Terri Gordon-Zolov is Associate Professor of Comparative Literature at The New School in New York City. She is former Director of the Gender Studies Program at The New School and sits on the editorial board of WSQ. Her work has appeared in Latin American Literary Review, The Nation, and NACLA, among others

“For Gordon-Zolov and Zolov to have been in Santiago when the estallidos [social explosions] happened and to have written such an important and insightful study so quickly is remarkable, and their nearness to the explosions’ subjects and objects becomes quite evident in the book. In addition, the authors’ collection of many hundreds—if not thousands—of photographs (more than 150 of which appear in the book) constitutes a jaw-dropping archive of images now disappeared. The Walls of Santiago is a rich and unique account of both estallidos that sets a rather high bar in the study of modern social movements, activism, art, and politics.” • Hispanic American Historical Review“The Walls of Santiago is a rich text with impeccable visual and cultural analyses. It is complex and nuanced but also accessible to readers in and outside the academy…The careful attention paid to intersectional understandings of oppression exhibited by Chilean protesters further added to this richness…It is a compelling and dynamic text that celebrates Chilean art and activism while also documenting such an important moment in the country’s political and artistic history. This exciting book is a must read for scholars, students and activists interested in the intersection of creativity and social justice.” • The Americas“We are living a new era of protest, organizing, and political engagement. This book is both a testimony of these changes and an extraordinary early effort to make sense of this new reality. It is the result of the authors’ vision and commitment to keep alive a history that was bound to vanish.” • Mónica Ricketts, Temple University“This is an excellent and unique contribution to our understanding of protest art. It is the first substantive treatment in English of an important social movement and a significant contribution to the political impact of the Covid-19 pandemic.” • T.V. Reed, Washington State University

• List of IllustrationsAcknowledgmentsPrologueList of AbbreviationsIntroductionPart I. Memory BoxesChapter 1. “It’s Not 30 Pesos, It’s 30 Years”Chapter 2. “The Right to Live in Peace”Part II. Revolutionary CurrentsChapter 3. “Evade”Chapter 4. “The Revolution Will Be Feminist or Will Not Be!”Chapter 5. “Wallmapu Libre!”Chapter 6. “Chile Woke Up”Part III. Aesthetics and PoliticsChapter 7. “Poetry Is in the Street”Chapter 8. “It’s a Match!”Chapter 9. Behind the ScenesConclusionsEpilogue: One Year LaterBibliographyIndex

Terri Gordon-Zolov is Associate Professor of Comparative Literature at The New School in New York City. She is former Director of the Gender Studies Program at The New School and sits on the editorial board of WSQ. Her work has appeared in Latin American Literary Review, The Nation, and NACLA, among others

“For Gordon-Zolov and Zolov to have been in Santiago when the estallidos [social explosions] happened and to have written such an important and insightful study so quickly is remarkable, and their nearness to the explosions’ subjects and objects becomes quite evident in the book. In addition, the authors’ collection of many hundreds—if not thousands—of photographs (more than 150 of which appear in the book) constitutes a jaw-dropping archive of images now disappeared. The Walls of Santiago is a rich and unique account of both estallidos that sets a rather high bar in the study of modern social movements, activism, art, and politics.” • Hispanic American Historical Review“The Walls of Santiago is a rich text with impeccable visual and cultural analyses. It is complex and nuanced but also accessible to readers in and outside the academy…The careful attention paid to intersectional understandings of oppression exhibited by Chilean protesters further added to this richness…It is a compelling and dynamic text that celebrates Chilean art and activism while also documenting such an important moment in the country’s political and artistic history. This exciting book is a must read for scholars, students and activists interested in the intersection of creativity and social justice.” • The Americas“We are living a new era of protest, organizing, and political engagement. This book is both a testimony of these changes and an extraordinary early effort to make sense of this new reality. It is the result of the authors’ vision and commitment to keep alive a history that was bound to vanish.” • Mónica Ricketts, Temple University“This is an excellent and unique contribution to our understanding of protest art. It is the first substantive treatment in English of an important social movement and a significant contribution to the political impact of the Covid-19 pandemic.” • T.V. Reed, Washington State University

• List of IllustrationsAcknowledgmentsPrologueList of AbbreviationsIntroductionPart I. Memory BoxesChapter 1. “It’s Not 30 Pesos, It’s 30 Years”Chapter 2. “The Right to Live in Peace”Part II. Revolutionary CurrentsChapter 3. “Evade”Chapter 4. “The Revolution Will Be Feminist or Will Not Be!”Chapter 5. “Wallmapu Libre!”Chapter 6. “Chile Woke Up”Part III. Aesthetics and PoliticsChapter 7. “Poetry Is in the Street”Chapter 8. “It’s a Match!”Chapter 9. Behind the ScenesConclusionsEpilogue: One Year LaterBibliographyIndex

Terri Gordon-Zolov is Associate Professor of Comparative Literature at The New School in New York City. She is former Director of the Gender Studies Program at The New School and sits on the editorial board of WSQ. Her work has appeared in Latin American Literary Review, The Nation, and NACLA, among others

“For Gordon-Zolov and Zolov to have been in Santiago when the estallidos [social explosions] happened and to have written such an important and insightful study so quickly is remarkable, and their nearness to the explosions’ subjects and objects becomes quite evident in the book. In addition, the authors’ collection of many hundreds—if not thousands—of photographs (more than 150 of which appear in the book) constitutes a jaw-dropping archive of images now disappeared. The Walls of Santiago is a rich and unique account of both estallidos that sets a rather high bar in the study of modern social movements, activism, art, and politics.” • Hispanic American Historical Review“The Walls of Santiago is a rich text with impeccable visual and cultural analyses. It is complex and nuanced but also accessible to readers in and outside the academy…The careful attention paid to intersectional understandings of oppression exhibited by Chilean protesters further added to this richness…It is a compelling and dynamic text that celebrates Chilean art and activism while also documenting such an important moment in the country’s political and artistic history. This exciting book is a must read for scholars, students and activists interested in the intersection of creativity and social justice.” • The Americas“We are living a new era of protest, organizing, and political engagement. This book is both a testimony of these changes and an extraordinary early effort to make sense of this new reality. It is the result of the authors’ vision and commitment to keep alive a history that was bound to vanish.” • Mónica Ricketts, Temple University“This is an excellent and unique contribution to our understanding of protest art. It is the first substantive treatment in English of an important social movement and a significant contribution to the political impact of the Covid-19 pandemic.” • T.V. Reed, Washington State University

• List of IllustrationsAcknowledgmentsPrologueList of AbbreviationsIntroductionPart I. Memory BoxesChapter 1. “It’s Not 30 Pesos, It’s 30 Years”Chapter 2. “The Right to Live in Peace”Part II. Revolutionary CurrentsChapter 3. “Evade”Chapter 4. “The Revolution Will Be Feminist or Will Not Be!”Chapter 5. “Wallmapu Libre!”Chapter 6. “Chile Woke Up”Part III. Aesthetics and PoliticsChapter 7. “Poetry Is in the Street”Chapter 8. “It’s a Match!”Chapter 9. Behind the ScenesConclusionsEpilogue: One Year LaterBibliographyIndex