Human rights activist and historian Roxanne Dunbar-Ortiz has been described as ""a force of nature on the page and off."" That force is fully present in Blood on the Border, the third in her acclaimed series of memoirs. Seamlessly blending the personal and the political, Blood on the Border is Dunbar-Ortiz's firsthand account of the decade-long dirty war pursued by the Contras and the United States against the people of Nicaragua. With the 1981 bombing of a Nicaraguan plane in Mexico City - a plane Dunbar-Ortiz herself would have been on if not for a delay - the US-backed Contras (short for los contrarrevolucionarios) launched a major offensive against Nicaragua's Sandinista regime, which the Reagan administration labeled as communist. While her rich political analysis of the US-Nicaraguan relationship bears the mark of a trained historian, Dunbar-Ortiz also writes from her perspective as an intrepid activist who spent months at a time throughout the 1980s in the war-torn country, especially in the remote northeastern region, where the Indigenous Miskitu people were relentlessly assailed and nearly wiped out by CIA-trained Contra mercenaries. She makes painfully clear the connections between what many US Americans today remember only vaguely as the Iran-Contra ""affair"" and ongoing US aggression in the Americas, the Middle East, and around the world - connections made even more explicit in a new afterword written for this edition. A compelling, important, and sobering story on its own, Blood on the Border offers a deeply informed, closely observed, and heartfelt view of history in the making.

In 1969, poet and revolutionary Margaret Randall was forced underground when the Mexican government cracked down on all those who took part in the 1968 student movement. Needing to leave the country, she sent her four young children alone to Cuba while she scrambled to find safe passage out of Mexico. In I Never Left Home, Randall recounts her harrowing escape and the other extraordinary stories from her life and career. From living among New York's abstract expressionists in the mid-1950s as a young woman to working in the Nicaraguan Ministry of Culture to instill revolutionary values in the media during the Sandinista movement, the story of Randall's life reads like a Hollywood production. Along the way, she edited a bilingual literary journal in Mexico City, befriended Cuban revolutionaries, raised a family, came out as a lesbian, taught college, and wrote over 150 books. Throughout it all, Randall never wavered from her devotion to social justice. When she returned to the United States in 1984 after living in Latin America for twenty-three years, the U.S. Immigration and Naturalization Service ordered her to be deported for her "subversive writing." Over the next five years, and with the support of writers, entertainers, and ordinary people across the country, Randall fought to regain her citizenship, which she won in court in 1989. As much as I Never Left Home is Randall's story, it is also the story of the communities of artists, writers, and radicals she belonged to. Randall brings to life scores of creative and courageous people on the front lines of creating a more just world. She also weaves political and social analyses and poetry into the narrative of her life. Moving, captivating, and astonishing, I Never Left Home is a remarkable story of a remarkable woman.

Fearless personal essays from a treasured feminist poet and activist Luck is a collection of essays covering such topics as memory, language, landscape, poetry, anger, sex, food, pandemics, war, violence, feminism, lies, imagination, death, power, identity, and of course luck. Some are full-blown explorations, others brief riffs. Some are prose poetry, others straightforward prose. The author combines scholarly research with personal experience, producing texts both intimate and illuminating. Always attentive to the world around her and the one within, Randall has brought us her most relevant and powerful essays to date.

Margaret Randall's most recent collection of poems, Out of Violence Into Poetry, was written over these past few years when language itself was violated by a president who lied until each lie, repeated often enough, resembled a terrible truth in the public discourse. Reality, sanity, beauty: all bend and run the risk of breaking when distorted beyond recognition. These poems consciously restore language to its natural habitat. They deal with history, memory, loss, life, death and promise. They address love and aging. They become a welcome refuge at a time of uncertainty and take us on disparate journeys that often have surprising twists. There is humor as well as rage. We cannot leave it to the politicians alone to give words their meaning back. That is the job of poets, and this book does that job well. Randall is the author of nearly 200 books, spanning more than six decades. Out of Violence into Poetry may well be her finest collection of poetry to date.

First revised edition of interviews with 14 prominent activists whose writings influenced the 1979 Nicaraguan revolution and help us understand present-day Nicaragua Margaret Randall presents a dynamic collection of personal interviews with Nicaragua's most important writer-revolutionaries who played major roles in the 1979 revolution and the subsequent reconstruction. This revised first edition includes a new preface and additional notes that frame the narrative in high relevance to the present day. The featured writer-activists speak of their work and practical tasks in constructing a new society. Among the writers included are Gioconda Belli, Tomas Borge, Omar Cabezas, Ernesto Cardenal, Vidaluz Meneses, Julio Valle-Castillo, and Daisy Zamora. The work also features 50 evocative photographs from the era by Margaret Randall.

Traces the remarkable life of a feminist poet through the items and images that have have defined her experiences My Life in 100 Objects is a personal reflection on the events and moments that shaped the life and work of one extraordinary woman. With a masterful, poetic voice, Margaret Randall uses talismanic objects and photographs as launching points for her nonlinear narrative. Through each "object," Randall uncovers another part of herself, starting in a museum in Amman, Jordan, and ending in the Latin American Studies Association in Boston. Interwoven throughout are her most precious relationships, her growth as an artist, and her brave, revolutionary spirit. As Randall's adventures often coincide with important moments in history, many of her objects provide a transcontinental glimpse into social upheavals and transitions. She shares memories from her years in Cuba (1969 to 1980) and Nicaragua (1980 to 1984), as well as briefer periods in North Vietnam (immediately preceding the end of the war in 1975), and Peru (during the government of Velasco Alvarado). In her introduction, Randall states, "objects and places have always been alive to me." Her history too is alive, as much of a means to consider our own present as it is to glimpse her vibrant past.

Combining anecdotes with analysis, Margaret Randall describes how, in 20th century revolutionary societies, women's issues were gradually pushed aside. Randall shows how distorted visions of liberation and shortcomings in practice left a legacy that not only shortchanged women but undermined the revolutionary project itself. Finally, she grapples with the ways in which women themselves often retreated into more traditional roles and the rage that this engenders.

In The Price We Pay, Margaret Randall interviews women from a wide range of economic, racial, and cultural backgrounds to reveal the role money plays in their lives. These women speak of their changing expectations and attitudes regarding money. Daughters of immigrants remember what money meant in the transition between worlds. They disclose the feelings that they have of stigma or shame at not having enough, guilt at having too much, and the lies, secrets and silences caused by these feelings. These personal stories are woven into a history of women's economics and chapters on family, work, the media, power and control, and lesbian economics.

Starfish on a Beach: The Pandemic Poems grew out of the first months of the 2020 COVID-19 pandemic. When some of them were posted on Facebook, readers responded immediately to identify with her take on what we were all experiencing. These poems reflect the fear, isolation, and horror we felt as society - as we watched public life close down, people were urged to stay distant from one another, wear face masks, and wash our hands frequently. Many of us lost jobs; some of us lost businesses. We saw beloved family members and friends sicken and some of them die. We watched helplessly as sources of income disappeared and the future seemed uncertain. But I also began thinking about other aspects of life through the lens of this situation: Have we brought this plague upon ourselves by our carelessness and lack of accountability to global warming? Does our social organization really meet our needs? Why are some communities suffering so much more than others? These poems reflect all this and more. They are offered in concern, anger, and also hope for a different future. These poems predate the killing of George Floyd, so the focus remains on health and isolation.

Margaret Randall reveals personal stories and profound insights about the artists who most influenced her life. Artists in My Life is a collection of intimate and conversational accounts of the visual artists that have impacted the renowned poet activist Margaret Randall on her own journey as an artist. Randall writes of each relationship through multiple lenses: as makers of art, social commentators, women in a world dominated by male values, and in solitude or collaboration with communities and the larger artistic arena. Each story offers insight into the artist's life and work, and analyses the impact it had on Randall's own work and its impact on the larger art community. The work strives to answer bigger questions about visual art as a whole and its lasting political influence on the world stage. Randalls describes her motivations: "I go beneath the surface, asking questions and telling stories. I have wanted to answer questions such as: Why is it that visual art-drawing, painting, sculpture, photography, architecture-grabs me and, in particular instances, feels as if it changes me at the molecular level? How do art and memory interact? How do reason and intuition come together in art? Do women and men make art differently? Does great art change the viewer? Does it change the artist? How does art travel through time?"

Featuring the work of more than fifty poets writing across the last eight decades, Only the Road / Solo el Camino is the most complete bilingual anthology of Cuban poetry available to an English readership. It is distinguished by its stylistic breadth and the diversity of its contributors, who come from throughout Cuba and its diaspora and include luminaries, lesser-known voices, and several Afro-Cuban and LGBTQ poets. Nearly half of the poets in the collection are women. Only the Road paints a full and dynamic picture of modern Cuban life and poetry, highlighting their unique features and idiosyncrasies, the changes across generations, and the ebbs and flows between repression and freedom following the Revolution. Poet Margaret Randall, who translated each poem, contributes extensive biographical notes for each poet and a historical introduction to twentieth-century Cuban poetry.

In her new book, Exporting Revolution, Margaret Randall explores the Cuban Revolution's impact on the outside world, tracing Cuba's international outreach in health care, disaster relief, education, literature, art, liberation struggles, and sports. Randall combines personal observations and interviews with literary analysis and examinations of political trends in order to understand what compels a small, poor, and underdeveloped country to offer its resources and expertise. Why has the Cuban health care system trained thousands of foreign doctors, offered free services, and responded to health crises around the globe? What drives Cuba's international adult literacy programs? Why has Cuban poetry had an outsized influence in the Spanish-speaking world? This multifaceted internationalism, Randall finds, is not only one of the Revolution's most central features; it helped define Cuban society long before the Revolution.

Featuring the work of more than fifty poets writing across the last eight decades, Only the Road / Solo el Camino is the most complete bilingual anthology of Cuban poetry available to an English readership. It is distinguished by its stylistic breadth and the diversity of its contributors, who come from throughout Cuba and its diaspora and include luminaries, lesser-known voices, and several Afro-Cuban and LGBTQ poets. Nearly half of the poets in the collection are women. Only the Road paints a full and dynamic picture of modern Cuban life and poetry, highlighting their unique features and idiosyncrasies, the changes across generations, and the ebbs and flows between repression and freedom following the Revolution. Poet Margaret Randall, who translated each poem, contributes extensive biographical notes for each poet and a historical introduction to twentieth-century Cuban poetry.

Taking part in the Cuban Revolution's first armed action in 1953, enduring the torture and killings of her brother and fiance, assuming a leadership role in the underground movement, and smuggling weapons into Cuba, Haydee Santamaria was the only woman to participate in every phase of the Revolution. Virtually unknown outside of Cuba, Santamaria was a trusted member of Fidel Castro's inner circle and friend of Che Guevara. Following the Revolution's victory Santamaria founded and ran the cultural and arts institution Casa de las Americas, which attracted cutting-edge artists, exposed Cubans to some of the world's greatest creative minds, and protected queer, black, and feminist artists from state repression. Santamaria's suicide in 1980 caused confusion and discomfort throughout Cuba; despite her commitment to the Revolution, communist orthodoxy's disapproval of suicide prevented the Cuban leadership from mourning and celebrating her in the Plaza of the Revolution. In this impressionistic portrait of her friend Haydee Santamaria, Margaret Randall shows how one woman can help change the course of history.

Taking part in the Cuban Revolution's first armed action in 1953, enduring the torture and killings of her brother and fiance, assuming a leadership role in the underground movement, and smuggling weapons into Cuba, Haydee Santamaria was the only woman to participate in every phase of the Revolution. Virtually unknown outside of Cuba, Santamaria was a trusted member of Fidel Castro's inner circle and friend of Che Guevara. Following the Revolution's victory Santamaria founded and ran the cultural and arts institution Casa de las Americas, which attracted cutting-edge artists, exposed Cubans to some of the world's greatest creative minds, and protected queer, black, and feminist artists from state repression. Santamaria's suicide in 1980 caused confusion and discomfort throughout Cuba; despite her commitment to the Revolution, communist orthodoxy's disapproval of suicide prevented the Cuban leadership from mourning and celebrating her in the Plaza of the Revolution. In this impressionistic portrait of her friend Haydee Santamaria, Margaret Randall shows how one woman can help change the course of history.

Against Atrocity is Margaret Randall's first large book of poems since Time's Language: Selected Poems 1959-2018, a major collection covering work from 30 of her books over a period of 60 years. This new book shows that this poet continues to be a relevant and inspiring voice in American letters. It is also a stellar example of contemporary, intelligent protest poetry by a significant writer. Long known and honored for her work throughout the Americas, she is also long admired in the LGBTQ community. Among numerous awards, Randall was awarded the Lillian Hellman and Dashiell Hammett grant for writers victimized by political repression. In 2004 she was the first recipient of PEN New Mexico's Dorothy Doyle Lifetime Achievement Award for Writing and Human Rights Activism. In 2017, she was only the second American to be awarded the prestigious Medal of Literary Merit by Literatura en el Bravo, Chihuahua, Mexico. Nicaraguan poet Daisy Zamora writes: "These poems restore language to its authentic meaning, remind us of the power of words when expressing the truth, and the redeeming potential of poetry in these terrible times." These are indeed terrible times, ones in which we increasingly find ourselves looking to art and creativity to lift us from the unchecked violence, everyday frustration of deaf governance, and an out-of-control profit motive that too often seems to bury us in a dangerous sense of futility. Randall writes as insightfully about the plight of a single woman or child as she does about global warming or the mysteries of aging. In these poems we find more questions than answers, but they are the questions we must continue to ask ourselves in order for our humanity to survive. Against Atrocity will also see publication this year, in completely bilingual format, by Aguacero in Buenos Aires, Argentina. And some of the poems are included in El lenguaje del tiempo, a book-length sampling of the poet's work coming out from El Angel Editor in Quito, Ecuador to coincide with that country's Poesia en paralelo cero (Poetry on the Equator), an important Latin American poetry festival. Randall's work is being published in Cuba, throughout South America, in Europe and Asia. She is someone who combines the intimate with the international, our small stories with the larger one that shapes us all. Here are poems that pierce complacency's thick skin and provide a road map to agency and hope.

Fearless personal essays from a treasured feminist poet and activist Luck is a collection of essays covering such topics as memory, language, landscape, poetry, anger, sex, food, pandemics, war, violence, feminism, lies, imagination, death, power, identity, and of course luck. Some are full-blown explorations, others brief riffs. Some are prose poetry, others straightforward prose. The author combines scholarly research with personal experience, producing texts both intimate and illuminating. Always attentive to the world around her and the one within, Randall has brought us her most relevant and powerful essays to date.

Traces the remarkable life of a feminist poet through the items and images that have have defined her experiences My Life in 100 Objects is a personal reflection on the events and moments that shaped the life and work of one extraordinary woman. With a masterful, poetic voice, Margaret Randall uses talismanic objects and photographs as launching points for her nonlinear narrative. Through each "object," Randall uncovers another part of herself, starting in a museum in Amman, Jordan, and ending in the Latin American Studies Association in Boston. Interwoven throughout are her most precious relationships, her growth as an artist, and her brave, revolutionary spirit. As Randall's adventures often coincide with important moments in history, many of her objects provide a transcontinental glimpse into social upheavals and transitions. She shares memories from her years in Cuba (1969 to 1980) and Nicaragua (1980 to 1984), as well as briefer periods in North Vietnam (immediately preceding the end of the war in 1975), and Peru (during the government of Velasco Alvarado). In her introduction, Randall states, "objects and places have always been alive to me." Her history too is alive, as much of a means to consider our own present as it is to glimpse her vibrant past.

In 1937 tens of thousands of Haitians living in the Dominican Republic were slaughtered by Dominican troops wielding machetes and knives. Dominican writer and lawyer Freddy Prestol Castillo worked on the Haiti-Dominican Republic border during the massacre, known as "The Cutting," and documented the atrocities in real time in You Can Cross the Massacre on Foot. Written in 1937, published in Spanish in 1973, and appearing here in English for the first time, Prestol Castillo's novel is one of the few works that details the massacre's scale and scope. Conveying the horror of witnessing such inhumane violence firsthand, it is both an attempt to come to terms with personal and collective guilt and a search to understand how people can be driven to indiscriminately kill their neighbors.

In 1937 tens of thousands of Haitians living in the Dominican Republic were slaughtered by Dominican troops wielding machetes and knives. Dominican writer and lawyer Freddy Prestol Castillo worked on the Haiti-Dominican Republic border during the massacre, known as "The Cutting," and documented the atrocities in real time in You Can Cross the Massacre on Foot. Written in 1937, published in Spanish in 1973, and appearing here in English for the first time, Prestol Castillo's novel is one of the few works that details the massacre's scale and scope. Conveying the horror of witnessing such inhumane violence firsthand, it is both an attempt to come to terms with personal and collective guilt and a search to understand how people can be driven to indiscriminately kill their neighbors.

First revised edition of interviews with 14 prominent activists whose writings influenced the 1979 Nicaraguan revolution and help us understand present-day Nicaragua Margaret Randall presents a dynamic collection of personal interviews with Nicaragua's most important writer-revolutionaries who played major roles in the 1979 revolution and the subsequent reconstruction. This revised first edition includes a new preface and additional notes that frame the narrative in high relevance to the present day. The featured writer-activists speak of their work and practical tasks in constructing a new society. Among the writers included are Gioconda Belli, Tomas Borge, Omar Cabezas, Ernesto Cardenal, Vidaluz Meneses, Julio Valle-Castillo, and Daisy Zamora. The work also features 50 evocative photographs from the era by Margaret Randall.