   
Since its publication in , El entierro de Cortijo has be
like hotcakes, or better, como pan caliente. Puerto Rican rea
avidly gobbled up this affordable and handy little book, s
to its eighth edition and rewarding its publisher, Edicion
cán, with sales upward of ,—no small feat in a sm
try. Year after year, Edgardo Rodríguez Juliá’s engaging
of the funeral of the island’s most revered popular musi
tinues to serve as assigned reading in countless universi
has drawn a significant readership outside of academia
internationally, and has received lively and appreciative c
tention. It was translated into French by the most disti
French literary translator, Claude Fell, and has been the
debates and conferences in a range of countries, includin
bia, Argentina, and Martinique. The author himself att
being the first of his books to achieve success with a broa
public. Along with his novels and other short works of
nonfiction commentary, El entierro de Cortijo has establish
guez Juliá’s place at the forefront of contemporary Pue
The resounding success of the book is no doubt du
measure to its subject matter: not only does the world o
music carry an intrinsic attraction but the figure of Rafae
who wrought a veritable revolution in Puerto Rican mu
ture, looms especially large. The music of Cortijo y Su C
captivated Puerto Rican, Caribbean, and Latin American
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