Escape To Miami

The Naval base in Guantánamo Bay, Cuba has been in the news constantly since the U.S. began using it as a prison camp after the terrorist attacks of September 11, 2001. With all the controversy surrounding the torture of suspects at the prison, its precedent-setting prior use as an immigrant detention center for Haitian and Cuban boat people has been largely overlooked.Escape to Miami is an oral history of the rafter crisis and the camps written by an anthropologist who worked in the camps. More than a straight oral history, the book is a study of group-level trauma and coping. Using a trauma studies perspective along with discourse-oriented models from anthropology, the book discusses examples of the extensive camp artwork as well as the oral history narratives as part of a meaning-making process that necessarily occurs as people recover from trauma. Campisi worked in the Cuban camps for a year as a temporary employee of the Justice Department's mediation service, and then returned to analyze the camps from an anthropological point of view. She conducted life history interviews of twelve of the rafters, which included the process of disenchantment with the Revolution, leaving Cuba, the rafting trip, life on the base, and their initial experiences in Cuban Miami, focusing on life on the base. Their stories are gripping. Some people provided disturbing accounts of military abuses, which is an ancillary reason thatEscape to Miami is important right now: human rights violations that occurred at the prison for terror suspects also occurred in the Cuban and Haitian camps, but few people know about them. All such violations should be taken into account in current debates about the use of the base. While it is important as an oral history, the book's examination of the camp culture also makes it a new contribution to the field of anthropology. Campisi argues that because trauma has cognitive and emotional impacts that require an individual to create new meanings, when people work through individually-traumatic experiences as a group, the new meanings they generate together create new cultural forms. Hence, social trauma can be culturally generative. In these times, that is an important conclusion.

While the Naval base in Guantánamo Bay, Cuba is well-known for its infamous prison camp, few people are aware of its prior use as an immigrant detention center for Haitian and Cuban refugees. Beginning in August 1994, the United States government declared that thousands of Cubans who had launched themselves into the Florida Straits on rickety rafts were "illegal refugees" and sent them to join over fifteen thousand Haitians already being held on Guantánamo after fleeing a violent coup in Haiti. Escape to Miami recounts the gripping stories of the rafters who were detained in Guantánamo during the 1994-1996 Cuban Rafter Crisis. After working in the camps for a year as an employee of the U.S. Justice Department, Elizabeth Campisi conducted life history interviews with twelve of the rafters, chronicling their departures from Cuba, their rafting trips, life on the base, and their initial experiences in Cuban Miami. Through these remarkable narratives, the book details the ways in which the rafters used creative expression, such as performance and artwork, to cope with the traumas they experienced in the camp. Campisi explores these coping mechanisms, showing that, when people work through individually-traumatic experiences as a group, the new meanings they create during that process can come together to change existing cultures or create new ones. Vivid and engaging, Escape to Miami gives voice to the untold stories of Guantánamo. This book is a must-read for anyone interested in policy, Latin American history, and human rights.

 In 1959, Fidel Castro assumed power in Cuba after overthrowing the government of Fulgencio Batista. In response, thousands of Cubans fled the island, mostly to the United States. This book tells the stories of these Cubans in exile, all of whom overcame great obstacles to escape the brutal Castro regime. Neither a history of Cuba nor of Castro, this book illuminates the underrepresented legacy of the Cuban Exile Community and celebrates their continued thriving in a new country.

Where the New World Is assesses how fiction published since 1980 has resituated the U.S. South globally and how earlier twentieth-century writing already had done so in ways traditional southern literary studies tended to ignore. Martyn Bone argues that this body of fiction has, over the course of some eighty years, challenged received readings and understandings of the U.S. South as a fixed place largely untouched by immigration (or even internal migration) and economic globalization. The writers discussed by Bone emphasize how migration and labor have reconfigured the region’s relation to the nation and a range of transnational scales: hemispheric (Jamaica, the Bahamas, Haiti), transatlantic/Black Atlantic (Denmark, England, Mauritania), and transpacific/global southern (Australia, China, Vietnam). Writers under consideration include Zora Neale Hurston, Nella Larsen, John Oliver Killens, Russell Banks, Erna Brodber, Cynthia Shearer, Ha Jin, Monique Truong, Lan Cao, Toni Morrison, Peter Matthiessen, Dave Eggers, and Laila Lalami. The book also seeks to resituate southern studies by drawing on theories of “scale” that originated in human geography. In this way, Bone also offers a new paradigm in which the U.S. South is thoroughly engaged with a range of other scales from the local to the global, making both literature about the region and southern studies itself truly transnational in scope.

From early Spanish myths and Seminole and African-American folktales to the latest descriptions of modern Miami, this anthology includes writings by such authors as Ralph Waldo Emerson, John James Audubon, Zora Neale Hurston, Zane Grey, Wallace Stevens, Marjorie Kinnan Rawlings, Jose Yglesias, and Harry Crews.

With this masterful work, Louis A. Perez Jr. transforms the way we view Cuba and its relationship with the United States. On Becoming Cuban is a sweeping cultural history of the sustained encounter between the peoples of the two countries and of the ways that this encounter helped shape Cubans' identity, nationality, and sense of modernity from the early 1850s until the revolution of 1959. Using an enormous range of Cuban and U.S. sources--from archival records and oral interviews to popular magazines, novels, and motion pictures--Perez reveals a powerful web of everyday, bilateral connections between the United States and Cuba and shows how U.S. cultural forms had a critical influence on the development of Cubans' sense of themselves as a people and as a nation. He also articulates the cultural context for the revolution that erupted in Cuba in 1959. In the middle of the twentieth century, Perez argues, when economic hard times and political crises combined to make Cubans painfully aware that their American-influenced expectations of prosperity and modernity would not be realized, the stage was set for revolution.