This master piece collects the painful feelings of a growing sector of a nation marked by the oppression of two different cultures. PITIRRE DOES NOT WANT TO SPEAK ENGLISH represents the rejection against the embarrassing ambition and impunity of an imperialist nation in plain twenty-first century.

La originalidad que se manifiesta en su obra de teatro, “Pitirre no quiere hablar inglés” es un drama controversial vivido por Pitirre, querido símbolo puertorriqueño, en que a través de un lenguaje regional, descripción de paisajes y destellos de letras de canciones netamente boricuas, el autor nos presenta una clara visión sobre el sentir nacionalista de un creciente sector del pueblo puertorriqueño.

This master piece collects the painful feelings of a growing sector of a nation marked by the oppression of two different cultures. PITIRRE DOES NOT WANT TO SPEAK ENGLISH represents the rejection against the embarrassing ambition and impunity of an imperialist nation in plain twenty-first century.

This master piece collects the painful feelings of a growing sector of a nation marked by the oppression of two different cultures. PITIRRE DOES NOT WANT TO SPEAK ENGLISH represents the rejection against the embarrassing ambition and impunity of an imperialist nation in plain twenty-first century.

Eduardo Torres is a forty-five-year-old recovering drug addict, down on his luck, trying to survive on the streets of New York’s South Bronx. Living in a homeless shelter, he spends his days begging for handouts and doing odd jobs for neighborhood merchants. But he wasn’t always like this. In his dashing youth, Eduardo was known and loved for his love of salsa music and his natural dancing ability. Once revered as “Papo Salsa” in his neighborhood , Eduardo is now a different man—broken and hopeless. He’s one of many victims of the turbulent times of the late sixties and early seventies, when the Vietnam War shattered lives, tortured families, and stole innocence from even the most well-intentioned individuals. One day, Papo Salsa encounters José Antonio Rivera, an educated professional from the same neighborhood as Papo. Though a few years younger, José remembers Papo as a heartthrob to girls of all ages, a guy the neighborhood boys looked up to. But Papo does not immediately recognize José. He begins telling a story of bad breaks and wrong decisions, in an attempt to explain why he is where he is now. When Hope Is Gone is a graphic yet moving story of love found and lost, set in the volatile environments of urban life, war, and drug addiction. Throughout the years and the fears, the hypnotic rhythms of salsa music—the soundtrack of the times—is the one thing these wounded souls could always turn to for inspiration.

Eduardo Torres is a forty-five-year-old recovering drug addict, down on his luck, trying to survive on the streets of New York’s South Bronx. Living in a homeless shelter, he spends his days begging for handouts and doing odd jobs for neighborhood merchants. But he wasn’t always like this. In his dashing youth, Eduardo was known and loved for his love of salsa music and his natural dancing ability. Once revered as “Papo Salsa” in his neighborhood , Eduardo is now a different man—broken and hopeless. He’s one of many victims of the turbulent times of the late sixties and early seventies, when the Vietnam War shattered lives, tortured families, and stole innocence from even the most well-intentioned individuals. One day, Papo Salsa encounters José Antonio Rivera, an educated professional from the same neighborhood as Papo. Though a few years younger, José remembers Papo as a heartthrob to girls of all ages, a guy the neighborhood boys looked up to. But Papo does not immediately recognize José. He begins telling a story of bad breaks and wrong decisions, in an attempt to explain why he is where he is now. When Hope Is Gone is a graphic yet moving story of love found and lost, set in the volatile environments of urban life, war, and drug addiction. Throughout the years and the fears, the hypnotic rhythms of salsa music—the soundtrack of the times—is the one thing these wounded souls could always turn to for inspiration.

Eduardo Torres is a forty-five-year-old recovering drug addict, down on his luck, trying to survive on the streets of New York’s South Bronx. Living in a homeless shelter, he spends his days begging for handouts and doing odd jobs for neighborhood merchants. But he wasn’t always like this. In his dashing youth, Eduardo was known and loved for his love of salsa music and his natural dancing ability. Once revered as “Papo Salsa” in his neighborhood , Eduardo is now a different man—broken and hopeless. He’s one of many victims of the turbulent times of the late sixties and early seventies, when the Vietnam War shattered lives, tortured families, and stole innocence from even the most well-intentioned individuals. One day, Papo Salsa encounters José Antonio Rivera, an educated professional from the same neighborhood as Papo. Though a few years younger, José remembers Papo as a heartthrob to girls of all ages, a guy the neighborhood boys looked up to. But Papo does not immediately recognize José. He begins telling a story of bad breaks and wrong decisions, in an attempt to explain why he is where he is now. When Hope Is Gone is a graphic yet moving story of love found and lost, set in the volatile environments of urban life, war, and drug addiction. Throughout the years and the fears, the hypnotic rhythms of salsa music—the soundtrack of the times—is the one thing these wounded souls could always turn to for inspiration.

La originalidad que se manifiesta en su obra de teatro, “Pitirre no quiere hablar inglés” es un drama controversial vivido por Pitirre, querido símbolo puertorriqueño, en que a través de un lenguaje regional, descripción de paisajes y destellos de letras de canciones netamente boricuas, el autor nos presenta una clara visión sobre el sentir nacionalista de un creciente sector del pueblo puertorriqueño.

La originalidad que se manifiesta en su obra de teatro, “Pitirre no quiere hablar inglés” es un drama controversial vivido por Pitirre, querido símbolo puertorriqueño, en que a través de un lenguaje regional, descripción de paisajes y destellos de letras de canciones netamente boricuas, el autor nos presenta una clara visión sobre el sentir nacionalista de un creciente sector del pueblo puertorriqueño.

From the relative comfort of life in North America in the early 1950's, an eleven-year-old boy finds himself on a wild and fearful ride across the Pacific Ocean to embark on a new life on the tropical island of Panay in the Philippine Islands.

Tales of Iloilo is a collection of true adventures experienced by the author as a young boy. From an embarrassing ride on a water buffalo to ducking the attack of a thousand bats flying out of a cave, you feel the trepidation, wonder and excitement of his encounters with a whole new world.