Steven A. Cook is the Eni Enrico Mattei senior fellow for the Middle East and Africa studies and director of the International Affairs Fellowship for Tenured International Relations Scholars at the Council on Foreign Relations (CFR). He is a columnist at Foreign Policy magazine and an expert on Arab and Turkish politics as well as U.S. Middle East policy.
I read Maalouf's book many years ago and it remains one of the best books I have ever read about identity. It helps that he is a gifted writer and that Maalouf's story is so compelling.
Origins, by the world-renowned writer Amin Maalouf, is a sprawling, hemisphere-spanning intergenerational saga.
Set during the last quarter of the nineteenth century and the first quarter of the twentieth, in the mountains of Lebanon and in Havana, Cuba, Origins recounts the family history of the generation of Maalouf's paternal grandfather, Boutros. Why did Boutros, a poet and educator in Lebanon, travel across the globe to rescue his younger brother, Gebrayel, who had settled in Havana?
Maalouf is an energetic and amiable narrator, illuminating the more obscure corners of late Ottoman nationalism, the psychology of Lebanese sectarianism, and the dynamics of…
Van Gosse, Professor of History at Franklin & Marshall College, is the author ofWhere the Boys Are: Cuba, Cold War America, and the Making of a New Left, published in 1993 and still in print, a classic account of how "Yankees" engaged with the Cuban Revolution in its early years. Since then he has published widely on solidarity with Latin America and the New Left; for the past ten years he has also taught a popular course, "Cuba and the United States: The Closest of Strangers."
A watershed work in the new history of “the global Cold War” in the Third World, where Cuba’s revolutionary government acted with remarkable audacity to offer material, human, and military support to African revolutionaries (with the Soviet Union often a minor player). Gleijeses performed archival feats in Cuba, Africa, and the U.S. to bring together this many-sided portrait of skullduggery, intimate solidarity, and Cuban revolutionary agency.
Based on unprecedented research in Cuban, American and European archives, this is an account of Cuban policy in Africa from 1959 to 1976 and of its escalating clash with US policy towards the continent. Piero Gleijeses aims to shed new light on US foreign policy and CIA covert operations, revolutionize the view of Cuba's international role and provide the first look from the inside at Cuba's foreign policy during the Cold War.
Four of my formative years were spent in Iran and England where I became intrigued by the history and politics that shaped the Middle East. An avid reader, I was intrigued by how effectively international thrillers, particularly those by British authors, captured the mystery, complexity, and murky ambiguities of global politics. When I launched a second career as a writer, I committed to using international thrillers as a vehicle for exposing readers to other peoples and cultures and to the unending moral dilemmas that shape our political world. My aspiration is to present those stories as effectively and provocatively as the five writers recommended in my list!
Graham Greene is another master craftsman of thriller novels that explore political, moral, and ethical ambiguities in a way that both entertains and provokes. Better known for Our Man in Havana, Greene was sufficiently uncomfortable with The Confidential Agent that he wanted it published under a pseudonym. Yet I agree with critics that this tale of a foreign agent’s covert efforts to buy British coal to fuel a European civil war is among his best. Greene reputedly wrote it in six weeks, assisted by a diet of amphetamines and an affair with his landlady’s daughter, giving the novel a pace and rawness that reflect its creation.
He was sent to England to buy coal - at almost any price. Failure meant defeat - defeat of a continental government with a civil war on its hands. And this man carried the war with him, trusted by no man, trusting nobody.
Over fifty years ago I joined the Peace Corps in El Salvador. I married a Salvadoran woman, and our child was born during our two-year stay on a backcountry farm in Chile. My interest in Latin America has never faded—and in my latest novel, The World Against Her Skin, which is based on my mother’s life, I give hera pair of years in the Peace Corps. But it is Cuba that remains the most fascinating of all the countries south of our border, and of course I had to write about the giant turn it took in 1959, and the men and women who spurred that revolution.
Cristina Garcia has become the definitive chronicler of both Cuba and Cuban exiles. King of Cuba tells the story of two men: El Comandante (also called the despot, the tyrant, or El Líder—clearly this is Fidel) and a Miami exile, Goyo Herrera, who is as old and infirm as Castro himself. Garcia’s portrait of the desperation and ignominies these two old guys suffer, and of their hopeless attempts to cleave to past glories, transcends Cuban history and brings us two men I found cantankerous and self-inflating, but irresistible.
A “darkly hilarious” (Elle) novel about a fictionalized Fidel Castro and an octogenarian Cuban exile obsessed with seeking revenge by the National Book Award finalist Cristina García, this “clever, well-conceived dual portrait shows what connects and divides Cubans inside and outside of the island” (Kirkus Reviews).
Vivid and teeming with life, King of Cuba transports readers to Cuba and Miami, and into the heads of two larger-than-life men: a fictionalized Fidel Castro and an octogenarian Cuban exile obsessed with seeking revenge against the dictator. García’s masterful twinning of these characters combines with a rabble of other Cuban voices to portray…
As an enthusiastic and eclectic reader, one of my great joys is recommending books to others. I was able to indulge this joy consistently while teaching at a university, introducing students to authors and books and topics they otherwise might never have encountered. I find this same excitement in my own writing, searching for ways to reveal to others the magnificent wealth I find in modern poetry and in the brilliant concepts of poetic thinking.
The Cuban mystery writer Leonardo Padura offers an amazing presentation of Jewish history and the art of painting as they collide in modern Havana.
He weaves together three stories: the attempted escape from Hitler by Jews aboard a ship that is turned back from the Havana harbor in 1939; the aborted career of an imaginary Jewish disciple of Rembrandt, who defies the biblical prohibition against creating human likenesses; and a contemporary attempt by a Cuban Jew to track down his exterminated family’s Rembrandt masterpiece.
I love how the vastly different worlds of modern Havana and 17th-century Amsterdam embark on a conversation that reveals so much about Jewish history and art.
"Padura’s Heretics spans and defies literary categories . . . ingenious." ―Maureen Corrigan, Fresh Air
A sweeping novel of art theft, anti-Semitism, contemporary Cuba, and crime from a renowned Cuban author, Heretics is Leonardo Padura's greatest detective work yet.
In 1939, the Saint Louis sails from Hamburg into Havana’s port with hundreds of Jewish refugees seeking asylum from the Nazi regime. From the docks, nine-year-old Daniel Kaminsky watches as the passengers, including his mother, father, and sister, become embroiled in a fiasco of Cuban corruption. But the Kaminskys have a treasure that they hope will save them: a small Rembrandt…
I have been professionally involved with contemporary art since the 1980s, when I was a curator at the Institute of Contemporary Art in Boston. In the forty years since I've seen an enormous shift in the orientation of American curators and scholars from Western art to a global perspective. After earning my PhD at Harvard, and writing several books on contemporary art, I wanted to tackle the challenge of a truly comparative contemporary art history. To do so, I've depended on the burgeoning scholarship from a new more diverse generation of art historians, as well as on many decades of travel and research. My book Heritage and Debt is an attempt to synthesize that knowledge.
This book is part of a series that extensively documents watershed modern and contemporary exhibitions. The Havana Biennial of 1989 was especially important because it developed what has been called South-South connections in the exhibition of contemporary art–in other words, connections between different parts of the Global South or non-West that are not routed through European or North American art capitals. This was possible because, during the Cold War, Cuba maintained extensive cultural networks throughout the so-called Third World
The second installment in Afterall's Exhibition Histories series, Making Art Global, Part 1 focuses on the third Havana Biennial, which took place in 1989. In the core essay, Rachel Weiss examines the ways in which this exhibition extended the global territory of contemporary art and redefined the biennial model. Gerardo Mosquera, a key member of the curatorial team, contributes a reflection on the project, and its constituent exhibitions and events are documented photographically. The book also includes a paper delivered by Geeta Kapur at the Biennial conference and republishes reviews of the Biennial by Coco Fusco and Luis Camnitzer. It…
I have a passion for telling the stories of women who've been sidelined by history, fascinating and significant leading ladies who made a meaningful mark, even though their names are now less well-known than many of the men of their time. The Magnificent Lives of Marjorie Post is my ninth book. I’ve written two children’s books, one nonfiction memoir, and six historical fiction novels, but this one feels particularly exciting and personal to me because I fell in love with the historical material, the time periods covered, and the subject herself, while researching and writing this novel. Post’s life is not taught in history classes, but should be, because she certainly makes history fun.
This story of a Cuban-American family sweeps the reader from Havana to Florida, from the years of Fidel Castro’s Revolution into the present-day immigrant experience. Historical fiction is a gift to readers in that it puts us squarely into history’s most tumultuous and dramatic moments, and that is exactly what Cleeton has done with this beautiful and transportive novel of the Perez family.
A HELLO SUNSHINE x REESE WITHERSPOON BOOK CLUB PICK
“A beautiful novel that's full of forbidden passions, family secrets and a lot of courage and sacrifice.”—Reese Witherspoon
After the death of her beloved grandmother, a Cuban-American woman travels to Havana, where she discovers the roots of her identity—and unearths a family secret hidden since the revolution...
Havana, 1958. The daughter of a sugar baron, nineteen-year-old Elisa Perez is part of Cuba's high society, where she is largely sheltered from the country's growing political unrest—until she embarks on a clandestine affair with a passionate revolutionary...
The closest ancestor I have found to my own writing, Greene, a former British intelligence officer, tells a classic spy story with an absurd sense of humor.
James Wormold, a vacuum cleaner salesman in need of cash, agrees to become an MI6 informant. But laziness causes him to invent intelligence, including by sketching vacuum cleaner parts and passing them off as drawings of a secret military installation.
When real life and the fake intelligence become intertwined, things get very strange and very funny. A joy to read.
MI6’s man in Havana is Wormold, a former vacuum-cleaner salesman turned reluctant secret agent out of economic necessity. To keep his job, he files bogus reports based on Charles Lamb’s Tales from Shakespeare and dreams up military installations from vacuum-cleaner designs. Then his stories start coming disturbingly true…
First published in 1959 against the backdrop of the Cold War, Our Man in Havana remains one of Graham Greene’s most widely read novels. It is an espionage thriller, a penetrating character study, and a political satire of government intelligence that still resonates today. This Penguin Classics edition features an introduction by…
I am a philologist with a passion for Atlantic cultural history. What started with a research project on the African-American Pinkster tradition and the African community in seventeenth-century Dutch Manhattan led me to New Orleans’ Congo Square and has meanwhile expanded to the African Atlantic islands, the Caribbean, and Latin America. With fluency in several foreign languages, I have tried to demonstrate in my publications that we can achieve a better understanding of Black cultural and religious identity formation in the Americas by adopting a multilingual and Atlantic perspective.
In this fascinating study, Chasteen examines the historical experiences that molded Latin American popular dance from an Atlantic perspective. It delves into the “deep” history of Latin American culture and analyzes the development of dancing culture in its socio-historical context. This is not only a well-researched, but also a well written and oftentimes funny book that is broadly accessible. It is a must-read for any new scholar interested in the field of Black performance culture. Although the focus is on Latin America, Chasteen’s study reveals connections that are also of great importance to understanding the historical development of Black dance culture in North America.
When John Charles Chasteen learned that Simon Bolivar, the Liberator, danced on a banquet table to celebrate Latin American independence in 1824, he tried to visualise the scene. How, he wondered, did the Liberator dance? Did he bounce stiffly in his dress uniform? Or did he move his hips? In other words, how high had African dance influences reached in Latin American societies? A vast social gap separated Bolivar from people of African descent; however, Chasteen's research shows that popular culture could bridge the gap. Fast-paced and often funny, this book explores the history of Latin American popular dance before…
Iʻve been travelling to islands before realizing I was seeking them. It was my political convictions that brought me to Haiti and Cuba, and later to Indonesia and Thai Islands due to my philosophical interests. When I headed to Greece for the first time it was to Corfu and the Peloponnese, my lineage, but also to Ithaca, Crete, the Cyclades, and eventually to Lesvos. Now I live in Hawaiʻi. I was attracted to the poetics of island landscapes, but as a scholar of space, society, and justice, I also understood that islands hold distinct sets of constraints and opportunities that require further study with intersectional and decolonial perspectives.
This novel is both sexy and chilling. It is the journey of a young woman, about her lovers, the intimacy of friendship, and her alluring social life in Havana, Cuba. With each page you sip the intensity of youth and political drama on the island. After traveling to Cuba to protest the US embargo in the 1990s and living for so many years in Miami with friends in the Cuban diaspora, Cuban's transnational socio-cultural complex frames how I think about islands. I relish how Portela writes, she is the friend who coaxes you out, keeps you up all night, with the promises of thrill, excitement, and a bit of danger.
One Hundred Bottles, with its intersecting characters and unresolved whodunits, can be read as a murder mystery. But it's really a survivor's story. In a voice that blends gossip, storytelling, and literature, Z-the vivacious heroine of Portela's award-winning novel-relates her rum-soaked encounters with the lesbian underground, the characters carving up her home, and the terrifying-but-irresistible Moises. As entertaining as any detective drama, One Hundred Bottles is ultimately made real by very rough love, intense friendship, and something small that decides to live.
