Bücher veröffentlicht von Inlandia Institute

On the eve of leaving Cuba for Florida, a four-year-old girl promises her dying grandfather to return to her birthplace. That night an intruder sexually assaults her. As she adapts to her new American reality, she suffers distressing physical and emotional symptoms. Convinced that her daughter is possessed, her mother takes her to a Santeria priest for a cure. Years later, she returns to her homeland as a journalist, becomes entrapped in the game of espionage between Cuba and the U.S., suffers a devastating betrayal, and learns family secrets. Disillusioned by the experience, she embarks on a spiritual journey that leads to reconciliation, forgiveness, and a return to wholeness.

After the 1979 Iranian Revolution, Ellen Estilai and her family attempt to leave Tehran, their home of nine years. At the airport, her Iranian husband is inexplicably prevented from leaving. As he confronts hostile colleagues and the Islamic Republic's opaque bureaucracy, Ellen examines their lives, trying to understand what might have brought them to this point. Exit Prohibited is a story of a complex Iran, at once welcoming and hostile, progressive and traditional, enamored of and distrustful of the West-an Iran as complex as Estilai's relationship to it.

Angelica Maria Barraza Tran's debut collection, How to Know You're Dreaming When You're Dreaming, Lesson One, articulates a practice of queer-of-color worldmaking in which the lyric strives to bridge the gaps and silences that separate past and present. In a language that is both speculative and grounded in the material, these poems re-enchant the everyday, revealing the sacred within the rituals of domestic life. They devote themselves, like candles on an altar, to life in all its manifestations: to the ancestors, to lives too soon lost, to the disappeared, and to all those who are to come. In the tradition of Ana Mendieta, these poems construct a rigorous textual body, a body responsive to environment, to violence and erasure, and to collective, intergenerational desires and longings. With this collection, Barraza Tran claims her place within a rich lineage of experimental poetics and Latinx feminism.

Eliud Martínez -- scholar, painter, novelist, professor, husband, father, brother, son, friend -- was a proponent of what he called "multiple ancestries." Inspired by Carlos Fuentes' novel The Death of Artemio Cruz, he conceived of Mexico as "a thousand countries with a single name." In Güero-Güero: The White Mexican and Other Published and Unpublished Stories, discover twenty tales inspired by Martínez's own upbringing in Pflugerville, Texas, on the outskirts of Austin. The complicated histories of his ancestors were passed down to him by family elders. A gifted and natural storyteller, frequent visits with his father to Pflugerville's segregated cemetery compelled him to write. Here, authentic autobiographical detail elevates these stories to a high art, melding personal and cultural histories, crossing the ocean and spanning continents to divine what it means to be who we are.

In Our Bruises Keep Singing Purple, Afro-Jamaican-Boricua poet, Malcolm Friend, has gifted us with a collection that is politically charged and culturally woke. Crafted in rhythmseasoned Latinx dialect, emerging from ancestral roots, replanted in the urban spectrum of hip-hop and rap, Friend's voice is heart-inspired, soul-empowered, new-wave griot, a fearless weapon forged from South End Seattle, Puerto Rico, and Pittsburgh. Friend creates personal and family stories that connect communal tragedies and national consciousness in expressions of rage, affirmation and self-determination, confronting the brutal realities of being Black and young while caught in the colonial grip of America, enlisting the vibrations of sound masters like Ismael Rivera, Cheo Feliciano, Tato Laviera and Bob Marley. Friend chases ghosts that emerge from living scars and painful realizations experienced by people of color happening in the barbershop, the bar, the dining table, college, on the 7, in between a mofongo of jazz, blues, calypso, rumba, bomba, plena and dembow celebrations, where his heart is. -Sandra María EstevesIn Our Bruises Kept Singing Purple, Malcolm Friend coasts the curvature of the blue note, revealing in his brooding, songful, and formally masterful verse heritages that pull from the ancestral into the vibrancy and violence of this moment. He guides us carefully through the intricacies of his landscape and identity as Afro-Latino, all while flexing his linguistic and literary dexterity. The balance of beauty and punch is maintained in English and Spanish with meaning and metaphorical integrity upheld. From the haunting resonance of Orpheus' lament to the allure of the sultry bolero, from the soul that soothes a man when his mother fears the robbing of his blood far from home to the tension of bomba and blues in the bones, here are the poems that bring us back to the purity of sound in their careful and studied composition. Friend shows us the terrible, delicate, beloved, ever-shifting truths; he guides us to hear beyond the stopping of our own ears.-Raina J. León, PhD author of sombra: (dis)locate and founding editor of The Acentos Review Blues and Bomba bless the pages of this unique collection. They embody those nagging voices of doubt, of "no" and defiance, and of the dozens. They're born of English and Spanish, of Seattle, of transiency, of trash-talking and singing, and betweenness. And-do I have to say it? Yesterday's hurts and today's bruises. Li-Young Lee once described poetry as a kind of homesickness. Malcolm's poems-nostalgic and tender-evoke this feeling. These poems are startling and affirming. They hold their own. They know where they come from. -Yona Harvey author of Hemming the Water