Rafael Barrett was born into the Spanish elite, but in the six intense years that he spent in Paraguay, he shed his past to become one of the most notable voices speaking out against the rampant imperialism gripping Latin America. Arriving in a nation constructed upon a foundation of bones following the Triple Alliance War of 1864-1870, Barrett was thrown by chance into the “Paraguayan sorrow” that haunted that landlocked nation in the heart of Latin America. More than half the population had been wiped out in the merciless conflict. A ferocious pattern of capitalist imperialism had taken hold. The apocalyptic war had ended a period of relative economic independence, and—as competing elites allied with foreign interests squabbled over rulership—Paraguay’s poor workers entered a long descent into utter degradation. All that Barrett witnessed prompted him to discard the vestiges of his past as an upper-class liberal dandy in Madrid, shifting his politics rapidly to the left and becoming a key ally of the growing Paraguayan anarcho-syndicalist movement.

As skirmishes between Paraguay’s national elites pushed the country from one military uprising to the next, Barrett’s prolific articles in the capital city’s press broke the silence on deep social, economic, and political problems playing out in urban and rural areas. Barrett transformed into one of Paraguay’s most vivid commentators, denouncing private property and the state, and one of the most vocal defenders of the heavily marginalized culture, language, and landscapes of the Paraguayan popular classes. He paid the ultimate price for his metamorphosis, ultimately facing banishment from the nation’s intelligentsia, poverty, exile, and a tuberculosis infection that would soon end his life.

Despite Barrett’s position as a legendary figure in Paraguayan, Uruguayan, and Argentinian leftist circles, especially among anarchists, his work has endured long periods of relative obscurity since his death. Among Barrett’s wide-ranging texts, he is often remembered for a brave exposé of the horrors committed against Paraguayan workers by powerful international companies that extracted the leaf of the yerba mate tree from the depths of enormous enclaves of forest they controlled. Barrett’s attack on this state-backed system of debt slavery would position him as a forerunner of anti-neocolonial writing in Latin America. This edition of his striking book Paraguayan Sorrow (1911), which includes his writing on the yerba mate forests, forms part of a wave of renewed interest in a striking body of writing covering an enormous number of disciplines and geographical regions. With its vivid landscapes, precise analysis, and bold denouncements, this first-ever English translation of Paraguayan Sorrow brings us a relevant and inspiring resource for the analysis of imperialism in Paraguay, Latin America, and across the globe.

Robert Shetterly is a visual artist, social activist, and writer. For the past twenty years, he has painted portraits of citizens who address issues of social, environmental, and economic fairness in the series Americans Who Tell the Truth, now the subject of the Kane Lewis feature-length documentary Truth Tellers, which is currently airing on American Public Television. Shetterly's portrait project is also recorded in a multi-volume book series, including Portraits of Racial Justice and Portraits of Earth Justice, and Portraits of Peacemakers. Since 1990, Shetterly has been a producer of the Maine Masters Project and has served as President of the Union of Maine Visual Artists. Shetterly lives and works in Brooksville, Maine.