In this absorbing memoir, by turns humorous and heartbreaking, Eduardo Calcines recounts his boyhood and chronicles the conditions that led him to wish above all else to leave behind his beloved extended family and his home for a chance at a better future. Eduardo F. Calcines was a child of Fidel Castro's Cuba; he was just three years old when Castro came to power in January 1959. After that, everything changed for his family and his country. When he was ten, his family applied for an exit visa to emigrate to America and he was ridiculed by his schoolmates and even his teachers for being a traitor to his country. But even worse, his father was sent to an agricultural reform camp to do hard labor as punishment for daring to want to leave Cuba. During the years to come, as he grew up in Glorytown, a neighborhood in the city of Cienfuegos, Eduardo hoped with all his might that their exit visa would be granted before he turned fifteen, the age at which he would be drafted into the army.
In this absorbing memoir, by turns humorous and heartbreaking, Eduardo Calcines recounts his boyhood and chronicles the conditions that led him to wish above all else to leave behind his beloved extended family and his home for a chance at a better future. Eduardo F. Calcines was a child of Fidel Castro's Cuba; he was just three years old when Castro came to power in January 1959. After that, everything changed for his family and his country. When he was ten, his family applied for an exit visa to emigrate to America and he was ridiculed by his schoolmates and even his teachers for being a traitor to his country. But even worse, his father was sent to an agricultural reform camp to do hard labor as punishment for daring to want to leave Cuba. During the years to come, as he grew up in Glorytown, a neighborhood in the city of Cienfuegos, Eduardo hoped with all his might that their exit visa would be granted before he turned fifteen, the age at which he would be drafted into the army.
The internationally acclaimed last work by the legendary Latin American writer Master storyteller Eduardo Galeano was unique among his contemporaries (Gabriel Garcia Marquez and Mario Vargas Llosa among them) for his commitment to retelling our many histories, including the stories of those who were disenfranchised. A philosopher poet, his nonfiction is infused with such passion and imagination that it matches the intensity and the appeal of Latin America's very best fiction. Comprised of all new material, published here for the first time in a wonderful English translation by longtime collaborator Mark Fried, Hunter of Stories is a deeply considered collection of Galeano's final musings and stories on history, memory, humor, and tragedy. Written in his signature style -- vignettes that fluidly combine dialogue, fables, and anecdotes -- every page displays the original thinking and compassion that has earned Galeano decades and continents of renown.
“A book as fascinating as the history it relates . . . Galeano is a satirist, realist, and historian.” —Los Angeles Times For centuries, Europe’s imperial powers brutally exploited the peoples and resources of the New World. While soldiers of fortune marched across continents in search of El Dorado, white settlers established plantations and trading posts along the coasts, altering the land and bringing disease and slavery with them. In the midst of a bloody collision of civilizations, the West has birthed new societies out of the old. In the second book of his Memory of Fire trilogy, Eduardo Galeano forges a new understanding of the Americas, history retold from a diverse collection of viewpoints. Spanning the end of empire and the age of revolutions, Faces and Masks brilliantly collects the strands of the past into an iridescent work of literature.
“Nothing less than a unified history of the Western Hemisphere.” —The New Yorker From Guatemala to Rio de Janeiro, La Paz to New York City, Managua to Havana, Century of the Wind ties together the events and people—both large and small—that define the Americas. In hundreds of lyrical and vivid narratives, the final installment of Galeano’s indispensible trilogy sees the building of the Panama Canal, the disenfranchisement of indigenous peoples living over Colombia’s oil fields, the creation of Superman and the heyday of Faulkner, and coups and upheavals that cleaved an already fragmented continent. Galeano’s elegy moves year by year through the century of Castro, Picasso, and Reagan, blending the many voices and varying locales of North and South America and forming a history that is stunning in its scope and savage beauty.
Days and Nights of Love and War is the personal testimony of one of Latin America's foremost contemporary political writers. In this fascinating journal and eloquent history, Eduardo Galeano movingly records the lives of struggles of the Latin American people, under two decades of unimaginable violence and extreme repression. Alternating between reportage, personal vignettes, interviews, travelogues, and folklore, and richly conveyed with anger, sadness, irony, and occasional humor, Galeano pays loving tribute to the courage and determination of those who continued to believe in, and fight for, a more human existence. The Lannan Foundation awarded the 1999 Cultural Prize for Freedom to Eduardo Galeano, in recognition of those ""whose extraordinary and courageous work celebrates the human right to freedom of imagination, inquiry and expression.
Eduardo Galeano is determined to forget that history is usually written by the victors. He favours the voiceless and the vulnerable. Mirrors is a narrative history of the world that condenses into its scintillating fragments radically altered visions of the landmark events on this earth, and of the landmark individuals who pass history from hand to hand in the official guidebooks. Yes, it is a book for the young provocateur, the young utopian, or the utopian remnant left in all of us, but it is so outrageously bold, skilfully dramatic and ingeniously clever, refracting as it does any number of memorable characters and events through Galeano's red-rose-tinted lens, that even the exhausted ex-communist or cardboard-conservative reader might be amused, challenged or overturned by it. It is another kind of history writing altogether, entirely reliant on the fireside storyteller's skills, but grounded in an unimpeachably wide and broad reading and understanding of events. What Memory of Fire, Galeano's legendary interpretation of all of South American history, did for that one continent Mirrors does for our entire sorry, sparkling planet.
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