Reviewing her novel, "The Line of the Sun," the "New York Times Book Review" hailed Judith Ortiz Cofer as "a writer of authentic gifts, with a genuine and important story to tell." Those gifts are on abundant display in "The Latin Deli," an evocative collection of poetry, personal essays, and short fiction in which the dominant subject--the lives of Puerto Ricans in a New Jersey barrio--is drawn from the author's own childhood. Following the directive of Emily Dickinson to "tell all the Truth but tell it slant," Cofer approaches her material from a variety of angles.

An acute yearning for a distant homeland is the poignant theme of the title poem, which opens the collection. Cofer's lines introduce us "to a woman of no-age" presiding over a small store whose wares--Bustelo coffee, jamon y queso, "green plantains hanging in stalks like votive offerings"--must satisfy, however imperfectly, the needs and hungers of those who have left the islands for the urban Northeast. Similarly affecting is the short story "Nada," in which a mother's grief over a son killed in Vietnam gradually consumes her. Refusing the medals and flag proferred by the government ("Tell the Mr. President of the United States what I say: No, gracias."), as well as the consolations of her neighbors in El Building, the woman begins to give away all her possessions The narrator, upon hearing the woman say "nada," reflects, "I tell you, that word is like a drain that sucks everything down."

As rooted as they are in a particular immigrant experience, Cofer's writings are also rich in universal themes, especially those involving the pains, confusions, and wonders of growing up. While set in the barrio, the essays "American History," "Not for Sale," and "The Paterson Public Library" deal with concerns that could be those of any sensitive young woman coming of age in America: romantic attachments, relations with parents and peers, the search for knowledge. And in poems such as "The Life of an Echo" and "The Purpose of Nuns," Cofer offers eloquent ruminations on the mystery of desire and the conflict between the flesh and the spirit.

Cofer's ambitions as a writer are perhaps stated most explicitly in the essay "The Myth of the Latin Woman: I Just Met a Girl Named Maria." Recalling one of her early poems, she notes how its message is still her mission: to transcend the limitations of language, to connect "through the human-to-human channel of art."

Fifteen-year-old Doris is used to taking care of herself. Her musician parents have always spent more time singing in nightclubs than watching after her. But when her ailing mother goes home to Puerto Rico to get well and pursue a singing career there, and her father finds a new girlfriend, Doris is more alone than she's ever been. Disconnected from her family and her best friends, who are intertwined in terrifying relationships with a violent classmate, Doris finds refuge in taking care of homing pigeons on her apartment building's roof. As Doris tries to make sense of it all, she learns that, just like the pigeons, she might have to fly far distances before she finds out where she belongs.

How do women writers cope with changes and juggle the demands in their already full lives to make time for their lives as artists? In this anthology, noted female novelists, journalists, essayists, poets, and nonfiction writers address the old and new challenges of "doing it all" that face women writers as the twenty-first century approaches. With eloquence, sensitivity, and more than a touch of wry humor, Sleeping with One Eye Open relates positive stories from women who lead effective lives as artists, emphasizing how sources of inspiration, discipline, resourcefulness, and determination help them succeed despite the obstacle of "no time."

The title essay, Judith Ortiz Cofer's "The Woman Who Slept with One Eye Open, " defines the collection. Cofer relates the ways in which a mythological story from her Puerto Rican culture gave her confidence and courage, encouraging her creative success and emphasizing the rewards of "women's power" and personal strength. Denise Levertov's "The Vital Necessity" urges poets to make time for daydreams -- essential, empowering creative food. Tillie Olsen offers a frank discussion of the pressures of work and expectations that too often sap creative energy. Tess Gallagher connects her mother's creative gardening with her own inspiration as a poet and the need for growth in her writing. Marilyn Kallet's interview with Lucille Clifton relates the personal strength that helped Clifton raise six children and publish her first book at the same time. This affirming collection offers a wealth of writing advice, given through honest accounts of perseverance and accomplishment.

Set in the 1950s and 1960s, "The Line of the Sun" moves from a rural Puerto Rican village to a tough immigrant housing project in New Jersey, telling the story of a Hispanic family's struggle to become part of a new culture without relinquishing the old. At the story's center is Guzman, an almost mythic figure whose adventures and exile, salvation and return leave him a broken man but preserve his place in the heart and imagination of his niece, who is his secret biographer.

"I am learning the alchemy of grief-how it must be carefully measured and doled out, inflicted-but I have not yet mastered this art," writes Judith Ortiz Cofer in The Cruel Country. This richly textured, deeply moving, lyrical memoir centers on Cofer's return to her native Puerto Rico after her mother has been diagnosed with late-stage lung cancer. Cofer's work has always drawn strength from her life's contradictions and dualities, such as the necessities and demands of both English and Spanish, her travels between and within various mainland and island subcultures, and the challenges of being a Latina living in the U.S. South. Interlaced with these far-from-common tensions are dualities we all share: our lives as both sacred and profane, our negotiation of both child and adult roles, our desires to be the person who belongs and also the person who is different. What we discover in The Cruel Country is how much Cofer has heretofore held back in her vivid and compelling writing. This journey to her mother's deathbed has released her to tell the truth within the truth. She arrives at her mother's bedside as a daughter overcome by grief, but she navigates this cruel country as a writer-an acute observer of detail, a relentless and insistent questioner.

This is a Spanish-language edition of ""The Latin Deli"", Judith Ortiz Cofer's prizewinning collection of short stories, personal essays, and poems. A work rich in longing, love, and remembrance, ""El deli latino"" opens a door into the lives of the Puerto Rican immigrants who live in or near an urban New Jersey tenement known as ""El Building."" The book was selected by Rita Dove, Ashley Montague, and Henry Louis Gates Jr. to receive the Anisfield-Wolf Book Award, which recognizes work that has made ""important contributions to our understanding of racism or our appreciation of the rich diversity of human cultures."" In the poem from which the book takes its title, a ""woman of no-age"" presides over a small store whose wares - Bustelo coffee, jamon y queso, ""green plantains hanging in stalks like votive offerings"" - must satisfy, however imperfectly, those who hunger for their island home. In the story ""Nada,"" an anguished mother whose son has been killed in Vietnam refuses the consolation of her neighbors and the medals offered by the government (""Tell the Mr. President of the United States what I say: No, gracias.""). Cofer's essay ""The Paterson Public Library"" recalls how, in books, she found refuge and solace from the outside world. El deli latino transcends the particulars of the expatriate experience to speak universal truths about the mysteries of desire, the quest for knowledge, and the struggle to reconcile opposing selves.

Judith Ortiz Cofer's third volume of poetry collects thirty-four poems written over the course of many years. In places as stark as a New Jersey barrio or fabled as the island home of Penelope and Odysseus, the people in these poems sometimes resist, sometimes reconcile, multiple cultures, tongues, and traditions as they navigate over ever-changing landscapes.

In this collection of essays woven with poems and folklore, Judith Ortiz Cofer tells the story of how she became a poet and writer and explores her love of words, her discovery of the magic of language, and her struggle to carve out time to practice her art.

A native of Puerto Rico, Cofer came to the mainland as a child. Torn between two cultures and two languages, she learned early the power of words and how to wield them. She discovered her love for the subtleties, sounds, and rhythms of the written word when a Roman Catholic nun and teacher bent on changing traditions for the better gave her books of high literature to read, some of which were forbidden by the church. Later, as an adult, demands from her family and her profession made it difficult for Cofer to find time to devote to her art, but her need and determination to express herself led to solutions that can help all artists challenged with the limits of time. Cofer recalls the family cuentos, or stories, that inspire her and shows how they speak to all artists, all women, all people. She encourages her readers to insist on the right to be themselves and to pursue their passions.

A book that entertains, instructs, and enthralls, "Woman in Front of the Sun" will be invaluable to students of poetry and creative nonfiction and will be a staple in every creative writing classroom as well as an inspiration to all those who write.

Offers insights on Latino Caribbean writers born or raised in the United States who are at the vanguard of a literary movement that has captured both critical and popular interest.

In this groundbreaking study, William Luis analyzes the most salient and representative narrative and poetic works of the newest literary movement to emerge in Spanish American and U.S. literatures. The book is divided into three sections, each focused on representative Puerto Rican American, Cuban American, and Dominican American authors. Luis traces the writers' origins and influences from the nineteenth century to the present, focusing especially on the contemporary works of Oscar Hijuelos, Julia Alvarez, Cristina Garcia, and Piri Thomas, among others. While engaging in close readings of the texts, Luis places them in a broader social, historical, political, and racial perspective to expose the tension between text and context.

As a group, Latino Caribbeans write an ethnic literature in English that is born of their struggle to forge an identity separate from both the influences of their parents' culture and those of the United States. For these writers, their parents' country of origin is a distant memory. They have developed a culture of resistance and a language that mediates between their parents' identity and the culture that they themselves live in.

Latino Caribbeans are engaged in a metaphorical dance with Anglo Americans as the dominant culture. Just as that dance represents a coming together of separate influences to make a unique art form, so do both Hispanic and North American cultures combine to bring a new literature into being. This new body of literature helps us to understand not only the adjustments Latino Caribbean cultures have had to make within the larger U.S. environment but also how the dominant culture has been affected by their presence.