Cultural Writing. Latino/Latina Studies. Translated from the Spanish by Brian Whitener, Daniel Borzutzky, and Fernando Fuentes. GENOCIDE IN THE NEIGHBORHOOD (an English translation of Genocida en el Barrio: Mesa de Escrache Popular by Colectivo Situaciones) documents the autonomist practice of the "escrache," a system of public shaming that emerged in the late 1990s to vindicate the lives of those disappeared under the Argentinean dictatorship and to protest the amnesty granted to perpetrators of the killing. The book is an example of militant research, an investigative method that Colectivo Situaciones has pioneered. Through a series of hypotheses and two sets of interviews, GENOCIDE IN THE NEIGHBORHOOD documents the theories, debates, successes, and failures of the escraches, investigates the nature of rebellion, discusses the value of historical and cultural memory to resistance, and suggests decentralized ways to agitate for justice. Think of it as a much needed model of political resistance.

Genocide in the Neighborhood (Chainlinks)

Literature & Fiction

Whitener, Editor Brian

History & Criticism

ChainLinks

Poetry. Latino/Latina Studies. Art. First published in 1973, two months after the military coup in Chile, Cecilia Vicuña's SABORAMI is a document of the times and the way in which history can change art. It is filled with the urgent hope that art, too, can change history. Put together when Vicuña was just twenty-five years old, the poems, paintings, and objects of SABORAMI enact a complex and multidimensional conversation. The meanings of the works (which were created over a seven year period) shifted radically after the events of September 11, 1973. Their meanings continue to shift and resonate in light of political events today. This recreation of the original SABORAMI is published with a new afterword Vicuña wrote especially for this edition.

Saborami

Vicuña, Cecilia

Poetry

Literary Nonfiction. Edited by community artist, scholar, and dancer Petra Kuppers (author of Disability and Contemporary Performance: Bodies on Edge and Community Performance: An Introduction), the book opens with Arnieville, a Californian protest camp of disability, homelessness, and poverty activists. From there, a series of enactments welcome trespass and incursion in the name of survival. Amy Sara Carroll on the Transborder Immigrant Tool, a GPS phone that uses poetry to lead the disoriented and thirsty to water caches and safety sites in the US-Mexican borderlands. Devora Neumark on washing Tali Goodfriend's hands in Lebanese olive oil outside the hotel where Colin Powell speaks to the Jewish National Fund, hands gliding over one another in the middle of an angry public protest. Christian Nagler on writing an experimental novel while conducting an oral history of agricultural labor practices and migration patterns at the site of the Panamerican Highway in El Salvador. Georgina Kleege on touch and blindness as she discusses Katherine Sherwood's paintings of magic and the human brain, paintings that Sherwood began after her stroke ten years ago. Eleni Stecopoulos on the healing quest as research and the complexities of cultural appropriation. Amber DiPietra and Denise Leto on the collaborative connections of breath, body, pause, pain, and form. SOMATIC ENGAGEMENT is an exploration of how relation and support play out in breaths, steps, and touch.

Somatic Engagement (Chainlinks)

Politics & Social Sciences

Politics & Government

Literary Nonfiction. Poetry History &amp; Criticism. Latino/Latina Studies. Translated from the Spanish by Jen Hofer, Christian Nagler, and Brian Whitener. In 1951, Charles Olson set out to spend some time in Mexico. He was only there for five months and he didn't learn much, but this time in Mexico would come to define all the poetry he was yet to write. Yépez begins with Olson in Mexico, with the possibility that he might be writing a study of Olson, a study of Olson's Mexico-philia. But what he writes instead is a breathtaking investigation of the relation between USAmerican poetry and Empire that careens idiosyncratically through the great men of empire—not just Olson, but those many other men who also traveled to Mexico, such as William Burroughs, Antonin Artaud, D. H. Lawrence, Herman Melville, and Ray Bradbury. This work is a dismantling of Olson, and of empire, and yet it is also clearly an inside job, a book that could only be written by someone who had spent hours thinking with and through—and beyond—Olson.

The Empire of Neomemory

Yépez, Heriberto

Literary

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