In contemporary Argentine literature, Paradises is an almost perfect novel.--Tonica Albert Camus's The Outsider reimagined with a female lead in in twenty-first-century Buenos Aires. Recently widowed, a young woman leaves the countryside for Buenos Aires with her four-year-old son where she seeks to build a new life for herself. She finds work in the zoo and moves into the human zoo of a squatted tower block at the invitation of one of its residents, to whom she acts as nurse, giving morphine injections. Iosi Havilio's captivating voice has brought him cult status in Argentina.

Award-winning Chilean author Marcela Serrano weaves a beautiful story about the universal connections between women. For nine Chilean women, life couldn’t be more different. There is the teenage computer whiz confronting her sexual identity. A middle-aged recluse who prefers the company of her dog over that of most humans. A housekeeper. A celebrity television personality. A woman confronting the loneliness of old age. Of disparate ages and races, these women represent the variety of cultural and social groups that Chile comprises. On the surface, they seem to have nothing in common…except for their beloved therapist, who brings them together. Yet as different as they all are, each woman has a story to share. As the women tell their stories, unlikely common threads are discovered, bonds are formed, and lives are transformed. Their stories form an intricate tale of triumph, heartache, and healing that will resonate with women from all walks of life. An International DUBLIN Literary Award Nominee.

The rock and roll music that dominated airwaves across the country during the 1950s and early 1960s is often described as a triumph for integration. Black and white musicians alike, including Chuck Berry, Little Richard, Elvis Presley, and Jerry Lee Lewis, scored hit records with young audiences from different racial groups, blending sonic traditions from R&B, country, and pop. This so-called "desegregation of the charts" seemed particularly resonant since major civil rights groups were waging major battles for desegregation in public places at the same time. And yet the centering of integration, as well as the supposition that democratic rights largely based in consumerism should be available to everyone regardless of race, has resulted in very distinct responses to both music and movement among Black and white listeners who grew up during this period. This book traces these distinctions using archival research, musical performances, and original oral histories to determine the uncertain legacies of the civil rights movement and early rock and roll music in a supposedly post-civil rights era.