the poisonous well of fanaticism in its many modern forms, from socialist utopianism and nationalism to religious fundamentalism. From these essays a picture emerges of a writer for whom the enchantment of literature awakens a critical gaze on the turbulent world in which we live.

What does it take for a woman to succeed as a writer? In these revealing interviews, first published in 1988 as Historias íntimas, ten of Latin America's most important women writers explore this question with scholar Magdalena García Pinto, discussing the personal, social, and political factors that have shaped their writing careers.

The authors interviewed are Isabel Allende, Albalucía Angel, Rosario Ferré, Margo Glantz, Sylvia Molloy, Elvira Orphée, Elena Poniatowska, Marta Traba, Luisa Valenzuela, and Ida Vitale. In intimate dialogues with each author, García Pinto draws out the formative experiences of her youth, tracing the pilgrimage that led each to a distinguished writing career.

The writers also reflect on their published writings, discussing the creative process in general and the motivating force behind individual works. They candidly discuss the problems they have faced in writing and the strategies that enabled them to reach their goals.

While obviously of interest to readers of Latin American literature, this book has important insights for students of women's literature and cultural studies, as well as for aspiring writers.