Eduardo Galeano - The Memory of Fire Trilogy - Genesis, Faces and Masks, and Century of the Wind

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For the first time, you can own all three books of Memory of Fire in a single volume.
Eduardo Galeano’s 
defies categorization — or perhaps creates its own. It is a passionate, razor-sharp, lyrical history of North and South America, from the birth of the continent’s indigenous peoples through the end of the twentieth century. The three volumes form a haunting and dizzying whole that resurrects the lives of Indians, conquistadors, slaves, revolutionaries, poets, and more.
The first book, 
, pays homage to the many origin stories of the tribes of the Americas, and paints a verdant portrait of life in the New World through the age of the conquistadors. The second book, 
, spans the two centuries between the years 1700 and 1900, in which colonial powers plundered their newfound territories, ultimately giving way to a rising tide of dictators. And in the final installment, 
, Galeano brings his story into the twentieth century, in which a fractured continent enters the modern age as popular revolts blaze from North to South.
This celebrated series is a landmark of contemporary Latin American writing, and a brilliant document of culture.

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(187 and 464)

1928: Bogotá

Newsreel

The press reports on recent events in the banana zone. According to official sources, the excesses of the strikers have left a total of forty plantations burned, thirty-five thousand meters of telegraph wires destroyed, and eight workers killed when they tried to attack the army.

The president of the republic charges the strikers with treason and felony. With their poisoned dagger they have pierced the loving heart of the Fatherland , he declares. By decree, the president appoints General Cortés Vargas head of the National Police, and announces promotions and rewards for the other officers who participated in the events.

In a spectacular speech, the young liberal legislator Jorge Eliécer Gaitán contradicts the official story. He accuses the Colombian army of committing butchery under the orders of a foreign company. The United Fruit Company, which directed the massacre, according to Gaitán, has subsequently reduced the daily wage that it pays in coupons, not money. The legislator stresses that the company exploits lands donated by the Colombian state, which are not subject to taxes.

(174 and 464)

1929: Mexico City

Mella

The dictator of Cuba, Gerardo Machado, orders him killed. Julio Antonio Mella is just another expatriate student in Mexico, intensely busy chasing around and publishing articles — for very few readers — against racism and the hidden face of colonialism; but the dictator is not mistaken in thinking him his most dangerous enemy. He has been a marked man ever since his fiery speeches rocked Havana’s students. Mella blazed as he denounced the dictatorship and mocked the decrepitude of the Cuban university, a factory of professionals with the mentality of a colonial convent.

One night Mella is strolling arm in arm with his friend Tina Modotti, when the murderers shoot him down.

Tina screams, but doesn’t cry. Not until she returns home at dawn and sees Mella’s empty shoes waiting for her under the bed.

Until a few hours ago, this woman was so happy she was jealous of herself.

(290)

1929: Mexico City

Tina Modotti

The Cuban government has nothing to do with it, insist the right-wing Mexican papers. Mella was the victim of a crime of passion, whatever the Muscovite bolshevik yids may say . The press reveals that Tina Modotti, a woman of dubious decency , reacted coldly to the tragic episode and subsequently, in her statements to the police, fell into suspicious contradictions.

Modotti, an Italian photographer, has dug her feet deeply into Mexico in the few years she has been here. Her photographs mirror a grandeur in everyday things, and in people who work with their hands.

But she is guilty of freedom. She was living alone when she found Mella mixed up in a crowd demonstrating for Sacco and Vanzetti and for Sandino, and she hitched up with him unceremoniously. Previously she had been a Hollywood actress, a model, and a lover of artists; and she makes every man who sees her nervous. In short, she is a harlot — and to top it off, a foreigner and a communist. The police circulate photos showing her unforgivable beauty in the nude, while proceedings begin to expel her from Mexico.

(112)

1929: Mexico City

Frida

Tina Modotti is not alone before her inquisitors. Accompanying her, one on each arm, are Diego Rivera and Frida Kahlo: the immense painter-Buddha and his little Frida, also a painter, Tina’s best friend, who looks like a mysterious oriental princess but swears and drinks tequila like a Jalisco mariachi.

Kahlo has a wild laugh, and has painted splendid canvases in oils ever since the day she was condemned to pain without end. She had known other pain from infancy, when her parents dressed her up with straw wings. But constant and crippling agony has come only since her accident, when a shard from a shattered street car pierced her body, like a lance, tearing at her bones.

Now she is a pain that survives as a person. They have operated in vain several times; and it was in her hospital bed that she started painting self-portraits, desperate homage to the life that remains for her.

(224 and 444)

1929: Capela

Lampião

The most famous gang in northeast Brazil attacks the town of Capela. Its chief, Lampião, who never smiles, fixes a reasonable sum as ransom, then offers a reduction, because we are in the drought season. While the town notables drum up the money, he strolls the streets. The whole town follows him. His horrifying crimes have won him general admiration.

Lampião, the one-eyed king, master of the open spaces, sparkles in the sun. His glittering gold-wire glasses give him the look of an absent-minded professor; his gleaming dagger is as long as a sword. On each finger shimmers a diamond ring, and to the hairband around his forehead are sewn English pound notes.

Lampião wanders into the cinema, where they are showing a Janet Gaynor film. That night he dines at the hotel. The town telegraph operator, seated beside him, tastes the first mouthful of each dish. Then Lampião has a few drinks while reading Ellen G. White’s Life of Jesus . He ends the day in the whorehouse. He picks the plumpest one, a certain Enedina. With her he spends the whole night. By dawn, Enedina is famous. For years men will line up outside her door.

(120 and 348)

1929: Atlantic City

The Crime Trust

Organized crime in the United States holds its first national convention, in the salons of the President Hotel. Attending are the qualified representatives of mobs operating in each of the major cities.

Olive branch, white flag: The convention resolves that rival gangs will stop killing one another and decrees a general amnesty. To guarantee peace, the executives of the crime industry follow the example of the oil industry. As Standard Oil and Shell have just done, the powerful gangsters divide markets, fix prices, and agree to eliminate the competition of small and middle fry.

In recent years, crime’s impresarios have diversified their activities and modernized their methods. Now they not only engage in extortion, murder, pimping, and smuggling, but also own distilleries, hotels, casinos, banks, and supermarkets. They use the latest-model machineguns and accounting machines. Engineers, economists, and publicity experts direct the teams of technicians that avoid waste of resources and ensure a constant rise in profits.

Al Capone chairs the board of the most lucrative company in the game. He earns a hundred million dollars a year.

(335)

1929: Chicago

Al Capone

Ten thousand students chant the name of Al Capone on the sports field of Northwestern University. The popular Capone greets the multitude with a two-handed wave. Twelve bodyguards escort him. At the gate an armored Cadillac awaits him. Capone sports a rose in his lapel and a diamond stickpin in his tie, but underneath he wears a steel vest, and his heart beats against a.45.

He is an idol. No one provides as much business for funeral parlors, flower shops, and tailors who do invisible mending on small holes; and he pays generous salaries to policemen, judges, legislators, and mayors. Exemplary family man, Capone abominates short skirts and cosmetics. He believes woman’s place is in the kitchen. Fervent patriot, he exhibits portraits of George Washington and Abraham Lincoln on his desk. Influential professional, he offers the best available service for breaking strikes, beating up workers, and sending rebels to the other world. He is ever alert to the red menace.

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