This week, Mark Leonard is joined by Adriana Abdenur, a Brazilian policy expert and co-president of the Global Fund for a New Economy, and Jorge Castañeda, former foreign minister of Mexico and professor at Sciences Po, to explore debates about development and ideas of strategic autonomy across Latin America.

Jorge explains why China’s role is varied across the region, arguing that Mexico and much of Central America remain deeply constrained by their economic ties to the US. Adriana discusses Brazil’s long tradition of strategic autonomy, describing how policymakers engage with China as both an economic partner and a source of ideas on development, technology and global governance.

Together, Mark, Adriana and Jorge explore how intensifying US-China competition is reshaping the region’s choices. Can Latin American countries balance relations with both powers? Is China a model, a market or simply another partner in a multipolar world? And what does strategic autonomy look like in an increasingly coercive geopolitical environment?

This podcast episode was recorded on July 31st 2026.

Bookshelf
Latin American Foreign Policies in the New World Order: The Active Non-Alignment Option, by Carlos Ominami, Jorge Heine and Carlos Fortín
Manifesto Antropófago (Cannibal Manifesto), by Oswald de Andrade

Source

The peg for Robert Zaretsky’s essay on Samuel Beckett’s Waiting for Godot feels flimsy: “the 70th anniversary of its American premiere,” which lagged the show’s proper premiere, in Paris, by three years. Disregard the peg; as Zaretsky makes clear, there’s not a bad time, these days, to consider Beckett’s best-known work, a demonstration of “solidarity and compassion” set against a “featureless, colorless vista.” The stage directions for Godot have Estragon, one of the play’s leads, look out into the auditorium as an extension of the devastation. “Inspiring prospects,” he says. Let’s hope so.

Of course, Godot never arrives. In a Sesame Street parody of the play, the tree, fed up with the melodramatic and nonsensical patter of two Muppets waiting for Elmo, uproots itself and walks off the stage. But we cannot uproot ourselves and walk off the stage; instead, stuck like Didi and Gogo in a state of non-arrival, we wait. For those who waited for an answer from Beckett, none ever came. He once snapped at the English actor Ralph Richardson, who asked if Godot stood for God. If he had meant God, Beckett said, he would have written God. The play, he insisted, strove to avoid definition. This strategy of avoidance leaves us to gaze at a landscape void of meaning, one that by turns is the source of our bemusement and amusement.