Life on the Hyphen: The Cuban-American Way

Permissions Acknowledgments

- 239Permissions Acknowledgments Quotations from the unpublished papers of Desi Arnaz, from his autobiography A Book, and quotations from the theme song “I Love Lucy,” written by Harold Adamson and Eliot Daniels and published by Desilu Music, are used with the permission of Lucie Arnaz and Desilu, Too LLc. Quotation on page 3 by Rubén Rumbaut is from Frederick L. Ahearn, Jr., and Jean L. Athey, eds. Refugee Children: Theory, Research, and Services. Copyright © 1991 by The Johns Hopkins University Press. Reprinted with permission of the Johns Hopkins University Press. Quotations on page 56 are from Latins Are Still Lousy Lovers by Helen Lawrenson, copyright © 1968 by Helen Lawrenson. Published by Hawthorn Books, an imprint of Dutton, a division of Penguin Group (usa), Inc. The quotation from “Él Bilingüe” by German Bas on page 98 is copyright © 1975 by Peer International Corporation. Copyright renewed. Used by permission. Quotations from songs by Willy Chirino in Chapter Four are used with the permission of the artist. On page 121, quotation from “Conga” by Enrique García, published by Foreign Imported Productions, is used with permission. Quotations from the poetry of José Kozer in Chapter Six are used with permission. Quotations from the poems of Orlando González Esteva in Chapter Seven are used with permission. The quotation from “Havanasis” by Richard Blanco on page 186 is from City of a Hundred Fires by Richard Blanco, copyright © 1998. Reprinted by permission of the University of Pittsburgh Press. The quotation from “Translation for Mamá” on pages 187 and 188 is - 240 - Life on the Hyphen copyright © 2005 by Richard Blanco. Excerpted from Directions to the Beach of the Dead, published by the University of Arizona Press. By permission of Stuart Bernstein Representation for Artists, New York. All rights reserved. The quotation from “Miami Beach Rhumba” (lyrics by Albert Gamse, Spanish lyrics by Johnnie Camacho, and music by Irving Fields) on pages 192–193 of the Epilogue is used by permission of Edward B. Marks Music Company. ...