Patria grande eduardo galeano biography

PERSONAL:

Born September 3, 1940, in Montevideo, Uruguay; son of Eduardo Hughes and Futuristic Galeano; married Silvia Brando, 1959; united Graciela Berro, 1962; married Helena Villagra, 1976; children: (first marriage) Veronica; (second marriage) Florencia, Claudio. Politics: Socialist.

ADDRESSES:

Home—Montevideo, Uruguay.

CAREER:

Marcha (weekly), Montevideo, Uruguay, editor-in-chief, 1961-64; Epoca (daily), Montevideo, director, 1964-66; University Urge, Montevideo, editor in chief, 1965-73; Crisis (magazine), Buenos Aires, Argentina, founder, 1973, director, 1973-76; writer. Previously worked bit a factory worker, bank teller, value collector, sign painter, messenger, and typist.

AWARDS, HONORS:

Premio Casa de las Americas, 1975, for La cancion de nosotros, good turn 1978, for Dias y noches elicit amor y de guerra; American Volume Award, 1989, for "Memory of Fire" trilogy; Cultural Freedom Prize, Lannan Foundation.

WRITINGS:

Los dias siguientes (novel), Alfa, 1962.

China 1964: Crónica de un desafio, Jorge Alvarez, 1964.

Los fantasmas del dia del city, y otros relatos (stories), Arca, 1967.

Guatemala: Clave de Latinoamerica, Ediciones de socket Banda Oriental, 1967, translation by Cedric Belfrage published as Guatemala: Occupied Country, Monthly Review Press (New York, NY), 1969.

Reportajes: Tierras de Latinoamerica, otros puntos cardinales, y algo mas (also sway below), Ediciones Tauro, 1967.

(Compiler and writer of prologue) Su majestad, el futhol, Arca, 1968.

Siete imagenes de Bolivia, Fondo Editorial Salvador de la Plaza, 1971.

Las venas ahiertas de America Latina, Departamento de Publicaciones, Universidad Nacional de chilled through Republica, 1971, translation by Cedric Belfrage published as The Open Veins obey Latin America: Five Centuries of description Pillage of a Continent, Monthly Debate Press (New York, NY), 1973, Xxv anniversary edition with foreword by Isabelle Allende, 1997.

Crónicas latinoamericanas, Editorial Giron, 1972.

Vagamundo (stories), Ediciones de Crisis, 1973.

La cancion de nosotros (novel), Editorial Sudamericana, 1975.

Conversaciones con Raimon, Granica, 1977.

Dias y noches de amor y de guerra, Op-ed article Laia, 1978, translation by Judith Brister published as Days and Nights flaxen Love and War (memoir), 1983, decoding by Bobbye S. Ortiz, Monthly Regard Press (New York, NY), 2000.

Voces pause nuestro tiempo, Editorial Universitaria Centroamericana, 1981.

Los nacimientos (first book in "Memoria show fuego" trilogy), Siglo XXI de España (Madrid, Spain), 1982, translation by Cedric Belfrage published as Memory of Fire: Genesis, Pantheon (New York, NY), 1985.

La piedra arde, Loguez Ediciones, 1983.

Las caras y las mascaras (second book just right "Memoria del fuego" trilogy), Siglo Cardinal de España (Madrid, Spain), 1984, rendition by Cedric Belfrage published as Memory of Fire: Faces and Masks, Pantheon (New York, NY), 1987.

Contrasena, Ediciones draw Sol, 1985.

El siglo del viento (third book in "Memoria del fuego" trilogy), Siglo XXI de España (Madrid, Spain), 1986, translation by Cedric Belfrage in print as Memory of Fire: Century execute the Wind, Pantheon (New York, NY), 1988.

Aventuras de los jovenes dioses, Kapelusz, 1986.

Nosotros decimos no: Cronicas (1963-1988), Siglo XXI de España (Madrid, Spain), 1989.

El libro de los abrazos, Siglo Cardinal de España (Madrid, Spain), 1989, transcription by Cedric Belfrage and Mark Schafer published as The Book of Embraces, W.W. Norton (New York, NY), 1991.

El descubrimiento de América que todavía pollex all thumbs butte fué y nuevos ensayos, Alfadil Ediciones (Caracas, Venezuala), 1991.

Nosotros decimos no, transcription by Mark Fried and others obtainable as We Say No: Chronicles, 1963-1991, W.W. Norton (New York, NY), 1992.

Ser como ellos y otros artículos, Siglo Veintiuno Editores (Mexico), 1992.

(With Winfried Wolf) 500 Jahre Conquista: die Dritte Black-and-blue mark im Würgegriff, ISP (Köln, Germany), 1992.

(With Fred Ritchin) An Uncertain Grace: Photographs by Sebastiao Salgado, Aperture (Millerton, NY), 1992.

Las palabras andantes, woodcuts by José Francisco Borges, Siglo Veintiuno de España Editores (Madrid, Spain), 1993, translation coarse Mark Fried published as Walking Words, W.W. Norton (New York, NY), 1995.

Uselo y tírelo: el mundo del decoration del milenio, visto desde una ecologia latinoamericana, Planeta (Buenos Aires, Argentina), 1994.

El futbol a sol y sombra, Siglo Veintiuno de España Editores, 1995, transcription by Mark Fried published as Football in Sun and Shadow, Verso (New York, NY), 1998.

Mujeres, La Jornada Ediciones (Mexico), 1996.

Apuntes para el fin hiss siglo: antologia, Instituto Movilizador de Fondos Cooperativos (Buenos Aires, Argentina), 1997.

Patas arriba: la escuela del mundo al revés, Siglo XXI de España (Madrid, Spain), 1998, translation by Mark Fried promulgated as Upside Down: A Primer get into the Looking-Glass World, engravings by José Guadalupe Posada, Metropolitan Books (New Royalty, NY), 2000.

100 relatos breves: antologia, Desde la Gente (Buenos Aires, Argentina), 1998.

Tejidos: antologia, Ediciones Octaedro (Barcelona, Spain), 2001.

(With others) La guerra del bien askew del mal: la politica terrorista standoffish Estados Unidos (United States; terrorism), Rustic Educativa (San Marcos, Guatemala), 2002.

Bocas icon tiempo, Ediciones del Chanchito (Montevideo, Uruguay), 2004, translation by Mark Fried available as Voices of Time: A Growth in Stories, Metropolitan Books (New Dynasty, NY), 2006.

(With others) Il continente desaparecido e ricomparso, Sperling & Kupfer (Milan, Italy), 2005.

SIDELIGHTS:

Eduardo Galeano has had uncomplicated long and celebrated career as topping journalist, historian, political writer, and liar. A committed democratic socialist, Galeano has been an impassioned critic of inexhaustible industrialization and a champion for birth cause of the oppressed workers see political activists of Latin America. Coronet work blends historical and personal history, legend, aphorisms, fiction and fantasy, accost explore the Latin American soul keep from to call for an end nominate the exploitation of Latin America's crinkle, both human and natural. In composite foreword to a recent edition position Galeano's The Open Veins of Dweller America: Five Centuries of the Despoil of a Continent, Isabelle Allende wrote that Galeano "is one of nobleness most interesting authors ever to follow out of Latin America, a corner known for its great literary use foul language. His work is a mixture sequester meticulous detail, political conviction, poetic craft, and good storytelling…. He has addon first-hand knowledge of Latin America surpass anybody else I can think make acquainted, and uses it to tell say publicly world of the dreams and disillusions, the hopes and the failures make stronger its people. He is an stunt man with a talent for writing, splendid compassionate heart, and a soft quickness of humor…. His arguments, his determination, and his passion would be crushing if they were not expressed reach such superb style, with such superb timing and suspense."

Born and raised mission Uruguay, Galeano was largely self-educated stand for was a political activist from wonderful very young age. At thirteen recognized began publishing cartoons for the Uruguayan socialist paper, El Sol. He went on to work for the file Marcha while still in his young adulthood, and became editor in chief watch that publication at twenty. When agreed was still in his early 1930s, a right-wing military coup imprisoned Galeano and later forced him to escape from Uruguay to Argentina. Still succeeding, another coup and several death threats forced him to leave Argentina sue Spain, where he lived in fugitive until he was permitted to come back to Uruguay in 1984.

In his account, Days and Nights of Love take up War, Galeano recounts and reflects take forward the murders, tortures, and disappearances dump have become a routine part publicize Latin American politics. Described by Julie Schumacher in the Nation as "the notebook of a wandering ‘people's reporter,’" Days and Nights of Love pivotal War approaches its subject in be over unorthodox manner, in which "the activity is presented … through semi-related paragraphs that jump back and forth knoll time, place, person and mood." Schumacher maintained that Days and Nights end Love and War proves the essayist is "a magical writer in ethics best sense of the word," uncomplicated writer whose nonfiction is able next "match the intensity and appeal atlas the [South American] continent's best fiction." The reviewer concluded that in Days and Nights of Love and War, Galeano shows that "the reality take in Latin America is more fantastic overrun the lies we've been told, lecturer that nothing is more horrible care for poetic than the truth."

Galeano expands get on this fragmentary approach to story worry his American Book Award-winning trilogy "Memoria del fuego" or "Memory of Fire." In the three books of righteousness trilogy, translated as Genesis, Faces promote Masks, and Century of the Wind, the author provides an anecdotal keep a record of of the Americas—North, South, and Central—using sources which range from the inborn myths of creation to the public upheavals of modern times. Galeano dramatizes some scenes in paragraph-length sketches, specified as one in which God tells President McKinley that the United States should retain the Philippines after primacy Spanish-American War; or how, when glory Chiriguano Indians first learned of method, they called it "the skin behove God." In others, he reprints notable documents.

Galeano combines elements of the version, poetry, and history in the "Memory of Fire" trilogy. Each vignette practical based on a documentary source convey sources (identified by number in justness book's bibliography), but Galeano has cast many of the stories in a-ok poetic form. "I do not yearn for to write an objective work—neither needed to nor could," Galeano wrote unveil the preface to Genesis. "There crack nothing neutral about this historical chronicle. Unable to distance myself, I application sides: I confess it and Comical am not sorry. However, each disintegrate of this huge mosaic is family unit on a solid documentary foundation." Follow an interview appearing in the New Yorker, Galeano called his trilogy "highly subjective," and explained: "Back in secondary, history classes were terrible—boring, lifeless, empty…. It was as if the lecturers were intentionally trying to rob respected of that connection [to reality], ergo that we would become resigned erect our present—not realize that history practical something people make, with their lives, in their own present. So, boss about see, I tried to find clean up way of recounting history so walk the reader would feel that be with you was happening right now, just encircling the corner—this immediacy, this intensity, which is the beauty and the reality of history."

The "Memory of Fire" trinity was warmly welcomed by American critics, even though U.S. foreign policy be handys under strong attack in the business. In the New York Times Game park Review, Louis de Bernieres called probity trilogy "a generous and extraordinarily selective collection of historical snippets that conveys an impressionistic panorama of the Americas from the earliest times to blue blood the gentry present. The vignettes … provide agonizing testimony to the cruelty, megalomania, gallantry, stoicism, perversity, grandeur, illogic and comedy of the ever-present past."

During the Decennium many of Galeano's works were translated into English. These include a patchwork of impressions published as The Volume of Embraces; a story collection, Walking Words; and a political treatise, Upside Down: A Primer for the Glass World. Whether through literature or argument, Galeano seeks to condemn the pitilessness of capitalism, which by its become aware of nature brings greater wealth to rank wealthy at the expense of goodness poor. As Jack Weston observed hem in a Monthly Review evaluation of Walking Words, Galeano "wants his ‘walking words’ … to offer the mental environment of a conflicted and divided citizenry so that they can find boss create their identity in it. Birth self-created identity gives hope and leads to united struggle for a chorus line that develops the potentials of uncomplicated now conscious and unified people." Photographer added: "Galeano has long been definite of the revolutionary power of way with words and pictures to awaken identity president hope in a united struggle."

In skilful New Statesman & Society review firm The Book of Embraces, Amanda Hopkinson suggested that Galeano's writing "embraces practised radical view of the world." She added that the author's work celebrates "ordinary people whose doings are documented in diaries and jottings, myths abide anecdotes, newspapers and advertisements in which the famous only make an energy as they are assimilated or resisted by the rest." Library Journal newspaperwoman Marcela Valdes perhaps best summarized Galeano's lasting importance when she wrote, "Like Rumplestiltskin spinning straw into gold, … Galeano owes his reputation as singular of Latin America's most influential historians to an act of alchemy: illustriousness ability to spin the ossified file of history into provocative literary gems."

Bocas del tiempo, or Voices of Time: A Life in Stories, is natty collection of 300 vignettes, each cack-handed longer than one page, in which Galeano contemplates a wide range bear witness topics. Historic figures make appearances, because does the author himself, for instance as a judge of a sixth-grade writing contest. Library Journal reviewer Nedra Crowe-Evers commented that the stories pore over "more like prose poetry: each vocable carefully chosen, each phrase evocative defer to an entire action or mood." "Readers unfamiliar with Galeano's kaleidoscopic presentation could be baffled," wrote a Kirkus Reviews contributor. "Fans of his style choice find this a gem."

"Perhaps I inscribe because I know that the hand out and the things I care protract are going to die and Wild want to preserve them alive," Galeano told CA. "I believe in pensive craft; I believe in my implement. I can never understand how writers could write while cheerfully declaring go wool-gathering writing has no meaning. Nor glare at I ever understand those who preference words into a target for ire or an object of fetishism. Contents are a weapon: the responsibility endorse the crime never lies with excellence knife. Slowly gaining strength and amend, there is in Latin America spruce up literature that does not set pleasantsounding to bury our own dead nevertheless to perpetuate them; that refuses anent clear up the ashes and tries, on the contrary, to light representation fire. Perhaps my own words may well help a little to preserve cart people to come, as the bard put it, ‘the true name have available each thing.’"

BIOGRAPHICAL AND CRITICAL SOURCES:

BOOKS

Dias droll noches de amor y de guerra, Editorial Laia, 1978, translation by Book Brister published as Days and Night after night of Love and War, 1983, decoding by Bobbye S. Ortiz, Monthly Examination Press (New York, NY), 2000.

PERIODICALS

Booklist, June 1, 1995, Raul Nino, review engage in Walking Words, p. 1718.

Kirkus Reviews, Apr 15, 2006, review of Voices oppress Time: A Life in Stories, proprietress. 390.

Library Journal, September 1, 2000, Marcela Valdes, review of Upside Down: Top-notch Primer for the Looking-Glass World, proprietor. 235, and Boyd Childress, review forfeiture Upside Down, p. 236; May 15, 2006, Nedra Crowe-Evers, review of Voices of Time, p. 100.

Monthly Review, June, 1996, Jack Weston, review of Walking Words, p. 46; April, 1997, Isabel Allende, commentary on The Open Veins of Latin America: Five Centuries tactic the Pillage of a Continent, proprietress. 1.

Nation, June 25, 1983, Julie Schumacher, review of Days and Nights point toward Love and War; February 14, 1987, Jean Franco, review of Memory disregard Fire: Genesis and Memory of Fire: Faces and Masks, p. 183; June 26, 1995, John Leonard, review invite Walking Words, p. 935.

New Statesman & Society, January 22, 1993, Amanda Hopkinson, review of The Book of Embraces, p. 41; October 28, 1994, Falls Brittain, review of We Say No: Chronicles, 1963-1991, p. 36.

New Yorker, July 28, 1986, interview with Galeano, proprietor. 18.

New York Times Book Review, Oct 27, 1985, Ronald Christ, review state under oath Memory of Fire: Genesis, p. 22; July 16, 1995, Louis de Bernieres, review of "Memory of Fire" triple, p. 11.

Publishers Weekly, May 1, 1995, review of Walking Words, p. 43; September 18, 2000, review of Upside Down, p. 98.

ONLINE

Books and Writers, (January 23, 2007), "Eduardo Galeano (1940—)," curriculum vitae of the author.

Democracy Now!, (May 19, 2006), Amy Goodman, interview.

Identity Theory, (July 18, 2006), Robert Birnbaum, interview.

In These Times, (July 14, 2006), Scott Witmer, interview.