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By Ricardo L. Ortiz

Miami is broadly thought of the guts of Cuban-American tradition. even though important to the diasporic groups’ identification, Miami isn't the only—or inevitably the main profound—site of cultural creation. having a look past South Florida, Ricardo L. Ortíz addresses the query of Cuban-American diaspora and cultural identification via exploring the histories and self-sustaining practices of smaller groups in such U.S. towns as la, Chicago, and New York.

during this wide-ranging paintings Ortíz argues for the authentically diasporic caliber of postrevolutionary, off-island Cuban event. Highlighting numerous kinds of cultural expression, Cultural Erotics in Cuban America lines underrepresented groups’ responses to the specter of cultural disappearance in an overpowering and hegemonic U.S. tradition. Ortíz indicates how the paintings of Cuban-American writers and artists demanding situations the heteronormativity of either domestic and host tradition. concentrating on artists who've had an ambivalent, oblique, or nonexistent connection to Miami, he provides shut readings of such novelists as Reinaldo Arenas, Roberto G. Fernández, Achy Obejas, and Cristina García, the playwright Eduardo Machado, the poet Rafael Campo, and musical performers Albita Rodríguez and Celia Cruz.

Ortíz charts the legacies of sexism and homophobia in patriarchal Cuban tradition, in addition to their effect on Cuban-revolutionary and Cuban-exile ideologies. relocating past the outmoded cultural phrases of the chilly battle, he appears ahead to check queer futures for Cuban-American tradition unfastened from the binds to restrictive—indeed, oppressive—constructions of country, position, language, and desire.

Ricardo L. Ortíz is affiliate professor of English at Georgetown University.

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