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At-home COVID-19 testing offers convenience and safety advantages. We evaluated at-home testing in Black and Latino communities through an intervention comparing community-based organization (CBO) and health care organization (HCO) outreach. From May through December 2021, 1100 participants were recruited, 94% through CBOs. The odds of COVID-19 test requests and completions were significantly higher in the HCO arm. The results showed disparities in test requests and completions related to age, race, language, insurance, comorbidities, and pandemic-related challenges. Despite the popularity of at-home testing, barriers exist in underresourced communities. (Am J Public Health. Published online ahead of print October 20, 2022:e1–e5. https://doi.org/10.2105/AJPH.2022.306989 )

The great majority of literary critics who have analyzed the short stories and novels written by the Colombian author Óscar Collazos have fallen into the trap of subjugating the text to rigid preconceived ideas. In general, they have read his work following what others have already said about these writings, forcing the narrative into analytical structures that obscure the text rather than illuminate it. With few exceptions, critics categorize Collazos's literary work as simple, unadorned realism. They affirm that it merely mirrors the reality of the Colombian social, political, and cultural conflicts; it is little more than a narrative inventory of situations, characters or conflicts. Nobody has noticed, however, that it is precisely because this author's texts are so deeply connected to reality that his art is able to transcend it. All his texts are the result of a language which becomes even stranger and more absurd when it tries (and fails) to capture the essence of reality. The realism in Collazos is not a simple recounting of situations and conflicts, but a chronicle of horror, death and destruction, as well as the effective reaffirmation of the absurd. In this essay, entitled Walking with Death. Two Short Stories by Óscar Collazos: "The Sleeping Car" and "Somebody Is Knocking on the Door", I will analyze two of his short stories and throughout these texts I will try to demonstrate that his writings, while deeply connected to the social and political conflicts of Colombian society, are also more widely connected to the fantastic literature "tradition" which includes so many important writers in Latin America. Like them, Collazos's literary work is always in contradiction with reality, criticizing it rather than naïvely portraying it.

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As in all cultures, the mirror is a recurring symbol in both Latin-American poetry and narratives. It has various meanings when seen in different literary contexts. The most notable poets of the 20th century, such as Jorge Luis Borges, Octavio Paz, and Carlos Pellicer associate it with mystery, horror, silence, emptiness, catastrophe, and everything which is contradictory, paradoxical, and strange. According to some, the mirror itself reveals the source of poetry and literature, a kind of abyss from which something arises out of nothing. It also allows one to see himself through the eyes of the other. In the book of poetry entitled Los espejos comunicantes, Óscar Hahn, the mirror is a constant entity. Like the aforementioned poets, he reiterates the same obsessions, images, and symbols associated with it. However, here the mirror takes on a new dimension which has not been explored by the others. His poems suggest that what is reflected in the mirror, our wishes, dreams, feelings, and fears, are our true reality. The reality displayed in the mirror is beyond our control. It cannot be understood, organized or classified for our own benefit in the name of science and progress. On the contrary, what should be limited by the confines of the mirror escapes and consumes our reality. For Óscar Hahn our true nature is catastrophe, chaos, passion for destruction, and a love of death. This essence emerges from the mirror and devours everything.