Juan Herrera – författare

Abolishing Poverty argues for a project of relationality that refuses the whiteness of liberal poverty studies and instead centers critiques of the poverty relation and political futures disavowed under liberal governance. In disrupting poverty thinking, the author collective opens space for diverse frameworks for understanding impoverishment and articulating antiracist knowledges and political visions. The book explores new infrastructures of possibilities and political solidarities rooted in accountable relations to each other and from flights to the future that animate diverse communities.This book is boundary and genre crossing, with broad appeal to scholars of such disciplines as human geography, ethnic studies, decolonial theory, and feminist studies. As a volume, the work is unique in its primary field of human geography in the form of its making, its collective authorship, and its investigation of politics that abolish poverty thinking and engage in activism against the poverty relation produced through settler colonialism, heteropatriarchy, white supremacy, and capitalist exploitation.

Abolishing Poverty argues for a project of relationality that refuses the whiteness of liberal poverty studies and instead centers critiques of the poverty relation and political futures disavowed under liberal governance. In disrupting poverty thinking, the author collective opens space for diverse frameworks for understanding impoverishment and articulating antiracist knowledges and political visions. The book explores new infrastructures of possibilities and political solidarities rooted in accountable relations to each other and from flights to the future that animate diverse communities.This book is boundary and genre crossing, with broad appeal to scholars of such disciplines as human geography, ethnic studies, decolonial theory, and feminist studies. As a volume, the work is unique in its primary field of human geography in the form of its making, its collective authorship, and its investigation of politics that abolish poverty thinking and engage in activism against the poverty relation produced through settler colonialism, heteropatriarchy, white supremacy, and capitalist exploitation.

In Cartographic Memory, Juan Herrera maps 1960s Chicano movement activism in the Latinx neighborhood of Fruitvale in Oakland, California, showing how activists there constructed a politics forged through productions of space. From Chicano-inspired street murals to the architecture of restaurants and shops, Herrera shows how Fruitvale’s communities and spaces serve as a palpable, living record of movement politics and achievements. Drawing on oral histories with Chicano activists, ethnography, and archival research, Herrera analyzes how activism has shaped Fruitvale. Herrera examines the ongoing nature of activism through nonprofit organizations and urban redevelopment projects like the Fruitvale Transit Village that root movements in place. Revealing that the social justice activism in Fruitvale fights for a space that does not yet exist, Herrera brings to life contentious politics about the nature of Chicanismo, Latinidad, and belonging while foregrounding the lasting social and material legacies of movements so often relegated to the past.

In Cartographic Memory, Juan Herrera maps 1960s Chicano movement activism in the Latinx neighborhood of Fruitvale in Oakland, California, showing how activists there constructed a politics forged through productions of space. From Chicano-inspired street murals to the architecture of restaurants and shops, Herrera shows how Fruitvale’s communities and spaces serve as a palpable, living record of movement politics and achievements. Drawing on oral histories with Chicano activists, ethnography, and archival research, Herrera analyzes how activism has shaped Fruitvale. Herrera examines the ongoing nature of activism through nonprofit organizations and urban redevelopment projects like the Fruitvale Transit Village that root movements in place. Revealing that the social justice activism in Fruitvale fights for a space that does not yet exist, Herrera brings to life contentious politics about the nature of Chicanismo, Latinidad, and belonging while foregrounding the lasting social and material legacies of movements so often relegated to the past.

La nueva novela del autor de La radio de piedra Tras su ingreso en una residencia de ancianos, un hombre vivaz y disconforme se niega a aceptar su suerte y rechaza todas las rutinas que intentan imponerle salvo una: escribir sus recuerdos en un cuaderno que le ofrece una joven enfermera, Beatriz. A traves de su prosa, conocemos la vida de Eugenio Mejia, un cazador furtivo, amigo del Marques de Villaverde, pero tambien la de Perico Beltran, un poeta y hombre para todo del cine espanol, amigo de Berlanga y de tantos otros, que mezcla, en sus cronicas de rodajes, su voz con la de Tonino Guerra, un guionista italiano que paso su juventud en un campo de concentracion y que un dia cruzo su camino con Ramon Pasaban, viajante que siempre anhelo ser torero y que, gracias a un inesperado golpe de la fortuna, cuando ya estaba al borde de la jubilacion, logro convertirse en uno de los matadores de toros mas veteranos de su tiempo, aunque nunca llego a ver tanto mundo como Antonio el Yeye de Cadiz, un flamenco que huyo de su ciudad como polizon a bordo de un barco de la Marina estadounidense y que paso parte de su infancia cantando coplas en un burdel de Nueva York. Todos esos hombres son, a ratos, nuestro protagonista, que intercala en su cabeza fragmentos de muchas vidas mientras, en su dia a dia, intenta descubrir por que esta en la residencia, que le sucede, que ocurre con su memoria y, sobre todo, como puede recuperar su vida, su identidad y su lugar en un mundo.

"La radio de piedra", primera y deslumbrante novela de Juan Herrera, es una pequeña joya literaria que sorprenderá y emocionará por su lúcida mirada sobre unos tiempos pasados que no necesariamente fueron mejores. Con ternura, nostalgia, crítica social e ironía, Juan Herrera nos sumerge en un polvoriento pueblo castellano perdido en la retaguardia de una guerra sin sentido. Un microcosmos habitado por moscas pegajosas, beatas enamoradas, hermanas lujuriosas, mendigos trashumantes, un ciego memorioso, un poeta cojo, un alcalde honrado, un cura cruzado... Toda una galería de alucinados lugareños reunidos cada noche, en torno a una radio de galena, para que su único oyente, su dueño, les contara la guerra. Con ecos de la picaresca clásica, de "El bosque animado", del "Amarcord" de Fellini, de Azcona y de Berlanga, "La radio de piedra" es un homenaje a la comunicación oral, a la solidaridad, a la tolerancia y al humor que revela la aguda capacidad para el retrato y la evocación de uno de los guionistas más personales y carismáticos de nuestro país.