THE family of Gabriel Garcia Marquez, the late Nobel literature laureate, may publish a posthumous novel, Graham Keeley report in this article for The Australian.

Garcia Marquez, the master of magical realism who brought Latin American literature to a worldwide audience, died aged 87 at his home in Mexico City on Thursday, with his wife Mercedes and two sons at his side.

His family are considering publishing a novel provisionally entitled We Will Meet in August.

It was thought to have been finished but Garcia Marquez then decided to tinker with the ending, according to friends.

The novel is about a woman, Maria Magdalena, who is 53 and every August 16 travels to a Caribbean island where her mother is buried. Though she has been happily married for years, she has an affair during one such trip and hopes that something will happen on this day every year.

In 2008, the Colombian journalist Jose Salgar said that Garcia Marquez had written a new book, the first since his last finished novel was published in 2004, while last year Plinio Apuleyo Mendoza, a friend of Garcia Marquez, said there were two versions of this unpublished text.

Guillem d’Efak, director of Garcia Marquez’s literary agents, Carmen Balcells, declined to comment on the possibility of a new book. “We are desolated by his death,” he said.

OBITUARY: Gabriel Garcia Marquez

Yesterday the Colombian government declared three days of national mourning for the country’s most famous literary son. Garcia Marquez’s masterpiece was One Hundred Years of Solitude, a dreamlike, dynastic epic that helped him win the Nobel prize for literature in 1982. The book sold more than 50 million copies and was translated into 25 languages.

Tributes to the author continued be paid in yesterday. Patrick Ness, the British author best known for the Chaos Walking trilogy, tweeted: “One Hundred Years of Solitude is one of the key books of my entire life. RIP Gabriel Garcia Marquez.”

The actress Mia Farrow tweeted: “RIP Gabriel Garcia Marquez. Awe and gratitude.”

In another sign of the esteem in which he was held, Lena Dunham, the Girls writer and actor, tweeted: “I once made out with someone purely because I thought he might be related to Gabriel Garcia Marquez. What a beautiful writer RIP.”

Known to millions as Gabo, Garcia Marquez also enjoyed a controversial friendship with the former Cuban leader Fidel Castro. Yesterday (Friday), Granma, the newspaper of Cuba’s ruling Communist party, said: “Latin American culture is in mourning. Gabriel Garcia Marquez has died.”

Isabel Allende, the Chilean author, said: “I owe him the impulse and the freedom to plunge into literature.”

The cause of his death was not known but he had been admitted to hospital earlier this month for treatment for pneumonia. He will be cremated in the next few days.

For the original report go to http://www.theaustralian.com.au/news/world/gabriel-garcia-marquezs-family-consider-whether-to-publish-his-final-novel/story-fnb64oi6-1226889810644#

Posted by: lisaparavisini | April 19, 2014

In the Bronx, a Tribute to a Salsa Singer


Muralists in the Bronx are honoring the salsa singer Cheo Feliciano, who died Thursday in a car accident in Puerto Rico, The New York Timesreports.

In Hunts Point, the artists known as BG183 and HEF worked on a wooden panel that mimics a full-length subway car, behind the studios of TATS Cru, a Bronx group of artists.

The mural, which the two artists began on Thursday within hours after hearing of Mr. Feliciano’s death, is a short walk from what was once the Hunts Point Palace, where he performed as the vocalist for the Joe Cuba Sextet in the 1960s.

For the original report go to http://cityroom.blogs.nytimes.com/2014/04/18/in-the-bronx-a-tribute-to-a-salsa-singer/?hpw&rref=nyregion


Follow the stages of production for cocoa farmers, and the challenges and wider involvement of whole communities in this article from London’s Guardian. Here is a brief excerpt. You can access the article and photographs through the link below.

Cocoa pods, grown on cocoa plants in the Dominican Republic. The confectionary market, now worth $110 bn a year, is controlled by just a handful of major companies.

Europe accounts for almost half of all global cocoa consumption (48%), while America accounts for 33%. Consumption is fast growing in Brazil, Russia and India as well. This growing market has resulted in predictions of a cocoa deficit in years to come, leading to high prices for cocoa and cocoa products. Combined with a lack of new generation cocoa farmers, the future looks bleak. Even during difficult economic times however, chocolate consumption continues to rise, and Easter is one of the high points.

At the other end of the supply chain, almost 50 million people worldwide are dependent on cocoa for their livelihood. By the end of 2011, 71 small producer organizations in 19 countries held Fairtrade certification for cocoa.

For the original report go to http://www.theguardian.com/sustainable-business/fairtrade-partner-zone/gallery/2014/apr/17/from-cocoa-pod-to-chocolate-bar-stages-of-production-in-pictures

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This article by Maki Okubo appeared in The Asahi Shimbun.

Between 1956 and 1959, 1,319 Japanese immigrated to this Caribbean country in response to their government’s offer of free fertile farmland to each household.

However, those 249 families never received their promised respective 18 hectares of land. Facing difficulties in making a living here, most of them returned to Japan or relocated to Brazil. Only 47 families remained in the Dominican Republic.

Several decades have passed since then.

“Now, I prefer coffee to Japanese tea,” said Hajime Tabata, 94, the oldest among the remaining Japanese immigrants.

Tabata, who immigrated from Kagoshima Prefecture in southern Japan, lives here in the town of Agua Negra, about six hours from the capital of Santo Domingo by car near the border with Haiti.

When he arrived in 1958, the area was a jungle. He cut trees and planted coffee and beans in spaces between the stones that dotted the soil. It took five or six years to make a living.

Since then, he purchased more property little by little. Now, he is cultivating coffee on a 20-hectare mountain.

Life without electricity or a water supply was hard for his family. His eldest son and eldest daughter returned to Japan soon after they immigrated. In the past several years, his wife and second son died due to diseases. He now lives with the 56-year-old widow of his second son and a 23-year-old grandchild who took over the farming.

Tabata’s legs have weakened, preventing him from working on the mountain.

Since immigrating to the Dominican Republic, he visited Japan only once.

“As I made efforts, I can now enjoy an average standard of life. (Since I immigrated to this country in 1958), 56 years have passed quickly,” he said.

Over the years, the 47 families that remained in the Dominican Republic continued to ask the Japanese Embassy there to fulfill its promise of farmland. In the 1990s, their representatives frequently visited Japan and directly asked the Foreign Ministry to do so, but in vain.

In 2000, a total of 126 immigrants and their family members filed a lawsuit with the Tokyo District Court against the Japanese government, demanding compensation.

In 2006, the court issued a ruling that acknowledged the government’s responsibility. However, it rejected the request for compensation, saying that the plaintiffs have already lost their right to request for compensation as more than 20 years have passed since the immigration started.

The plaintiffs appealed to the Tokyo High Court, but later withdrew the case on the condition that the government would express an apology to them in the name of the prime minister. The settlement also offered livelihood assistance of 220,000 yen ($2,100) to each household a year, or 550,000 yen for households in extreme poverty. They were also allowed to join the national health insurance program with financial aid from the government.

“The livelihood assistance and the health insurance program are both helpful,” said Harue Kasahara, 78, who immigrated from Fukushima Prefecture along with her elder brother’s family.

When she came to the Dominican Republic, she was troubled by the big leeches as well as the needles of plants that were rampant in farmland. However, she eventually got married and gave birth to a son and three daughters. But unable to make a comfortable living, she returned to Japan and worked as a restaurant worker or a cleaning woman day and night for seven years.

“There are few good places to live in. This (my hometown in the Dominican Republic) is the best place. Though I had hardships, my life was interesting,” she said with a smile.

Kurato Kimura, 87, who served as the head of the plaintiffs, said the lawsuit has benefited his current life.

“The health insurance program is helpful. I cannot make a living unless I receive the livelihood assistance. If we did not file the lawsuit, we would not have been able to obtain anything,” he said.

Asked whether it was beneficial to have immigrated to the Dominican Republic, he said, “I cannot immediately say, ‘Yes.’ ”

Then, as he recalled more than a half-century as an immigrant, his eyes welled up with tears.

Posted by: lisaparavisini | April 19, 2014

Five Questions: A Short Interview with Junot Díaz

Junot Diaz

This interview by Mari Herreras appeared in Tucson’s The Range.

In late March, still high from the Festival of Books, Weekly World Central, well, squealed all girly like when the Tucson Pima Arts Counciil and the Confluencenter for Creative Inquiry announced Junot Díaz was coming to the Moldy Pueblo. The author of This Is How You Lose Her, Drown and The Brief Wondrous Life of Oscar Wao, Dominican Republic born and New Jersey raised, will be at the Tucson Fox Theatre, 17 W. Congress St. on Wednesday, April 23, from 7 to 8:30 p.m. (Cost is $15 suggested donation or $25 get’s you a VIP reception and reserved seating. Go here for tickets.)

Díaz, a Pulitzer Prize-winning author and MacArthur Fellow, has gifted us with amazing stories enveloped around Dominican history, the immigrant experience and yeah, love and being a nerd. So when we reached out to his agent for an interview, it was probably a good thing the writer’s busy schedule meant he’d only be able to respond to our questions by email—allowing a reporter to save face and not turn to mush on the other end of the phone in a pool of fandom.

The fandom? Well, for many in Arizona, embarrassed by our state lawmakers’ anti-immigration and anti-Mexican-American studies laws and ideology, Díaz and other writers have offered a sweet balm—a reminder, that fiction writers remain important, change lives and return us to our humanity when the outside world, well, sucks.

Five Questions for Junot Díaz

MacArthur Fellowship, Pulitzer Prize … how do you keep it real? Your mother?

What do I know. Is “keeping it real” short hand for authenticity or humility or fidelity to a former self or is it a combination? To be hones,t I’m not sure if I’ve ever been a fan of the authentic person of color narrative. I grew up a poor immigrant kid in NJ. And yet, to NYC Dominicans us Jersey folks weren’t truly authentic. On top of that I was a kid who liked to read books. To a lot of the neighborhood that immediately disqualified me from being authentically “hood.” And so on. The question of humility . . . This is something that’s best practiced than discoursed, but for the sake of the question, let me just say I grew up in a family that prized humility over almost all other traits. I like to think that I still show traces of that upbringing. As for loyalty to a former self—you can’t deny the person you are to satisfy the standards of someone you were. One hopes for dialogue between all our former selves, but in the end, it’s to the present we owe our true loyalties. I figure if poverty didn’t undermine my core values, then maybe privilege won’t either, but only time will tell. Ultimately prizes and accolades are wonderful (and arbitrary) strokes of fortune, but they have very little to do with the actual work of crafting books. They are temptations without question —to become prideful and vain and they certainly can fill your head with a lot of empty noise. Some people get a prize and go bananas. I get a prize and am grateful, but I also know that this is only going to increase the time it will take me to lose the noise and drop down to my deepest self.

In Latino culture, sometimes people are labeled as vendidos if it is perceived they’ve aired the community’s dirty laundry. I’ve thought of you often and what you faced after you wrote the op-ed piece about the Dominican high-court’s decision on citizenship of those of Haitian-decent and accusations of racism. You faced your share of criticism. How did you deal with it?

What we saw in the case of the Dominican Republic was a coordinated attempt to silence and intimidate critics of the sentencia that more or less denationalizes Dominicans of Haitian descent. In the DR many of the sentencia‘s critics had to go into hiding because the reactionary proponents of this bilious legislature initiated a campaign of terror in order to guarantee that there would be no debate, no dissension. Those of us in the Diaspora who got shit thrown at us for slamming the sentencia had it easy. I didn’t go to sleep fearing that someone would burn my house or attack me on the street. To put it simply: I’m not troubled when cowardly criminal politicians and their supporters decide to evict me from their malign vision of our nation. Who in the world would want to live in that terrifying place anyway? The vision of the nation that I belong to, that I aspire to, that I strive for, does not involve denationalization or terror. From that Dominican Republic no one can deport me.

Related to writers and activism—when it was finally determined Tucson Unified School District’s Mexican-American studies program was illegal, the district removed the program’s books out of the classrooms and the books were banned. It took a bit of time, but writers—especially those banned—finally spoke out. You’d think writing and activism would be a natural union. How do you see that role for yourself and other writers?

There are multiple traditions. Some writers believe their writing is their activisms. Others believe that the artist should remain “above the fray” which simply means through inaction supporting the political status quo. Other artists believe that we all owe it to our communities and our societies to strive for a more just social contract. I come out of activism and radical politics so you can imagine where in the spectrum I fit in. We belong to a reactionary and conservative moment and this puts a chill on everything. I still remember at a writer’s conference in Edinburgh a group of us asked the gathered assembly of writers to condemn Arizona House Bill 2281 and one of the participants, a white poet turned novelist tried to stop it because more or less he didn’t think we should be getting involved with “other peoples’ problems.” The side of justice prevailed but still, it’s an example of where we’re at.

You’ve been outspoken against misogyny and on women’s issues, so down the road do you think we’ll see a book from you written in a female voice/perspective, or stick to “Write what you know”?

I have written a number of chapters from sort of a “woman’s perspective.” Hard to get it even close to right. I’m not sure I could maintain that for a whole novel. Hard work undoing the internal distortion that most men are trained by society to have towards women.

In your opinion, as a Freedom University advisor, an immigrant, writer and student of history, what do you think remains missing in the current immigration debate, discussion and current organizing?

What’s missing from the immigrant debate? Just things like honesty, courage, decency, humanity, real leadership from our political elites. As far as the organizing is concerned the folks fighting for immigrant rights are doing extraordinary superhuman work. To me they are our very best. And who is a great example of moral and ethical courage, moral and ethical leadership, than the Dreamers? They are a shining beacon that cuts through all the hateful obfuscation that characterizes the immigration “debate” in this country.

For the original report go to http://www.tucsonweekly.com/TheRange/archives/2014/04/16/five-questions-junot-daz

Posted by: lisaparavisini | April 18, 2014

Mala Mala: All About Attitude


The new documentary explores the Puerto Rican trans world with amazing wit and grace, Max McCormack writes in this review for Out.com. Here’s an excerpt, with a link to the original report and a film preview below.
Gender identity is not something filmmakers Antonio Santini and Dan Sickles struggle with on a daily basis. However, the fight for the right to define oneself despite nature captivated the young artists enough to take them on a three-year journey to shed a much-needed light on the transgender community in Puerto Rico. What came out of this experience was Mala Mala, a documentary film premiering at Tribeca Film Festival this week.

Santini and Sickles met at a party during their days at New York University. One thing led to another and they found themselves at a film festival in Austin, Texas, where, after a few drinks, they met the drag queen that would change the course of their careers. She took them home and showed the young men her world and the hardship she faced on a daily basis. “She was so honest and transparent, and all of a sudden we were having this conversation about gender and identity and how it relates to sexuality,” Sickles says, explaining that the two committed to study this world further. “It is universally related to human desires, how we all aspire to be certain things in our life, and if there is a road or a way of achieving those goals. They use and employ these methods as a means to achieve those things.”

Sickles and Santini looked at a handful of cities before deciding on Puerto Rico. Santini was born and grew up in San Juan, and he reconnected with a high school classmate on Facebook named April, who became their first subject. “We found this video of her impersonation of Liza Minelli and were blown away,” Santini explains.

Slowly they accumulated their diverse and captivating subjects. From the empowered trans rights fighter who drives the streets handing out condoms and lubricant to the sex workers, most of whom she calls her friends. Then there is older woman who refuses to consider herself as trans: She had the surgery and is now a woman. The most absorbing subject has to be Samantha, a striking yet timid person who faces the world with haunting optimism.

The film follows these individuals, documenting their daily lives, and although the narrative begins with a festive spirit—where we meet the fabulous members of the drag houses—gradually grows darker, shedding a refined light on the sex workers in San Juan. Santini and Sickles masterfully create a heartbreaking mood without capitalizing on their subjects’ painful expriences. It culminates with a march on the capital, fighting for a law that would give equal employment rights to the transgender community.

[. . . ]

There is a fascinating parallel between the transgender community and Puerto Rican culture as a whole, according to the duo. “Puerto Rico has this status where they’re tied to the United States,” Sickles explains, “Yet, they’re working towards articulating they’re own independent voice so there seem to be a lot of parallels of being super visible but also largely ignored.” Both parties are fighting for a voice.

Santini’s and Sickles’s style is as much a piece of modern investigation as it is a nod to films that came before. There are references to Paris is Burning, Pedro Almodóvar features, Valley of the Dolls, and even ’90s Nickelodeon stylistic choices. The two men hope to make an impact in driving this notoriously ignored issue forward. “I hope that it ignites some kind of conversation just about gender,” Sickles says. “If 20 years from now people look back on our movie and find it archaic then we’ll have succeeded.”

For the original report go to http://www.out.com/entertainment/movies/2014/04/18/mala-mala-puerto-rican-trans-documentary

Posted by: lisaparavisini | April 18, 2014

Miami hosts ‘Caribbean: Crossroads of the World’

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A report from the Associated Press.

One of the opening images in ‘Caribbean: Crossroads of the World’ features a massive nuclear submarine breaking the surface off what appears to be a cold northern coastline, with evergreens that would never thrive in tropical weather.

The painting by Cuban-born Julio Larraz imagines the technological evolution of semi-submersibles already used in the tropics for drug smuggling. Curator Elvis Fuentes hung it next to three artworks depicting Haitians crowded onto crude boats, and together the images show a Caribbean on the move — still carrying the stains of slavery and smuggling, perhaps, but in no way restricted by geographical boundaries.

“People think of just the islands. The islands have their own name, the Antilles. The Caribbean is the sea. One of the concepts we’re developing in the show is wherever the water goes, we have to go,” said Fuentes, guest curator at Perez Art Museum Miami.

The survey of Caribbean art and history opening Friday includes more than 180 paintings, sculptures, photographs, videos, and art installations. Fifty works have been added to the exhibit since its debut at three New York City museums two years ago.

It mixes historical artwork dating to Haiti’s revolution at the turn of the 19th century with contemporary pieces by living artists from the islands and elsewhere.

Fuentes organised the exhibit by theme: the Caribbean’s fluid environment, its economic shift from plantations to oil and tourism, its relationship with Europe and the US, and its exoticism, a colonial legacy that its artists still face today.

He highlights lost connections between the Caribbean and the rest of the world, such as Danish colonialism in the New World, a subject explored in a video installation by Jeannette Ehlers, whose parents are from Denmark and Trinidad and Tobago.

Ehlers’ reflection dances to a waltz across the mirrors that line an empty ballroom in the Government House of St Croix, a landmark of Danish colonial architecture that she fills with a haunted sense of history.

“The centre of Copenhagen is built from money from this industry, the slave trade. It’s amazing because when you come to St Croix you can tell that the Danes were there, but if you come to Copenhagen you don’t know it. It’s invisible,” Ehlers said.

When “Caribbean: Crossroads of the World” debuted two years ago at El Museo del Barrio, Queens Museum and The Studio Museum in Harlem, New York City, was heralded as “one of the largest Caribbean cities”. In its perhaps more natural home in Miami, the exhibit is complemented by other installations highlighting this city’s Caribbean connections.

A fleet of colourful boats and rafts by Guyana-raised artist Hew Locke greets visitors to the waterfront museum with a subtle nod to the migrants that routinely try to reach Florida by sea. A separate gallery currently is dedicated to large-scale, glittering landscapes by Haitian-born Edouard Duval-Carrie, whose studio is in the heart of Miami’s Little Haiti.

Duval-Carrie has a pink-tinged portrait of Haitian revolutionary hero Toussaint L’Ouverture in “Caribbean: Crossroads of the World”, and he has explored themes similar to Fuentes’ in a series of “Global Caribbean” exhibits at the Little Haiti Cultural Centre over the last five years. He hopes to see PAMM develop a specialty in Caribbean arts and complement Miami’s growth as an international gateway.

“New York might be the biggest Caribbean city, but it’s also biggest, you know, whatever — the biggest European, the biggest Jewish, the biggest this, the biggest that. At least we have a particularity here,” Duval-Carrie said. “Truly, the city has become a very important gathering point for all of the people in the Caribbean, to the point that even the airplanes, to travel from one island to the next, stop in Miami no matter how far it gets.”

“Caribbean: Crossroads of the World” runs at PAMM through August 17.

For the original report go to http://www.jamaicaobserver.com/entertainment/Miami-hosts–Caribbean–Crossroads-of-the-World-

Posted by: lisaparavisini | April 18, 2014

When Gabriel García Márquez Went Back to Aracataca


This article by Brent Staples appeared in The New York Times.

The novelist and maestro Gabriel García Márquez died Thursday , mourned by the world at the ample enough age of 87. But for a time during his youth in Colombia — when he was inhaling three packs a day — he was sure that he would die young, dissolute “and in the street,” as he put it in his 2003 memoir “Living to Tell The Tale.” At that point, his mother, Luisa Santiaga Márquez, appeared unexpectedly in the city of Barranquilla, determined to rescue her law-school dropout son from a wasteful life as a mere writer. She convinced him to travel with her to the desolate, hellishly hot Caribbean town of Aracataca, where he was born in 1927.

Thus unfolds one of the great sojourns in literature, easily on par with the voyage of the Pequod in “Moby-Dick,” or the trip upriver to find Mr. Kurtz in “Heart of Darkness.” Along the way, our nicotine-stained hero-to-be breathes in the scenes and sensations that would later emerge fictionalized in the pages of “One Hundred Years of Solitude.” He encounters, for example, a ruined banana plantation called Macondo — a name he remembered from childhood and that he would give to the lost village at the heart of the novel, where ghosts roam and exotic flowers fall from the sky.

Arriving in the withering heat, he writes:

The first thing that struck me was the silence. A material silence I could have identified blindfolded among all the other silences in the world. The reverberation of the heat was so intense that you seemed to be looking at everything through undulating glass. As far as the eye could see there was no recollection of human life, nothing that was not covered by a faint sprinkling of burning dust. My mother stayed in her seat for a few more minutes, looking at the dead town laid out along empty streets, and at last she exclaimed in horror:

“My God!’’

His mother wanted badly to dissuade him from the writer’s life. But the wave of desolation and reminiscence that swept over him that day sent him hurtling into the past and had precisely the opposite effect.

For the original report go to http://takingnote.blogs.nytimes.com/2014/04/18/when-gabriel-garcia-marquez-went-back-to-aracataca/?_php=true&_type=blogs&_r=0

Posted by: lisaparavisini | April 18, 2014

Region’s top poets at Bohemia show


A line-up of some of the Caribbean’s top poets will share the stage at The Living Word, one of the highlight events at the 2014 NGC Bocas Lit Fest. 

Iconic UK-based Jamaican poet Linton Kwesi Johnson, known for his fiery lyrics and forceful politics, will headline the performance, joined by fellow Jamaicans Lorna Goodison, Mervyn Morris, and Kwame Dawes, alongside Trinidadians Anthony Joseph, Vahni Capildeo, and Lauren Alleyne, St Lucian Vladimir Lucien, and Malika Booker, whose roots are in Grenada and Guyana.

The evening performance, on Friday 25 April at the backyard performance space Bohemia in Woodbrook, is “a celebration of the Caribbean’s poetry and performance traditions,” according to festival organisers, and pays tribute to the late Jamaican dub poet Mikey Smith in the year of his 60th birthday.

The event, which also includes a performance by Freetown Collective, is free and open to the public, like all performances and readings at the NGC Bocas Lit Fest. All the participating poets will also appear elsewhere in the festival programme, reading from and talking about their work.

Linton Kwesi Johnson is the chief judge for the 2014 OCM Bocas Prize for Caribbean Literature, sponsored by One Caribbean Media. The winner will be announced during the festival. http://www.bocaslitfest.com for more information.


Friday April 25, 2014

8 p.m.

Bohemia, 33 Murray Street, Woodbrook

Posted by: lisaparavisini | April 18, 2014

Climate Change May Stop Sea Turtles from Coming to Costa Rica


This article by Jaime López appeared in The Costa Rica Star. Here’s an excerpt, with a link to the original story below.

The few, critically endangered hawksbill sea turtles that still arrive in Costa Rica during nesting season may stop coming here altogether due to climate change. In the 21st century, hawksbills have barely arrived on the beaches of the Pacific coast. On the Caribbean shores, the number of Eretmochelys imbricata nests at the Cahuita National Park has been dwindling over the last few years despite strong efforts to protect them; regrettably, there’s not much conservationists can do to stop beaches from disappearing.

[. . . ]

According to an IPS news report by Diego Arguedas for El Pais, hawksbills may be shying away from nesting in Cahuita because the beach is getting too cramped. Park administrator Mario Cerdas explained to IPS that the eight kilometers of beaches in Cahuita are getting reduced due to erosion and rising sea levels. The beaches along this Caribbean stretch of coastline in Costa Rica are nesting sites not just for hawksbills but also leatherbacks, loggerheads, and green sea turtles.

Hawksbills are certainly feeling the effects of climate change in Cahuita, and they are choosing to nest outside of the National Park where they are not protected. There’s another problem as well: Rising temperatures at the beach means more female baby turtles than males will hatch. This may sound like an ideal situation for an endangered species, at least initially; nonetheless, when hawksbills realize that this breeding disparity continues season after season, they will switch to another nesting spot.

For the original report go to http://news.co.cr/climate-change-may-stop-sea-turtles-from-coming-to-costa-rica/34392/

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