Eduardo Galeano

"In this witty and rebellious history of world soccer, award-winning writer Eduardo Galeano searches for the styles of play, players, and goals that express the unique personality of certain times and places. In Soccer in Sun and Shadow, Galeano takes us to ancient China, where engravings from the Ming period show a ball that could have been designed by Adidas to Victorian England, where gentlemen codified the rules that we still play by today and to Latin America, where the "crazy English" spread the game only to find it creolized by the locals. All the greats-Pele;, Di Ste;fano, Cruyff, Euse;bio, Pusk, Gullit, Baggio, Beckenbauer- have joyous cameos in this book. yet soccer, Galeano cautions, "is a pleasure that hurts." Thus there is also heartbreak and madness. Galeano tells of the suicide of Uruguayan player Porte, who shot himself in the center circle of the Nacional's stadium; of the Argentine manager who wouldn't let his team eat chicken because it would bring bad luck; and of scandal-riven Diego Maradona whose real crime, Galeano suggests, was always "the sin of being the best." Soccer is a game that bureaucrats try to dull and the powerful try to manipulate, but it retains its magic because it remains a bewitching game-"a feast for the eyes... and a joy for the body that plays it"-exquisitely rendered in the magical stories of Soccer in Sun and Shadow"--

"Days and Nights of Love and War is the personal testimony of one of Latin America's foremost contemporary writers. In this journal and history, Eduardo Galeano records the lives and struggles of the Latin American people, under two decades of violence and repression. Alternating between reportage and personal vignettes, Galeano pays tribute to the courage and determination of those who continued to believe in, and fight for, a more human existence."--BOOK JACKET.

Since its U.S. debut almost fifty years ago, this brilliant text has set a new standard for historical scholarship of Latin America. It is also an outstanding political economy, a social and cultural narrative of the highest quality, and perhaps the finest description of primitive capital accumulation since Marx. Rather than chronology, geography, or political successions, Eduardo Galeano has organized the various facets of Latin American history according to the patterns of five centuries of exploitation. Thus he is concerned with gold and silver, cacao and cotton, rubber and coffee, fruit, hides and wool, petroleum, iron, nickel, manganese, copper, aluminum ore, nitrates, and tin. These are the veins which he traces through the body of the entire continent, up to the Rio Grande and throughout the Caribbean, and all the way to their open ends where they empty into the coffers of wealth in the United States and Europe. Weaving fact and imagery into a rich tapestry, Galeano fuses scientific analysis with the passions of a plundered and suffering people. An immense gathering of materials is framed with a vigorous style that never falters in its command of themes. All readers interested in great historical, economic, political, and social writing will find a singular analytical achievement, and an overwhelming narrative that makes history speak, unforgettably. This classic is now further honored by Isabel Allende’s inspiring introduction. Universally recognized as one of the most important writers of our time, Allende once again contributes her talents to literature, to political principles, and to enlightenment.

„Es ist ein schwerer analytischer Fehler zu sagen, dass der Terrorismus die Waffe der Schwachen ist. Wie andere Formen der Gewalt ist er in erster Linie eine Waffe der Starken. Er wird für eine Waffe der Schwachen gehalten, weil die Starken auch die doktrinären Systeme kontrollieren und ihr Terrorismus nicht als Terrorismus zählt.“ Diese Analyse von Noam Chomsky ist nur ein Beispiel für den kritischen Zugang der verschiedenen AutorInnen des vorliegenden Buches zu den Ereignissen des 11. September und der Reaktion der US-Administration. Der Herausgeber Wolfgang Haug versammelt Stimmen abseits des Mainstreams und liefert damit Material, um eindimensionalen Argumentationsweisen der „bedingungslosen Solidarität“ mit den USA zu kontern. Auggenommen wurden u.a. Beiträge von Eduardo Galeano, Saskia Sassen, Robert Fisk, Uri Avneri, Tariq Ali, Vandana Shiva sowie eine Stellungnahme von Human Rights Watch zur Nord-Allianz. Wie es sich für einen libertär-anarchistischen Verlag wie „Trotzdem“ gehört, liegt der Schwerpunkt auf der Sorge um die freiheitlich-demokratische Ordnung und den Datenschutz, die in Zeiten von Rufen nach immer mehr „innerer Sicherheit“ gefährdet sind. Die Beiträge stellen eine Sammlung von Artikeln dar, die in der Zeit nach dem 11. September größtenteils im Internet veröffentlicht wurden. Der Verdienst des Buches liegt also nicht darin, Neues zu bringen, sondern diese Texte erstmals in Buchform den deutschsprachigen LeserInnen zugänglich zu machen. (Quelle: [Stefan Kerl, Südwind](

From a Brazilian mine where 50,000 mud-covered men haul heavy bags of dirt up and down slippery ladders in search of a stray nugget of gold, to a former lake in western Africa now swallowed by the encroaching desert, where emaciated, starving people walk over its surface of sand, photographer Sebastião Salgado explores the live of the planet's often ignored people with a critical eye and an empathetic heart.

Following the dates of the calendar year, Galeano resurrects the heroes and heroines who have fallen off the historical map, but whose lives remind us of our darkest hours and sweetest victories.

Este libro ofrece una multitud de pequenas historias que cuentan, juntas, una sola historia. Es una travesia por los temas mas diversos: el amor, la infancia, el agua, la tierra, la palabra, la imagen, la musica, el exodo, el poder, el miedo, la guerra, la indignidad, la indignacion, el vuelo... Sus protagonistas aparecen y se desvanecen para seguir viviendo, historia tras historia, en otros personajes que les dan continuidad. Tejidos por los hilos del tiempo, ellos son tiempo que dice: son bocas del tiempo.

Throughout his career, Eduardo Galeano has turned our understanding of history and reality on its head. Isabelle Allende said his works "invade the reader's mind, to persuade him or her to surrender to the charm of his writing and power of his idealism." Mirrors, Galeano's most ambitious project since Memory of Fire, is an unofficial history of the world seen through history's unseen, unheard, and forgotten. As Galeano notes: "Official history has it that Vasco Nunez de Balboa was the first man to see, from a summit in Panama, the two oceans at once. Were the people who lived there blind??" Recalling the lives of artists, writers, gods, and visionaries, from the Garden of Eden to twenty-first-century New York, of the black slaves who built the White House and the women erased by men's fears, and told in hundreds of kaleidoscopic vignettes, Mirrors is a magic mosaic of our humanity.

Galeano no inventa: descubre. Lo real es, para el, mas fantástico que la fantasía. Esta es una obra inclasificable. Erick Hackl, Deutsches Allgemeines Sonntagsblatt, Alemania.

Album - langage - sentiment.

"Striking collaboration between Galeano's tales rooted in the oral tradition and Brazilian artist José Francisco Borges' woodcuts in the cordel tradition is given a rich third dimension by Fried's imaginative translation of Palabras andantes. Readers will have to look elsewhere for introductory material, but in effect the book introduces and explains itself"--Handbook of Latin American Studies, v. 58.

This volume brings together a range of papers that fruitfully engage with the theme of the '2017 Annual Conference' of the International Communication Association, held in San Diego, California: 'Interventions'.