Jose Federico Burgos is a failed painter turned forger trapped in surreal, an architectural masterpiece hidden behind high walls, an impish vagabond, and some very resourceful, very intimidating twins-Forgery pays homage to greats like Juan Rulfo and Luis Barragan, traversing late 20th Century Guadalajara with the exuberance and eccentricity of an 18th Century picaresque.

_Five hundred miles from mainland Colombia, grassroots resistance, sloppy vacationers, and a muddy history of conquest converge for Veronica, returning after living in Mexico City, ready to understand herself and the place she came from. _San Andres rises gently from the Caribbean, part of Colombia but closer to Nicaragua, the largest island in an archipelago claimed by the Spanish, colonized by the Puritans, worked by slaves, and home to Arab traders, migrants from the mainland, and the descendants of everyone who came before. For Victoria - whose origins on the island go back generations, but whose identity is contested by her accent, her skin colour, her years far away - the sunburnt tourists, sewage blooms, sudden storms, and 'thinking rundowns' where liberation is plotted and dinner served from a giant communal pot, bring her into vivid, intimate contact with the island she thought she knew, her own history, and the possibility for a real future for herself and San Andres.

From Mexican-born poet Dolores Dorantes, Copy is a book-length prose poem examining extrication, refuge, and reintegration, presented in English for the first time by award-winning translator Robin Meyers. Through deconstructed dictionary entries and powerfully syncopated, recursive texts, Copy is a prose poem sequence that insinuates an experience of violent removal: a person's disappearance from a country, from normal life, and forcible reintegration into a new social and existential configuration. This displaced, dispossessed voice explores what it means to be extracted, subtracted, abstracted out of being-and returned into it. Meditative, urgent, and alive, Copy asserts itself as an invocation, both intensely personal and insistently communal, of the right to refuge, and it enacts a powerful homage to the human capacity for creation and metamorphosis. In this way, this book points to the wound of being extricated, serving as both a suture and a salve.

The poems in LOVE TRAINING are intimate in focus and scale: taut and contemplative, they ruminate on family, exile, romantic love, and the vagaries of human perception. LOVE TRAINING, which gathers poems from several of Andrés Neuman’s books into a single unified collection, is divided into three sections. The first, the titular "Love Training," focuses on family (and its history), loss, relationships, love, and a sense of anchoring in the world. The second, “Fictions of Sight,� are associated with questions of perception, perspective, and creativity. And the third, “I Don’t Know Why� – which is the first phrase of every poem in the section – is a whimsical set of interconnected poems that ask unanswered questions; it serves as a kind of coda to the book. While Andrés Neuman is a celebrated and widely translated novelist, he is also a lucid, sensitive, incisive – and quite prolific – poet. LOVE TRAINING is the first English translation of his poetry.

"Without the copying process," the poet Dolores Dorantes has said, "there would be no life, no reality." Through deconstructed dictionary entries and powerfully syncopated, recursive texts, Copy is a prose poem sequence that insinuates an experience of violent removal: a person's disappearance from a country, from normal life, and forcible reintegration into a new social and existential configuration. This displaced, dispossessed voice explores what it means to be extracted, subtracted, abstracted out of being-and returned into it. Meditative, urgent, and alive, Copy asserts itself as an invocation, both intensely personal and insistently communal, of the right to refuge, and it enacts a powerful homage to the human capacity for creation and metamorphosis. In this way, this book points to the wound of being extricated, serving as both a suture and a salve.

The Law of Conservation is a poetry collection intensely attuned to landscape, both geographic and metaphorical. Borders blurred as cities cede to rural land; the body as a changing place on an equally unstable map; the subsoil of sexuality; the terrain of memory, both rich and painful; new countries traveled and new roots set down as an adult, navigating desire, loneliness, and love. In the context of gender and sexual identity, Spada’s work pays subtle, incisive attention to the inextricable relationship between transformation and conservation: transformation toward the experience of honoring and protecting our deepest and most abiding truths. At the same time, her poems also unsparingly explore the external shifts (in the speaker’s surroundings and even her memories) that make it so challenging to retain an unassailable sense of self.

Animals at the End of the World begins with an explosion, which six-year-old Ines mistakes for the end of the world that she has long feared. In the midst of the chaos, she meets the maid's granddaughter, Maria, who becomes her best friend and with whom she navigates the adult world in her grandparents' confined house. Together, they escape the house and confront the "animals" that populate Bogota in the 1980s. But Ines soon realizes she cannot count on either Maria or her preoccupied and conflicted parents. Alone, she must learn to decipher her outer and inner worlds, confronting both armies of beasts and episodes of domestic chaos. In the process, she also learns what it means to test boundaries, break rules, and cope with the consequences. The first novel by Colombian author Gloria Susana Esquivel, Animals at the End of the World is a poetic and moving coming-of-age story that lingers long after its final page.

A meditation on in vitro fertilization that expands and complicates the stories we tell about pregnancy.  Medical interventions become an exercise in patience, desire, and delirium in this intimate account of bodily transformation and disruption. In candid, graceful prose, Isabel Zapata gives voice to the strangeness and complexities of conception and motherhood that are rarely discussed publicly. Zapata frankly addresses the misogyny she experienced during fertility treatments, explores the force of grief in imagining possible futures, and confronts the societal expectations around maternity. In the tradition of Rivka Galchen’s Little Labors and Sarah Manguso’s Ongoingness, In Vitro draws from diary and essay forms to create a new kind of literary companion and open up space for nuanced conversations about pregnancy.

Contemporary critical thinking was founded by Karl Marx approximately a century and a half ago. Later, in the twentieth and twenty-first centuries, various critical thinkers (some Marxist, others not) further developed this perspective in studying the most important issues of their day: for instance, the future death of art, the conditions and limitations of how we understand and perceive time, the essential questions of how popular culture functions and expresses itself, the role of popular protest and the "moral economy of the crowd", the limits and crises facing modern bourgeois reason and how to characterize today's capitalist world. This book is a careful, rigorous review of these fundamental lessons in critical theory and critical thought as developed by some of the most important social thinkers of our age: Karl Marx, Walter Benjamin, Fernand Braudel, Mikhail Bakhtin, E. P. Thompson, Carlo Ginzburg and Immanuel Wallerstein.

The subject of power (singular) and multiple social powers (plural) is unquestionably central to contemporary societies all over the globe. Growing stronger and expanding farther all the time, the world's anti-systemic movements have been forced to address this issue-the nature of power and powers-as among their most pressing debates. In the process, these movements have also been forced to consider the best possible strategy for confronting them. Should they seize political power, even if they run the risk of simply reproducing it? Should they destroy it altogether? Is it enough to destroy political power while economic, ideological, military, and religious powers remain untouched? And what is the most effective anti-capitalist and anti-systemic way to confront, defeat, and overcome the many different powers found in all present-day societies on Earth? To answer such questions, among others, this book discusses the rich, complex contributions of Karl Marx, Michel Foucault, and neo-Zapatismo to a complicated and essential subject: the theory of power.

Cine politico en Mexico (1968-2017) busca dibujar caminos que ayuden a visibilizar cierta dimension historica, politica y social del cine y el video en Mexico; apela a valorar el quehacer cinematografico y audiovisual en su relacion con movimientos sociales y culturales; y se pregunta acerca de los horizontes que se manifiestan, y los efectos que se producen en esa conexion que establece con la realidad. Buscamos establecer un dialogo entre la mirada que analiza la obra y la experiencia de hacer cine o video en Mexico, y es en este intercambio cuando el trabajo toma forma en dos grandes ejes. El primer eje, Miradas, es un conjunto de ensayos dedicados a analizar los discursos que se tejen sobre historias inspiradas en acontecimientos contemporaneos, donde se valoran obras en su sentido documental, en la experiencia estetica que provocan, y en la accion politica que construyen. Y el segundo eje, Experiencias, contiene un conjunto de relatos de cineastas, productores y videoastas que debaten sobre su profesion como buscadores de historias y reflexionan sobre los procesos que los llevan a la definicion de una idea y lo que resulta de ella en el camino; son historias de confidencia, de conflictos, que se preguntan sobre ese compromiso que establecen con la realidad.