A meditation on freedom-making in the academy for women scholars of color. Weaving personal narrative with political analysis, Community as Rebellion offers a meditation on creating liberatory spaces for students and faculty of color within academia.  Much like other women scholars of color, Lorgia García Peña has struggled against the colonizing, racializing, classist, and unequal structures that perpetuate systemic violence within universities. Through personal experiences and analytical reflections, the author invites readers—in particular Black, Indigenous, Latinx, and Asian women—to engage in liberatory practices of boycott, abolition, and radical community-building to combat the academic world’s tokenizing and exploitative structures. García Peña argues that the classroom is key to freedom-making in the university, urging teachers to consider activism and social justice as central to what she calls “teaching in freedom�: a progressive form of collective learning that prioritizes the subjugated knowledge, silenced histories, and epistemologies from the Global South and Indigenous, Black, and brown communities. By teaching in and for freedom, we not only acknowledge the harm that the university has inflicted on our persons and our ways of knowing since its inception, but also create alternative ways to be, create, live, and succeed through our work.

A meditation on freedom-making in the academy for women scholars of color. Weaving personal narrative with political analysis, Community as Rebellion offers a meditation on creating liberatory spaces for students and faculty of color within academia.  Much like other women scholars of color, Lorgia García Peña has struggled against the colonizing, racializing, classist, and unequal structures that perpetuate systemic violence within universities. Through personal experiences and analytical reflections, the author invites readers—in particular Black, Indigenous, Latinx, and Asian women—to engage in liberatory practices of boycott, abolition, and radical community-building to combat the academic world’s tokenizing and exploitative structures. García Peña argues that the classroom is key to freedom-making in the university, urging teachers to consider activism and social justice as central to what she calls “teaching in freedom�: a progressive form of collective learning that prioritizes the subjugated knowledge, silenced histories, and epistemologies from the Global South and Indigenous, Black, and brown communities. By teaching in and for freedom, we not only acknowledge the harm that the university has inflicted on our persons and our ways of knowing since its inception, but also create alternative ways to be, create, live, and succeed through our work.

This volume presents fifteen short stories by acclaimed Dominican-American writer Kianny N. Antigua. She belongs to an emerging generation of new authors with transnational identities and a broad scope in their subjects and interests. This collection includes a variety of stories always intriguing and involving. Antigua is not afraid of calling things by their names, her writing is bold and fearless. Este volumen reune quince cuentos escritos por la aclamada escritora dominico-americana Kianny N. Antigua. Ella hace parte de una generacion emergente de nuevos autores con identidades transnacionales y una amplia gama de intereses y temas por tratar. Esta coleccion incluye una variedad de historias que siempre son intrigantes y envolventes para el lector. Kianny no le tema a llamar las cosas por su nombre, su escritura es atrevida y valiente. Kianny N. Antigua es una de las escritoras dominicanas mas premiadas. Nacio en San Francisco de Macoris, R.D., en 1979. Ha publicado cinco libros: Mia, Esteban y las nuevas palabras, ed. bilingue (Lit. infantil, Alfaguara 2014), Cuando el resto se apaga (poesia, Proyecto Zompopos 2013), 9 Iris y otros malditos cuentos (Editora Nacional 2010) y El expreso (cuento, Argos 2004); y muchos de sus relatos, ensayos y poemas han sido seleccionados para formar parte de antologias, revistas y libros de texto en Republica Dominicana, Colombia, EE.UU. e Italia. kiannyantigua.blogspot.com En esta coleccion de cuentos, Kianny Antigua desempana ventanas para retratar los sotanos interiores del caracter humano. Sin pestanar, su prosa exhala un mundo a la vez brutal y jocoso, agudo y obtuso, fragmentado y entero. El tragaluz del sotano insiste en penetrar el ojo del lector con astillas de vidrio que resisten parpadeo. Antigua usa la amplia brevedad de poeta para explorar el impulso primitivo de personajes que muerden la oscuridad para probar el mas minimo rayo de luz. Nelly Rosario Kianny N. Antigua se crece hasta una altura de cenaculo cuando trata el aspecto erotico, pues lo hace de forma fina y sin dejar de revelar el detalle descarnado de las escenas que asi lo ameritan. De igual manera atrae a lo largo de El tragaluz del sotano cuando muestra una prosa que nos va sorprendiendo con rafagas poeticas de sumo encanto. Aqui la autora trata las historias tal y como las ve y logra, como senalan los especialistas, que con el punto de vista del narrador aquiescente, en sus personajes se perciba el azar perdiendo verosimilitud y disolviendose en la sensacion de destino. Avelino Stanley En El tragaluz del sotano los personajes estan por encima de los artificios, de las tecnicas y la retorica. Son entes cotidianos que logran revelarnos libremente su mundo interior. La voz de la narradora con su intensidad y pasion nos provoca y nos deleita. Como dice Borges: hay estilos que no permiten al autor hablar en voz baja. Osiris Mosquea