On my desk sits a first edition of Domingos en Hyde Park, published by Ediciones Sur, Buenos Aires, 1936. On the flyleaf, in a confident cursive hand: "A R. E. Montes Bradley, con toda simpatía — Victoria Ocampo." The essay it introduces — La Historia Viva — is one of the most remarkable political documents written by a Latin American intellectual in the twentieth century. It is remarkable not because Ocampo admired Mussolini. Many did. Between 1921 and 1935, Franklin D. Roos

A filmmaker's meditation on the African diaspora across Brazil, Cuba, and the United States — beginning in a restaurant in California in the early 1980s and arriving, decades later, at the Bay of Guanabara, where historian Haroldo Costa offered the sentence that changed everything: We did not cut the umbilical cord. The first in a series of essays exploring Black History not as a month but as a living, continuous thread.

A partir de una carta escrita por Ana María Shua en 2002 en apoyo al proyecto Perfiles, este ensayo recorre el origen de una iniciativa que, con el tiempo, se expandió hasta convertirse en un cuerpo de obra documental de alcance continental. Desde Argentina hacia las Américas, el Heritage Film Project explora la memoria cultural a través de artistas, escritores y creadores cuyas historias revelan los vínculos profundos entre identidad, migración y creación.