Segundo J. Fernandez, Juan A. Martínez, and Paul Niell
Cuban Art in the Twentieth Century is an historical progression of works by important artists from a complex modern movement described by several discrete periods: Colonial, Early Republic, First Generation, Second Generation, Third Generation, Late Modern, and Contemporary Periods.
In this one-of-a-kind study of race and class in the Bahamas, Gail Saunders shows how racial tensions were not necessarily parallel to those across other British West Indian colonies but instead mirrored the inflexible color line of the United States. Proximity to the U.S. and geographic isolation from other British colonies created a uniquely Bahamian interaction among racial groups. Focusing on the post-emancipation period from the 1880s to the 1960s, Saunders considers the entrenched, though extra-legal, segregation prevalent in most spheres of life that lasted well into the 1950s.
Using feminist and womanist theory, Simone Alexander takes as her main point of analysis literary works that focus on the black female body as the physical and metaphorical site of migration. She shows that over time black women have used their bodily presence to complicate and challenge a migratory process often forced upon them by men or patriarchal society.
Duke convincingly posits that federation was more than a regional endeavor; it was a diasporic, black nation-building undertaking--with broad support in diaspora centers such as Harlem and London--deeply immersed in ideas of racial unity, racial uplift, and black self-determination.
In Priest Under Fire, Peter Sánchez tells the story of how one priest joined a movement to help his people and his country. He provides much-needed insight into both the Salvadoran civil war and the Catholic Church-influenced grassroots political movements, showing that they continue to inform Latin America today.