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First published in 1971, How to Read Donald Duck shocked readers by revealing how capitalist ideology operates in our most beloved cartoons. Having survived bonfires, impounding and being dumped into the ocean by the Chilean army, this controversial book is once again back on our shelves.Written and published during the blossoming of Salvador Allende's revolutionary socialism, the book examines how Disney comics not only reflect capitalist ideology, but are active agents working in this ideology's favour. Focusing on the hapless mice and ducks of Disney, curiously parentless, marginalised and always short of cash, Ariel Dorfman and Armand Mattelart expose how these characters established hegemonic ideas about capital, race, gender and the relationship between developed countries and the Third World.A devastating indictment of a media giant, a document of twentieth-century political upheaval, and a reminder of the dark undercurrent of pop culture, How to Read Donald Duck is once again available, together with a new introduction by Ariel Dorfman.

A short story is presented.

A short story is presented.

Presents the complete script of Ariel Dorfman's play, Picasso's Closet, which received its world premiere in June, 2006, at Theater J in Washington DC in a production directed by John Dillon. A play which recreates and explores Picasso's period in occupied Paris during the Second World War, the script is illustrated with both black-and-white and colour photographs from the production, as well as reproductions of relevant Picasso paintings and sketches and contemporary photographs of Picasso himself, Jean Cocteau and Max Jacob. Appended is a brief biographical note on the author.

Written in response to the three commentaries on his play, \"Picasso's Closet\", which precede this essay in the present issue, the author firstly provides an account of the creative origins of the play and concludes by addressing some of the specific points made by his critics. Tracing his initial interest in Picasso back to his childhood and to his early ambition to become a painter, Dorfman cites his visit to the exhibition, \"Picasso and the War Years\", held at New York's Guggenheim Museum in 1999 as the decisive moment which prompted the creation of a drama centred around Picasso's time in occupied Paris and the predicament of an artist creating beauty in the midst of a vicious reality. Turning to his critics, Dorfman rejects Pepe Karmel's accusations of anachronism and refutes his depiction of the play's characterization of Dora Maar. He expresses his sympathy for Patricia Leighten's portrayal of Picasso as someone who did not turn his back on the political issues of his day, but claims that for the sake of the drama what needed to be foregrounded were the ambivalences and ambiguities of Picasso's character. Finally, Dorfman extends his gratitude to Mieke Bal for her coining of the term \"ethical unsettlement\" to define the goal of his work and admits that the conflicted urge to create an unforgettable beauty out of horror remains central to his art.