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Liveforever
Andrés Caicedo's novel Liveforever is a wild celebration of youth, hedonism and the transforming power of music. María del Carmen Huerta lives a respectable middle-class life in Colombia. One day she misses class, and discovers she cannot return to her ordinary existence but must pursue her passion for dancing across the city. We follow her from rumbas in car parks to concerts in shantytowns as she gives in to every desire - however dark. Published in 1977, Liveforever was its young author's masterpiece - and final work. Andrés Caicedo took his life the day it was published, but it has been recognized as a landmark in Colombian literature ever since. Andrés Caicedo was born in Cali, Colombia on September 29, 1951. In his short life, he wrote dozens of articles on film, several plays, screenplays, novellas, and countless short stories, with a prominent focus on social discord. He committed suicide at the age of 25.
Liveforever
Andrés Caicedo's novel Liveforever is a wild celebration of youth, hedonism and the transforming power of music. María del Carmen Huerta lives a respectable middle-class life in Colombia. One day she misses class, and discovers she cannot return to her ordinary existence but must pursue her passion for dancing across the city. We follow her from rumbas in car parks to concerts in shantytowns as she gives in to every desire - however dark. Published in 1977, Liveforever was its young author's masterpiece - and final work. Andrés Caicedo took his life the day it was published, but it has been recognized as a landmark in Colombian literature ever since. Andrés Caicedo was born in Cali, Colombia on September 29, 1951. In his short life, he wrote dozens of articles on film, several plays, screenplays, novellas, and countless short stories, with a prominent focus on social discord. He committed suicide at the age of 25.
Salman Rushdie's Midnight's Children
The original stage adaptation of Salman Rushdie’s Midnight’s Children, winner of the 1993 Booker of Bookers, the best book to win the Booker Prize in its first twenty-five years. In the moments of upheaval that surround the stroke of midnight on August 14--15, 1947, the day India proclaimed its independence from Great Britain, 1,001 children are born--each of whom is gifted with supernatural powers. Midnight’s Children focuses on the fates of two of them--the illegitimate son of a poor Hindu woman and the male heir of a wealthy Muslim family--who become inextricably linked when a midwife switches the boys at birth. An allegory of modern India, Midnight’s Children is a family saga set...
Music, Race, and Nation
Long a favorite on dance floors in Latin America, the porro, cumbia, and vallenato styles that make up Colombia's música tropical are now enjoying international success. How did this music—which has its roots in a black, marginal region of the country—manage, from the 1940s onward, to become so popular in a nation that had prided itself on its white heritage? Peter Wade explores the history of música tropical, analyzing its rise in the context of the development of the broadcast media, rapid urbanization, and regional struggles for power. Using archival sources and oral histories, Wade shows how big band renditions of cumbia and porro in the 1940s and 1950s suggested both old traditions and new liberties, especially for women, speaking to a deeply rooted image of black music as sensuous. Recently, nostalgic, "whitened" versions of música tropical have gained popularity as part of government-sponsored multiculturalism. Wade's fresh look at the way music transforms and is transformed by ideologies of race, nation, sexuality, tradition, and modernity is the first book-length study of Colombian popular music.
Bibliographic Guide to Gabriel García Márquez, 1992-2002
With this latest installment, Nelly Sfeir v. de Gonzalez has completed her triology of bibliographies on Gabriel Garcia Marquez. Born in Colombia in 1927, Garcia Marquez has become one of the most outstanding and influential novelists of the 20th century. He has received numerous awards, including the 1982 Nobel Prize for Literature. His work has generated an enormous amount of scholarship and his writings are part of the curricula taught in most American colleges and universities. This third volume presents a comprehensive annotated bibliography of books, articles, and non-print materials by and about Garcia Marquez published between 1992 and 2002. The first part consists of primary sources by Garcia Marquez, while, the second part brings together entries for secondary sources, including reviews.
Rock Aesthetics in Colombian Literature and Culture
Rock Aesthetics in Colombian Literature and Culture: Writing the Noise explores the presence of a rock aesthetic in the Colombian literary field and how its pivotal role in creating alternative creative expressions that challenge the dominance of tropicality as the prevailing artistic reference. More than a musical genre or a cultural industry, rock is also an aesthetic: a significant social practice that allows one to understand what people consider beautiful or authentic. Since its birth in the mid-1950s, rock as an aesthetic has expanded worldwide, transforming and establishing dialogues with artistic practices such as literature. Through an analysis of a series of novels, poems, and manifestos written from the 1950s to the early years of the twenty-first century, David Martínez Houghton embarks on a literary, musical, and historical journey. On the way, he explores complex phenomena such as urban violence, the formation of youth identities, the penetration of pop culture, national identity discourses, and even the social and physical transformation of Colombian cities.
Rethinking Third Cinema
In 1968, Argentinean Filmmakers Fernando Solanas and Octavio Getino first articulated the theory of a "Third Cinema" - a revolutionary genre of cinema that would counter oppression on a global scale. Intended to be a "guerilla cinema" geared at contesting the overwhelming dominance of Western cinema, Solana and Getino distinguished "Third Cinema" from other forms of cinema, classifying these other types as First Cinema (commercial cinema epitomized by Hollywood) and Second Cinema. "Third Cinema" was supposed to be a liberationary tool - particularly for the bulk of the world that was subject to European imperialism, such as Latin America, Africa and Asia. Spanning a wide geographical spread ...
