Esther Allen

Ghosts of Aracataca

In a series of early short stories and novellas based on his childhood memories, Gabriel García Márquez found the style, voice, and sense of place that culminate in One Hundred Years of Solitude.

Appropriate Appropriation?

Fiction and Responsibility

Andrew Altschul’s ‘The Gringa’

The Art of the Possible at Havana’s Bienal

The very title of this year’s Bienal de la Habana in Cuba, “The Construction of the Possible,” with its echo of Bismarck’s definition of politics, defies official distinctions between art and politics.

An Exchange

Judy Chicago: We need to build upon each other’s achievements if we are ever to break the cycle of erasure that I tried to overcome through The Dinner Party.

Returning the Gaze, with a Vengeance

The aspect of “Radical Women” that may seem most predictive of Latina women’s ascent to political power since 1985 is the sheer fearlessness of much of the work, the way the artists unabashedly stand their ground.

The Crazed Euphoria of Lucrecia Martel’s ‘Zama’

Lucrecia Martel’s film Zama offers a passionately informed and intuitive reading that is at once a reply and a carrying forward, a fusion that brings Antonio Di Benedetto’s novel into entirely new territory.

A Radical Banquet

Brazilian artist Lygia Pape’s work is highly conceptual, drawing on semiotics, architectural theory, and anthropology, but never losing a deep connection with the visceral realities of daily life.

Fidelmania

Castro’s Cuba, a compilation of photographs and text from 1959 to 1969 by the late Lee Lockwood, a US photojournalist who specialized in Communist regimes, is a supreme lesson in the enormous populist power of male charisma.

Cuba: We Never Left

The hoisting of the Star-Spangled Banner in Havana on Friday, for the first time in more than half a century, has been met with perplexing and contradictory reactions in the United States.

A Protest