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This riveting true story is the first major narrative detailing the exploration of North America by Spanish conquistadors (1528-1536). The author, Alvar Núñez Cabeza de Vaca, was a fortune-seeking Spanish nobleman and the treasurer of an expedition sent to claim for Spain a vast area of today's southern United States. In simple, straightforward prose, Cabeza de Vaca chronicles the nine-year odyssey endured by the men after a shipwreck forced them to make a westward journey on foot from present-day Florida through Louisiana and Texas into California. In thirty-eight brief chapters, Cabeza de Vaca describes the scores of natural and human obstacles they encountered as they made their way across an unknown land. Cabeza de Vaca's gripping account offers a trove of ethnographic information, including descriptions and interpretations of native cultures, making it a powerful precursor to modern anthropology. .
Esta aproximación biográ?ca, escrita con un estilo diáfano,informado y apasionante, tiene un objetivo principal: explicarcómo Gabriel García Márquez, con destreza casi mágica, creóCien años de soledad. Ilan Stavans examina las fuerzas sociales,políticas, económicas e intelectuales que lo de?nieron, yla manera en que Macondo #y la familia Buendía como eje derotación# se con?guró como una realidad propia.La familia, los maestros, las lecturas infantiles, sus búsquedasadolescentes, el paso por la universidad, su formación comoperiodista, el matrimonio, los amigos, la vocación ideológica,e in?uencias como Juan Rulfo y Jorge Luis Borges, fueronelementos que, sumados, llevaron a este colombiano universala construir lo que según Stavans es, al lado del Quijote deCervantes, la obra que contiene, #en sí misma, el ADN de todanuestra civilización#.
These three groundbreaking works by Julio Cortázar--a major figure of world literature and one of the founders of the Latin American Boom--are published together in one volume for the first time, in honor of the centenary of his birth. With his influential "counternovel" HOPSCOTCH and his unforgettable short stories, Cortázar earned a place among the most innovative authors of the twentieth century. HOPSCOTCH is a nonlinear novel about an Argentinean writer living in Paris; it consists of 155 short chapters that the author advises the reader to read out of order. BLOW-UP and WE LOVE GLENDA SO MUCH bring together the most famous of Cortázar's short fiction, including "Axolotl," "End of the Game," "The Night Face Up," "Continuity of Parks," "Bestiary," and "Blow-Up". These are stories in which invisible beasts stalk children in their homes, the reader of a mystery finds out that he is the murderer's intended victim, an injured motorcyclist is pursued by Aztec warriors, and a man becomes a salamander in a Parisian zoo. In Cortázar's work, laws of nature, physics, and narrative fall away, leaving us with an astonishing new view of the world.(Book Jacket Status: Jacketed)
In the 1970s, Argentina was the leader in the "Dirty War," a violent campaign by authoritarian South American regimes to repress left-wing groups and any others who were deemed subversive. Over the course of a decade, Argentina's military rulers tortured and murdered upwards of 30,000 citizens. Even today, after thirty years of democratic rule, the horror of that time continues to roil Argentine society. Argentina has also been in the vanguard in determining how to preserve sites of torture, how to remember the "disappeared," and how to reflect on the causes of the Dirty War. Across the capital city of Buenos Aires are hundreds of grassroots memorials to the victims, documenting the scope of the state's reign of terror. Although many books have been written about this era in Argentina's history, the original Spanish-language edition of Memories of Buenos Aires was the first to identify and interpret all of these sites. It was published by the human rights organization Memoria Abierta, which used interviews with survivors to help unearth that painful history. This translation brings this important work to an English-speaking audience, offering a comprehensive guidebook to clandestine sites of horror as well as innovative sites of memory. The book divides the 48 districts of the city into 9 sectors, and then proceeds neighborhood-by-neighborhood to offer descriptions of 202 known "sites of state terrorism" and 38 additional places where people were illegally detained, tortured, and killed by the government.
Enough with the dead white men! The true story of the United States lies with its most overlooked and marginalized peoples; the workers, immigrants, housewives, and slaves who built America from the ground up, and who made this country what it is today. <P> In A Most Imperfect Union, cultural critic Ilan Stavans and award-winning cartoonist Lalo Alcaraz present a vibrant history of these unsung Americans. In an irreverent, fast-paced narrative that challenges the conventional narrative of American history, Stavans and Alcaraz offer a fresh, controversial take on the philosophies, products, practices, and people, from Algonquin and African royals to early feminists, Puerto Rican radicals, and Arab immigrants, that have made America such an outsized and extraordinary land.<P> Advisory: Bookshare has learned that this book offers only partial accessibility. We have kept it in the collection because it is useful for some of our members. To explore further access options with us, please contact us through the Book Quality link on the right sidebar. Benetech is actively working on projects to improve accessibility issues such as these.
Enough with the dead white men! The true story of the United States lies with its most overlooked and marginalized peoples-the workers, immigrants, housewives, and slaves who built America from the ground up, and who made this country what it is today. In A Most Imperfect Union, cultural critic Ilan Stavans and award-winning cartoonist Lalo Alcaraz present a vibrant history of these unsung Americans. In an irreverent, fast-paced narrative that challenges the conventional narrative of American history, Stavans and Alcaraz offer a fresh, controversial take on the philosophies, products, practices, and people-from Algonquin and African royals to early feminists, Puerto Rican radicals, and Arab immigrants-that have made America such an outsized and extraordinary land.
It is commonly assumed that the United States and Latin America, culturally so different, move artistically to very different rhythms. Also common is the assumption that, with rare exception, the literary figures on one side of the global North/South divide have had little interest in the work of their counterparts. With Mutual Impressions Ilan Stavans dispels these notions by showing how solid the bridges between writers and across borders have been, at least since the early days of this century, and how crucial they are likely to become as we enter the next millennium. Divided into symmetrical halves--South reading North and North reading South--the book presents essays by leading novelists, poets, and other writers that focus on the work of another literary figure from across the divide. Borges, for example, finds in Hawthorne the perfect precursor to his own interest in allegories; Katherine Anne Porter examines José Joaquín Fernández de Lizardi as a rascal whose picaresque views of life in The Itching Parrot served to launch the Latin American novel; Cortázar's study of the plots and style of Poe shows an affinity that left an indelible mark on the Argentine's short fiction; Susan Sontag views Machado de Assis as the ultimate mirror, a proto-postmodernist. With other essays by Thomas Pynchon, William H. Gass, John Updike, Gabriel García Márquez, Alejo Carpentier, John Barth, Robert Coover, Pedro Henríquez Ureña, Grace Paley, Juan Carlos Onetti, and Mark Strand, among others, Mutual Impressions offers a remarkable view of the connections that comprise a literary tradition of the Americas. It is a book that will surprise and enliven its readers as it informs and awakens in them a sense of wonder.Contributors. John Barth, José Bianco, Robert Bly, Jorge Luis Borges, Alejo Carpentier, Hiber Conteris, Robert Coover, Julio Cortázar, Ezequiel Martínez Estrada, Waldo Frank, Carlos Fuentes, William H. Gass, Nicolás Guillén, William Kennedy, Mario Vargas Llosa, Gabriel García Márquez, José Martí, Pablo Neruda, Victoria Ocampo, Juan Carlos Onetti, Grace Paley, Octavio Paz, Katherine Anne Porter, Thomas Pynchon, Kenneth Rexroth, Antonio Benítez Rojo, Barbara Probst Solomon, Susan Sontag, Ilan Stavans, Mark Strand, John Updike, Pedro Henríque Ureña, Derek Walcott, Paul West
Although investigations of Hispanic popular culture were approached for decades as part of folklore studies, in recent years scholarly explorations--of lucha libre, telenovelas, comic strips, comedy, baseball, the novela rosa and the detective novel, sci-fi, even advertising--have multiplied. What has been lacking is an overarching canvas that offers context for these studies, focusing on the crucial, framing questions: What is Hispanic pop culture? How does it change over time and from region to region? What is the relationship between highbrow and popular culture in the Hispanic world? Does it make sense to approach the whole Hispanic world as homogenized when understanding Hispanic popular culture? What are the differences between nations, classes, ethnic groups, religious communities, and so on? And what distinguishes Hispanic popular culture in the United States? In ¡Muy Pop!, Ilan Stavans and Frederick Luis Aldama carry on a sustained, free-flowing, book-length conversation about these questions and more, concentrating on a wide range of pop manifestations and analyzing them at length. In addition to making Hispanic popular culture visible to the first-time reader, ¡Muy Pop! sheds new light on the making and consuming of Hispanic pop culture for academics, specialists, and mainstream critics.
A collection of Jewish short stories, translated into English. Contains short bios of the various authors.
A groundbreaking cultural history of the most influential, most frequently translated, and most imitated novel in the world. The year 2015 marks the four hundredth anniversary of the publication of the complete Don Quixote of La Mancha--an ageless masterpiece that has proven unusually fertile and endlessly adaptable. Flaubert was inspired to turn Emma Bovary into "a knight in skirts." Freud studied Quixote's psyche. Mark Twain was fascinated by it, as were Kafka, Picasso, Nabokov, Borges, and Orson Welles. The novel has spawned ballets and operas, poems and plays, movies and video games, and even shapes the identities of entire nations. Spain uses it as a sort of constitution and travel guide; and the Americas were conquered, then sought their independence, with the knight as a role model. In Quixote, Ilan Stavans, one of today's preeminent cultural commentators, explores these many manifestations. Training his eye on the tumultuous struggle between logic and dreams, he reveals the ways in which a work of literature is a living thing that influences and is influenced by the world around it.
Here is the stirring story of how Hebrew was rescued from the fate of a dead language to become the living tongue of a modern nation. Ilan Stavans's quest begins with a dream featuring a beautiful woman speaking an unknown language. When the language turns out to be Hebrew, a friend diagnoses "language withdrawal," and Stavans sets out in search of his own forgotten Hebrew as well as the man who helped revive the language at the end of the nineteenth century, Eliezer Ben-Yehuda. The search for Ben-Yehuda, who raised his eldest son in linguistic isolation-not even allowing him to hear the songs of birds-so that he would be "the first Hebrew-speaking child," becomes a journey full of paradox. It was Orthodox anti-Zionists who had Ben-Yehuda arrested for sedition, and, although Ben-Yehuda was devoted to Jewish life in Palestine, it was in Manhattan that he worked on his great dictionary of the Hebrew language. The resurrection of Hebrew raises urgent questions about the role language plays in Jewish survival, questions that lead Stavans not merely into the roots of modern Hebrew but into the origins of Israel itself. All the tensions between the Diaspora and the idea of a promised land pulse beneath the surface of Stavans's story, which is a fascinating biography as well as a moving personal journey. From the Hardcover edition.
The expulsion of the Jews from Spain in 1492 gave rise to a series of rich, diverse diasporas that were interconnected through a common vision andjoie de vivre. The exodus took these Sephardim to other European countries; to North Africa, Asia Minor, and South America; and, eventually, to the American colonies. In each community new literary and artistic forms grew out of the melding of their Judeo-Spanish legacy with the cultures of their host countries, and that process has continued to the present d...
"Baca writes with unconcealed passion . . . and manifests both an intense lyricism and that transformative vision which perceives the mythical and archetypal significance of life events."--Denise Levertov Champion of the International Poetry Slam, winner of the Before Columbus American Book Award, the International Hispanic Heritage Award, the Pushcart Prize, and the prestigious International Award, Jimmy Santiago Baca has been writing as a mestizo (part Native American, part Mexican) and an outsider ever since he learned to read and write--in English--during a six-year Federal prison sentence when he was in his twenties. Drawing on his rich ethnic heritage and his life growing up in poverty in the Southwestern United States, Baca has a created a body of work which speaks to the disenfranchised by drawing on his experiences as a prisoner, a father, a poet, and by reflecting on the lush, and sometimes stark, landscape of the Rio Grande valley. In response to increased demand for Latino poetry in Spanish, and to thousands of Baca fans who are bilingual, this unique collection contains Spanish translations of Baca's poetry selected from the volumes Martín and Mediations on the South Valley (1987), Black Mesa Poems (1989), Immigrants in Our Own Land (1990), Healing Earthquakes (2001), C-Train and Thirteen Mexicans (2002), Winter Poems Along the Rio Grande (2004), and Spring Poems Along the Rio Grande (2007).
Born in Nicaragua, Rubén Darío is known as the consummate leader of the Modernista movement, an esthetic trend that swept the Americas from Mexico to Argentina at the end of the nineteenth century. Seeking a language and a style that would distinguish the newly emergent nations from the old imperial power of Spain, Darío's writing offered a refreshingly new vision of the world--an artistic sensibility at once cosmopolitan and connected to the rhythms of nature. The first part of this collection presents Darío's most significant poems in a bilingual format and organized thematically in the way Darío himself envisioned them. The second part is devoted to Darío's prose, including short stories, fables, profiles, travel writing, reportage, opinion pieces, and letters. A sweeping biographical introduction by distinguished critic Ilan Stavans places Darío in historical and artistic context, not only in Latin America but in world literature. First time in Penguin Classics Includes suggestions for further reading, a bibliography, and a glossary
The essayist and cultural commentator Ilan Stavans and the analytic philosopher Jorge J. E. Gracia share long-standing interests in the intersection of art and ideas. Here they take thirteen pieces of Latino art, each reproduced in color, as occasions for thematic discussions. Whether the work at the center of a particular conversation is a triptych created by the brothers Einar and Jamex de la Torre, Andres Serrano's controversial Piss Christ, a mural by the graffiti artist BEAR_TCK, or Above All Things, a photograph by María Magdalena Campos-Pons, Stavans and Gracia's exchanges inevitably open out to literature, history, ethics, politics, religion, and visual culture more broadly. Autobiographical details pepper Stavans and Gracia's conversations, as one or the other tells what he finds meaningful in a given work. Sparkling with insight, their exchanges allow the reader to eavesdrop on two celebrated intellectuals--worldly, erudite, and unafraid to disagree--as they reflect on the pleasures of seeing.
Hailed as the greatest novel of the Mexican Revolution, The Underdogs recounts the story of an illiterate but charismatic Indian peasant farmer's part in the rebellion against Porfirio Díaz, and his subsequent loss of belief in the cause when the revolutionary alliance becomes factionalized. Azuela's masterpiece is a timeless, authentic portrayal of peasant life, revolutionary zeal, and political disillusionment.From the Trade Paperback edition.
Natives of the Iberian Peninsula and the twenty countries of Latin America, as well as their kinsfolk who've immigrated to the United States and around the world, share a common quality or identity characterized as la hispanidad. Or do they? In this lively, provocative book, two distinguished intellectuals, a cultural critic and a historian, engage in a series of probing conversations in which they try to discern the nature of la hispanidad and debate whether any such shared identity binds the world's nearly half billion people who are "Hispanic. " Their conversations range from La Reconquista and Spanish monarchs Ferdinand and Isabella, who united the Spanish nation while expelling its remaining Moors and Jews, to the fervor for el fútbol (soccer) that has swept much of Latin America today. Along the way, they discuss a series of intriguing topics, including the complicated relationship between Latin America and the United States, Spanish language and the uses of Spanglish, complexities of race and ethnicity, nineteenth-century struggles for nationhood and twentieth-century identity politics, and popular culture from literary novels to telenovelas. Woven throughout are the authors' own enlightening experiences of crossing borders and cultures in Mexico and Chile and the United States. Sure to provoke animated conversations among its readers, What is la hispanidad? makes a convincing case that "our hispanidad is rooted in a changing tradition, flexible enough to persist beyond boundaries and circumstances. Let us not fix it with a definition, but allow it instead to travel, always. "
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