Very quickly the Castro government suppressed his writing and persecuted him for his homosexuality until he was finally imprisoned.

    Her works dwell on obsessions: erotic love, evil, purity, perversion, prostitution, tragic separation, and death. Most of her characters are involved in ill-fated searches for the Absolute through both excessively passionate and sadomasochistic relationships. Inevitably, the perfect, pure dyad of two youthful lovers is interrupted or corrupted through the interference of a third party (a rival lover or a child), aging, death, or public morality. Set at the beginning of the twentieth century in the tropical northwestern Mexican state of Sinaloa, the stories collected in Underground River and Other Stories focus on female subjectivity. Arredondo’s adult male characters are often predators, depraved collectors of adolescent virgins, like the plantation owners in “The Nocturnal Butterflies” and “Shadows in the Shadows” and the dying uncle in “The Shunammite,” who is kept alive by incestuous lust. Since the young female protagonists rarely have fathers to protect them, the only thing standing between them and these lechers are older women. Perversely, these older women act as accomplices–along with the extended family and the Roman Catholic Church–in the sordid age-old traffic in women.Underground River and Other Stories is the first appearance of Arredondo’s stories in English.

    Ricardo Guiraldes, a friend of Jorge Luis Borges - they both founded the legendary magazine Proa - managed to develop a simple and modern language, a high quality mixture of literacy and colourful local camp expressions that earned him a major standing among the best representatives of "criollismo."Even though it may be considered as a continuity with Martin Fierro, more than an extinguished gaucho elegy Don Segundo Sombra proposes new ethical examples to a youth that Guiraldes considered disoriented and restless. Basically structured as lessons to be absorbed departing from inexperience, lessons on labour, amusement, morals, camp chores (horse taming, cattle rodeo, raw hide handy work, animal healing, etc.), they become an example of "lo argentino" supported by a very specific and precise lexikon.Our edition includes more than 300 lexicographic notes, conveniently placed at the bottom of the pages and intended to help the modern reader grasp the exact meaning of the text without obtrusive lengthy interruptions. The notes were made after a careful research work that included the critical Martin Fierro editions by Eleuterio F. Tiscornia, Ed. Losada, Buenos Aires, 1941; by Carlos Alberto Leumann, Ed. Angel de Estrada, Buenos Aires, 1945; and by Santiago M. Lugones, Ed. Centurion, Buenos Aires, 1948; their own notes compared between them and with the critical edition by Elida Lois y Angel Nunez, Ed. ALLCA XX (Association Archives de la Litterature Latinoamericaine, des Caraibes et Africaine du XX Siecle), Paris 2001; with Leopoldo Lugones en El payador, Ed. Centurion, Bs. As. 1948 (and Stockcero 2004); Francisco Castro in Vocabulario y frases del Martin Fierro, Ed. Kraft, Bs. As. 1950, and Domingo Bravo en El Quichua en el Martin Fierro y Don Segundo Sombra, Ed. Instituto Amigos del Libro Argentino, Bs. As. 1968; Horacio J. Becco en don Segundo Sombra y su vocabulario, Ed. Ollantay, Bs. As. 1952; Ramon R. Capdevila 1700 refranes, dichos y modismos (region central bonaerense), Ed. Patria, Bs. As. 1955; Emilio Solanet Pelajes Criollos, Ed. Kraft, Bs. As. 1955; and Tito Saubidet Vocabulario y refranero criollo, Ed. Kraft, Bs. As. 1943"

    These nine stories of adventure, exploration and voyage are peopled with ravenous explorers, fortune hunters, foreign revolutionaries, ill-fated seafarers, intrepid ship's captains, and ruthless smugglers.

    Features previously published and new poems that explore the natural world and how it is connected to human beings and spirituality.

    Her poetry probes the difficulties that the individual encounters in relationships with others, with the natural world, and with cultural and popular ideas. - -britanica

    Here are poems that bring to life her rural Missouri childhood in a family with ten children (“Oh what a wedding train / of vagabonds we were who fell asleep just where we lay”); the love between men and women as well as the devastation of widowhood (“love’s house she goes dancing her grief-stricken dance / for his unpacked suitcases, . . . / . . . / his closets of clothes where I crouch like a thief”); and the moods of nature, which schooled her (“A tree will take you in, flush riot of needles light burst, the white pine / grown through sycamore”). Throughout, touching all subjects, either implicitly or explicitly, is the call to poetry itself.The final work from one of our finest poets, The Wind Blows Through the Doors of My Heart is a uniquely intimate collection, a sustaining pleasure that will stand to remind us of Digges’s gift in decades to come.

    THE WHITE BOOK becomes a meditation on the color white, as well as a fictional journey inspired by an older sister who died in her mother's arms, a few hours old. The narrator grapples with the tragedy that has haunted her family, an event she colors in stark white--breast milk, swaddling bands, the baby's rice cake-colored skin--and, from here, visits all that glows in her memory: from a white dog to sugar cubes.As the writer reckons with the enormity of her sister's death, Han Kang's trademark frank and chilling prose is softened by retrospection, introspection, and a deep sense of resilience and love. THE WHITE BOOK--ultimately a letter from Kang to her sister--offers powerful philosophy and personal psychology on the tenacity and fragility of the human spirit, and our attempts to graft new life from the ashes of destruction.

    A collection of poems that constitutes a spiritual autobiography of Jose Marti, the renowned Cuban poet, philosopher, and patriot.

    In the end, however, it is a meditation on the nature of totalitarian regimes, on the transition to democracy after the end of such regimes, and on the power of language to create and define reality. Ricardo Piglia combines his trademark avant-garde aesthetics with astute cultural and political insights into Argentina’s history and contemporary condition in this conceptually daring and entertaining work.The novel follows Junior, a reporter for a daily Buenos Aires newspaper, as he attempts to locate a secret machine that contains the mind and the memory of a woman named Elena. While Elena produces stories that reflect on actual events in Argentina, the police are seeking her destruction because of the revelations of atrocities that she—the machine—is disseminating through texts and taped recordings. The book thus portrays the race to recover the history and memory of a city and a country where history has largely been obliterated by political repression. Its narratives—all part of a detective story, all part of something more—multiply as they intersect with each other, like the streets and avenues of Buenos Aires itself. The second of Piglia’s novels to be translated by Duke University Press—the first was Artifical Respiration—this book continues the author’s quest to portray the abuses and atrocities that characterize dictatorships as well as the difficulties associated with making the transition to democracy. Translated and with an introduction by Sergio Waisman, it includes a new afterword by the author.

    They all have one person in common, their beloved therapist Natasha who, though central to the lives of all of the women, is absent from their meeting. The women represent the many cultural and social groups that modern Chile is comprised of—from a housekeeper to celebrity television personality. They are of disparate ages and races and their lives have been touched by major political events from the dictatorship of Pinochet to the Israel-Palestine conflict. But despite their differences, as the women tell their stories, unlikely bonds are formed, and their lives are transformed in this intricately woven, beautifully rendered tale of the universal bonds between women from one of Latin America’s most celebrated novelists.

    Although Flush has adventures of his own with bullying dogs, horrid maids, and robbers, he also provides the reader with a glimpse into Browning’s life. Introduction by Trekkie Ritchie.

    Employing a range of literary styles and a variety of voices, Leopoldo Marechal parodies and celebrates Argentina's most brilliant literary and artistic generation, the martinfierristas of the 1920s, among them Jorge Luis Borges. First published in 1948 during the polarizing reign of Juan Perón, the novel was hailed by Julio Cortázar as an extraordinary event in twentieth-century Argentine literature. Set over the course of three break-neck days, Adam Buenosayres follows the protagonist through an apparent metaphysical awakening, a battle for his soul fought by angels and demons, and a descent through a place resembling a comic version of Dante's hell. Presenting both a breathtaking translation and thorough explanatory notes, Norman Cheadle captures the limitless language of Marechal's original and guides the reader along an unmatched journey through the culture of Buenos Aires. This first-ever English translation brings to light Marechal's masterwork with an introduction outlining the novel's importance in various contexts - Argentine, Latin American, and world literature - and with notes illuminating its literary, cultural, and historical references. A salient feature of the Argentine canon, Adam Buenosayres is both a path-breaking novel and a key text for understanding Argentina's cultural and political history.

    It is told in 29 tangos. A tango (like a marriage) is something you have to dance to the end.This clear-eyed, brutal, moving, darkly funny book tells a single story in an immediate, accessible voice–29 “tangos” of narrative verse that take us vividly through erotic, painful, and heartbreaking scenes from a long-time marriage that falls apart. Only award-winning poet Anne Carson could create a work that takes on the oldest of lyrical subjects–love–and make it this powerful, this fresh, this devastating.

    Early posthumously published collections-some of them featuring liberally “edited” versions of the poems-did not fully and accurately represent Dickinson’s bold experiments in prosody, her tragic vision, and the range of her intellectual and emotional explorations. Not until the 1955 publication of The Complete Poems of Emily Dickinson, a three-volume critical edition compiled by Thomas H. Johnson, were readers able for the first time to assess, understand, and appreciate the whole of Dickinson’s extraordinary poetic genius.This book, a distillation of the three-volume Complete Poems, brings together the original texts of all 1,775 poems that Emily Dickinson wrote.