Join us for a virtual conversation with 
Gregory Pierrot
Gloria Wekker
Leniqueca A. Welcome
Omaris Z. Zamora

Moderated by Ryan Cecil Jobson and Vanessa Pérez-Rosario

Date: Thursday, 2 March 2020
Time: 6:30 pm-8:00 pm EST
RSVP: https://tinyurl.com/sxkeyword
 

In Small Axe 68, July 2022, we launched our Keywords in Caribbean Studies project. We began with Zwart, Negro/a/x*, Nègre, and Black. Few words in Caribbean discourse (popular or scholarly) have the multiplicity of meaning and fraught history of these. 

Join us for a conversation with the contributors to the inaugural iteration of the Keywords project. 

Read more about our keywords project here: http://smallaxe.net/sx/issues/68
Contact: Vanessa Pérez-Rosario, vpr@smallaxe.net
Co-sponsored by Sou Sou: UChicago Humanities Laboratory in Caribbean Studies

We in the Small Axe Project join the wider Caribbean intellectual community in mourning the loss of Gordon Rohlehr (1942-2023). He was a towering figure, and unforgettable: a literary-cultural critic of unrivaled attunement, with an unerring sense for the sounds and rhythms of Caribbean popular practices, and a seemingly inexhaustible archive of Caribbean literary history. "Man gone," as he put it, signing off on a "bookman's" lifetime of intellectual work.

Read Rohlehr's recent contribution to small axe, "A Literary Friendship: Selected Notes on the Correspondence with Kamau Brathwaite," made freely available here.

Screenshot of Professor Gordon Rohlehr taken from the YouTube video entitled ‘Professor Gordon Rohlehr (1942-2023)’ by Visual Art and Production.

SX is excited to congratulate sx editorial assistant Dantaé Elliott on being named the Spring 2023 Hemispheric Institute Mellon Fellow at New York University!

As part of her residency as a Hemi Mellon Predoctoral Fellow, Dantaé Elliott will curate the upcoming exhibition of Hemi Artist in Residence Nadia Huggins, which will open at the King Juan Carlos I Center in April 2023. The exhibition will showcase current works by Nadia Huggins that encompass her approach to representing Caribbean Landscapes and the sea. This immersive exhibition moves from the sea towards the land to reimagine evolving species (Human/non-human) and their experiences in a changing environment caused by man-made and natural catastrophes. 

Read more about Dantaé and her project here.

Small Axe 69 opens with David Scott's preface, "The Last West Indian," in memory of George Lamming. This issue includes essays by Grace L. Sanders Johnson, Audra Diptée, Ben Etherington and Natalie Catasús. Julio Ramos guest edits our special section, "The Legacies of Luisa Capetillo," which marks the centenary of the Puerto Rican radical feminist's death, with contributions by Nancy Bird-Soto, Luis Othoniel Rosa, Beatriz Llenín-Figueroa and Jorrell A. Meléndez-Badillo. Work by Puerto Rican photographer Luis Carle is featured on the cover and in this issue's visual essay, "Dirty Martini Delivers Gender Justice." Puerto Rican poet and translator, Raquel Salas Rivera asks "How Do You Translate Compaña?" for our Translating the Caribbean project. Randi Gill-Sadler and Belinda Deneen Wallace discuss Laurie Lambert's Comrade Sister: Caribbean Feminist Revisions of the Grenada Revolution.

We invite you to engage the performance art published in our blog, sx live titled, “Luisa Capetillo, cuchillo en boca" (Luisa Capetillo, Knife Between Her Teeth) by Teresa Hernández. 

Cover image: Walking Luisa. Capitolio. South Wing, San Juan. Photo by Marisol Plard Narváez. July-August 2021. Copyright Teresa Hernández and Marisol Plard Narváez. All rights reserved.

Small Axe 69, November 2022 features a special section dedicated to the memory of Luisa Capetillo, the radical Puerto Rican feminist, anarchist, organizer, and writer. The special section, titled “The Legacies of Luisa Capetillo” is guest-edited by Julio Ramos, and marks the centenary of her death in 1922. In anticipation of the publication of our November issue, we invite you to engage the performance piece published here in sx live titled, “Luisa Capetillo, cuchillo en boca" (Luisa Capetillo, Knife Between Her Teeth) by Teresa Hernández. You’ll find a recording of the performance piece, an accompanying text titled “On Luisa Capetillo, cuchillo en boca: a Cleansing and a Prophecy” (in English and in Spanish) by Beatriz Llenín-Figueroa, and supplementary still images.

In a ritual of resistance and not mourning, as the final shot of the performance tells us, Puerto Rican performance artist Teresa Hernández embodies the presence of Capetillo in her hometown 100 years after her untimely death—dressing in the syndicalist feminist’s iconic beige suit and black tie, reading from the journalist’s writings, and walking around a “ruinous building” in Capetillo’s hometown of Arecibo followed by members of the public as well as “anonymous women” (played by Beatriz Llenín-Figueroa and Teresa Peña Jordán) all with a knife between their teeth. The performance thus speaks to Beatriz Llenín-Figueroa’s contribution to sx 69 entitled “Walking Duermevelas with Luisa” where they read/write about an archive of US and Puerto Rican newspapers from the subject position(s) of “Luisa-I-we” and walk “in the crevices of a historical montage that is always now, in a convulsive state of perpetual alertness—which bodies against patriarchy cannot not be in—where dreaming is haphazard yet desired, where nos velamos mutuamente mientras nos velan (we watch over each other while we are being watched), where we are both at once, dead and alive, where walking is both an everyday and a fiercely charged political act” (100-101).
 

Luisa Capetillo, Knife Between Her Teeth 

Teresa Hernández
 

Luisa Capetillo, cuchillo en boca (Luisa Capetillo, Knife Between Her Teeth) is a performance piece by Teresa Hernández (with Beatriz Llenín Figueroa and Teresa Peña Jordán) that took place on April 30, 2022 at the Instituto del Karso de Puerto Rico y el Caribe (Karst Institute of Puerto Rico and the Caribbean), located in Arecibo, the Puerto Rican city where Capetillo was born. The piece was performed at the invitation of Editora Educación Emergente (EEE) as part of events commemorating the centenary of Luisa Capetillo's death (1882-1922), and in celebration of the new edition of the book Amor y anarquía: escritos de Luisa Capetillo (ed. and intro. Julio Ramos, EEE, 2021).

Credits
Luisa Capetillo: Teresa Hernández
Women with knives between their teeth: Beatriz Llenín Figueroa and Teresa Peña Jordán
Production assistant on location: Antonio “Toño” Ramos Vega
Cameras: Julio Ramos and Tatiana Rojas
Editor: Martín Yernazian
Book and promotional art: Zuleira Soto Román
Luisa Capetillo's costume: Vilma Martínez
Producer: Julio Ramos

On Luisa Capetillo, cuchillo en boca: a Cleansing and a Prophecy

Beatriz Llenín-Figueroa

An iconic costume: Luisa Capetillo’s linen pantsuit, skinny tie, and Panama hat.

An iconic action: walking.

An iconic image: mujer con el cuchillo en la boca (woman with the knife between her teeth).   

An iconic word: that of Luisa Capetillo.

And the Puerto Rican transdisciplinary scenic artist, Teresa Hernández.

Such were the seeds of the performance piece, Luisa Capetillo, cuchillo en boca, which Teresa and I had shared in exultant anticipation. We have been in dialogue and collaboration for some time now around common concerns, passions, obsessions, desires, dreads: Puerto Rican and Caribbean becoming in the age of climate crisis, rising sea levels, and coastal (and other) erosions and dispossessions; gender violence and the persistent abuse against women’s and femme bodies, memories, (re)productive and care work; the ever more beleaguered possibilities of producing and experimenting non-commercial art, and especially, live arts, in a colonized country in odious, neoliberal debt, exploited, in ruins, ruinated. As part of her ongoing research and artistic platform Bravatas (Swelling Seas), which emerged in the aftermath of hurricane Maria in 2017, Teresa has been producing transdisciplinary work (performance, theater, dance, video) around these issues. A woman worker con el cuchillo en la boca has been a constant presence –a concept she favors to “character” (presencia, no personaje)– in multiple productions within Bravatas, and this woman worker, among other actions, walks. We know of the worldwide, transhistorical importance of walking as political action, as the embodiment of a robust opposition to power. What is more, in a small country absurdly taken over by the car as part of the colonial “pact” ensuring a dependent, service and consumption –and now bankrupt– economy, and registering alarming rates of violence against women’s and queer bodies, a walking woman is necessarily a rebellious apparition. Transferring the knife from the mouth of an anonymous woman to that of Luisa Capetillo, the early 20^th century working-class anarchist, feminist, syndicalist, tobacco laborer, journalist, writer, political agitator, espiritista, and general revolutionary from Arecibo, Puerto Rico, meant, at once, that Bravatas took a more robust historical root, and that Capetillo was translated, her thought and action actualized, to the present, one hundred years later.

​Los héroes reales (The Real Heroes). Arecibo, PR. April 2022. Copyright Teresa Hernández. All rights reserved.

Luisa Capetillo, cuchillo en boca was conceptualized as a live walk, with “stations” to stop and listen to Capetillo’s words, starting from Arecibo’s malecón, crossing the street where the Logia Tanamá and the abandoned Teatro Oliver are located, traversing the public square, and finalizing in front of the Instituto del Karso de Puerto Rico y el Caribe. The latter, alongside a Natural History Museum, will be housed in a closed school that the grassroots organization Ciudadanos del Karso has reclaimed. Capetillo was to be accompanied by two anonymous women with knives between their teeth –played by Teresa Peña Jordán and myself– and by the public who made it to the walk.
 

On April 30, 2022, the day the piece was to be performed as part of the launch in Capetillo’s hometown of the new edition of Amor y anarquía: escritos de Luisa Capetillo (ed. Julio Ramos, Editora Educación Emergente, 2022), a looming threat of thunderous rain was upon us. Taking on the risks involved in pursuing the outdoor event was impossible. And so, the improvisatory quality of life in the colony took over. But this improvisation, as is the case with all rigorously artistic and creative improvisations, led to our collective forging, inside the ruinous building, of a new time and space. We kept the seeds intact: costume, action, image, word, the artist. But we translated them to another, apparently barren, land made of cement. The cold, hard, overbearing surfaces turned out to be full of spirits, yielding an uncanny, incontestable aliveness. By going back to Capetillo’s own words in a building “of before,” which is now a promise of an after, other time to come in a set of islands seemingly without future, Luisa Capetillo, cuchillo en boca became a compelling ritual, at once a cleansing and a prophecy. As we already have, we shall, again, overcome.

It never rained. The next morning, on the 1^st of May, International Workers’ Day, an unprecedented tornado hit Arecibo’s waters. It was only natural...
 

At the Tanamá Masonic Lodge. Arecibo, PR. April 2022. Copyright Teresa Hernández and Marisol Plard Naváez. All rights reserved.
 

At the Abandoned Oliver Theater's Entrance. Arecibo, PR. Photo by Teresa Hernández. April 2022. Copyright Teresa Hernández. All rights reserved. 
 

Fuck LUMA. San Juan, PR. Photo by Marisol Plard Narváez.  July-August 2021. Copyright Teresa Hernández and Marisol Plard Narváez. All rights reserved.

Sobre Luisa Capetillo, cuchillo en boca: limpieza y profecía

Beatriz Llenín Figueroa

Un vestuario icónico: el pantalón y la chaqueta de hilo, la corbata angosta y el sombrero Panamá de Luisa Capetillo.

Una acción icónica: caminar.

Una imagen icónica: mujer con el cuchillo en la boca.

Una palabra icónica: la de Luisa Capetillo.

Y la artista escénica transdisciplinaria y puertorriqueña, Teresa Hernández.

Tales eran las semillas de la pieza performática, Luisa Capetillo, cuchillo en boca, que Teresa y yo habíamos compartido en exultante anticipación. Hemos sostenido, por algún tiempo ya, diálogos y colaboraciones en torno a inquietudes, pasiones, obsesiones, deseos, pavores comunes: los devenires puertorriqueños y caribeños en la era de la crisis climática, del alza en el nivel del mar, de las erosiones y desposesiones costeras (y de otros tipos); la violencia de género y el persistente abuso contra cuerpos, memorias y trabajos (re)productivos de mujeres y cuerpos feminizados; las cada vez más acorraladas posibilidades de producir y experimentar arte no comercial, y especialmente, artes vivas, en un país colonizado, en odiosa deuda neoliberal, explotado, en ruinas, arruinado por diseño. Como parte de su Bravatas –plataforma artística e investigativa en curso que emergió tras el huracán María en 2017–, Teresa ha estado produciendo trabajos transdisciplinarios (performance, teatro, danza, vídeo) concernidos con tales asuntos. En múltiples producciones de Bravatas, una mujer obrera con el cuchillo en la boca ha sido constante presencia –concepto que ella prefiere al de “personaje”–, y esta mujer obrera, entre otras acciones, camina. Sabemos de la importancia global, transhistórica, del caminar como acción política, como encarnación de una robusta oposición al poder. Más aún, en un pequeño país absurdamente sitiado por el carro como parte del “pacto” colonial que asegura una economía dependiente, de servicio y consumo –y ahora en bancarrota–, y en donde se registran a diario tasas alarmantes de violencia contra cuerpos de mujeres, feminizades y cuir, una mujer que camina a pecho abierto constituye, necesariamente, una aparición rebelde. Transferir el cuchillo de la boca de la obrera anónima a la de Luisa Capetillo, la anarquista, feminista, sindicalista, tabaquera, periodista, escritora, agitadora política, espiritista y revolucionaria general de comienzos de siglo XX, nacida en Arecibo, Puerto Rico, supuso, a la vez, que Bravatas se enraizara históricamente de manera más acentuada, y que Capetillo fuera traducida, su pensamiento y su acción actualizados, al presente, cien años después.

Luisa Capetillo, cuchillo en boca fue conceptualizada como una caminata en vivo, con “estaciones” para detenerse y escuchar las palabras de Capetillo, comenzando en el malecón de Arecibo y continuando a través de la calle en la que ubican la Logia Tanamá y el abandonado Teatro Oliver, cruzando la plaza pública, y finalizando frente al Instituto del Karso de Puerto Rico y el Caribe. Este último, junto a un Museo de Historia Natural, abrirán en una escuela cerrada que Ciudadanos del Karso, organización ecologista de base comunitaria y ciudadana, ha reclamado. Capetillo estaría acompañada por dos mujeres anónimas con cuchillos en boca –representadas por Teresa Peña Jordán y quien escribe– y por el público que llegara al evento.    

El 30 de abril de 2022, día en que la pieza se escenificaría como parte del lanzamiento en la ciudad natal de Capetillo de la nueva edición de Amor y anarquía: escritos de Luisa Capetillo (ed. Julio Ramos, Editora Educación Emergente, 2022), planeaba sobre nosotres una acechante amenaza de lluvia copiosa. Con nuestros escasos recursos, resultaba imposible asumir los riesgos asociados, tanto para la artista como para el público, de insistir en un evento al aire libre. Y así, se impuso otra vez la improvisatoria cualidad de la vida en la colonia. Pero ésta, como es el caso con toda improvisación rigurosamente artística y creativa, nos condujo a la producción colectiva, al interior del edificio en ruinas, de un nuevo tiempo y espacio. Mantuvimos las semillas intactas: vestuario, acción, imagen, palabra, la artista. Pero las tradujimos a otra, aparentemente yerma, tierra hecha de cemento. Las superficies frías, duras, sofocantes resultaron rebosantes de espíritus, ofreciéndonos una viveza inquietante, indiscutible. Al retornar a las palabras de Capetillo en un edificio “de antes,” que es ahora una promesa de después, de un tiempo otro, por venir, en un conjunto de islas aparentemente sin futuro, Luisa Capetillo, cuchillo en boca se volvió un poderoso, cautivador ritual, a la vez limpieza y profecía. Del mismo modo en que ya hemos vencido –mirémonos aquí, ahora, estamos, seguimos–, venceremos, otra vez.

Ese día nunca llovió. En la mañana siguiente, el 1^ro de mayo, Día Internacional de les Trabajadores, un tornado sin precedentes azotó aguas arecibeñas. Resultó lógico. Natural. De esperarse…

Small Axe 65, July 2021 features a special section titled “On Nancy Morejón’s Nación y mestizaje en Nicolás Guillén,” guest-edited by sx editorial committee member Antonio López. Two of the contributions to this dossier were published in Spanish. Translations from the Spanish into English are now available on the Small Axe website. Read the complete dossier by following the links below.

On Nancy Morejón’s Nación y mestizaje en Nicolás Guillén

Guest editor, Antonio López

Introduction: Literature and the State in Nancy Morejón

Antonio López

Redefining Mestizaje: How Trans-Caribbean Exchanges Solidified Black Consciousness in Cuba

Devyn Spence Benson

Nancy Morejón, Nicolás Guillén, y el cimarronaje aún necesario en Cuba contemporánea

Odette Casamayor-Cisneros

Nancy Morejón, Nicolás Guillén, and the Still-Necessary Marronage in Contemporary Cuba

English translation

Nation, Race, and Performance in the Poetics of Nicolás Guillén and Nancy Morejón

Aisha Z. Cort

Mas yo resto: Una entrevista con Nancy Morejón

Vanessa Pérez-Rosario

But I Remain: An Interview with Nancy Morejón

English Translation

Small Axe editorial committee member Régine Michelle Jean-Charles has a new book out this month!  We asked her to tell us a bit about this project. Read what she has to say about her latest book: 

My third book, Looking for Other Words: Black Feminism and Haitian Fiction (2022) stems from my longstanding commitment to two related fields—Black feminist studies and Haitian literary studies—and was published this month by University of Virginia Press. This book explores the “ethical imagination” of three contemporary Haitian authors—Yanick Lahens, Kettly Mars, and Évelyne Trouillot—to argue that ethics and aesthetics operate in relation to one another in each of the novels under consideration and that the turn to ethics is essential in reading 21st-century Haitian literature. My intervention situates Lahens, Trouillot, and Mars within a longer tradition of Black feminist writing that is both specific to Haiti and globally relevant. As such, I engage and incorporate the work of thinkers like Paulette Poujol-Oriol, Carolle Charles, Gina Athéna Ulysse, Edwidge Danticat, and Sabine Lamour all of whom have made unique contributions to Haitian feminist studies. Throughout the book, I also consider how popular culture, visual culture, and contemporary feminist organizing in Haiti offer unique points of entry into understanding feminism in the Haitian context. To this end, the activism of Pascale Solages, the art of Tessa Mars, and the photography of Régine Romain all play a role in my inquiry and determination to gather and create a rasanblaj, to use to words of Ulysse, of diverse Haitian feminist creatives.

As a part of the Conversations in Caribbean Studies series, this event is organized to celebrate the book Caribbean Borderlands: Postnationalism Prefigured by sx editorial committee member Charles Carnegie, which was published 20 years ago.

Speakers will include Charles Carnegie, Timothy Chin, Rachel Goffe, Ronald Cummings, Deborah Thomas, David Scott, Matthew Chin, as well as Njelle Hamilton. This event is sponsored by the Center for Global Inquiry as well as the departments of Women and Gender studies, Anthropology, Africana Studies, and English at the University of Virginia.

When: October 7, 2022
     10AM-12PM EST
Where: Bryan Hall 229, University of Virginia 

For those interested in attending virtually via zoom webinar, here is the link:
https://virginia.zoom.us/.../WN_LtY-3Oy9Qz2GekolBnnjxQ

Editora Educación Emergente (EEE), a small-scale independent publisher, established in 2009 in Cabo Rojo, Puerto Rico, is proud to announce the release of its most recent titles of 2022 to the ample and diverse reading public of the Caribbean.

The most recent edition to the series Bolsillos feministas is the book-length essay Se llamaba doña Margot by César Colón Montijo. Ana M. Ochoa Gautier writes of this book, “this is a text written in Maelo beat, a soneo [lyrical improvisation] that traces, with affective density and compositional care, doña Margot’s ancestral Afro-feminist knowledge. By way of his rigorous analysis of both photographs and testimony, Colón Montijo rememorates the multiple knowledges of doña Margot, weaving her intersensory entanglement as a black woman who distinguished herself as songwriter, midwife, medium, and healer. In doing so, Colón Montijo conjures and remedies the historic erasure of doña Margot and proposes a new way to listen to the historiography of Afro Puerto Rican sonic modernity. 

To explore our complete catalogue of over seventy titles, please visit: portal.editoraemergente.com To purchase our books, please visit us online: editoraemergente.com Or come to Puerto Rico, where you can find our titles in local bookstores.

Nuevos títulos de Editora Educación Emergente (EEE)

Editora Educación Emergente (EEE), proyecto editorial independiente de pequeña escala, fundado en 2009 y con base en Cabo Rojo, Puerto Rico, presenta al amplio y diverso público caribeño sus cuatro títulos más recientes del año 2022.

La serie Bolsillos feministas se amplía con el ensayo Se llamaba doña Margot de César Colón Montijo. En palabras de Ana M. Ochoa Gautier, éste es un texto en clave maelera, un soneo que traza, con densidad afectiva y cuidado compositivo, el saber ancestral afrofeminista de doña Margot. A través de un riguroso análisis fonográfico y testimonial, César Colón Montijo rememora los múltiples saberes de doña Margot, tejiendo su entramado intersensorial de mujer negra a través de su labor como compositora, partera, médium y sanadora. Al hacerlo, Colón Montijo conjura el borramiento histórico de doña Margot y da forma a una nueva manera de escuchar la historiografía de la modernidad sonora afropuertorriqueña.

Para explorar nuestro catálogo completo, con más de sesenta títulos publicados hasta la fecha, visita: portal.editoraemergente.com Para adquirir nuestros libros, visita las librerías locales puertorriqueñas o nuestra tienda en línea en: editoraemergente.com 

Nouveaux titres : Editora Educación Emergente (EEE) / Éditrice Éducation Émergente (EEE)

Editora Educación Emergente (EEE), projet d’édition indépendant à petite échelle, fondé en 2009 et basé à Cabo Rojo, Porto Rico, présente ses quatre titres les plus récents pour l’an 2022 à l’ample et divers public caribéen.

La série Poches féministes s'agrandit avec l'essai Se llamaba doña Margot / Elle s’appelait doña Margot de César Colón Montijo. Pour reprendre les mots d'Ana M. Ochoa Gautier, il s'agit d'un texte en tonalité maelera, une soneo qui retrace, avec densité affective et soin compositionnel, le savoir ancestral afroféministe de doña Margot. À travers une analyse phonographique et testimoniale rigoureuse, César Colón Montijo rappelle les savoirs multiples de doña Margot, tissant son tissu intersensoriel de femme noire à travers son travail de compositrice, sage-femme, médium et guérisseuse. Ce faisant, Colón Montijo conjure l'effacement historique de doña Margot et façonne une nouvelle écoute de l'historiographie de la modernité sonore afro-portoricaine.

Pour explorer notre catalogue complet, avec plus de soixante titres publiés à ce jour, visitez : portal.editoraemergente.com Pour acheter nos livres, visitez les librairies portoricaines locales ou notre boutique en ligne à : editoraemergente.com 

Editora Educación Emergente (EEE), a small-scale independent publisher, established in 2009 in Cabo Rojo, Puerto Rico, is proud to announce the release of its most recent titles of 2022 to the ample and diverse reading public of the Caribbean.

A special collaboration with Publicaciones Gaviota, the new edition of Edgardo Rodríguez Juliá’s Puerto Rican classic El entierro de Cortijo is a new addition to our most recent series Ir-reverentes. A chronicle in counterpoints, the layers of this text, in apparent opposition to each other, become diluted in audacious rhythms that capture the Antillean Puerto Rican experience of the last third of the 20^th century. Death and life are narrated here by a timid witness, who is implicated in the event but looks to remain at a distance. In these pages, the author is both medium and message. The character who goes by the name of Edgardo Rodríguez Juliá is a chronicler, photographer, literary critic, sociologist, historian, musicologist and, above all, a compulsive observer. He positions himself outside, but he is in the middle of the funeral for the greatest conga and kettledrum player to ever come out of public housing and who is, ultimately, the writer’s most ardent subject of affection. And it’s precisely Rafael Cortijo, the true revolutionary of Caribbean music who blended “quality and quantity, sonic community and individual charisma,” who brings together that other Puerto Ricanness. In this way, El entierro de Cortijo unsettles the oh so white, racist and classist lettered city, busting open the space for a chronicle of blackness and so many other excluded identities that reclaim their status as protagonists in these pages.

To explore our complete catalogue of over seventy titles, please visit: portal.editoraemergente.com To purchase our books, please visit us online: editoraemergente.com Or come to Puerto Rico, where you can find our titles in local bookstores.

Nuevos títulos de Editora Educación Emergente (EEE)

Editora Educación Emergente (EEE), proyecto editorial independiente de pequeña escala, fundado en 2009 y con base en Cabo Rojo, Puerto Rico, presenta al amplio y diverso público caribeño sus cuatro títulos más recientes del año 2022.

En co-edición con Publicaciones Gaviota, una nueva edición del clásico puertorriqueño El entierro de Cortijo, de Edgardo Rodríguez Juliá, se añade a nuestra serie de reciente estreno, Ir-reverentes. Crónica en contrapuntos, los planos de este texto –en oposición aparente– se marcan y diluyen en compases audaces e irreverentes que figuran al Puerto Rico antillano del último tercio del siglo XX. La muerte y la vida es narrada por un cronista tímido y arrojado, implicado y distante, medio y mensaje. El personaje llamado Edgardo Rodríguez Juliá es cronista, fotógrafo, crítico literario, sociólogo, historiador, musicólogo y, sobre todo, observador compulsivo. Se reconoce afuera, pero está adentro del entierro del conguero y timbalero mayor que ha dado el caserío y que es sujeto de su más entrañable ternura. Y es ese Rafael, el revolucionario de la música que fusionó “Calidad y cantidad, comunidad sonora e individualidad carismática”, quien convoca, aglutina y desata esa puertorriqueñidad otra. Así El entierro de Cortijo problematiza la ciudad letrada blanquísima, racista, clasista y, por ende, tercamente excluyente para abrir paso a una crónica sobre negritudes y marginalidades excluidas que reclaman su protagonismo.

Para explorar nuestro catálogo completo, con más de sesenta títulos publicados hasta la fecha, visita: portal.editoraemergente.com Para adquirir nuestros libros, visita las librerías locales puertorriqueñas o nuestra tienda en línea en: editoraemergente.com 

Nouveaux titres : Editora Educación Emergente (EEE) / Éditrice Éducation Émergente (EEE)

Editora Educación Emergente (EEE), projet d’édition indépendant à petite échelle, fondé en 2009 et basé à Cabo Rojo, Porto Rico, présente ses quatre titres les plus récents pour l’an 2022 à l’ample et divers public caribéen.

En coédition avec Publicaciones Gaviota, une nouvelle édition du classique portoricain El entierro de Cortijo / L’enterrement de Cortijo, d'Edgardo Rodríguez Juliá, s'ajoute à notre série récemment sortie, Ir-reverentes. Chronique en contrepoints, les plans de ce texte – en apparente opposition – sont marqués et dilués dans des compas audacieux et irrévérencieux où figure le Porto Rico antillais du dernier tiers du XXe siècle. La mort et la vie sont racontées par un chroniqueur timide et audacieux, impliqué et distant, moyen et message. Le personnage nommé Edgardo Rodríguez Juliá est chroniqueur, photographe, critique littéraire, sociologue, historien, musicologue et, surtout, observateur compulsif. On le reconnaît à l'extérieur, mais il est à l'intérieur de la sépulture du plus ancien joueur de conga et timbalier que le village ait produit et qui fait l'objet de sa tendresse la plus attachante. Et c'est ce Rafael, le révolutionnaire de la musique qui a fusionné "Qualité et quantité, communauté sonore et individualité charismatique", qui convoque, rassemble et libère cette portoriqueñidad autre. Ainsi, El entierro de Cortijo problématise la ville alphabétisée très blanche, raciste, classiste et, par conséquent, obstinément exclusive pour faire place à une chronique sur les négritudes et les marginalités exclues qui revendiquent leur protagonisme.

Pour explorer notre catalogue complet, avec plus de soixante titres publiés à ce jour, visitez : portal.editoraemergente.com Pour acheter nos livres, visitez les librairies portoricaines locales ou notre boutique en ligne à : editoraemergente.com