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Bread and Beauty is a study of the works and life of José Carlos Mariátegui (1894-1930), the autodidact Peruvian scholar and revolutionary activist frequently considered the most important Latin American Marxist.
The book rethinks key categories of Marx's work beyond any philosophy of history, showing how the plurality of temporal layers that are combined and come into conflict in the violently unifying historical dimension of modernity are central to Marx's thought.
"There is no better book on fascism's complex and vexed relationship with truth."—Jason Stanley, author of How Fascism Works: The Politics of Us and Them In this short companion to his book From Fascism to Populism in History, world-renowned historian Federico Finchelstein explains why fascists regarded simple and often hateful lies as truth, and why so many of their followers believed the falsehoods. Throughout the history of the twentieth century, many supporters of fascist ideologies regarded political lies as truth incarnated in their leader. From Hitler to Mussolini, fascist leaders capitalized on lies as the base of their power and popular sovereignty. This history continues in the present, when lies again seem to increasingly replace empirical truth. Now that actual news is presented as “fake news” and false news becomes government policy, A Brief History of Fascist Lies urges us to remember that the current talk of “post-truth” has a long political and intellectual lineage that we cannot ignore.
Jose Carlos Mariategui is one of Latin America's most profound but overlooked thinkers. A self-taught journalist, social scientist, and activist from Peru, he was the first to emphasize that those fighting for the revolutionary transformation of society must adapt classical Marxist theory to the particular conditions of Latin American. He also stressed that indigenous peoples must take an active, if not leading, role in any revolutionary struggle. Today Latin America is the scene of great social upheaval. More progressive governments are in power than ever before, and grassroots movements of indigenous peoples, workers, and peasants are increasingly shaping the political landscape. The time is perfect for a rediscovery of Mariategui, who is considered an intellectual precursor of today's struggles in Latin America but virtually unknown in the English-speaking world. This volume collects his essential writings, including many that have never been translated and some that have never been published. The scope of this collection, masterful translation, and thoughtful commentary make it an essential book for scholars of Latin America and all of those fighting for a new world, waiting to be born."
Drawing on a global history of politicized writing, this book explores literature's utility as a mode of activism and aesthetic engagement with the political challenges of the current moment. The question of literature's 'uses' has recently become a key topic of academic and public debate. Paradoxically, however, these conversations often tend to bypass the rich history of engagements with literature's distinctly political uses that form such a powerful current of 20th- and 21st-century artistic production and critical-theoretical reflection. The Political Uses of Literature reopens discussion of literature's political and activist genealogies along several interrelated lines: As a foundational moment, it draws attention to the important body of interwar politicized literature and to debates about literature's ability to intervene in social reality. It then traces the mobilization of related conversations and artistic practices across several historical conjunctures, most notably the committed literature of the 1960s and our own present. In mapping out these geographically and artistically diverse traditions – including case studies from the Americas, Europe, Africa, India and Russia – contributors advance critical discussions in the field, making questions pertaining to politicized art newly compelling to a broader and more diverse readership. Most importantly, this volume insists on the need to think about literature's political uses today – at a time when it has become increasingly difficult to imagine any kind of political efficacy for art, even as the need to do so is growing more and more acute. Literature may not proffer easy answers to our political problems, but as this collection suggests, the writing of the 20th century holds out aesthetic resources for a renewed engagement with the dilemmas that face us now.
Since its U.S. debut a quarter-century ago, this brilliant text has set a new standard for historical scholarship of Latin America. It is also an outstanding political economy, a social and cultural narrative of the highest quality, and perhaps the finest description of primitive capital accumulation since Marx. Rather than chronology, geography, or political successions, Eduardo Galeano has organized the various facets of Latin American history according to the patterns of five centuries of exploitation. Thus he is concerned with gold and silver, cacao and cotton, rubber and coffee, fruit, hides and wool, petroleum, iron, nickel, manganese, copper, aluminum ore, nitrates, and tin. These are the veins which he traces through the body of the entire continent, up to the Rio Grande and throughout the Caribbean, and all the way to their open ends where they empty into the coffers of wealth in the United States and Europe. Weaving fact and imagery into a rich tapestry, Galeano fuses scientific analysis with the passions of a plundered and suffering people. An immense gathering of materials is framed with a vigorous style that never falters in its command of themes. All readers interested in great historical, economic, political, and social writing will find a singular analytical achievement, and an overwhelming narrative that makes history speak, unforgettably. This classic is now further honored by Isabel Allende's inspiring introduction. Universally recognized as one of the most important writers of our time, Allende once again contributes her talents to literature, to political principles, and to enlightenment.
This book shows how Latin American writers and artists in the crisis-decades of the 1920s and 1930s used modernist techniques to explore national issues in relation to global capitalism. Drawing on a rich interdisciplinary archive of novels, poetry, essays, photography, and architecture, it includes chapters on major figures and the transformations that marked Latin American cities at the beginning of the twentieth century: the poet Manuel Maples Arce and Mexico City; the essayist José Carlos Mariátegui and Lima; the novelist Roberto Arlt and Buenos Aires; the novelist Patrícia Galvão and São Paulo. Tavid Mulder argues that the Latin American city should be understood as a peripheral metropolis: a social space that is simultaneously peripheral relative to the center of the world economy and a metropolis in relation to the region’s vast, underdeveloped hinterlands. Conceiving of modernist techniques as ways of understanding how the dualisms of Latin American societies—urban and rural, wealth and poverty, cosmopolitan and national—are bound together by the internal contradictions of capitalism, this volume insists on the ability of literary and artistic works to grasp the process through which untenable situations of crisis are not overcome but stabilized in the periphery. It thereby sheds light on issues in Latin America that have become increasingly urgent in the twenty-first century: inequality, indigenous migration, surplus populations, and anomie.
Peru's Truth and Reconciliation Commission not only documented the political violence of the 1980s and 1990s but also gave Peruvians a unique opportunity to examine the causes and nature of that violence. In Art from a Fractured Past, scholars and artists expand on the commission's work, arguing for broadening the definition of the testimonial to include various forms of artistic production as documentary evidence. Their innovative focus on representation offers new and compelling perspectives on how Peruvians experienced those years and how they have attempted to come to terms with the memories and legacies of violence. Their findings about Peru offer insight into questions of art, memory, and truth that resonate throughout Latin America in the wake of "dirty wars" of the last half century. Exploring diverse works of art, including memorials, drawings, theater, film, songs, painted wooden retablos (three-dimensional boxes), and fiction, including an acclaimed graphic novel, the contributors show that art, not constrained by literal truth, can generate new opportunities for empathetic understanding and solidarity. Contributors. Ricardo Caro Cárdenas, Jesús Cossio, Ponciano del Pino, Cynthia M. Garza, Edilberto Jímenez Quispe, Cynthia E. Milton, Jonathan Ritter, Luis Rossell, Steve J. Stern, María Eugenia Ulfe, Víctor Vich, Alfredo Villar
The available material in English discussing Latin American anarchism tends to be fragmentary, country-specific, or focused on single individuals. This new translation of Ángel Cappelletti's wide-ranging, country-by-country historical overview of anarchism's social and political achievements in fourteen Latin American nations is the first book-length regional history ever published in English. With a foreword by the translator. Ángel J. Cappelletti (1927–1995) was an Argentinian philosopher who taught at Simon Bolivar University in Venezuela. He is the author of over forty works primarily investigating philosophy and anarchism. Gabriel Palmer-Fernandez is Distinguished Professor of Philosophy and Religious Studies at Youngstown State University.