national godmother through the many children she adopted (Sánchez never had her own children; p. 134). The authors of Gangsterismo and Celia Sánchez are best seen as master bricoleurs rather than mere collectors of the past, blending elements of mythical thoughts that lie halfway between memory and history. Like Quiroga’s Cuban Palimpsests, the accounts of Colhoun and Sippial are multilayered records, superimposing, on the one hand, histories of corruption, protest, and foreign intervention originating in pre-Castro Cuba, postrevolutionary Havana, and clandestine Miami and, on the other hand, memories and images of Sánchez from Manzanillo, Sierra Maestra, Parque Coppelia, Vedado, and Calle Ocho in Miami’s Little Havana. The process of remembering is also one of uncovering. In scraping out the story one layer at a time one makes the older text jump to the fore, as Quiroga suggests. In the Sánchez story, her childhood in Media Luna, Manzanillo, and Pilón is where her upbringing in the distant province met Cuba’s combustive ideological milieu, which helped reinvent it at a time when the center was corroded by neocolonialist pressures, political corruption, and mafia profiteering, just as the older text in Colhoun’s palimpsest shows us.

中文翻译：

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英联邦责任和冷战团结：澳大利亚在亚洲，1944-74

通过她收养的许多孩子成为国家教母（桑切斯从未有过自己的孩子；第 134 页）。Gangsterismo 和 Celia Sánchez 的作者最好被视为大师级的 bricoleurs，而不仅仅是过去的收藏家，他们融合了介于记忆和历史之间的神话思想元素。就像基罗加的古巴重写本一样，科尔霍恩和西皮亚尔的记录是多层次的记录，一方面叠加了起源于卡斯特罗前古巴、革命后哈瓦那和秘密迈阿密的腐败、抗议和外国干预的历史，另一方面，来自迈阿密小哈瓦那的 Manzanillo、Sierra Maestra、Parque Coppelia、Vedado 和 Calle Ocho 的 Sánchez 的记忆和图像。记忆的过程也是发现的过程之一。正如基罗加所建议的那样，在一次一层地删除故事时，会使旧文本跳到最前面。在 Sánchez 的故事中，她在 Media Luna、Manzanillo 和 Pilón 的童年是她在遥远省份的成长经历与古巴燃烧的意识形态环境相遇的地方，这有助于在该中心被新殖民主义压力、政治腐败和黑手党腐蚀的时候对其进行改造牟取暴利，正如 Colhoun 的重写本中的旧文本向我们展示的那样。