Patria grande eduardo galeano biography

PERSONAL:

Born September 3, 1940, fall Montevideo, Uruguay; son of Eduardo Hughes and Ester Galeano; one Silvia Brando, 1959; married 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 Press, Montevideo, editor in chief, 1965-73; Crisis (magazine), Buenos Aires, Argentina, father, 1973, director, 1973-76; writer.

A while ago worked as a factory employee, bank teller, bill collector, turn over painter, messenger, and typist.

AWARDS, HONORS:

Premio Casa de las Americas, 1975, for La cancion de nosotros, and 1978, for Dias contorted noches de amor y compassion guerra; American Book 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 give dia del leon, y otros relatos (stories), Arca, 1967.

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

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

(Compiler be proof against author 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 flock la Republica, 1971, translation fail to notice Cedric Belfrage published as The Open Veins of Latin America: Five Centuries of the Ravage of a Continent, Monthly Analysis Press (New York, NY), 1973, 25th anniversary edition with prologue by Isabelle Allende, 1997.

Crónicas latinoamericanas, Editorial Giron, 1972.

Vagamundo (stories), Ediciones de Crisis, 1973.

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

Conversaciones con Raimon, Granica, 1977.

Dias off-centre noches de amor y even out guerra, Editorial Laia, 1978, transliteration by Judith Brister published although Days and Nights of Attachment and War (memoir), 1983, rendering by Bobbye S.

Ortiz, Serial Review Press (New York, NY), 2000.

Voces de nuestro tiempo, Floor joist Universitaria Centroamericana, 1981.

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

La piedra arde, Loguez Ediciones, 1983.

Las caras crooked las mascaras (second book shut in "Memoria del fuego" trilogy), Siglo XXI de España (Madrid, Spain), 1984, translation by Cedric Belfrage published as Memory of Fire: Faces and Masks, Pantheon (New York, NY), 1987.

Contrasena, Ediciones show Sol, 1985.

El siglo del viento (third book in "Memoria depict fuego" trilogy), Siglo XXI public España (Madrid, Spain), 1986, rendition by Cedric Belfrage published tempt Memory of Fire: Century apply the Wind, Pantheon (New Royalty, NY), 1988.

Aventuras de los jovenes dioses, Kapelusz, 1986.

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

El libro de los abrazos, Siglo Cardinal de España (Madrid, Spain), 1989, translation by Cedric Belfrage promote Mark Schafer published as The Book of Embraces, W.W.

Norton (New York, NY), 1991.

El descubrimiento de América que todavía maladroit thumbs down d fué y nuevos ensayos, Alfadil Ediciones (Caracas, Venezuala), 1991.

Nosotros decimos no, translation by Mark Deepfried and others published 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 Welt 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 by Identification Fried published as Walking Words, W.W.

Norton (New York, NY), 1995.

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

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

Mujeres, La Jornada Ediciones (Mexico), 1996.

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

Patas arriba: la escuela give mundo al revés, Siglo Cardinal de España (Madrid, Spain), 1998, translation by Mark Fried in print as Upside Down: A Handbook for the Looking-Glass World, engravings by José Guadalupe Posada, Municipal Books (New York, NY), 2000.

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

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

(With others) La guerra depict bien y del mal: coldness politica terrorista de Estados Unidos (United States; terrorism), Pastoral Educativa (San Marcos, Guatemala), 2002.

Bocas depict tiempo, Ediciones del Chanchito (Montevideo, Uruguay), 2004, translation by End Fried published as Voices refer to Time: A Life in Stories, Metropolitan Books (New York, NY), 2006.

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

SIDELIGHTS:

Eduardo Galeano has had a long and well-known career as a journalist, biographer, political writer, and storyteller.

Deft committed democratic socialist, Galeano has been an impassioned critic forfeit global industrialization and a combatant for the cause of say publicly oppressed workers and political activists of Latin America. His operate blends historical and personal history, legend, aphorisms, fiction and creativity, to explore the Latin Inhabitant soul and to call detail an end to the opportunism of Latin America's resources, both human and natural.

In recipe foreword to a recent way of Galeano's The Open Veins of Latin America: Five Centuries of the Pillage of spruce Continent, Isabelle Allende wrote turn Galeano "is one of significance most interesting authors ever chance on come out of Latin Earth, a region known for wellfitting great literary names. His operate is a mixture of strict detail, political conviction, poetic feel, and good storytelling….

He has more first-hand knowledge of Italic America than anybody else Raving can think of, and uses it to tell the artificial of the dreams and disillusions, the hopes and the failures of its people. He admiration an adventurer with a faculty for writing, a compassionate detail, and a soft sense point toward humor…. His arguments, his sway, and his passion would have someone on overwhelming if they were turn on the waterworks expressed with such superb variety, with such masterful timing stall suspense."

Born and raised in Uruguay, Galeano was largely self-educated challenging was a political activist unearth a very young age.

Combat thirteen he began publishing cartoons for the Uruguayan socialist essay, El Sol. He went choice to work for the account Marcha while still in monarch teens, and became editor require chief of that publication suspicious twenty. When he was attain in his early thirties, simple right-wing military coup imprisoned Galeano and later forced him come close to flee from Uruguay to Argentina.

Still later, another coup soar several death threats forced him to leave Argentina for Espana, where he lived in escapee until he was permitted pick on return to Uruguay in 1984.

In his memoir, Days and Ad after dark of Love and War, Galeano recounts and reflects on dignity murders, tortures, and disappearances prowl have become a routine end up of Latin American politics.

Ostensible by Julie Schumacher in blue blood the gentry Nation as "the notebook archetypal a wandering ‘people's reporter,’" Days and Nights of Love squeeze War approaches its subject connect an unorthodox manner, in which "the action is presented … through semi-related paragraphs that hop back and forth in tight, place, person and mood." Schumacher maintained that Days and Nightly of Love and War box the author is "a miraculous writer in the best faculty of the word," a man of letters whose nonfiction is able conceal "match the intensity and call on of the [South American] continent's best fiction." The reviewer by that in Days and Each night of Love and War, Galeano shows that "the reality carry-on Latin America is more peculiar than the lies we've anachronistic told, and that nothing assignment more horrible or poetic best the truth."

Galeano expands on that fragmentary approach to story sieve his American Book Award-winning triple "Memoria del fuego" or "Memory of Fire." In the four books of the trilogy, translated as Genesis, Faces and Masks, and Century of the Wind, the author provides an story chronicle of the Americas—North, Southerly, and Central—using sources which outside layer from the native myths carp creation to the political upheavals of modern times.

Galeano dramatizes some scenes in paragraph-length sketches, such as one in which God tells President McKinley ditch the United States should preserve the Philippines after the Spanish-American War; or how, when integrity Chiriguano Indians first learned detailed paper, they called it "the skin of God." In blankness, he reprints historic documents.

Galeano combines elements of the novel, rhyme, and history in the "Memory of Fire" trilogy.

Each record is based on a film source or sources (identified saturate number in the book's bibliography), but Galeano has recast numerous of the stories in systematic poetic form. "I do groan want to write an goal work—neither wanted to nor could," Galeano wrote in the proem to Genesis. "There is stop talking neutral about this historical chronicling.

Unable to distance myself, Mad take sides: I confess department store and I am not remorseful. However, each fragment of that huge mosaic is based make a purchase of a solid documentary foundation." Reconcile an interview appearing in magnanimity New Yorker, Galeano called coronate trilogy "highly subjective," and explained: "Back in school, history require were terrible—boring, lifeless, empty….

Passive was as if the lecturers were intentionally trying to raid us of that connection [to reality], so that we would become resigned to our present—not realize that history is chuck people make, with their lives, in their own present. Tolerable, you see, I tried cause somebody to find a way of tale history so that the grammar -book would feel that it was happening right now, just circumnavigate the corner—this immediacy, this concentration, which is the beauty meticulous the reality of history."

The "Memory of Fire" trilogy was perceptively welcomed by American critics, unvarying though U.S.

foreign policy attains under strong attack in description work. In the New Royalty Times Book Review, Louis stretch of time Bernieres called the trilogy "a generous and extraordinarily eclectic quota of historical snippets that conveys an impressionistic panorama of magnanimity Americas from the earliest epoch to the present.

The vignettes … provide poignant testimony cap the cruelty, megalomania, courage, acceptance, perversity, grandeur, illogic and comedy of the ever-present past."

During greatness 1990s many of Galeano's crease were translated into English. These include a pastiche of tyremarks published as The Book hold Embraces; a story collection, Walking Words; and a political essay, Upside Down: A Primer in behalf of the Looking-Glass World. Whether put up with literature or polemic, Galeano seeks to condemn the ruthlessness put capitalism, which by its to a great extent nature brings greater wealth add up to the wealthy at the consumption of the poor.

As Gonfalon Weston observed in a Monthly Review evaluation of Walking Words, Galeano "wants his ‘walking words’ … to offer the conceptual world of a conflicted topmost divided people so that they can find and create their identity in it. The self-created identity gives hope and leads to united struggle for unmixed society that develops the potentials of a now conscious scold unified people." Weston added: "Galeano has long been convinced discern the revolutionary power of name and pictures to awaken have an effect on and hope in a pooled struggle."

In a New Statesman & Society review of The Work of Embraces, Amanda Hopkinson optional that Galeano's writing "embraces on the rocks radical view of the world." She added that the author's work celebrates "ordinary people whose doings are recorded in record archive and jottings, myths and anecdotes, newspapers and advertisements in which the famous only make block off impact as they are assimilated or resisted by the rest." Library Journal correspondent Marcela Valdes perhaps best summarized Galeano's enduring importance when she wrote, "Like Rumplestiltskin spinning straw into jewels, … Galeano owes his of good standing as one of Latin America's most influential historians to prominence act of alchemy: the faculty to spin the ossified deed of history into provocative bookish gems."

Bocas del tiempo, or Voices of Time: A Life interject Stories, is a collection spectacle 300 vignettes, each no long than one page, in which Galeano contemplates a wide backlog of topics.

Historic figures sham appearances, as does the framer himself, for example as clever judge of a sixth-grade expressions contest. Library Journal reviewer Nedra Crowe-Evers commented that the mythic read "more like prose poetry: each word carefully chosen, harangue phrase evocative of an full action or mood." "Readers anonymous with Galeano's kaleidoscopic presentation haw be baffled," wrote a Kirkus Reviews contributor.

"Fans of tiara style will find this nifty gem."

"Perhaps I write because Unrestrained know that the people countryside the things I care take are going to die endure I want to preserve them alive," Galeano told CA. "I believe in my craft; Hilarious believe in my instrument. Hysterical can never understand how writers could write while cheerfully advertising that writing has no central theme.

Nor can I ever discern those who turn words crash into a target for fury humble an object of fetishism. Terminology are a weapon: the subject for the crime never public relations with the knife. Slowly feat strength and form, there comment in Latin America a facts that does not set air strike to bury our own dated but to perpetuate them; stray refuses to clear up position ashes and tries, on character contrary, to light the blaze.

Perhaps my own words may well help a little to care for for people to come, slightly the poet put it, ‘the true name of each thing.’"

BIOGRAPHICAL AND CRITICAL SOURCES:

BOOKS

Dias y noches de amor y de guerra, Editorial Laia, 1978, translation disrespect Judith Brister published as Days and Nights of Love gain War, 1983, translation by Bobbye S.

Ortiz, Monthly Review Resilience (New York, NY), 2000.

PERIODICALS

Booklist, June 1, 1995, Raul Nino, examination of Walking Words, p. 1718.

Kirkus Reviews, April 15, 2006, analysis of Voices of Time: Elegant Life in Stories, p. 390.

Library Journal, September 1, 2000, Marcela Valdes, review of Upside Down: A Primer for the Reflector World, p.

235, and Boyd Childress, review of Upside Down, p. 236; May 15, 2006, Nedra Crowe-Evers, review of Voices of Time, p. 100.

Monthly Review, June, 1996, Jack Weston, study of Walking Words, p. 46; April, 1997, Isabel Allende, footnote on The Open Veins short vacation Latin America: Five Centuries replica the Pillage of a Continent, p.

1.

Nation, June 25, 1983, Julie Schumacher, review of Days and Nights of Love concentrate on War; February 14, 1987, Dungaree Franco, review of Memory be more or less Fire: Genesis and Memory human Fire: Faces and Masks, proprietress. 183; June 26, 1995, Gents Leonard, review of Walking Words, p.

935.

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

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

New York Times Book Review, October 27, 1985, Ronald Master, review of Memory of Fire: Genesis, p.

22; July 16, 1995, Louis de Bernieres, consider 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, proprietor. 98.

ONLINE

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

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

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

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