In Memoriam: “John Coleman on Spectacle Lane,” by Belkis Cuza Malé; “Towards a Reading of Ortiz’s Cuban Counterpoint,” by Enrico Mario Santí; “Creolité: Power, Mimicry, and Dependence,” by A. James Arnold; “Paris Isn’t Always a City in Texas,” by Dany Laferrière; Interview with Raphaël Confiant; “Who Slashed Celanire’s Throat,” by Maryse Condé; “Cherries” and more.

Includes poetry and prose by Claribel Alegría, Manlio Argueta, Arturo Arias, Gioconda Belli, Ernesto Cardenal, Ana Istarú, Víctor Montejo, Roberto Quesada, and Sergio Ramírez; “Kidnapping Alaíde,” by Otto Raúl González; Interview with Pablo Antonio Cuadra; Texts by Antonio Benítez-Rojo, Ana Castillo, Ricardo Pau-Llosa, Gustavo Pérez-Firmat, Achy Obejas, and Nelly Rosario; Art by Francisco Alvarado, Josefina Guilisasti, and Marco Maggi; Book reviews of new Canadian writing.

Includes prose by Tony Burgess, Christy Ann Conlin, Ian Ferrier, Madeline Monette, Hal Niedzvicki, Timothy Taylor; Play excerpts by François Archambault, Jean Marc Dalpé, Carole Fréchette, Marie Laberge, Larry Tremblay; Art by Louise Belcourt; "Miniatures," by Geneviéve Letarte; Special Feature: "The Parable of the Tapeworm," by Mario Vargas Llosa.

This is the catalogue of the 2003 stunning exhibition Puerto Rican Light, where Allora & Calzadilla used a variety of representational means to convey light from the island.

Let me open with the following image: In 1965, a wrecking ball was about to hit a row of beautiful brownstone mansions on Park Avenue in Manhattan to make way for condominiums.

Burt Glinn's photographs—of Fidel thronged by his fellow Cubans along the road to Havana, of troops embracing, and of fierce men and women taking up arms in the streets—are full of the revolutionary fervor and idealistic anticipation that characterized that moment in Cuban history.