. . [Territories in Resistance] will be a key reference point in the development of anti-systemic thought."—Gilberto López y Rivas, La JornadaTerritories in Resistance is an indispensable complement to existing literature on Latin American autonomous social movements. Explore the “other worlds” being created in the wreckage of colonialism and capitalism. From Mexico, Ecuador, and Colombia to Argentina and Brazil, no living author digs as deep and presents theoretical challenges quite like Raúl Zibechi.Raúl Zibechi is an international analyst for Brecha, a weekly journal in Montevideo, Uruguay, and the author of Dispersing Power: Social Movements as Anti-State Forces (AK Press, 2010).In Oakland, California on March 24, 2015 a fire destroyed the AK Press warehouse along with several other businesses. Please consider visiting the AK Press website to learn more about the fundraiser to help them and their neighbors.

    While these voyages produced written texts and compiled collections of specimens, they dedicated an overwhelming proportion of their resources and energy to the creation of visual materials. European and American naturalists and artists collaborated to manufacture a staggering total of more than 12,000 botanical illustrations. Yet these images have remained largely overlooked—until now.In this lavishly illustrated volume, Daniela Bleichmar gives this archive its due, finding in these botanical images a window into the worlds of Enlightenment science, visual culture, and empire. Through innovative interdisciplinary scholarship that bridges the histories of science, visual culture, and the Hispanic world, Bleichmar uses these images to trace two related histories: the little-known history of scientific expeditions in the Hispanic Enlightenment and the history of visual evidence in both science and administration in the early modern Spanish empire. As Bleichmar shows, in the Spanish empire visual epistemology operated not only in scientific contexts but also as part of an imperial apparatus that had a long-established tradition of deploying visual evidence for administrative purposes.

    Partly as a result, there has been a dearth of serious scholarship or journalism about the country. Going a long way toward redressing this lack of information and analysis, The Paraguay Reader is a lively compilation of testimonies, journalism, scholarship, political tracts, literature, and illustrations, including maps, photographs, paintings, drawings, and advertisements. Taken together, the anthology's many selections convey the country's extraordinarily rich history and cultural heritage, as well as the realities of its struggles against underdevelopment, foreign intervention, poverty, inequality, and authoritarianism. Most of the Reader is arranged chronologically. Weighted toward the twentieth century and early twenty-first, it nevertheless gives due attention to major events in Paraguay's history, such as the Triple Alliance War (1864–70) and the Chaco War (1932–35). The Reader's final section, focused on national identity and culture, addresses matters including ethnicity, language, and gender. Most of the selections are by Paraguayans, and many of the pieces appear in English for the first time. Helpful introductions by the editors precede each of the book's sections and all of the selected texts.

    This reader includes beautifully written introductions and a fascinating array of never-before-published primary documents. These treasures from the archives offer a new picture of colonial Saint-Domingue and the Haitian Revolution. The translations are lively and colorful." --Alyssa Sepinwall, California State University San Marcos

    This campaign, known as the General Resettlement of Indians, represented a turning point in the history of European colonialism: a state forcing an entire conquered society to change its way of life overnight. But while this radical restructuring destroyed certain aspects of indigenous society, Jeremy Ravi Mumford's Vertical Empire reveals the ways that it preserved others. The campaign drew on colonial ethnographic inquiries into indigenous culture and strengthened the place of native lords in colonial society. In the end, rather than destroying the web of Andean communities, the General Resettlement added another layer to indigenous culture, a culture that the Spaniards glimpsed and that Andeans defended fiercely.Jeremy Ravi Mumford is Visiting Assistant Professor of History at Brown University."This is a work of superior scholarship, and it will have a major impact in the field of Andean studies. Scholars and non-specialists alike have long seen the General Resettlement of Indians ordered in 1569 as a crushing blow landed on Andeans by their Spanish colonizers. Yet Jeremy Ravi Mumford shows a much more nuanced, ambivalent process. Vertical Empire joins a fast-growing secondary literature that emphasizes Andeans' agency."—Kathryn Burns, author of Into the Archive: Writing and Power in Colonial Peru"Jeremy Ravi Mumford's gracefully written study is a major contribution not only to the history of the Andes and colonial Latin America, but also to the history of colonialism. The most detailed examination of the project to date, Vertical Empire adds new depth and dimension to what many regard as one of the greatest feats of social engineering in modern history: the resettlement of the Andean population ordered by Francisco de Toledo, fifth viceroy of Peru."—Karen Spalding, author of Huarochirí: An Andean Society under Inca and Spanish Rule

     Provides a fresh approach and a new interpretation of the seismic changes of the last 40 years in Latin America Introduces major themes from a humanistic and universal perspective, putting each subject in a context that readers can understand and relate to Focuses on 'Ibero-America'--Brazil and the eighteen countries that were formerly Spanish possessions- while offering valuable comparative views of the non-Iberian areas of the Caribbean Emphasizes the global, regional and national dimensions of the region's recent past

    During this Export Age, entire regions were given over to the cultivation of export commodities such as coffee and bananas, capital and labor were relocated to new production centers, and barriers to foreign investment were removed. Capital Fictions investigates the key role played by literature in imagining and interpreting the rapid transformations unleashed by Latin America’s first major wave of capitalist modernization.Using an innovative blend of literary and economic analysis and drawing from a rich interdisciplinary archive, Ericka Beckman provides the first extended evaluation of Export Age literary production. She traces the emergence of a distinct set of fictions, fantasies, and illusions that accompanied the rise of export-led, dependent capitalism. These “capital fictions” range from promotional pamphlets for Guatemalan coffee and advertisements for French fashions, to novels about stock market collapse in Argentina and rubber extraction in the Amazon.Beckman explores how Export Age literature anticipated some of the key contradictions faced by contemporary capitalist societies, including extreme financial volatility, vast social inequality, and ever-more-intense means of exploitation. Questioning the opposition between culture and economics in Latin America and elsewhere, Capital Fictions shows that literature operated as a powerful form of political economy during this period.

    They reveal Jara as an ardent political poet, and eloquent advocate for the peasantry from which he arose, a socialist visionary and a poetic balladeer of the highest order."

    Its practitioners are self-taught, commercial painters, whose high-toned designs, vibrant portraits, and landscapes appear in cantinas, barbershops, and restaurants. The red devil buses are popular art's most visible manifestation. The old school buses are imported from the United States and provide public transportation in Colon and Panama City. Their owners hire the artists to attract customers with eye-catching depictions of singers and actors, brassy phrases, and vivid representations of both local and exotic panoramas. The red devils boast powerful stereo systems and dominate the urban environment with their blasting reggae, screeching brakes, horns, sirens, whistles, and roaring mufflers.Wolf Tracks analyzes the origins of these practices, tying them to rebellious, Afro-American festival traditions, and to the rumba craze of the mid-twentieth century. During World War II, thousands of U.S. soldiers were stationed in Panama, and elaborately decorated cabarets opened to cater to their presence. These venues often featured touring Afro-Cuban musicians. Painters such as Luis -The Wolf- Evans exploited such moments of modernization to challenge the elite and its older conception of Panama as a country with little connection to Africa. While the intellectual class fled from modernization and asserted a romantic and mestizo (European-indigenous) vision of the republic, popular artists enthusiastically embraced the new influences to project a powerful sense of blackness. Wolf Tracks includes biographies of dozens of painters, as well as detailed discussions of mestizo nationalism, soccer, reggae, and other markers of Afro-Panamanian identity.