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In Prosperous Chile, Immigration Policy Smacks Of Racism

New restrictions in Chile effectively target poorer migrants, many of whom are Afro-Caribbeans from Haiti and the Dominican Republic. They also coincide with a rightward shift in opinion.

One of the many migrants taking to the streets to protest policy on immigration
One of the many migrants taking to the streets to protest policy on immigration

SANTIAGO — Anyone visiting Santiago in early 2015 and returning today, would notice a different human landscape. The population's relative racial homogeneity has become enriched with Peruvians, Colombians, Venezuelans, Bolivians, Ecuadoreans and Dominicans, and most visible of all, Haitians who do not speak Spanish and have dark skin. Some 100,000 people from Haiti arrived in 2016, which certainly makes a difference to a country where it was said until recently that "we're not racists because there are no blacks here."

Chile's attraction to continental migrants is further evidence of its recent economic success. With an annual per capita income of over $20,000 and a jobless rate of 6.5%, it has become the region's wealthiest country. Birth rates are in decline and the population is aging, which usually signals a country's need to import workers. It is already noting a shortage of professionals in healthcare and technology, but also of agricultural workers.

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García Márquez And Truth: How Journalism Fed The Novelist's Fantasy

In his early journalistic writings, the Colombian novelist Gabriel García Márquez showed he had an eye for factual details, in which he found the absurdity and 'magic' that would in time be the stuff and style of his fiction.

Colombian novelist Gabriel Garcia Marquez reads his book

J. D. Torres Duarte

BOGOTÁ — In short stories written in the 1940s and early 50s and later compiled in Eyes of a Blue Dog, the late Gabriel García Márquez, Colombia's Nobel Prize-winning novelist, shows he is as yet a young writer, with a style and subjects that can be atypical.

Stylistically, García Márquez came into his own in the celebrated One Hundred Years of Solitude. Until then both his style and substance took an erratic course: touching the brevity of film scripts in Nobody Writes to the Colonel, technical experimentation in Leaf Storm, the anecdotal short novel in In Evil Hour or exploring politics in Big Mama's Funeral. Throughout, the skills he displayed were rather of a precocious juggler.

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