During the late 1960s and early 1970s, Brazil’s dictatorship arrested, tortured, and interrogated many people it suspected of subversion; hundreds of those arrested were killed in prison. In May 1970, Marcos P. S. Arruda, a young political activist, was seized in São Paulo, imprisoned, and tortured. A Mother’s Cry is the harrowing story of Marcos’s incarceration and his family’s efforts to locate him and obtain his release. Marcos’s mother, Lina Penna Sattamini, was living in the United States and working for the U.S. State Department when her son was captured. After learning of his arrest, she and her family mobilized every resource and contact to discover where he was being held, and then they launched an equally intense effort to have him released. Marcos was freed from prison in 1971. Fearing that he would be arrested and tortured again, he left the country, beginning eight years of exile. Lina Penna Sattamini describes her son’s tribulations through letters exchanged among family members, including Marcos, during the year that he was imprisoned. Her narrative is enhanced by Marcos’s account of his arrest, imprisonment, and torture. James N. Green’s introduction provides an overview of the political situation in Brazil, and Latin America more broadly, during that tumultuous era. In the 1990s, some Brazilians began to suggest that it would be best to forget the trauma of that era and move on. Lina Penna Sattamini wrote her memoir as a protest against historical amnesia. First published in Brazil in 2000, A Mother’s Cry is testimonial literature at its best. It conveys the experiences of a family united by love and determination during years of political repression.
During the late 1960s and early 1970s, Brazil’s dictatorship arrested, tortured, and interrogated many people it suspected of subversion; hundreds of those arrested were killed in prison. In May 1970, Marcos P. S. Arruda, a young political activist, was seized in São Paulo, imprisoned, and tortured. A Mother’s Cry is the harrowing story of Marcos’s incarceration and his family’s efforts to locate him and obtain his release. Marcos’s mother, Lina Penna Sattamini, was living in the United States and working for the U.S. State Department when her son was captured. After learning of his arrest, she and her family mobilized every resource and contact to discover where he was being held, and then they launched an equally intense effort to have him released. Marcos was freed from prison in 1971. Fearing that he would be arrested and tortured again, he left the country, beginning eight years of exile. Lina Penna Sattamini describes her son’s tribulations through letters exchanged among family members, including Marcos, during the year that he was imprisoned. Her narrative is enhanced by Marcos’s account of his arrest, imprisonment, and torture. James N. Green’s introduction provides an overview of the political situation in Brazil, and Latin America more broadly, during that tumultuous era. In the 1990s, some Brazilians began to suggest that it would be best to forget the trauma of that era and move on. Lina Penna Sattamini wrote her memoir as a protest against historical amnesia. First published in Brazil in 2000, A Mother’s Cry is testimonial literature at its best. It conveys the experiences of a family united by love and determination during years of political repression.
A global survey of Pop art that reassesses its roots, impact, and legacy This groundbreaking book surveys the concurrent engagements with the spirit of Pop throughout the world, from the frequently studied activity in the United States, England, and France to less well-known developments in Central and Eastern Europe, Latin America, Asia, Africa, and the Middle East. One of the first publications to examine Pop art with this global scope, The World Goes Pop explores the wide-ranging movements that developed on different continents, such as Nouveau Réalisme, Neo Dada, New Figuration, and Spiritual Pop. This unique presentation offers the opportunity to compare how Pop art around the world differed due to geography, local traditions, and different cultures' social and political underpinnings. Fascinating essays touch upon key themes that factored into various Pop movements, including feminism, political representation, sexual politics, and seriality. A bold design and 200 striking illustrations showcase pieces by more than 60 artists, many of whose works have never been exhibited outside their home nations. The book also features a combined interview with a number of the living artists featured within, giving important insight into the thoughts and processes of Pop's international practitioners.
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