Perhaps more than in any other Latin American country, crime fiction has played an important role in recent Cuban literature and society. Following Fidel Castro's (in)famous speech at the closure of the "Primer Congreso Nacional de Educación y Cultura" in April 1971, literature came to be perceived as a weapon of the Cuban Revolution. As a result, tight control of journals, publishing houses, and literary awards followed, as well as strenuous promotion of specific genres, like crime fiction, considered especially appropriate in the Revolution's fight against capitalism. In 1972, the MININT (Internal Affairs Ministry, which included Cuban Intelligence Services) created a literary award to stimulate the production of crime fiction in the country; this award, coupled with the genre's promotion by the Revolutionary cultural officials, made crime fiction enormously popular in Cuba.Due to both the popularity and the quality of much of the crime fiction written by Cubans and Cuban Americans in the past two decades, a number of valuable critical studies have been published in the last few years. Before Helen Oakley's book, however, no one had explored the relationship between the United States and Cuba as seen by Cuban and Cuban-American writers, so this thoroughly researched and carefully written monograph is particularly welcome.The first chapter of From Revolution to Migration summarizes the origins and development of Cuban and Cuban-American crime fiction; the remaining four are devoted to the crime fiction of Leonardo Padura, José Latour, Alex Abella, and Carolina García-Aguilera. A somewhat too brief preface and conclusion complete the volume.The first chapter reads extremely well, and Oakley should be commended for not being overwhelmed by the large number of sources she has reviewed. She discusses the use of British and American models in Latin American crime fiction, a topic that she revisits throughout her book. She then turns to some of the most influential studies in this area, written by Jorge Luis Borges, Carlos Monsiváis, Ilan Stavans, Ana María Amar, Persephone Braham, and Glen S. Close, among others. Finally, she focuses on Cuban crime fiction, tracing its history, especially during the revolutionary period, with clarity. Both experts in the topic and newcomers will find this chapter very useful, and it will no doubt become a staple reading in relevant university courses.In Chapter 2, however, Oakley makes the puzzling decision to include writer Leonardo Padura in her study. Although Padura is undoubtedly the most suc-