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![]() | ![]() | ANTHOLOGIES. [Mexico - Poetry]. Acosta, Juvenal (editor). Light From a Nearby Window: Contemporary Mexican Poetry. San Francisco. 1994. City Lights Books. 087286281x. 231 pages. paperback. Cover design by Rex Ray. The following poems were published originally in these Spanish-language editions: LUIS MIGUEL AGUILAR-La guerra de las piedras; Jose Maria, maderero; Memo, motociclista-from Todo lo que se, Editorial Cal y Arena, 1996. GASPAR AGUILERA DIAZ-Alguien sabe do LIGHT FROM A NEARBY WINDOW introduces a new generation of poets who have become a driving force in Mexican literature today. Until quite recently, contemporary Mexican poetry has been little-known and virtually unavailable to English-speaking readers. This bilingual anthology includes twenty-one poets - twelve men and none women - all of whom have received national and international recognition. In poems about sexuality and spirituality, politics and marginalization, history and tradition, urban and rural life, they write about the unique experience of being Mexican at the end of the millennium. CONTENTS: INTRODUCTION; LUIS MIGUEL AGUILAR-The War of the Stones; Jose Maria, Lumberjack; Memo, Who Loved Motorcycles; GASPAR AGUILERA DIAZ- Does Anyone Know Where Roque Dalton Spent His Final Night?; Finally, After So Many Years, Hernán CortEs Declares; MARIA BARANDA- from The Garden of Enchantments; EFRAIN BARTOLOME- House of Monkeys; Letters from Bonampak; Coffee Harvest; ALBERTO BLANCO- The Parakeets; Luxury Hotel; I, Clouded; Good Wishes; Moon of Daily Life; The Poet Does and Doesn't Have; Why So Many Forms?; CARMEN BOULLOSA- Letter to the Wolf; Fire; The Other; RICARDO CASTILLO- The Poet of the Garden; Ode to the Urge; One Potato, Two; LUCHA CORPI- Undocumented Anguish; from Boundaries; ELSA CROSS- Night of San Miguel; Jaguar; Tenayuca; Uxmal; Malinalco; ANTONIO DELTORO- Submarine; Barefoot Days; The Sold House; Fossils; JORGE ESQUINCA- Fable of the Hunter; Hortensia; FRANCISCO HERNANDEZ- The Boy in the Photograph; Until the Poem Remains; To the Author of ‘Dream Song'; Autograph DAVID HUERTA- November Rain; from Incurable; Packages; EDUARDO LANGAGNE- Earthquake; Opening Up the Caskets; ELVA MACIAS- From Capricorn; Indications; Image and Likeness; FABIO MORABITO- My Regular Appearances; I Hear Cars; Swings; Master of an Expanse; ISABEL QUINONEZ- In Our Desolation; To Flow, Submerge; Craving for Light; Retirement; SILVIA TOMASA RIVERA- I sense you careening downshadow; Mother, I want to go to the sea; We're at a fiesta; The cowhands; JOSE JAVIER VILLARREAL- An imposing silence Ballad in Memory of Francois Villon; Untitled IV; MINERVA MARGARITA VILLARREAL- Song of Penelope; Sleep's Faithless Lady; VERONICA VOLKOW-The House; Hunger; Deep darkness; You are naked; The Circle; God; CONTRIBUTORS' NOTES. . . JUVENAL ACOSTA was born in Mexico City in 1961. He studied economics in Mexico City, and philosophy in Morelia, Michoacan, where he lived, miraculously, as a poet. He is the author of the prize-winning Diciendo unas palabras negras and PAPER OF LIVE FLESH. He lives in Berkeley, California. . TRANSLATORS - F. Bell, Forrest Gander, Robert L. Jones, Elaine Katzenberger, Michael Koch, W S. Merwin, Nancy J. Peters, LaVonne Poteet, Catherine Rodriguez-Nieto, John Oliver Simon, Iona Whishaw. . The following poems were published originally in these Spanish-language editions: LUIS MIGUEL AGUILAR-La guerra de las piedras; Jose Maria, maderero; Memo, motociclista-from Todo lo que se, Editorial Cal y Arena, 1996. GASPAR AGUILERA DIAZ-Alguien sabe donde paso la ultima noche Roque Dalton?; Al fin despuEs de tantos anos Hernan CortEs declara-from Zona do derrumbe, Editorial Katum, 1984. MARIA BARANDA-Parte I del libro-from El jardin do los encantamientos, Coleccion Molinos de Viento, Universidad AutOnoma Metropolitana, 1989. EFRAIN BARTOLOME-Casa de los monos; Cartas desde Bonampak; Corte de cafE-from Ojo de jaguar, Universidad Nacional Autonoma de Mexico, (UNAM), 1990. ALBERTO BLANCO-Los pericos-from El libro do los pajaros, Ediciones Toledo, 1990. Para quE tantas formas?-from Cromos, INBA/SEP, 1987. CARMEN BOULLOSA-Carta al lobo; El fuego; El otro-from La Salvaja, Fondo de Cultura Economica, 1989. RICARDO CASTILLO-El poeta del jardin; Oda a las ganas; Pin uno, pin dos-from El pobrecito señor X, Fondo de Cultura Economica, 1980. LUCHA CORPI-Margenes; Indocumentada angustia-from Variaciones sobre una tempestad/Variations on a Storm, Third Woman Press, 1990. ELSA CROSS-Noche de San Miguel; Jaguar; Tenayuca; Uxmal; Malinalco-from Jaguar, Ediciones Toledo, 1991. ANTONIO DELTORO-Submarino; Los dias descalzos; La casa vendida; Fosiles-from Los dias descalzos, Editorial Vuelta, 1993. JORGE ESQUINCA-Fabula del cazador; Hortensia-from El cardo en la voz, Editorial Joaquin Mortiz, 1991. FRANCISCO HERNÂNDEZ-El nino de la fotografia; Hasta que el verso quede-from En las pupilas del que regresa, UNAM, 1993. DAVID HUERTA-Lluvias de noviembre-from Lluvias de noviembre, Multiarte, 1976. Incurable (Fragment)-from Incurable, Editorial ERA, 1987. EDUARDO LANGAGNE-El temblor-from A la manera del viejo escarabajo, Gobierno de Sinaloa, 1990. ELVA MACIAS-De capricornio-from Lejos de la memoria, Jean Boldo i Climent, Editores, 1989. Imagen y semejanza-from Imagen y semejanza, UNAM, 1982. FABIO MORIBITO-Mi periodica aparicion; Oigo los coches; Los columpios; Dueno de una amplitud-from De lunes todo el año, Joaquin Mortiz, 1992. SILVIA TOMASA RIVERA-Te siento correr sombras abajo-from Poemas al desconocido/ poemas a la desconocida, Penelope, 1984. Madre, quiero ir al mar; Estamos de fiesta; Los vaqueros-from Duelo de espadas, FCE, 1987. JOSE JAVIER VILLARREAL-Un largo silencio; Balada a la memoria de Francois Villon; Sin Titulo IV-from La procesion, Joaquin Mortiz, 1991. MINERVA MARGARITA VILLARREAL-Cancion de Penelope; Dama infiel al sueno-from Dama infiel al sueño, Cuarto Menguante, 1991. VERONICA VOLKOW-La casa; El hambre; Profunda oscuridad; Estas desnudo; El circulo; Dios-from El incio, Joaquin Mortiz, 1983. . Juvenal Acosta is a fiction writer, poet, and journalist born in Mexico in 1961. He has edited two anthologies of contemporary Mexican poetry published by City Lights Books. The original version of The Tattoo Hunter (El Cazador de Tatuajes), his first novel, was published in Mexico City to wide critical acclaim. This Fall, The Violence of Velvet (Terciopelo Violento), his second novel, will be released by Planeta Press. His essay on bullfighting, ‘The Gaze and the Blood,' was translated into English by Gregory Rabassa and published by Periplus Books in London as an introduction to Tauromachia, a book of photography. Acosta writes for Cambio, a weekly magazine published by Gabriel García Márquez in Mexico City, directs the M.F.A. in Writing and Consciousness at the New College of California, and teaches creative writing at the California College of Arts and Crafts in San Francisco. |
![]() | ![]() | ANTHOLOGIES. . Agosin, Marjorie (editor). A Dream of Light & Shadow: Portraits of Latin American Women Writers. Albuquerque. 1995. University of New Mexico Press. 0826316336. 342 pages. hardcover. Jacket design by Linda Mae Tratechaud. Sixteen original essays of women writers from Mexico, Guatemala, Honduras, Costa Rica, Colombia, Ecuador, Uruguay, Argentina, and Brazil are gathered in this book. Each establishes the relationship between the biography of the subject and her literary production. Some of these writers, like Nobel Prize-winner Gabriela Mistral, Elena Poniatowska, and Victoria Ocampo, are well known; others are still largely undiscovered. All of them defy the limits imposed upon them by society, and all have been able to find freedom through creative imagination. All the writers included here are vitally concerned with the problems women face in Latin America. Children and mothers are the central focus of their lives and of many of their writings. These writers have participated in essential ways in the history of their respective countries and in the intellectual history of Latin America, and at the same time, their greatest contribution has been in the sharing of the private details of personal stories, their own and others. In the strong connections that many of them have had with each other, Marjorie Agosin sees a culture of sisterhood. CONTENTS: INTRODUCTION - From a Room of One's Own to the Garden by MARJORIE AGOSIN; Sofia Ospina de Navarro: Wise Advice from an Optimistic Grandmother by MARY G. BERG; Victoria Ocampo & Spiritual Energy by DORIS MEYER; Clementina Suárez: Poetry & Womanhood by JANET GOLD; The Creation of Alfonsina Storni by GWEN KIRKPATRICK; Gabriela Mistral: Language Is the Only Homeland by ELIZABETH HORAN; Violeta Parra: Singer of Life by INES DOLZ-BLACKBURN; Cecilia Ansaldo: Woman between the Private and Public Space by PATRICIA VARAS; Marta Traba: A Life of Images & Words by GLORIA BAUTISTA GUTIERREZ; Carmen Naranjo: From Poet to Minister by PATRICIA RUBI0; Rigoberta Menchá: The Art of Rebellion by MARY JANE TREACY; Julia de Burgos: Woman, Poet, Legend by CARMEN ESTEVES; Elena Poniatowska: Search for the Voiceless by KAY S. GARCIA; Delmira Agustini: Portraits & Reflections by RENEE SCOTT; Clarice Lispector: Dreams of Language by GIOVANNI PONTIERO; Alejandra Pizarnik: The Self & Its Impossible Landscapes by ALICIA BORINSKY; Marosa Di Giorgio: Uruguay's Sacred Poet of the Garden by TERESA PORZECANSKI; Notes; Bibliography. . MARJORIE AGOSIN, professor of Spanish and literature at Wellesley College, is the author of numerous volumes of poetry, short stories, and, most recently, A CROSS AND A STAR: MEMOIRS OF A JEWISH GIRL IN CHILE, also available from the University of New Mexico Press. . . Marjorie Agosín (born June 15, 1955) is an award-winning poet, essayist, fiction writer, activist, and professor. She is a prolific author: her published books, including those she has written as well as those she has edited, number over eighty. Two of her recent books are both poetry collections, The Light of Desire / La Luz del Deseo, translated by Lori Marie Carlson (Swan Isle Press, 2009), and Secrets in the Sand: The Young Women of Juárez, translated by Celeste Kostopulos-Cooperman (White Pine Press, 2006), about the female homicides in Ciudad Juárez. She teaches Spanish language and Latin American literature at Wellesley College. She has won notability for her outspokenness for women's rights in Chile. The United Nations has honored her for her work on human rights. She also won many important literary awards. The Chilean government awarded her with the Gabriela Mistral Medal of Honor for Life Achievement in 2002. Agosín was born in 1955 to Moises and Frida Agosín in Chile, where she lived her childhood in a German community. |
![]() | ![]() | ANTHOLOGIES. . Agosin, Marjorie (editor). Landscapes of a New Land: Short Fiction By Latin American Women. Buffalo. 1989. White Pine Press. 0934834962. 194 pages. paperback. Cover painting by Emma Alvarez Pineiro. This landmark collection rescues the voices of great women of Latin American letters, many of them distinguished in their own countries but largely unrecognized abroad. The stories of Landscapes of a New Land show the wide range of themes, images, and languages encountered in the new territories of the Latin American narrative written by women. The anthology contains over twenty stories from ten countries, including work by: Bombal; Valenzuela; Steimberg; Glantz; Riesco; Pinon; Lispector; Rendic; Fagundes by Telles; Bedregal; Balcells; Brunet; Bins; Ocampo; Araujo; Poniatowska; Orphee; Naranjo; Hilst; Peri-Rossi; Alonso. The themes of the stories are as eclectic as the natures of these women, ranging from stories exploring love and its mysteries to stories reflecting social/political concerns and reactions to authoritarian and repressive powers and to the magic-real stories which are characteristic of contemporary Latin American fiction. ‘From tenuous wisps of narrative to well-knit plots, from half by overheard reveries to public statements, and from the riddles of the sorceress to the good sense of seasoned women, Landscapes of a New Land brings together the variety of brief prose by contemporary Latin American women.' - Naomi Lindstrom . . . ‘Perhaps because the short story lends itself to the brevity required of literature practiced during moments stolen from other non-literary activities, women writers in Latin America, often especially those vying for the attention routinely denied them, have been assiduous adherents of the short story genre. Bringing to the venerable genre of the short story remarkably original voices that confirm the vigor of Latin American narrative and the essential role women writers must now be recognized to play in it, writers like those brought together in this anthology constitute both allied and alternate strands of writing in Latin America. This anthology brings together figures well established both in English and Spanish, but it also accords appropriate recognition to authors whose writings have yet to attain international stature. It would be fitting if this anthology were able to do that through the medium of English.' - David William Foster. CONTENTS: Introduction by Marjorie Agosin; GENEALOGIES by Sky, Sea and Earth by Maria Luisa Bombal (Chile); Genealogies by Margo Glantz (Mexico); DESTINATIONS by ‘Good Evening, Agatha' by Yolanda Bedregal (Bolivia); An Avid One in Extremis by Hilda Hilst (Brazil); Natural Theology by Hilda Hilst (Brazil); Destination by Patricia Bins (Brazil); I Love My Husband by Nelida Pinon (Brazil; The Message by Elena Poniatowska (Mexico); The Key by Lygia Fagundes Telles (Brazil); Solitude of Blood by Marta Brunet (Chile); Plaza Maua by Clarice Lispector (Brazil); THE OPEN LETTER by The Open Letter by Helena Araujo (Colombia); Cecilia's Last Will and Testament by Alicia Steimberg (Argentina); The Compulsive Couple of the House on the Hill by Carmen Naranjo (Costa Rica); The Snow White Guard by Luisa Valenzuela (Argentina); Cage Number One by Dora Alonso (Cuba); A CHILD, A DOG, THE NIGHT by Jimena's Fair by Laura Riesco (Peru); A Child, a Dog, the Night by Amalia Rendic (Chile); The Enchanted Raisin by Jacqueline Balcells (Chile); THE BEGUILING LADIES by The Servant's Slaves by Silvina Ocampo (Argentina); The Beguiling Ladies by Elvira OrphEe (Argentina); The Museum of Futile Endeavors by Cristina Pen Rossi (Uruguay); Authors; Translators. . . Marjorie Agosín (born June 15, 1955) is an award-winning poet, essayist, fiction writer, activist, and professor. She is a prolific author: her published books, including those she has written as well as those she has edited, number over eighty. Two of her recent books are both poetry collections, The Light of Desire / La Luz del Deseo, translated by Lori Marie Carlson (Swan Isle Press, 2009), and Secrets in the Sand: The Young Women of Juárez, translated by Celeste Kostopulos-Cooperman (White Pine Press, 2006), about the female homicides in Ciudad Juárez. She teaches Spanish language and Latin American literature at Wellesley College. She has won notability for her outspokenness for women's rights in Chile. The United Nations has honored her for her work on human rights. She also won many important literary awards. The Chilean government awarded her with the Gabriela Mistral Medal of Honor for Life Achievement in 2002. Agosín was born in 1955 to Moises and Frida Agosín in Chile, where she lived her childhood in a German community. |
![]() | ![]() | ANTHOLOGIES. [Argentina Chile]. Agosin, Marjorie (editor). Secret Weavers: Stories of the Fantastic By Women of Argentina and Chile. Fredonia. 1992. White Pine Press. 1877727156. 339 pages. paperback. Book design by Watershed Design. The artwork used on the cover, 'Harmony, 1956', is by Spanish artist Remedios Varo. Fantastic literature, with its many classifications and variations such as magic-realism or the real-marvelous, has long been part of the Latin American critical imagination. Women writers have been a very important component of this genre, hut little attention has been paid to their particular tradition of fantastic literature, a tradition that continues to he produced and read today. This anthology traces the history of fantastic literature in Chile and Argentina and includes both the pioneer writers and the innovative and experimental writers of today. The stories, which represent the variety and complexity of this genre, include fairy tales, science fiction, and metaphorical political tales. The authors include: Isabel Allende; Olga Orozco; Maria Luisa Bombal; Elvira Orphee; Alma Diaconu; Alejandra Pizarnik; Sara Gallardo; Cristina Pen Rossi; Marosa DiGiorgio; Ana Maria Shua; Angelica Gorodischer; Marcela Sola; Liliana Hecker; Alicia Steimherg; Luisa Mercedes Levinson; Elizabeth Suhercaseaux; Silvina Ocampo; Luisa Valenzuela. CONTENTS: Reflections on the Fantastic-Marjorie Agosin; COMPULSIVE DREAMERS - The Compulsive Dreamer-Silvina Ocampo; Things-Silvina Ocampo; The Velvet Dress-Silvina Ocampo; The House of Sugar-Silvina Ocampo; Thus Were Their Faces-Silvina Ocampo; The Story of Maria Griselda-Maria Luisa Bombal; The Little Island-Luisa Mercedes Levinson; The Boy Who Saw God's Tears-Luisa Mercedes Levinson; AND THE WHEEL STILL SPINS - An Eternal Fear-Elvira Orphee; I Will Return, Mommy-Elvira Orpheè; How the Little Crocodiles Cry!-Elvira Orphee; For Friends and Enemies-Olga Orozco; And the Wheel Still Spins-Olga Orozco; THE WILD MIRRORS - The Mirror of Melancholy-Alejandra Pizarnik; Blood Baths-Alejandra Pizarnik; Severe Measures-Alejandra Piznarik; Excerpts from The Wild Papers-Marosa Di Giorgio; Excerpts from Dream Time-Ana Man a Shua; Other/Other-Ana Maria Shua; Fishing Days-Ana Maria Shua; The Man in the Araucaria-Sara Gallardo; The Blue Stone Emperor's Thirty Wives-Sara Gallardo; INVISIBLE EMBROIDERY - The Condemned Dress in White-Marcela Sold; Happiness-Marcela Sold; Invisible Embroidery-Marcela Sold; The Storm-Alma Diaconu; Welcome to Albany-Alma Diaconu; The Widower-Alma Diaconu; Country Carnival-Luisa Valenzuela; Legend of the Self-Sufficient Child-Luisa Valenzuela; Viennese Waltz-Alicia Steimberg; Garcia's Thousandth Day-Alicia Steimberg; Segismundo's Better World-Alicia Steimberg; LETTERS - The Perfect Married Woman-Angelica Gorodischer; Letters From an English Lady-Angelica Gorodischer; Under the Flowering Ju1eps-Angelica Gorodischer; The Resurrection of the Flesh-Angelica Gorodischer; ANNUNCIATIONS - When Everything Shines-Liliana Hecker; The Annunciation-Cristina Pen Rossi; Selections from Silendra-Elizabeth Subercaseaux - Tapihue, Enedina, Juana, Silendra, Francisco; Two Words-Isabel Allende; The Authors; The Translators. . . Marjorie Agosín (born June 15, 1955) is an award-winning poet, essayist, fiction writer, activist, and professor. She is a prolific author: her published books, including those she has written as well as those she has edited, number over eighty. Two of her recent books are both poetry collections, The Light of Desire / La Luz del Deseo, translated by Lori Marie Carlson (Swan Isle Press, 2009), and Secrets in the Sand: The Young Women of Juárez, translated by Celeste Kostopulos-Cooperman (White Pine Press, 2006), about the female homicides in Ciudad Juárez. She teaches Spanish language and Latin American literature at Wellesley College. She has won notability for her outspokenness for women's rights in Chile. The United Nations has honored her for her work on human rights. She also won many important literary awards. The Chilean government awarded her with the Gabriela Mistral Medal of Honor for Life Achievement in 2002. Agosín was born in 1955 to Moises and Frida Agosín in Chile, where she lived her childhood in a German community. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Agosin, Marjorie and Franzen, Cola (editors). The Renewal of the Vision: Voices of Latin American Women Poets 1940-1980. Peterborough. 1987. Spectacular Diseases. 0946904073. 1 Of 750 Copies. 113 pages. paperback. The male writer in Latin America has often played a double role, as writer and as voice for the silent and sometimes colonized masses of the continent. Writers such as CEsar Vallejo of Peru, Pablo Neruda of Chile, Ernesto Cardenal of Nicaragua, were all men of letters, and all Marxists who were deeply involved in the social and political events of their respective countries. Vallejo and Neruda were both activists on behalf of the Spanish Republic during the Spanish Civil War, showing that their political concerns did not stop at their own borders. And now comes an interesting question. What about the marginal half of the population who are women? Who among the men writers, so concerned with speaking for and aiding the oppressed elements of the society, has recognized women as being part of the oppressed? The answer is not a single one. It seems astounding, but if we go by the writing, we have to conclude that the men writers never realized that women, even those closest to them, their own mothers and wives, sisters and daughters, inhabited a shadow world apart from the main current of society. They seem never to have suspected the existence of the hidden, silent intra-history of women's lives. It is only women writers themselves who have talked about this other world, and have undertaken, since time immemorial, to be heard and to describe the parameters of their special situation. If we examine a number of anthologies of Hispanic poetry we find that on the average one woman is represented for every ten men. In anthologies of translations, the situation is even worse. The present anthology has been inspired by earlier models and owes a great debt to the first bilingual anthology edited by Nora Weizer, Open to the Sun, Perivale Press, Calif, 1978, and the very recent anthology edited by Mary Crow, Women Who Have Sprouted Wings (LALR Press, Pittsburgh, 1984). Weizer's anthology incorporates traditional voices such as Alfonsina Storni and Mistral; Crow's collection leans toward new voices but includes a range of writers and periods. Our anthology begins with the year 1940, an important year for Latin American women writers. First of all, it was that year that literary work of women in all genres began to be known to a wider audience than had been accorded them before and in addition, a number of outstanding women writers were horn that year. This anthology aims to be eclectic and to include writers of various regions and styles. For example we have included texts of the Guatemalan writer Alaide Foppa who is best known as an essayist and literary critic, although she has an important body of poetical works to her credit. We have tried to give some special visibility to some poets from Central America who have been so often overlooked, poets such as Eunice Odio of Costa Rica for example; and we have included Julia Alvarez from the Dominican Republic who now lives in New York and writes in English. We believe that an important component of our anthology is that we have included women of various cultural backgrounds hut who write out of their Hispanic heritage, some from their present homes in the United States. This is the case of Rosario Morales of Puerto Rico and Cecilia Vicuna who lives in New York but is still Chilean to the core. In selecting the poems for the Anthology, we tried to pick those that would show the widest range possible of themes, images, styles and techniques, to cover as far as we could the main concerns of women's lives as revealed in their poetry. We found that certain motifs tended to recur over and over like a hell tolling as women grapple with their destiny as women. Here is Rosario Castellanos in ‘Destiny: Someone hurled me onto this hard ground,! Someone said: Let's drink her blood! and make a banquet of her hones. And here is Alaide Foppa in ‘Woman': A being! who has not yet become.,,! Not the remote! angelical rose! that the poets elegized.! Not the evil witch! that the inquisitors burned, Another ye important element that appears in these poems is evidence of a search for an authentic language, a personal language with images that reflect the lives of women, their bodies, their duties, and beyond the words and images, we mean a special use of the language. For example, in ‘The Supplicant' by the Uruguayan poet, Cristina Peri Rossi, the erotic, sensual quality of the poet comes out when she says: ‘Undress me! Speak me,' Within this search for a new language, we find some radical experimentation as in the poetry of Alejandra Pizarnik, Consider the example, her poem ‘Signs': Everything makes love with silence.! They had promised me a silence! like fire, a house of silence,! Suddenly the temple is a circus and! the light, a drum. There is also an audacious and rebellious kind of experimentation in the poems of Cecilia Vicuña, as in ‘Solitude': We would lose more than half! of our Union! if I stop being! your friend! Do you want to make me see the sky?! Touch that white! space! between my thighs. These few examples show some of the variation of themes and ways of expressing present to this volume, but there is never any doubt that we are listening to women's voices: women speaking out as independent persons, no longer condemned to the role of virginal poetress writing sentimental scribbles in a back room. The women in this anthology are creative, original, each one determined to write her own text that will be true to her own life, and to all her interests and concerns. These women are not writing as self-absorbed creatures; they have not forgotten others who are oppressed, as we see most clearly in the poems of Violeta Parra and Ana Castillo. Here are real women, strong women, women being themselves, not witches, no longer appendages, no longer shadows. They are no longer exiles from the realm of words; like any good artisan, they carry the words they need with them. CONTENTS: INDEX; Introduction to the Anthology of Latin American Women Poets by Marjorie Agosin and Cola Franzen; Julia Alvarez; Alicia Borinsky; Cecilia Bustamante; Rosario Castellanos; Ana Castillo; Belkis Cuza Male; Myriam Diaz-Diocaretz; Delia Dominguez; Rosario Ferro; Alaide Foppa; Isabel Fraire; Luisa Futoransky; Rosita Kalina; Rosario Morales; Nancy Morejon; Eunice Odio; Violeta Parra; Cristina Pen Rossi; Elejandra Pizarnik; AdElia Prado; Luz Maria Umpierre; Blanca Varela; Cecilia Vicuña; Contributors. Marjorie Agosín (born June 15, 1955) is an award-winning poet, essayist, fiction writer, activist, and professor. She is a prolific author: her published books, including those she has written as well as those she has edited, number over eighty. Two of her recent books are both poetry collections, The Light of Desire / La Luz del Deseo, translated by Lori Marie Carlson (Swan Isle Press, 2009), and Secrets in the Sand: The Young Women of Juárez, translated by Celeste Kostopulos-Cooperman (White Pine Press, 2006), about the female homicides in Ciudad Juárez. She teaches Spanish language and Latin American literature at Wellesley College. She has won notability for her outspokenness for women's rights in Chile. The United Nations has honored her for her work on human rights. She also won many important literary awards. The Chilean government awarded her with the Gabriela Mistral Medal of Honor for Life Achievement in 2002. Agosín was born in 1955 to Moises and Frida Agosín in Chile, where she lived her childhood in a German community. Cola Franzen (February 4, 1923 - April 5, 2018) was an American writer and translator. She published more than twenty books of translations, by notable Spanish and Latin American authors. She was a member of ALTA (American Literary Translators Association) and vice-president of Language Research, Inc., founded by I.A. Richards, in Cambridge, Massachusetts. Her work has appeared in Two Lines, Puerto del sol, Temblor, New American Writing. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Ahern, Maureen and Tipton, David (editors and translators). Peru: The New Poetry. London. 1970. London Magazines Editions. 128 pages. Translations of 12 contemporary poets, with emphasis on the works of Carlos German Belli and Antonio Cisneros. The edition includes a short introduction, by Tipton, prose statements (by Antonio Cisneros, Rodolfo Hinostrosa, Washington Delgado, and Sebastian Salazar Bondy) about the poetic climate of Peru, and biographical notes. Poets: Sebastian Salazar Bondy, Francisco Carrillo, Washington Delgado, Carlos German Belli, Juan Gonzalo Rose, Pablo Guevara, Rodolfo Hinostrosa, Antonio Cisneros, Javier Heraud, Marco Martos, Julio Ortega, Mirko Lauer. Professor Maureen Ahern (July 14, 1936 - June 20, 2012) was a 1958 magna cum laude graduate of the University of New Hampshire. She earned a Bachelor's and Doctorate degrees, both in Literature, from the Universidad Nacional Mayor de San Marcos in Lima, Peru in 1960 and 1961, respectively. After many years of work and travel throughout Mexico and Peru, Professor Ahern returned to the United States in 1972 and became a Professor of Spanish at Arizona State University. From 1990 until shortly before her death, she was Professor of Spanish, Latin American Literature and Culture at The Ohio State University. David Tipton began translating Peruvian poetry while living in Lima (1964-70). He is a full time writer and apart from translations has published poetry, fiction, and biography. Recent stories have been published in the Arts Council Anthology, New Stories 1, Ambit, and the Yorkshire Review. He is at work on a second novel. His first novel, set in Peru, will be published in 1977. |
![]() | ![]() | ANTHOLOGIES. [Peru - Poetry]. Ahern, Maureen and Tipton, David (editors). Peru: The New Poetry. New York. 1977. Red Dust. 0873760247. 173 pages. hardcover. The jacket photograph is by Jesus Ruiz Durand. Jacket design by Robert Fabian. An anthology of 15 contemporary Peruvian poets, the oldest born in 1922, the youngest in 1947. The poems themselves were written between 1959 and 1971. Three poets most influenced the growth of modern Peruvian poetry: Vallejo who was born a Catholic in the Andes and became a Marxist; Eguren who was a purist and strongly influenced by European poetry; and Adan who is a surrealist. The poems of the sixties while showing earlier influences are distinctively original. Statements and Comment from the book by three of the poets: Cisneros (born 1942) ‘ Peru has a fabulous past, but that ‘past' doesn't belong to me, . . . I know we're distinct, but how? Vallejo . . . has given a pre-eminence to poetry here, . . . the possibility of establishing the validity of Peruvian poetry in an international context. Surrealism fed our poets for nearly two generations but is no longer much of an influence. Conflicts between ‘Social', ‘Pure' and ‘Elitist' groups have become of far less importance. The actual work of a writer is the same as it's always been: to be a witness of reality . . . Hinostroza (born 1941) ‘Our hearts are to the Left, in some cases our whole body, with others, the head only. How much does each poet lose on his book? I lost something like 6000 soles ($150) which is to say I pay the public to read me. ‘A nude Greek is very different to a nude Peruvian,' it's said. If I lean on the Puente de Piedra gazing at the Rio Rimac and meditate I'm a naked Peruvian, but if T. S. Eliot gazes t the Thames flowing and meditates he's a nude Greek . . . Bondy (born 1924) ‘I was born in Calle Corazon de Jesus near the Church of the Orphans, the heart of Lima. I was descended from French immigrants and a Jewish family from the ghettoes of Prague. [My father's] business underwent a crisis that led to it's break-up and his death in 1933. My father had been surrounded by powerful and important friends. He was gone and those friendships disappeared too. It was during the first journey I made to Buenos Aires that I discovered Peru, not the Peru of the hymns and symbols, but the reality. It was there I found statistics telling me Peru was one of the hungriest nations in the World. . . one of the most exploited . . . one of the saddest. But there too I found I couldn't live without it.' CONTENTS: Introduction; JAVIER SOLOGUREN - Nazca Poetry; Poem; Snow; SEBASTIAN SALAZAR BONDY - Testament; Shades of Origin; Without Knowing Why; Exiled from the Light; Interior Patio; FRANCISCO CARRILLO - I love my Country; The Tannery; Procession; Composition I; Provincia 1 and 2; All Souls Day; WASHINGTON DELGADO - Imperfect Times; History of Peru; Human Wisdom; Good Manners; Life Explains and Death Spies Out; Plurality of Worlds; Foreign Land; Pure Thoughts; Monologue of the Inhabitant; Globetrotter; CARLOS GERMAN BELLI - Segregation; 0 Hada Cibernetica; Tongue-tied; JUAN GONZALO ROSE - The Beak of the Dove; From the Liturgy; A Confidence; Nata Natal; Faith, Hope and Charity; PABLO GUEVARA - My Father; Guita Bruner; An Attack, 1940; Babylon, 0 Babylon; Heaven and Hell; The Bourgeois are Beasts; From ‘Civil Marriage'; CECILIA BUSTAMANTE - Civil Marriage; Resonances; Notes; Facts; Birth; RODOLFO HINOSTROZA - To a Dead Childhood; Othello's Report; The Night; ANTONIO CISNEROS - Paracas; Pachacamac; Workers of the Sun's Land; Ancient Peru; The Dead Conquerors; Question of Time; Prayers of a Repentant Gentleman; Tupac Amaru Relegated; Tarma; Three Testimonies of Ayacucho; Description of a Plaza, a Monument and Allegories in Bronze; Karl Marx, died 1883, aged 65; Chronicle of Lima; Between the Quay of San Nicolas and the Sea; Loneliness 2; I'm getting out and going some 30 kilometers towards the coast; In 62 the starving seabirds reached the center of Lima; A sonnet in which I say my son is a long way off and has been for more than a year; JAVIER HERAUD - A Guerrilla's Word; A Guerrilla's Goodbye; Summer; From ‘Earth Poems'; A New Journey; MARCO MARTOS - Our House; Quijote; From ‘Casa Nuestra'; Politics; JULIO ORTEGA - Fishermen; Memory of Light and Dust; October; Sound of Water; Report for Isolda; My Country; Cecilia; Avenida Abancay; End of Autumn; The Catastrophe (Chimbote); MIRKO LAUER - The Angels; Cruel Photograph without Light at Daybreak; The Classics Revisited; Tanks; 1916; Finger-print; To the Memory of a Pre-Incaic Wiseman; Leit-Motif: Oh Great City of Lima; Notes on the moving of a corpse; Lynx; The Amphibians; Patios of Ithaca; ABELARDO SANCHEZ LEON - Poems 1,2,3, and 4; Statements and Comment; On the Situation of the Writer in Peru; ANTONIO CISNEROS; RODOLFO HINOSTROZA; On the Death of Javier Heraud by WASHINGTON DELGADO; Autobiographical Comment by SEBASTIAN SALAZAR BONDY; Biographical Notes. Professor Maureen Ahern (July 14, 1936 - June 20, 2012) was a 1958 magna cum laude graduate of the University of New Hampshire. She earned a Bachelor's and Doctorate degrees, both in Literature, from the Universidad Nacional Mayor de San Marcos in Lima, Peru in 1960 and 1961, respectively. After many years of work and travel throughout Mexico and Peru, Professor Ahern returned to the United States in 1972 and became a Professor of Spanish at Arizona State University. From 1990 until shortly before her death, she was Professor of Spanish, Latin American Literature and Culture at The Ohio State University. David Tipton began translating Peruvian poetry while living in Lima (1964-70). He is a full time writer and apart from translations has published poetry, fiction, and biography. Recent stories have been published in the Arts Council Anthology, New Stories 1, Ambit, and the Yorkshire Review. He is at work on a second novel. His first novel, set in Peru, will be published in 1977. Ena Hollis, 1934-1970, was also a poet and published two collections: The Lemon Tree and Strange Landfalls. She was married to David Tipton. She died in 1970. |
![]() | ![]() | ANTHOLOGIES. [El Salvador - Poetry]. Alegria, Claribel & Flakoll, Darwin J. (editors and translators). On the Front Line: Guerrilla Poems of El Salvador. Willimantic. 1989. Curbstone Press. 0915306867. Bilingual. 91 pages. paperback. Cover design by Barbara Byers. This book is a collection of poems by Salvadoran revolutionists on the different fighting fronts of the FMLN who have from time to time put aside their rifles and taken up the pen to express the feelings evoked by the cruel, bloody struggle in which they are engaged. Some of them have fallen in the course of the Struggle. Others were established poets before they took up arms in the revolutionary cause. ON THE FRONT LINE contains poems by fine and committed poets, some well known and others not so well known, poems not by exalted individuals but by people like Julio, Jacobo, Hayde, Carmela and Ruth, all working to forge a richer collective future in a world which seeks to destroy collective action and hope.' - Marc Zimmerman, author of EL SALVADOR AT WAR: A COLLAGE EPIC. CONTENTS; Introduction; Una Historia/A Story; A Vos/To You; Usted/You; A Vos Que Te Fuiste Al Frente/For You Who Went To The Front; A Las Sombra De Una Muchacha En Flor/Shadowed By A Blossoming Girl; Al Amor/To Love; Con Gusto MorirE/Fll Die Gladly; Hijos De America/Sons Of America; 9 De Nobiembre/November 9th; Que Es Poesia?/What Is Poetry?; Siempre Tuve/I Always Had; Compa Guerrillera/Compa Guerrillera; Hoy Estoy Aqui/Now I'm Here; Poema/Poem; Si La Muerte/If Death; Para Que Lo Entiendas De Una Vez/So You Understand Once And For All; Herencia/Bequeathment; Companera/Companera; Poema/Poem; Alfabetizar/To Alphabetize; Quienes Quedaron A Mitad Del Camino/Those Who Stopped Halfway; Acabo De Partir De Mi Mismo/I Just Walked Away Prom Myself; Tu Voz En Mi Mente/Your Voice In My Mind; Cumpleanos/Birthday; Embarazo/Pregnancy; Hay Dias/There Are Days; De Nuevo Usted Señor/And You Again, Good Sir; Porque Cuando Estoy Triste No Me Importa El Tiempo/Because When I'm Sad The Weather Doesn't Bother Me; Las Calles De San Salvador/The Streets Of San Salvador. . . Clara Isabel Alegría Vides (born May 12, 1924) is a Nicaraguan poet, essayist, novelist, and journalist who is a major voice in the literature of contemporary Central America. She writes under the pseudonym Claribel Alegría. She was awarded the 2006 Neustadt International Prize for Literature. Alegría was born in Estelí, Nicaragua and grew up in the Santa Ana area in western El Salvador. In 1943, she moved to the United States and in 1948 received a B.A. in Philosophy and Letters from George Washington University. Alegría was committed to nonviolent resistance. She had a close association with the Sandinista National Liberation Front (FSLN), which overthrew Anastasio Somoza Debayle and took control of the Nicaraguan government in 1979. Alegría returned to Nicaragua in 1985 to aid in the reconstruction of Nicaragua. Alegría now lives in Managua, Nicaragua. Alegría's works of literature reflect the style of the popular literary current in Central America during the 1950s and 1960s, ‘la generacion comprometida' (the committed generation). Her works follow the practice of several poets of her generation who are critical of their societies and make claims for rights using a language which is often counter-literary. Alegría has published many books of poetry: Casting Off (2003), Sorrow (1999), Umbrales (1996), Fuga de Canto Grande (1992) and La Mujer del Río (1989). Alegría has published novels and children's stories. |
![]() | ![]() | ANTHOLOGIES. [Chile]. Alegria, Fernando (editor). Chilean Writers in Exile. Trumansburg. 1982. Crossing Press. 0895940590. 162 pages. hardcover. Cover illustration by Rene Castro. After the military coup that overthrew the constitutional government of President Salvador Allende on September 11,1973, a brutal repression began in Chile against all forms of democratic expression. The consequences of this ruthless onslaught have been devastating. Thousands of university professors, intellectuals, artists, and professionals went into exile . . . Chilean culture in exile is very much alive and productive. This anthology is the expression of a group of writers who, in spite of all hardships, are producing vigorous statements on behalf of the Chilean people.' - from the Foreword by Fernando Alegria. CONTENTS: THE FIRST DAYS by Alfonso Gonzalez Dagnino; OF FLIGHTS AND ABIDINGS by Juan A. Epple; BARBED WIRE FENCE by Anibal Quijada; WAR CHORALE by Fernando Alegria; LIKE THE HYENA by Poli Delano; ST. ELIZABETH by Claudio Giaconi; MY BEAUTIFUL BUENOS AIRES by Leandro Urbina; PUTAMADRE by Ariel Dorfman. . Fernando Alegria, the editor, is a Chilean novelist, poet and critic. He has won many prizes for his literary works, among them the Latin American Prize for Literature, the Municipal Prize in Chile and others. In 1980 the Hispanic Caucus of the U.S. Congress awarded him a diploma for his contribution in the field of Hispanic Culture in the U.S. Between 1970-1973 he was the cultural attache to the Chilean Embassy in Washington, D.C. Currently he is Professor of Latin American Literature at Stanford University. His latest novel, Chilean Spring, was published by the Latin American Literary Review Press. The N.Y. Times Book Review, May 11, 1980, said that CHILEAN SPRING is ‘a poignant elegy to a nation whose future has been taken from it. That Mr. Alegria accomplishes so much so effectively in so few pages is a remarkable achievement.' . . Fernando Alegría (Santiago de Chile, 26 September, 1918 - Walnut Creek, California, October 29, 2005) was a Chilean poet, writer, literary critic and scholar. Alegría grew up in the Independencia barrio of the city. Poets from this barrio include Pablo Neruda, Violeta Parra and Volodia Teitelboim. He received an M.A. from Bowling Green State University in 1941 and a Ph.D. from University of California, Berkeley, in 1947. From 1964-1967, Alegría was a professor at the University of California in Berkeley. From 1967 to 1998 he was a professor at Stanford University and for many years he was Chair of the Spanish and Portuguese Language Departments there. He sat on the Board of Trustees at the Western Institute for Social Research (WISR) for about twenty years beginning with its inception in 1975. Alegría served as cultural attachE from the government of Salvador Allende to the United States from 1970 to 1973. He was the representative of the Royal Academy of the Spanish Language in the United States for many years. Among the many awards he received is the Latin American Prize of Literature. A documentary film about the life of Chile's revolutionary poet Alegría, ¡Viva Chile Mierda!, was produced in 2004. The documentary is a humanistic portrayal of one of the most influential figures from Chile and a key figure in the advancement of Latino culture in the United States of America. Alegría's ‘Viva Chile Mierda', the most recited poem of the Allende era, was written in the 1960s. |
![]() | ![]() | ANTHOLOGIES. [Puerto Rico - Poetry]. Algarin, Miguel and Pinero, Miguel (editors). Nuyorican Poetry: An Anthology of Puerto Rican Words and Feelings. New York. 1975. Morrow. 0688029671. Photos by Gil Mendez. 185 pages. hardcover. Jacket design by Karen Thompson. Jacket photograph by Gil Mendez. The publication of NUYORICAN POETRY marks an important literary and cultural event. Here for the first time is heard the voice of the transplanted Puerto Ricans, a people uprooted from their culture and resettled in a country full of contradictions: frightening and inhospitable in its strangeness, while at the same time offering hope and new opportunities to these most recent immigrants. Nuyorican was forged out of the collision between Spanish and American cultures-and to the writers represented in this exciting collection of poetry and poetic prose, Nuyorican has a twofold meaning. In specific terms, Nuyorican is a new American language, one uniquely suited to express the rawness, beauty, and passion of the new Puerto Ricans; and more generally, Nuyorican describes a people and their experience. Young, old, vibrant, hip, streetwise, touching-the writers here range from a nine-year-old schoolboy to prizewinning playwright Miguel Piñero. The scope of the anthology is equally broad and is divided into three sections. In the first, we hear the voice of the Outlaw Poet: his effort is to communicate the immediate need for open aggression against his condition. In the second part the Evolutionary Poet speaks: he teaches how ‘to live' in an environment that is constantly stifling his will to live. And finally in section three the ‘Dusmic' Poet tells of his struggle to convert the aggressions and hate of others into passions that can be used to construct a new self and a new world. Professor Miguel Algarin of Rutgers University and prizewinning playwright Miguel Piñero have compiled this volume whose emotional integrity and veracity of detail will appeal to readers of all backgrounds. Professor Algarin's introductions and Gil Mendez's photographic essay illuminate the text of this ground-breaking, revolutionary, and stunning collection. CONTENTS: Introduction: Nuyorican Language; Part I OUTLAW POETRY - PEDRO PIETRI - Underground Poetry; A Prayer Backwards; before and after graduation day; Song Without Words; SANDRA MARIA ESTEVES - Ode to a Tequila Head; JOSE-ANGEL FIGUEROA - Felipa-La Filosofa Del Rincon; JORGE LOPEZ - About los Ratones; Pesetas de Embuste; ARCHIE MARTINEZ - Viet-Nam; MARTITA MORALES - The Sounds of Sixth Street; MIGUEL ALGARIN - A Mongo Affair; Inside Control: my tongue; LUCKY CIENFUEGOS - Lolita Lebron, Recuerdos Te Mandamos; MIGUEL PINERO - The Book of Genesis According to Saint Miguelito; La Metadona Está Cabrona; No Hay Nada Nuevo en Nueva York; Runnin' Scared; A Poem For Joey's Mami's Struggle; Seekin' the Cause; T C. GARCIA - Message of My People; ANGEL BERROCALES - Situation Heavy; The Teacher of Life; AMERICO CASIANO - A day when clinkers, sparrows and canaries jitterbugged down the street with a latin accent; SHORTY BON BON - A junkie's Heaven; DADI PINERO - Puerto Rico's Reply; Life Now; Part II EVOLUTIONARY POETRY - BIMBO - A Job; MIGUEL ALGARIN - Biological; Posed Release; Tangiers; MARTITA MORALES - Teatro; CARLOS CONDE - Asi Era Yo; AMINA MUNOZ - puerto rican graffiti; 149th St. winter; ‘welcome to san juan, oldest city in the u.s.'; a chant; JESUS PAPOLETO MELENDEZ - sister, para nuestras hermanas; T. C. GARCIA - Puerto Rican Epitaph; Under an Apple Tree; AMERICO CASIANO - When was the last time you saw mami smile?; MIGUEL PINERO - Twice a Month Is Mother's Day; PEDRO PIETRI - Love Story; Part III DUSMIC POETRY - SANDRA MARIA ESTEVES - for tito; Blanket Weaver; i look for peace great Graveyard; MIGUEL ALGARIN - Sunday, August 11, 1974; San Juan/an arrest/Maguayo/a vision of Malo dancing; LUZ RODRIGUEZ - i feel the eve; Holding You; PEDRO PIETRI - do not let; Voodoo; LUCKY CIENFUEGOS - The Influence of Don Quixote; High heel, silver shoes; Dedicada a Maria Rodriguez Martinez February 24,l975; The Nerve of Time; My In of Me; CARLOS CONDE - Nocturnos en una Noche Perdida; T. C. GARCIA - Prison Love; ISIDRO GARCIA - Water Figure; JESUS PAPOLETO MELENDEZ - Bruja; MIGUEL PINERO - Una Lágrima en un Cristal; The Records of Time; Afterword; Biographies. Miguel Algarin, four-time American Book Award winner and Obie-winning founder of the Nuyorican Poets Cafe, is a highly acclaimed poet and an associate professor of writing at Rutgers University. Miguel Piñero (December 19, 1946 - June 16, 1988) was a playwright, actor and co-founder of the Nuyorican Poets CafE. He was a leading member of the Nuyorican literary movement. |
![]() | ![]() | ANTHOLOGIES. [Puerto Rico - Poetry]. Algarin, Miguel. Love Is Hard Work. New York. 1997. Scribner. 0684839997. Poetry From The Founder Of The Nuyorican Poets' Cafe. 155 pages. hardcover. Jacket Design By Timothy Hsu. Jacket Photograph By Arlene Gottfried. Author Photograph By Marlis Momber. At once a moving personal memoir and a colorful portrait of life in New York's Lower East Side (Loisaida), this masterly collection of poems captures the whirlwind of sights, sounds, celebrations and sorrows of urban life. As father of the contemporary Latino literary movement and founder of the Nuyorican Poets Cafe, Miguel Algarin has brought the diverse voices and talents of the downtown New York scene to audiences throughout the world. In these poetic renderings of the lives and deaths of numerous friends, Algarin the poet celebrates both the well known and the obscure - and brings to life private loves, nurtured in both pain and joy, and public collaborations, born in the turbulent excitement of Algarin's cafe. In the centerpiece of the book, the poet offers a searing, unsentimental look at himself and his life. A celebration of the beautiful, the grotesque, the comic and the tragic, these poems resound with honesty, passion and grace - a testament to the extraordinary talent and keen eye of Miguel Algarin. Miguel Algarin is associate professor of English at Rutgers University and founder of the Nuyorican Poets Cafe. He has received many awards and honors for both his poetry and his work in the theater, including the Bessie Award for Outstanding Creative Achievement, an OBIE, three consecutive Audelco Awards for Dramatic Production of the Year and four American Book Awards. He is the coeditor of ALOUD: THE NUYORICAN POETS CAFE ANTHOLOGY and ACTION: THE NUYORICAN POETS CAFE THEATER FESTIVAL, published by Touchstone in September 1997. His previous works include Time's Now, Body Bee Callin from the Twenty-First Century and Song of Protest, a translation of Pablo Neruda. |
![]() | ![]() | ANTHOLOGIES. . Allen, John Houghton (compiler and translator). A Latin-American Miscellany. Randado, Texas. 1943. Privately printed. 77 pages. Appropriately called a 'miscellany,' for it includes selections from the colonial era, romanticism, modernism, and the post-modernist period. Prose selections by: Ruben Dario (Nicaragua), Jose Eustasio Rivera (Colombia), Rufino Blanco Fombona (Venezuela), Ricardo Palma (Peru), Jose Enrique Rodo (Uruguay), Domingo Faustino Sarmiento (Argentina). Poetry selections by: Fabio Fiallo (Dominican Republic), Sor Juana Ines de la Cruz (Mexico), Amado Nervo (Mexico), Enrique Gonzalez Martinez (Mexico), Ruben Dario (Nicaragua), Aquileo J. Echeverria (Costa Rica), Jose Asuncion Silva (Colombia), Emilio Gallegos del Campo (Ecuador), Jose Santos Chocano (Peru), Julio Herrera y Reissig (Uruguay), Enrique Banchs (Argentina), Jose Hernández (Argentina). Also included are poems by Gutierre de Cetina (Spain) and Jose-Maria de HErEdia (Cuba, from French), and an excerpt of a chronicle by Spanish conquistador Bernardino Vásquez de Tapia. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Amy, Francisco Javier (editor and translator). Musa bilingue; being a collection of translation, principally from the standard Anglo-American poets, into Spanish; and Spanish, Cuban and Porto Rican poets into English, with the original text opposite, and biographical notes; especially intended for the use of students. San Juan, Puerto Rico. 1903. Press of "El Boletin Mercantil,". Translated from the Spanish by Francisco Javier Amy, William Cullen Bryant, and L. E. Levy. 329 pages. Poems by minor nineteenth-century poets. Of little interest today. Spanish Americans included are: Francisco Javier Amy (Puerto Rico), Jose Gautier Benitez (Puerto Rico), Jose Maria Heredia (Cuba), Rafael Maria de Mendive (Cuba), Jose Jacinto Milanes y Fuentes (Cuba), Francisco Sellen (Cuba), Juan Clemente Zenea (Cuba). Francisco J. Amy (1837-1912) was born on August 2, 1837, in Arroyo. He attended the Episcopal Academy in Cheshire, Connecticut. At only seventeen years of age, he taught English and Spanish and contributed to the Waverly Magazine and other New England newspapers and magazines, which were well-known productions in the intellectual circles of that place. In 1858, he returned to Puerto Rico, but did not tolerate the Spanish colonial regime on the Island. This was because he had already lived and known the freedom of the United States, where he became a naturalized citizen of that country. Amy then returned to Puerto Rico, and settled in Ponce. There he founded, together with Zeno Gandía, a literary and scientific magazine: El Estudio. He also published Ecos y notas, a collection of her poems, which includes some of his translations from this period. In 1888, he returned to the United States and worked as a journalist. He published La Gaceta Ilustrada in New York and also contributed to several newspapers, in which he wrote in both English and Spanish. After the American invasion, he served as an official government translator. In New York, he published Letras de molde , a book of verse and prose. He also translated El sombrero de tres picos, under the title The Cocked Hat , into English. His book Preaching in the Desert , which was written at the end of the 19th century, is composed of articles and verses of literary and political criticism. His style is neoclassical, without many lyrical flights. His work is bilingual, and he received great recognition from literary critics. Bilingual Muse is his most important work, according to Puerto Rican critics. It is a very original text, in which he collects translations, in anthological form, of Ibero-American poems; without a doubt, a great contribution to literature throughout the world. He also did it the other way around: he took Anglo-Saxon poems and translated them into Spanish. He translated renowned figures, such as Bryant, Longfellow, Whittier, Whitman and Stedman. In addition, he translated the English Moore and Hood, among others. He died in San Juan on November 30, 1912. |
![]() | ![]() | ANTHOLOGIES. [Quechua - Poetry]. Andrade, Carlos Drummond de and Alberti, Rafael. Looking For Poetry: Songs From the Quechua. New York. 2002. Knopf. 0375709886. Translated by Mark Strand. Paperback Original. 175 pages. paperback. Cover: Abby Weintraub. SONGS FROM THE QUECHUA are translated from Spanish versions of the folk poetry of the Quechua Indians of South America, collected and transcribed in the nineteenth century by priests and, more recently, by anthropologists. Through their directness and simplicity, they convey a degree of tenderness that is unusual in any poetry. . CARLOS DRUMMOND DE ANDRADE, one of the most revered Brazilian poets of the twentieth century, was born in 1902 in a small mining town; he died in Rio de Janeiro in 1987. His poems are, for the most part, bittersweet evocations of a small-town childhood, or, more emblematically, remorseful accounts of a lost world or simply discreet and sometimes ironic views of the way things are. His intelligence, his humor, and his gift for narrative give his poems a deep and resonant charm. RAFAEL ALBERTI was born in 1902 in Spain and was in exile in Argentina during the Spanish Civil War. He moved to Italy in 1964 and from there he returned to Spain. He died in 1999. Astonishingly inventive, he is among the most effortless of poets. These fifty poems-elegies, remembrances, and poems of loss and exile-provide an ample introduction to one of the twentieth century's great poets. MARK STRAND is the author of nine books of poems, INCLUDING BLIZZARD OF ONE, which was awarded the 1999 Pulitzer Prize, and the translator of several volumes of poems. He currently teaches at the Committee on Social Thought at the University of Chicago. |
![]() | ![]() | ANTHOLOGIES. [Brazil - Poetry]. Andrade, Carlos Drummond De. In the Middle of the Road: Selected Poems. Tucson. 1965. University of Arizona Press. Compiled, Edited & Translated from the Portuguese by John Nist. Bilingual. 123 pages. hardcover. Cover: Gary Gore. Humor, sadness, lyricism, and strength are effectively, even compellingly combined in this book of 63 poems in both Portuguese and English, introducing a great Brazilian contemporary to the English-speaking world. At times meditatively gentle, at other times applying the knife-edge of irony, the poet always evidences concern, not only for his compatriots, bit for the entire human condition. Whether he is writing of the ox, the elephant, the wrestler, love, chastity, or science fiction, Carlos Drummond de Andrade avoid clichE and applies fresh realism to profound social awareness as in the long poem, ‘Charlie Chaplin', where he speaks of the lives of the poor. ‘There are not many dinners in the world . . . the best chickens are protected by thick glass over china platters, And there are entire armies protecting that chicken, And there is a hunger that comes from Canada, a wind, a glacial voice, a breath of winter.' CARLOS DRUMMOND DE ANDRADE, born in Itabira in 1902, is recognized as the founder of literary Brazilian Modernism. His ancestry combines Scottish and Latin American strains, and many readers find traits of both cultures in his work. A retired Minister of Education, he is known for his friendship and encouragement of many of Brazil's younger writers and artist. JOHN NIST, who complied and translated these poems, collected the poetry of modern Brazil for an anthology published in 1962 at Indiana University Press, and widely acclaimed both here and abroad. A poet and novelist in his own right, Professor Nist has had several books published in Brazil and holds the Machado de Assis medal from the Brazilian Academy of Letters and Arts. At the time of this publication he is the chairman of the English Department at Austin College, Sherman, Texas. |
![]() | ![]() | ANTHOLOGIES. [Brazil - Poetry]. Andrade, Carlos Drummond De. The Minus Sign: Selected Poems. Redding Ridge. 1980. Black Swan Books. 0933806035. Translated from the Portuguese by Virginia De Araujo. 170 pages. hardcover. ‘A poet, a poet like Carlos Drummond, works out his relationships with the world, the other, and with himself, through poems. His writing, hour by hour and over the years, is a deliberate process by which he arrives at decisions. As in the spiritual purification of a religious novice, the perfect state is realized through a gradual elimination of needs that are one after another recognized as illusory so purification in other areas-in writing, for example, or in loving-can come about by steadily reducing the margin of error, the areas in which errors can be made. However, in the case of an individual who, unlike the religious novice, has no community on whom he can call for correction and reassurance, the process of such purification will be lonely and protracted. There comes a time, Drummond says, ‘to know that some errors fall, but the stalk of life grows stronger.' The emphasis lies on life, on resiliency. A perfect death is not the end in view; life is.' - from the Introduction. Selected and translated by Virginia de Araiijo, this collection of poems presents a spectrum of the prolific creativity of Carlos Drummond de Andrade, Brazil's finest living poet, long a proponent of modernist literature and several times suggested for the Nobel Prize. ‘This is translation all the way -not of Portuguese words into English words, but of one whole culture (Brazilian) into another (North American). The essential and precious foreign-ness of the Brazilian sensibility is scrupulously preserved; and yet, uncannily, we experience these poems as if we read them in the language in which they were originally composed.' - DONALD DAVIE. Carlos Drummond de Andrade (October 31, 1902 - August 17, 1987) was perhaps the most influential Brazilian poet of the 20th century. He has become something of a national poet; his poem ‘Canção Amiga' (‘Friendly Song') was printed on the 50 cruzados bill. He is considered to be among the greatest Brazilian poets of all time. Drummond was born in Itabira, a mining village in Minas Gerais in southeastern Brazil. His parents were farmers belonging to old Brazilian families of mainly Portuguese origin. He went to a school of pharmacy in Belo Horizonte, but never worked as a pharmacist after graduation. He worked in government service for most of his life, eventually becoming director of history for the National Historical and Artistic Heritage Service of Brazil. Though his earliest poems are formal and satirical, Drummond quickly adopted the new forms of Brazilian modernism that were evolving in the 1920s, incited by the work of Mário de Andrade (to whom he was not related). He would mingle speech fluent in elegance and truth about the surrounding, many times quotidian, world, with a fluidity of thought. Drummond's popularity has been credited because a great part of his poetry (especially after lyrical maturity) has acquired an impressive capacity for the translation of ideas, transforming his particular troubles into a tool for universal communication. One of Drummond's best-known poems is his hymn to an ordinary man, ‘Jose.' It is a poem of desolation The work of Carlos Drummond is generally divided into several segments, which appear very markedly in each of his books. But this is somewhat misleading, since even in the midst of his everyday poems or his socialist, politicized poems, there appear creations which can be easily incorporated into his later metaphysical canon, and none of these styles is completely free of the others. There is surely much metaphysical content in even his most political poems. The most prominent of these later metaphysical poems is A Máquina do Mundo (The World's Machine). The poem deals with an anti-Faust referred to in the first person, who receives the visit of the aforementioned Machine, which stands for all possible knowledge, and the sum of the answers for all the questions which afflict men; in highly dramatic and baroque versification the poem develops only for the anonymous subject to decline the offer of endless knowledge and proceed his gloomy path in the solitary road. It takes the renaissance allegory of the Machine of the World from Portugal's most esteemed poet, Luís de Camões, more precisely, from a canto at the end of his epic masterpiece Os Lusíadas. One of those said segments have been found only after his death: deliberately erotic poetry. Drummond is a favorite of American poets, a number of whom, including Mark Strand and Lloyd Schwartz, have translated him. Later writers and critics have sometimes credited his relationship with Elizabeth Bishop, his first English language translator, as influential for his American reception, but though she admired him Bishop claimed she barely knew him. In an interview with George Starbuck in 1977, she said, ‘I didn't know him at all. He's supposed to be very shy. I'm supposed to be very shy. We've met once - on the sidewalk at night. We had just come out of the same restaurant, and he kissed my hand politely when we were introduced.' Drummond, as a modernist, follows the style proposed by Mário and Oswald de Andrade; making use of free verse, and not depending on a fixed meter. If modernism was to be divided into lyrical and subjective or objective and concrete, Drummond would be part of the latter, similar to Oswald de Andrade. Drummond was the first great poet to assert himself after the premiere modernist of Brazil and created a unique style dominated by his beautiful writing. His work displays linguistic freedom and free verse. But it goes beyond that: ‘The work of Drummond reaches - as Fernando Pessoa and Jorge de Lima and Murilo Mendes Herberto Helder - a coefficient of loneliness that detached from the soil of history, leading the reader to an attitude free of references, trademarks or ideological or prospective, ‘said Alfredo Bosi (1994). |
![]() | ![]() | ANTHOLOGIES. [Brazil - Poetry]. Andrade, Carlos Drummond De. Travelling in the Family: Selected Poems. New York. 1986. Random House. 0394747518. Edited by Thomas Colchie & Mark Strand W/Additional Translations by Elizabeth Bishop & Gregory Rabassa. 137 pages. paperback. Cover design: Susan Shapiro Cover painting: 'Fusileiro and Family' by Alberto da Veiga Guignard Colledion of Dr. Aloysio de Paulo. This, the first full-scale presentation in English of his work, spans his career as a poet while concentrating on his most fruitful period-the 1930s and 1940s. Many of these poems, which helped to define the tenor of modernism in Brazil and elsewhere in Latin America, are already familiar to poetry lovers through Elizabeth Bishop's and Mark Strand's now classic translations. They appear in this book, together with other translations by Thomas Colchie and Gregory Rabassa. Colchie has also contributed an introduction evaluating Drummond's place in modern Brazilian literature. CARLOS DRUMMOND DE ANDRADE is universally recognized as the most important living Brazilian writer and the most important poet alive today who writes in Portuguese. |
![]() | ![]() | ANTHOLOGIES. [Brazil - Poetry]. Andrade, Mario de. Hallucinated City. Nashville. 1968. Vanderbilt University Press. Translated from the Brazilian by Jack E. Tomlins. Bilingual. 100 pages. hardcover. Original title: Paulicea Desvairada, 1922 - Livaria Martins Editora of Sao Paulo, Brazil. The Week of Modern Art, the celebrated gathering of musicians, artists, and writer which took place in Sao Paulo in February 1922, heralded the beginning of the Brazilian Modernist Movement - Brazil's most significant literary event of this century. Mario de Andrade's HALLUCINATED CITY was the first book to come out of the movement - a milestone in Brazilian intelectual history and literature. After the appearance of his book of poems, with its ‘Extremely Interesting Preface'. Andrade was variously hailed as prophet, pope, and lawgiver of the movement. Andrade had crammed into his poems all that was vividly Brazil and specifically all that was Sao Paulo. The immediate influence on other Brazilian poets of the twenties was salutary. His poetry squelched their slavish imitation of then current European literary schools. It freed them from the shackles of meter and rhyme and the strictures of a formal Portuguese grammar. It brought them back to Brazilian themes and lively, idiomatic language. Professor Tomlins has provided what Raymond S. Sayers calls ‘a splendid translation of a very important book' for students of Brazilian literary history and for poetry-lovers alike. Mário Raul de Morais Andrade (October 9, 1893 - February 25, 1945) was a Brazilian poet, novelist, musicologist, art historian and critic, and photographer. One of the founders of Brazilian modernism, he virtually created modern Brazilian poetry with the publication of his PaulicEia Desvairada (Hallucinated City) in 1922. He has had an enormous influence on modern Brazilian literature, and as a scholar and essayist - he was a pioneer of the field of ethnomusicology - his influence has reached far beyond Brazil. Andrade was the central figure in the avant-garde movement of São Paulo for twenty years. Trained as a musician and best known as a poet and novelist, Andrade was personally involved in virtually every discipline that was connected with São Paulo modernism, and became Brazil's national polymath. His photography and essays on a wide variety of subjects, from history to literature and music, were widely published. He was the driving force behind the Week of Modern Art, the 1922 event that reshaped both literature and the visual arts in Brazil, and a member of the avant-garde ‘Group of Five.' The ideas behind the Week were further explored in the preface to his poetry collection Pauliceia Desvairada, and in the poems themselves. After working as a music professor and newspaper columnist he published his great novel, Macunaíma, in 1928. Work on Brazilian folk music, poetry, and other concerns followed unevenly, often interrupted by Andrade's shifting relationship with the Brazilian government. At the end of his life, he became the founding director of São Paulo's Department of Culture, formalizing a role he had long held as the catalyst of the city's - and the nation's - entry into artistic modernity. |
![]() | ![]() | ANTHOLOGIES. [Central America - Poetry]. Anglesey, Zoe (editor). Ixok Amar Go: Central American Women's Poetry For Peace. Penobscot. 1987. Granite Press. 0961488638. 615 pages. paperback. Cover illustration by Carmen Naranjo, 'Ventana de Ojos Ambiciosos'. The title in Mayan means ‘women going forward with love without bitterness'. This first bilingual anthology of Central American women's poetry includes poems by over fifty women, featuring the work of Claribel Alegria, El Salvador; Gioconda Belli and Daisy Zamora, Nicaragua; Clementina Suárez, Honduras; Carmen Naranjo and Diana Avila, Costa Rica; Ana Maria Rodas, Guatemala; and Bessy Reyna and Bertalicia Peralta, Panama. The list of translators includes Magda Bogin, Zoë Anglesey, Denise Levertov, Alicia Partnoy, Patricia Jones and Patricia Goedicke. PRAISE for IXOK AMAR-GO - ‘Reading this collection is something like going to a party to which all your friends who are far away have been invited and also all the strangers you've been waiting to meet. And they speak to you and sing to you in three languages-English and Spanish and the third is the common language of poetry.' - GRACE PALEY. . . ‘Many thanks to Granite Press for this new world anthology! From countries hitherto represented by heads of state or soldiers, or photographs of cane fields and mountains, at last we may listen to the poems of the truly various women of Central America: Spanish speaking women who must choose the words of their own first poetry with as much courage, with as much care, as many of them must learn to assemble, and load, a machine gun, blindfolded. These new women poets give to us the rising, powerful new lyrics of a multi-faceted First World revolution that is, at its deepening heart, a movement into justice that will make tenderness everywhere more possible.' - JUNE JORDAN. . . ‘IXOK AMAR GO is not just another collection of Central American poets but an extraordinary celebration of women's voices sharing a rich history of struggles and victories and also a multicultural and multilingual experience. The poems and poets speak to us with impassioned honesty and lyricism. They also speak of love and torture, disappearances and grief. Yet, their words are no longer the vestiges of a colonized people. Their words are alive. This collection must be cherished and read slowly because we must never forget all the pain and love these words carry. BRAVO.' - MARJORIE AGOSIN, Chilean Poet and Professor at Wellesley College. POETAS / COLABORADORAS (Poets/Collaborators) - Luz Marina Acosta; Claribel Alegria; Diana Avila; Margarita Azurdia; Alba Barrios; June Beer; Gioconda Belli; Alenka Bermüdez; Yolanda Blanco; Anaima CafE; Caly Domitila Cane'k; Margarita Carrera; Bernardina Guevara Corvera; Argentina Daley; Julieta Dobles; Mercedes Durand; Jacinta Escudos; Julia EsquivEl; Janina Fernández; Martivon Galindo; Mia Galiegos; Celina Garcia; Leonor Garnier; Virginia Grütter; Reyna Hernández; Ana Ilce; Ana Istaru; Liliam JimEnez; Mayra Jimenez; Loxa JimEnez Lopez; Mirna Martinez; Sara Martinez; Carmen Matute; Waldina Medina; Vidaluz Meneses; Marianella Corriols Molina; Diana Moran; Rosario Murillo; MichEle Najlis; Carmen Naranjo; Moravia Ochoa; Esther Maria Osses; Bertalicia Peralta; Eva Margarita Ortiz Platero; Delia QuinOnez; Debora Elizabet Ramos; Margaret Randall; Bessy Reyna; Ana Maria Rodas; Christian Santos; Clementina Suárez; Consuelo Tomás; Maria Perez Tzu; Helen Umaña; Ana del Carmen de Vazquez; Luz MEndez de la Vega; Mariana Yonusg; Daisy Zamora; TRADUCTORAS (Translators) - Miriam Adelman; Amina Muñoz-Ali; Zoë Anglesey; Electa Arenal; Lynne Byer; Yolanda Blanco; Magda Bogin; Ellen Calmus; Pamela Carmell; Gina Caruso; Barbara Dagg; Argentina Daley; Carmen G. Delgado; Sharon Doubiago; Miriam Ellis; Nancy Esposito; Jean Franco; Celina Garcia; Jane Glazer; Patricia Goedicke; Melinda Goodman; Isabella Halsted; Sally Hanlon; Iraida Iturralde; Patricia Jones; Lisa Maya Knauer; Jere Knight; Amparo Leon; Denise Levertov; Suzanne Jill Levine; Elizabeth Linder; Elizabeth Mackiln; Susan Matobo; Ma~ McAnally; Nelly MelEndez; Sara Miles; Barbara la Morticella; Alicia Partnoy; Barbara Paschke; Ambar Past; Elinor Randall; Victoria Redel; Mary Lou Reker; Bessy Reyna; Judith Roche; Janet Rodney; Susan Sherman; Julia Stein; Susana Stettri; Ana Maria Toro; Janine Pommy Vega; Lisa Vives; Anna Kirwan-Vogel; Anne Waldman; Ellen Watson; Kathleen Weaver; C.D. Wright; Janelle Yates. ZOE ANGLESEY has been a political- literary activist on behalf of the people and the literature of Central America since 1968. Her book SOMETHING MORE THAN FORCE, POEMS FOR GUATEMALA 1971-83 (Adastra), now in its second edition, received honorable mention from the Before Columbus Foundation, sharing honors with other American poets and with Ernesto Cardenal. Her recent poems appear in Ploughshares, Open Places, and IN OUR HEARTS AND MINDS: CENTRAL AMERICAN AND NORTHWEST WRITING (Dalmo'ma). Her more recent translations have appeared in The Massachusetts Review, The Bloomsbury Review, and Conditions. She has translated the poems of Carmen Naranjo, Ana Istarü, Roberto Sosa (Honduras), Ruben Vela (Argentina), Mirna Martinez, and Ana Maria Rodas. She has three unpublished manuscripts: CLIMATE OF DEEP WATERS, IS IT DANGEROUS and CENTRAL TO AMERICA. |
![]() | ![]() | ANTHOLOGIES. . Arciniegas, German (editor). The Green Continent: A Comprehensive View of Latin America by Its Leading Writers. New York. 1944. Knopf. Translated from the Spanish by Harriet de Onis and others. 533 pages. Includes a variety of selections from important novels, short stories, historical, and literary essays from the first half of the twentieth century. Selections by: Ciro Alegria (Peru), Alcides Arguedas (Bolivia), Benjamin Carrion (Ecuador), Gregorio Castañeda Aragon (Colombia), Augusto CEspedes (Bolivia), Genaro Estrada (Mexico), Romulo Gallegos (Venezuela), Martin Luis Guzmán (Mexico), Flavio Herrera (Guatemala), Mariano Latorre (Chile), Leopoldo Lugones (Argentina), Jorge Mañach (Cuba), Juan MelEndez (Peru), Jules Mancini (Colombia), Juan Mann (Chile), Gabriela Mistral (Chile), Jose Nucete Sardi (Venezuela), Victoria Ocampo (Argentina), Juan E. O'Leary (Paraguay), Raol Porras Barrenechea (Peru), Alfonso Reyes (Mexico), Julio Rinaldini (Argentina), Ricardo Rojas (Argentina), Jose Enrique Rodo (Uruguay), Jose Eustasio Rivera (Colombia), Baldomero Sanin Cano (Colombia), Domingo Faustino Sarmiento (Argentina), Armando Solano (Colombia), Jose Vasconcelos (Mexico). (reprint London: Editions Poetry, 1947. 483 p.). Germán Arciniegas Angueyra (December 6, 1900 - November 30, 1999) was a Colombian historian, author and journalist who was known for his advocacy of educational and cultural issues, as well as his outspoken opposition to dictatorship. He also served as a college professor and held positions in the government, including Minister of Education and several ambassadorships. Arciniegas was the son of Rafael Arciniegas Tavera, a farmer, and his wife Aurora Angueyra Figueredo. He had three brothers and four sisters. His father died young, leaving his mother struggling to support the family. His maternal great-grandfather was Perucho Figueredo, an early Cuban freedom fighter who wrote La Bayamesa, Cuba's national anthem. Both of Perucho's daughters fled the country when he was executed. Luz, the younger daughter, was married to a Cuban engineer who went to Colombia to help build a railroad line. It was there, amid the dangers of the jungle, that Germán's mother was born. At the age of eighteen, he began studying law at the National University of Colombia. At that time he had already created two journals: Año Quinto (1916) and Voz de la Juventud (1917). While a student he founded and managed the magazine Universidad (1921). He collaborated with many well-known figures at all three periodicals, including Luis Lopez de Mesa, Jose Vasconcelos, Leon de Greiff and Jose Juan Tablada, who introduced the haiku into Spanish literature via Universidad. His love of journalism led him to establish and manage numerous cultural magazines throughout his life. In 1928, he joined El Tiempo, a daily newspaper in Bogotá, where he managed the editorial section, put together the Sunday Literary Supplement and wrote a weekly column, becoming the general manager in 1937. He would continue to contribute articles and opinion pieces to El Tiempo for the rest of his life, speaking out against drug trafficking, Marxist guerrillas and restrictive immigration policies. With the assistance of Carlos Pellicer, he established the Federation of Colombian Students. The group opposed Jesuit influence in the nation's universities and held student carnivals which verged on riots. He narrowly missed being killed when a bullet grazed his head at one student rally. Their activism eventually helped to end the Conservative Party's grip on the government and, in 1933, led to the passage of university reforms, which gave students the right to elect their own rectors and have a representative in the legislature to act as their advocate; a position Arciniegas held for a time. For him, students were the axis around which all political and intellectual movements had turned throughout history. This gave rise to his first book El Estudiante de la Mesa Redonda (The Student of the Round Table, 1932), in which he speaks of history as a "tavern" with the students sitting at a single table, drinking, recounting their deeds and laughing at everybody else. He continued his fight for students' rights during his brief tenures as Minister of Education in 1942 and 1945-46. During this time, he founded the Caro and Cuervo Institute and moved the Colombian National Museum to its current home in a former prison building. During World War II, he supported giving aid and asylum to refugees. This was in opposition to Luis Lopez de Mesa, the Minister of Foreign Affairs, who prohibited the entry of Jews into Colombia. Due to this resurgence of Conservative ideology in the 1940s, Arciniegas felt that he and his family were in danger and moved to the United States, taking advantage of an offer to teach at Columbia University. He lived in New York for ten years (1947–57). At this time, he wrote his most important and most often banned book, Entre la Libertad y el Miedo (Between Freedom and Fear, 1952). The work analyzes a critical period in Latin-America, when seven dictators were in power at the same time. He also criticized the U.S. State Department for its conciliatory behavior towards these regimes and, as a result, was detained for questioning several times after returning from trips abroad. The publication and translation of the book was prohibited in at least ten countries. General Gustavo Rojas Pinilla, the President of Colombia, accused Arciniegas of being a Communist and ordered all of his books to be burnt. Rafael Trujillo, the dictator of the Dominican Republic, put Arciniegas on his hit list. In terms of culture, Arciniegas strove to achieve and maintain a synthesis between the indigenous and the European. This approach was the driving force behind all of his diplomatic and political activities. He served as vice consul in London (1929), chancellor at the Colombian embassy in Argentina (1940) and as Ambassador to Italy (1959), Israel (1962), Venezuela (1966) and the Holy See (1976). In all of these positions, he acted as an advocate for the art and culture of America, which he perceived as extending from Alaska to Patagonia. In 1992, he was appointed President of the National Commission for the Celebration of the Five-Hundredeth Anniversary of the Discovery of America. He was summarily dismissed by then First-Lady Ana Milena Muñoz de Gaviria, who took over the commission herself; an action that generated much controversy. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Armand, Octavio (editor). Toward An Image of Latin American Poetry. Durango. 1982. Logbridge-Rhodes. 0937406090. 176 pages. hardcover. For this anthology texts have been selected from only eleven poets. That is, in order to prevent the selection from becoming the pretense for a catalog, it was limited to poets who, in spite of a well defined if not definitive work, are not sufficiently known in the United States. Of course many names are missing. The version of Latin American poetry that is becoming established in the United States corresponds to provisional, circumstantial criteria, only in this way is it possible to understand the partiality and/or mediocrity with which our poetry is (re)presented. Couldn't there be a bit of colonialism here, as if reading were an additional act of tourism? CONTENTS: Introduction; Jose Lezama Lima/Translated by Willis Barnstone; Enrique Molina/Translated by Naomi Lindstrom; Juan Liscano/Translated by Thomas Hoeksema; Gonzalo Rojas/Translated by Christopher Maurer; Alberto Girri/Translated by Christopher Maurer; Javier Sologuren/Translated by Mary Barnard & Willis Barnstone; Juan Sanchez Peláez/Translated by Naomi Lindstrom; Alvaro Mutis I Translated by Luis Harss; Lorenzo Garcia Vega/Translated by Thomas Koeksema; Marco Antonio Montes de Oca/Translated by Mary Barnard & Willis Barnstone;Alejandra Pizarnik/Translated by Lynne Alvarez. Octavio Armand (b. 1946, Guantánamo) is a critic, poet, translator and founder and director of the literary magazine Escandalar. Armand's books include the poetry collections Biografía para reacios, Cosas pasan, Superficies, Oregami, El pez folado and Son de ausencia. Refractions, published in 1994, includes essays as well as poems. (Cintas for literature, 1977-78). |
![]() | ![]() | ANTHOLOGIES. [Puerto Rico]. Babin, Maria Teresa and Steiner, Stan (editors). Borinquen: An Anthology of Puerto Rican Literature. New York. 1974. Knopf. 0394710207. Translated from the Spanish by Barry Jay Luby. Introduction by Maria Teresa Babin. 515 pages. An anthology of five centuries of Puerto Rican writing. Includes translations and selections from recent works written in English. Of interest is the section 'Notes about contributors'. Selections of prose fiction by: Ricardo F. Alegria, Cayetano Coll y Toste, Ramon Emetrio Betances, Manuel Zeno Gandia, Miguel Melendez Muñoz, Jose Padin, Cesar Audreu Iglesias, Jose I. de Diego Padro, Julio Marrero Nunez, Enrique A. Laguerre, Antonio Oliver Frau, Wilfredo Braschi, Abelardo Diaz Alfaro, Jose Luis Gonzalez, Luis Quero Chiesa, Jesus Colon, Piri Thomas, Victor Hernández Cruz (prose poems). Essays by: Eugenio Maria de Hostos, Nemesio R. Canales, Antonio S. Pedreira, Maria Teresa Babin, Concha MelEndez, Tomás Blanco, Nilita Vientos Gaston, Luis Muñoz Rivera, Luis Muñoz Marin, Jose de Diego, Gilberto Concepcion de Gracia, Pedro Albizu Campos, Samuel Betances. Selections from plays by: Luis Llorens Torres, Francisco Arrivi, Manuel Mendez Ballester. Poems by: Damián Lopez de Haro, Juan Rodriguez Calderon, Santiago Vidarte, Luis Lorens Torres, Manuel A. Alonso, Lola Rodriguez de Tio, Jose Gautier Benitez, Francisco Alvarez Marrero, Pachin Marin, Jose Mercado, Luis Pales Matos, Jose A. Balseiro, Jose de Diego, Virgilio Dávila, Jose Antonio Dávila, Felix Franco Oppenheimer, Francisco Matos Paoli, Francisco Lluch Mora, Evanisto Ribera Chevremont, Julia de Burgos, Luis Hernández Aquino, Gustavo Agrait, Francisco Manrique Cabrera, Juan Aviles, Olga Ramirez de Arellano Nolla, Jose P. H. Hernández, Manuel Joglar Cacho, Juan Antonio Corretjer, Juan Martinez Capo, Jorge Luis Morales, Violeta Lopez Suria, Diana Ramirez de Arellano, Clemente Soto Velez, Andres Castro Rios, Roy Brown, Edwin Claudio, Jack Agueros, Migdalia Rivera, Pedro Pietri, Father David Garcia (with selections from a folk mass composed by the priest and his parishioners). (reprint New York: Vintage, 1974. paper). María Teresa Babín Cortés (May 30, 1910- December 19, 1989) was a Puerto Rican educator, literary critic, and essayist. She also wrote poetry and plays. Among her best-known works is Panorama de la Cultura Puertorriqueña and several essays on Federico García Lorca. Stan Steiner (1925–1987) was an American historian and teacher who authored works generally focusing on American minority communities and their relationship to the broader U.S. society as well as the mythology of the American frontier. Born in the Coney Island area of New York, New York, he wrote a number of books touching upon various subjects from the 1960s to 1980s. He expressed particular interest in indigenous American peoples and their complex history into the 20th century. As an instructor, he lectured at a variety of U.S. institutions, including the University of New Mexico. |
![]() | ![]() | ANTHOLOGIES. [Cuba - Poetry]. Beck, Claudia and Sylvia Carranza (editors). Cuban Poetry 1959-1966. Havana. 1967. Book Institute. Prologue & biographical sketches by Herberto Padilla and Luis Suardiaz. Bilingual text in Spanish and English of 40 Cuban poets. 789 pages. hardcover. Book design by Tony Evora. The forty poets that make up this book belong to the four active generations that constitute contemporary Cuban Poetry: the generation that emerged in the 20' around the Revista de Avance magazine; the generation that merged about Origenes magazine in the 40's; the generation which came of age within the Revolution; and the second generation of the Revolution, which has begun to arouse notice, almost entirely, since 1966. Over and above the criteria of generations, of the different ways and means of poetic expression, there is a common denominator which unifies these forty poets: the Revolution, its tasks, its life. It is this condition, Perhaps, that puts these so diverse poets in a relationship of unusual alliance; a shared atmosphere of tensions and emergent problems which finds its reflection in a range of Poetry, running from those of most careful structure and the strictest vocabulary to those interspersed with fragments of dialogue, loose and disarrayed. But after all, didn't Valery propose the compilation of a history of Poetry with no name attached to any poem, so that it could be real as the work of one poet? INDEX OF AUTHORS - Manuel Navarro Luna; Nicolas Guillen; Felix Pita Rodriguez; Angel Augier; Adolfo Menendez Alberdi; Jose Lezama Lima; Samuel Feijoo; Aldo Menendez; Oscar Hurtado; Alcides Iznaga; Eliseo Diego; Cintio Vitier; Jests Orta Ruiz (Indio Naborf); Rolando Escardo; Luis Marre; Francisco de Oraa; Roberto Branly; Roberto Fernandez Retamar; Pablo Armando Fernandez; Fayad Jamis; Jose Martinez Matos; Luis Pavon; Pedro de Oraa; Jose Alvarez Baragano; Heberto Padilla; Rafael Alcides; Cesar Lopez; Raul Luis; Domingo Alfonso; Anton Arrufat; Manuel Diaz Martinez; Luis Suardiaz; Armando Alvarez Bravo; Joaquin Gonzalez Santana; Miguel Barnet; David Fernandez; Belkis Cuza Male; Guillermo Rodriguez Rivera; Victor Casaus; Nancy Morejon. |
![]() | ![]() | ANTHOLOGIES. [Costa Rica]. Beck, Ervin and Birky, Wilbur (editors). Contemporary Costa Rican Literature in Translation. Goshen. 1975. Pinchpenny Press. Translated from the Spanish by Students & Faculty Of Goshen College. 120 pages. paperback. A collection of literature from Costa Rica. CONTENTS: MAP OF COSTA RICA; JEZER GONZALEZ-The Current Literature of Costa Rica; POETRY - JULIAN MARCHENA-El toro/The Bull; JOSE B. ACUNA-from Simple Nothings; ISAAC F. AZOFEIFA-Edificas costumbres/You Establish; Hijo, vienes/My Son, You Are Coming; MARIO PICADO-Dane vuelta/The Requital, Arte poetico/Poetic Art; ALFONSO CHASE-Pequena agonia de mi padre/Little Deaths, Cartago/Cartago; CARLOS F. MONGE-Semillas/Seeds, Senderos/Paths; RONALD BONILLA-La luz entera/The Whole of Light Itself, Herramienta futura/How the Future Works; FICTION - CARMEN NARANJO/Olo; QUINCE DUNCAN/The Legend of Joe Gordon; JOSE LEON SANCHEZ/The Same Thing Happened to Me; DRAMA - TIERRANEGRA EXPERIMENTAL GROUP/The Invasion. Ervin Beck and Wilbur Birky were associate professors of English at Goshen College. |
![]() | ![]() | ANTHOLOGIES. [Science Fiction]. Bell, Andrea L. and Molina-Gavilàn, Yolanda (editors). Cosmos Latinos: An Anthology of Science Fiction from Latin America and Spain. Middletown. 2003. Wesleyan University Press. 9780819566348. Early Classics of Science Fiction. 368 pages. paperback. Cover illustration: Memoria del Futuro, by Raul Cruz. Opening a window onto a fascinating new world for English-speaking readers, this anthology offers popular and influential stories from over ten countries, chronologically ranging from 1862 to the present. Latin American and Spanish science fiction shares many thematic and stylistic elements with anglophone science fiction, but there are important differences: many downplay scientific plausibility, and others show the influence of the region's celebrated literary fantastic. In the 27 stories included in this anthology, a 16th-century conquistador is re-envisioned as a cosmonaut, Mexican factory workers receive pleasure-giving bio-implants, and warring bands of terrorists travel through time attempting to reverse the outcome of historical events. The introduction examines the ways the genre has developed in Latin America and Spain since the 1700s and studies science fiction as a means of defamiliarizing, and then critiquing, regional culture, history and politics-especially in times of censorship and political repression. The volume also includes a brief introduction to each story and its author, and an extensive bibliography of primary and secondary works. Cosmos Latinos is a critical contribution to Latin American, Spanish, popular culture and science fiction studies and will be stimulating reading for anyone who likes a good story. CONTENTS: IN THE BEGINNING - Juan Nepomuceno Adorno - ‘The Distant Future' (Mexico, 1862); Nilo Maria Fabra - ‘On the Planet Mars' (Spain, 1890); SPECULATING ON A NEW GENRE: SF FROM 1900 THROUGH THE - 1950s; Miguel de Unamuno - ‘Mechanopolis' (Spain, 1013); Ernesto Silva Roman - ‘The Death Star' (Chile, 1929); Juan Jose Arreola - ‘Baby H.P' (Mexico, 1052); THE FIRST WAVE: THE 1960s TO THE MID-1980s; Angel Arango - ‘The Cosmonaut' (Cuba, 1964); Jeronimo Monteiro - ‘The Crystal Goblet' (Brazil, 1964); Alvaro Menen Desleal - ‘A Cord Made of Nylon and Gold' (El Salvador, 1965); Pablo Capanna - ‘Scronia' (Argentina, 1967); Magdalena Moujan Otano - ‘Gu TA Gutarrack (We and Our Own) (Argentina, 1968); Luis Britto Garcia - ‘Future' (Venezuela, 1970); Hugo Correa - ‘When Pilate Said No' (Chile, 1971); Jose B. Adolph - ‘The Falsifier' (Peru, 1972); Angelica Gorodischer - ‘The Violet's Embryo's' (Argentina, 1973); Andre Carneiro - ‘Brain Transplant' (Brazil, 1978); Daina Chaviano - ‘The Annunciation' (Cuba, 1983); Federico Schaffler - ‘A Miscalculation' (Mexico, 1983); RIDING THE CREST: THE LATE 1980s INTO THE NEW MILLENIUM - Braulio Tavares - ‘Stuntmind' (Brazil 1989); Guillermo Lavin ‘ - Reaching the Shore' (Mexico, 1994); Elia Barrcelo - ‘First Time' (Spain, 1994); Pepe Rojo - ‘Gray Noise' (Mexico, 1996); Mauricio-Jose Schwarz - ‘Glimmerings on Blue Glass' (Mexico, 1996); Ricard de la Casa and Pedro Jorge Romero - ‘The Day We Went through the Transition' (Spain, 1998); Pablo Castro - ‘Exeriom' (Chile, 2000); Michel Encinosa - ‘Like the Roses Had to Die' (Cuba, 2001). ANDREA L. BELL is Associate Professor of Spanish and Latin American Studies at Hamline University in Minnesota. YOLANDA MOLINA-GAVILÀN is Associate Professor of Spanish at Eckerd College in Florida and the translator of Rosa Montero's The Delta Function (1992). |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Benedetti, Mario (editor). Unstill Life: An Introduction To the Spanish Poetry of Latin America. New York. 1969. Harcourt Brace & World. Illustrated by Antonio Frasconi. Translated from the Spanish by D. J. Flakoll & Claribel Alegria. 127 pages. hardcover. Jacket art by Antonio Frasconi. This anthology of Latin-American poets, beginning with Ruben Dario, born in 1867, includes such renowned names as Mistral, Vallejo, and Neruda, as well as younger poets. The period covered by their work was a crucial one for those countries just emerging from centuries of colonialism, and one senses the ferment of those vast lands in the poetry selected for this collection by a noted Uruguayan writer. Whatever the individual poet-Argentinian, Chilean, Mexican, Peruvian -each is essentially Latin American in his passions, his expressive force, and the sources of his poetic concerns. With Mr. Benedetti's thoughtful introduction to the subject and his biographical and critical notes that precede each poet's work, this book-containing the poems both in their original Spanish and in splendid translation-is a valuable introduction for young people to an insufficiently known area of poetry. CONTENTS: INTRODUCTION; RUBEN DARIO (Nicaragua, (1867-1916) - Letanfa de nuestro señor Don Quijote/Litany of Our Sire, Don Quixote; BALDOMERO FERNANDEZ MORENO (Argentina, 1886-1950) - Setenta balcones y ninguna flor/Seventy Balconies and Not a Single Flower; GABRIELA MISTRAL (Chile, 1889-1957) - Balada/Ballad; ALFONSINA STORNI (Argentina, 1892-1938) - El adolescente del osito/Adolescent with Bear; CESAR VALLEJO (Peru, 1892-1938) - La colera que quiebra al hombre en ninos/The Rage That Shatters a Man into Children; VICENTE HUIDOBRO (Chile, 1893-1948) - Naturaleza viva/Unstill Life; JUANA DE IBARBOUROU (Uruguay, 1895- ) - El nido/The Nest; NICOLAS GUILLEN (Cuba, 1904- ) - Balada de los dos abuelos/Ballad of the Two Grandfathers; PABLO NERUDA (Chile, 1904- ) - Poema 20/Poem 20; JUAN CUNHA (Uruguay, 1910- ) - Paisaje/Landscape; OCTAVIO PAZ (Mexico, 1914- ) - Nocturno/Nocturne; NICANOR PARRA (Chile, 1914- ) - Oda a unas palomas/Ode to Some Pigeons; JOAQUIN PASOS (Nicaragua, 1915-1947) - Elegia de la pájara/Elegy of the Bird; IDEA VILARINO (Uruguay, 1920- ) - Volver/Return; SEBASTIAN SALAZAR BONDY (Peru, 1924-1965) - Testamento olôgrafo/Holographic Testament; CLARIBEL ALEGRIA (El Salvador, 1924- ) - Aunque dure un instante/Though It Only Last an Instant; ERNESTO CARDENAL (Nicaragua, 1925- ) - Oracidn por Marilyn Monroe/Prayer for Marilyn Monroe; JAIME SABINES (Mexico, 1925- ) - Los amorosos/The Lovers; JORGE ENRIQUE ADOUM (Ecuador, 1926- ) - Despedida y no/Farewell and No; CARLOS GERMAN BUll (Peru, 1927- ) - Papa, Mama/Papa, Mama; ROBERTO FERNANDEZ RETAMAR (Cuba, 1930- ) - Ninas y ninos, muchachas y muchachos/Girls and Boys, Young Ladies and Gentlemen; JUAN GELMAN (Argentina, 1930- ) - La Victoria/The Victory; MARCO ANTONIO MONTES DE OCA (Mexico, 1932- ) - Atrás de la memoria/Behind Memory; Translated by Darwin I. Flakoll and Claribel Alegria. . . Mario Benedetti (in full: Mario Orlando Hamlet Hardy Brenno Benedetti Farrugia - September 14, 1920 - May 17, 2009) was an Uruguayan journalist, novelist, and poet, and writer. He was not well known in the English-speaking world, but in the Spanish-speaking world he was considered one of Latin America's most important 20th-century writers. Benedetti was born in Paso de los Toros in the department of Tacuarembo in a family of Italian descent. In 1946 he married Luz Lopez Alegre. He was a member of the 'Generation of 45', a Uruguayan intellectual and literary movement: Carlos Maggi, Manuel Flores Mora, Ángel Rama, Emir Rodríguez Monegal, Idea Vilariño, Carlos Real de Azúa, Carlos Martínez Moreno, Mario Arregui, Mauricio Muller, Jose Pedro Díaz, Amanda Berenguer, Tola Invernizzi, Ida Vitale, Líber Falco, Juan Cunha, Juan Carlos Onetti, among others. He also wrote in the famous weekly Uruguayan newspaper Marcha. From 1973 to 1985, when a military dictatorship ruled Uruguay, Benedetti lived in exile in Buenos Aires, Lima, Havana and Spain. Following the restoration of democracy, he divided his time between Montevideo and Madrid. He was granted Honoris Causa doctorates by the Universidad de la República, Uruguay, the Universidad de Alicante, Spain and the Universidad de Valladolid, Spain. In 1986 he was awarded Laureate Of The International Botev Prize. On June 7, 2005, he was named the recipient of the Premio MenEndez y Pelayo. His poetry was also used in the 1992 Argentine movie The Dark Side of the Heart (El lado oscuro del corazon) in which he read some of his poems in German. In 2006, Mario Benedetti signed a petition in support of the independence of Puerto Rico from the United States of America. He died in Montevideo on 17 May 2009. He had suffered from respiratory and intestinal problems for more than a year. Before dying, he dictated to his personal secretary, Ariel Silva what would become his last poem. For his poetry and novels Benedetti had won numerous international awards. The Truce, first published in 1960, has since been translated into 19 languages and made into two motion pictures. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Benson, Rachel (translator and editor). Nine Latin American Poets. New York. 1968. Las Americas/Cypress. Includes Work by Neruda, Huidobro, Paz, & Vallejo. Translated & Ed. 359 pages. hardcover. The 9 poets are Pablo Neruda, Luis Pales Matos, Alfonsina Storni, Jose Gorostiza, Vicente Huidobro, Cesar Vallejo, Octavio Paz, Carlos Pellicer and Xavier Villaurrutia. Each poem is presented with the English translation on the facing page. A collection of poems from nine Latin American poets. All are good; some are great. Some have scarcely been heard of by the English-speaking public; the works of others have been translated into English many times before. CONTENTS: Preface; JOSE GOROSTIZA - Quien me compra una naranja?/Who Will Buy Me an Orange?; Se alegra el mar/The Sea Rejoices; Pescador de luna/Moon Fisher; Nocturno/Nocturne; Mujeres/Women; Elegia/Elegy; Acuario/Aquarium; LuciErnagas/Fireflies; Preludio/Prelude; de Muerte sin fin/from Death Without End; de Muerte sin fin/from Death Without End; VICENTE HUIDOBRO - Ecuatorial/Equatorial; PABLO NERUDA - Farewell; Barcarola/Barcarolle; El fantasma del buque de cargo/The Phantom of the Cargo Ship; Las alturas de Macchu Picchu, VI/The Heights of Macchu Picchu, VI; A pesar de la ira/In Spite of Anger; Jose Miguel Carrera; Toqui Caupolicán; Oda al olor de la lena/Ode to the Smell of Firewood; Oda a la gaviota/Ode to a Seagull; Oda a la jardinera/Ode to a Girl Gardening; Los animales interiores, I/The Animals Within, I; Las torres blancas/The White Towers; Kalahari; Nam-Nam; Elegia del Duque de la Mermelada/Elegy for the Duke of Marmelade; Falsa cancion de baquinE/Spurious Song for a BaquinE; Cancion festiva para ser llorada/Festival Song to be Wept; Puerta al tiempo en tres voces/Doorway to Time in Three Voices; OCTAVIO PAZ - Lago/Lake; Noche de verano/Summer Night; Agua Nocturna/Night Water; Relampago en reposo/Lightning in Repose; Manantial/Well-Spring; Piedra nativa/Native Stone; Aunque la nieve caiga/Although the Snow May Fall; Estrella interior/Interior Star; Semilas para un himno/Seeds for a Hymn; Himno entre ruinas/Hymn among Ruins; CARLOS PELLICER - Estudios/Studies; No hay tiempo para el tiempo/There Is No Time for Time; Esquemas para una oda tropical/Sketches for a Tropical; Tü eres mas que mis ojos/You Are More Than My Sight; Nocturno a mi madre/Nocturne to My Mother; Tema para un nocturno/Theme for a Nocturne; Estudio/Study; Nocturno, III/Nocturne, III; Flora solar/Solar Flora; Aria de fuego/Fire Song; ALFONSINA STORNI - Tu me quieres blanca/You Would Have Me White; La garra blanca/The White Talon; Mi hermana/My Sister; Sierra; Uno/One; Yo en el fondo del mar/Me at the Bottom of the Sea; Vientos marinos/Sea Winds; Hombres en la ciudad/Men in the City; Llovizna/Drizzle; Voy a dormir/I Am Going to Sleep; CESAR VALLEJO - Aldeana/Village Poem; Ausente/Absent; Los dados eternos/The Eternal Dice; Los heraldos negros/The Black Messengers; A mi hermano Miguel/To My Brother Michael; Enereida/Januariad; Trilce XVIII; TRILCE XLV; Trilce LXIII; TraspiE entre dos estrellas/Stumble between Two Stars; Boy me gusta la vida mucho menos/Today I Like Life Much Less; Intensidad y altura/Intensity and Elevation; De puro calor tengo frio/I Am Cold from Sheer Heat; XAVIER VILLAURRUTIA - Amplificaciones/Amplifications; Cuadro/Painting; Soledad/Solitude; Calles/Streets; Nostalgia de la nieve/A Longing for Snow; Nocturno sueno/Sleep Nocturne; Nocturno de los angeles/Los Angeles Nocturne; Nocturno eterno/Eternal Nocturne; Amor condusse noi ad una Morte; Epigramas de Boston/Boston Epigrams; Decima Muerte/Ten Stanzas to Death. |
![]() | ![]() | ANTHOLOGIES. [Aztec - Poetry]. Berg, Stephen (translator). Nothing in the Word: Versions of Aztec Poetry. New York. 1972. Grossman. unpaginated. Collages (Tokyo: Mushinsha Ltd., 1972). A beautifully illustrated edition of 50 short poems and songs. Translations based generally on Spanish translations by Angel Maria Garibay K. (Poesia nahuatl). |
![]() | ![]() | ANTHOLOGIES. [Indigenous - Poetry]. Bierhorst, John (edited and introduction). In the Trail of the Wind: American Indian Poems and Ritual Orations. New York. 1971. Farrar, Straus and Giroux. 0374336407. 201 pages. Well-annotated edition which includes 18 Aztec, 6 Maya, and other poems of Indian cultures from Latin America. John Bierhorst's books on Latin American lore include The Mythology of South America and The Mythology of Mexico and Central America. He currently serves as an editor of The Norton Anthology of World Literature. |
![]() | ![]() | ANTHOLOGIES. [Drama]. Bierstadt, Edward Hale (editor and introduction). Three Plays of the Argentine. New York. 1920. Duffield. Translated from the Spanish by Jacob S. Fassett. 148 pages. Includes: Silverio Manco, Juan Moreira (Juan Moreira); Luis Bayon Herrera (born in Spain), Santos Vega (Santos Vega, 1913); Julio Sanchez Gardel, The witches' mountain (La montana de las brujas, 1912). Santos Vega is actually a dramatized poem based on the poetic character of Obligado. Juan Moreira is based on an earlier prose work of the same title. Four appendices include notes, excerpts from the original Spanish versions of Juan Moreira and Santos Vega, and an essay by Spanish playwright Jacinto Benavente. (pp.142-147). Edward Hale Bierstadt (1891-1970) was a criminologist, author and drama critic. During the Great War he enlisted in the American Expeditionary Force and served on the staff of hospitals in both England and France. He was also Executive Secretary of the Emergency Committee for Near East Refugees in 1923, one of the bodies that assisted survivors of the Greek Genocide. When Bierstadt returned to New York, he began defending free speech and radicalism against repression by government agencies. In 1924 he published his memoires under the title The Great Betrayal. In the book he describes the destruction of Greek communities by the Turks, and the failure of America to act due to business interests with Turkey. His service to Ottoman Greeks was recognized by the Greek Government who decorated him with the Silver Cross of the Order of the Redeemer. |
![]() | ![]() | ANTHOLOGIES. [Brazil - Poetry]. Bishop, Elizabeth and Brasil, Emanuel (editor). An Anthology of 20th Century Brazilian Poetry. Middletown. 1974. Wesleyan University Press. 0819560235. 181 pages. paperback. This bilingual anthology, published under the sponsorship of The Academy of American Poets, presents representative poems, with English translations en face, from the work of fourteen Brazilian poets of the ‘Modern Generation' and of the ‘Post-War Generation' of 1945: Manuel Bandeira, Oswald de Andrade, Jorge de Lima, Mario de Andrade, Cassiano Ricardo, Joaquim Cardozo, Cecilia Meireles, Murilo Mendes, Carlos Drummond de Andrade, Vinicius de Moraes, Mauro Mota, João Cabral de Melo Neto, Marcos Konder Reis, and Ferreira Gullar. ‘Brazil has long been discovered, but its spiritual cartography is only being begun, and this anthology is a powerful atlas.' - Helen Vendler, The New York Times Book Review. ‘The editors, Elizabeth Bishop and Emanuel Brasil, provide proofs of the translator's art. Their bilingual collection, English flanking Portuguese, has the extrinsic merit of making more accessible the still generally unknown yet increasingly important and vital literature of Brazil, which like American literature has assumed its truly distinctive voice only in this century. The anthology also has the intrinsic merit of matching the best of the Brazilians with some outstanding American poets as their translators; hence while it encompasses Brazilian poetry for the past fifty years, it catches the state of American poetry within the past ten years or so, a decade of similar poetic impulses. The anthology, beyond its titular function, then, helps to give perspective to American poetry.' - J. S. Dean, Jr., Luso-Brazilian Review. ‘Notable for the original and interesting choice of poems and for the accuracy and poetic quality of the translations.' - Raymond Sayers, The Modern Language Journal. This book is also available in a clothbound edition. Elizabeth Bishop (February 8, 1911 - October 6, 1979) was an American poet, short-story writer, and recipient of the 1976 Neustadt International Prize for Literature. She was the Poet Laureate of the United States from 1949 to 1950, the Pulitzer Prize winner for Poetry in 1956 and the National Book Award winner in 1970. EMANUEL BRASIL, himself a Brazilian, recently completed his first novel Pedra Fantasma, for which he received in 1969 a grant from The Ingram-Merrill Foundation. Since 1965 he has lived in New York City, where he is a staff member of the translation service of the United Nations. |
![]() | ![]() | ANTHOLOGIES. [Argentina]. Borges, Jorge / Ocampo, Silvina / Bioy Casares, A. (editors). The Book of Fantasy. New York. 1988. Viking Press. 0670823937. Introduction by Ursula K. Le Guin. 384 pages. hardcover. Antologia de la Literatura Fantastica was first published in Argentina in 1940 - Editorial Sudamericana THE BOOK OF FANTASY began one night when three friends fell to talking about fantasies and ghost stories. The place was Buenos Aires, 1937, and the people were Jorge Luis gorges, Adolfo Bioy Casares and his wife Silvina Ocampo. ‘We debated which stories were best,' wrote Bioy Casares later, ‘and someone suggested that if we brought together the tales and the fragments that we had listed in our notebooks we would have a good book.' The result is an astonishing collection of stories drawn from all the literatures of the world from Ancient China to Modern America, mingling the obscure and the neglected with the already famous and showing a splendid disdain for conventional literary opinion. Among the authors included are Leonid Andreyev. Leon Bloy, Lewis Carroll, Jean Cocteau, G.K. Chesterton, James Joyce, Giovanni Papini, Carlos Peralta, Rabelais and Villiers de L'lsle Adam, some of whom have never been translated before. ‘It is sometimes said,' wrote Bruce Chatwin. ‘that all the elements of civilization end up eventually in Argentina. and most of it ends up in gorges' head. his values are those of high Western civilization . . . They say Borges lives in a world of imagination and dreams, but he's central to life.' Now considerably expanded and published for the first time in English, The Book of fantasy has a specially-written introduction by Ursula K. Le Guin twice winner of both the hugo and Nebula awards. She writes: ‘It is an idiosyncratic selection, and completely eclectic. Some of the stories will be familiar to anyone who reads, others are exotic discoveries. A very well-known piece., seems less predictable set among works and fragments from the Orient and South America and distant centuries, by Kafka. Swedenborg, Cortázar, Akutagawa, Niu Chiao; its own essential strangeness is restored to it.' This is, quite simply, the finest anthology of its kind. ‘I think it is marvellous.' - CARLOS FUENTES. JORGE LUIS BORGES was born in Buenos Aires, educated in Europe, and was for many years Director of the National Library of Argentina. his stories, poems and essays, collected in flcciones, Labyrinths, Other Inquisitions and The Book of Sand (amongst others) gained him worldwide recognition as one of the major writers of the twentieth century. lie shared the International Publishers' Prize with Samuel Beckett in 1961, was granted the Annual Literary Award of the Ingram Merrill foundation in 1966 for his ‘outstanding contribution to literature', and in 1970 was awarded an honorary Doctorate of Letters by both Columbia and Oxford Universities, lie died in 1986. ADOLFO BIOY CASARES has been called Argentina's greatest living writer'. Several of his novels have been translated into English, including The Invention of Morel, Asleep in the Sun, The Diary of the War of the Pig and Dream of Heroes. lie collaborated with Borges on many projects, including those written under the joint pseudonym ‘hi. Bustos Domecq'. tie lives in Buenos Aires. SILVINA OCAMPO was a member of one of Argentina's most aristocratic and literary families, the sister of Victoria Ocampo (founder of the influential magazine Sur), and wife of Adolfo Bioy Casares. She was a poet and painter as well as a writer of fiction; her poetry was collected in Forgotten Journey, Poems of Desperate Love and Yellow Blue, while her short stories appeared in books like The Fury and The Days of Night. She collaborated with Bioy Casares on a crime novel, and with J. R. Wilcock on a verse-play, The Traitors. |
![]() | ![]() | ANTHOLOGIES. [Mexico]. Bowen, David and Ascencio, Juan A. (editors). Pyramids of Glass: Short Fiction From Modern Mexico. San Antonio. 1994. Corona Publishing Company. 0931722837. Introduction by Ilan Stavans. 244 pages. hardcover. MEXICO . . . a country so astonishing that only fiction can plumb its reality. In these pages, twenty-seven of Mexico's outstanding writers open doors that have been closed to us. From the world's most crowded metropolis to the Mayan villages of Chiapas, from Baja California to the Yucatan, PYRAMIDS OF GLASS reflects the heart and mind of a country that tourists and journalists rarely see - and a whole new galaxy of literary talents. CONTENTS: INTRODUCTION by Ilan Stavans; Emilio Carballido/THE DICE BOX; Angeles Mastretta/WHITE LIES; Carlos Fuentes/THE MANDARIN; Guadalupe Duenas/MARIQUITA AND ME; Juan Villoro/REAR-VIEW MIRROR; Rafael Perez Gay/BIG TEARS; Severino Salazar/'JESUS, MAY MY JOY BE EVERLASTING'; Silvia Molina/AN ORANGE IS AN ORANGE; Jose Agustin/MOURNING; Agustin Monsreal/THE ORIGIN OF MIRACLES; Sergio Pitol/THE PANTHER; David Martin del Campo/LITTLE MISTER CHAIR-MAN; Marco Antonio Campos/WINTER WILL NEVER END; Jorge Ibarguengoitia/PIOUS FRAUD; Jesus Gardea/ONE FOR THE ROAD; Enrique Serna/EUFEMIA AND THE CURSE OF WORDS; Paco Ignacio Taibo II/APACHES IN ‘LA GRANJA'; Maria Luisa Puga/THE TRIP; Ines Arredondo/PUZZLES; Jose Emilio Pacheco/CASTLE IN THE EYE OF A NEEDLE; Hernan Lara Zavala/LITTLE SISTER; Eraclio Zepeda/THE TRUTH; Marta Cerda/MIRROR OF A MAN; Luis Arturo Ramos/DOCTOR'S PRESCRIPTION; Elena Poniatowski/LITTLE HOUSE OF CELLULOID; Daniel Sada/THE GREAT CARPENTRY HEIST; Edmondo Valades/PERMISSION GRANTED. TRANSLATORS - In the order of their appearance in this volume: MARGARET SAYERS PEDEN is among the best-known translators of Mexican writers, from Sor Juana InEs de la Cruz to Juan Rulfo, Octavio Paz, and Carlos Fuentes, including the latter's Old Gringo. Her series of interviews with 49 Mexican artists was published recently under the title Out of the Volcano. Having been raised in a very small, Bible-belt Missouri town, she recognized the jockeying and games of influence just beneath the surface of Carballid6s story. ‘It is always the translator's hope that these universals will be conveyed as universals, yet maintain their cultural integrity.' JOHN INCLEDON has translated, among other works, Salvador Elizondo's complex Farabeuf and Day of the Winged Lion by Mario Luis Rodriguez. He teaches at Albright College in Reading, Pennsylvania. He points to Pacheco's stylistic idiosyncracies in this story- abrupt paragraph breaks, unusual punctuation-as a strong clue to the central character's confusion and alienation as he attempts to move in social circles not his own. Mastretta's subtle dialogue in ‘White Lies' (an untitled story from the collection Mujeres de Ojos Grandes) he compares to the work of masters of fiction from Henry James to Manuel Puig. CYNTHIA STEELE teaches at the University of Washington and is the author of Politics, Gender and the Mexican Novel 1968-88. She has published translations of fiction and poetry by Elena Garro, InEs Arredondo, and Jose Emilio Pacheco, among others. She describes Zepeda's story ‘The Truth' as a ‘chronicle of a death foretold, couched in the curiously indirect and somewhat formal speech of the Mayan people . . . . Some subtleties, like the use of the archaic ‘vos' (a substitute for the familiar ‘tü', used by Mayans in addressing one another by ladinos in addressing Mayans, and sometimes also subversively by Mayans with ladinos) are lost in translation. DAVID BOWEN is the founder and publisher of Corona After several years as a freelance journalist in Latin America during the early 1960s, he took a master's degree in Latin American history at City College of New York and continues to travel widely in Mexico. He recently edited Columbus and the Crowns (1992) from the work of historian William H. Prescott. JAMES HOGGARD is a poet, essayist, and writer of fiction, a professor of English at Midwestern State University (Wichita Falls, Texas), and president of the Texas Institute of Letters. He recently produced two volumes from work by the acclaimed Chilean poet Oscar Hahn. He points out the ‘cartoon-like' effects of Perez Gay's story which moved him to render its original title (‘Para Llorar') as ‘Big Tears?' MARK SCHAFER lives in Boston and has published translations of Alberto Ruy Sanchez and Virgilio Pinera, and collaborated (with Cedric Belfrage) on a translation of Eduardo Galeano's The Book of Embraces. He is also a collage-maker - perhaps a provocative metaphor for translation? He is currently at work on a collection of short fiction by Jesus Gardea, whom he describes as ‘a masterful writer' who grew up in the sun baked desert of Chihuahua, ‘an extreme and desolate environment favorable only to that curious mixture of fatalism and hope expressed in ‘One for the Road?' The Salazar story, he points out, is told ‘in a brilliantly conceived chorus of overlapping voices' that poses intricate problems for translator and reader. PAUL PINES is a poet and translator and author of a novel, The Tin Angel (Morrow). His most recent book Hotel Mad den Poems, appeared in 1992. His work has appeared in Prairie Schoonet Pequod, and New Directions Annual and in Nicanor Parra, Antipoems. He lives in Glens Falls, NY ‘An Orange Is an Orange,' like most of the stories in Silvia Molina's book Un Hombre Cerca, has a ‘dreamlike construction,' he tells us ‘Her stories resonate with what has gone unsaid?' ASA ZATZ has been a translator for the Organization of American States and for many international agreements, conferences, and official messages of the President of Mexico. He has translated important Mexican writers in economics, art, and anthropology as well as novels and plays by Ramon del Valle-Inclán, Alejo Carpentier, Arturo Arias, Jorge Ibarguengoitia, and many others. He lives in New York City. He considers Ibarguengoitia a Mexican Maupassant and says, ‘This light short story carries deceptively heavy artillery?' Agustin's hues are darker; but both are a translator's delight ‘for their attainment of maximum effect with minimum verbiage?'. EDITH GROSSMAN is a familiar name to readers of Latin American literature, as translator and critic. Her most recent publications include translations of Magroll (three novelas by Alvaro Mutis) and Strange Pilgrims (twelve stories by Gabriel Garcia Marquez). She lives in New York City Ms. Grossman describes Monsreal as a ‘proto-Joycean stand-up comic with an unusual gift for reshaping colloquial language into an eccentric, incisive medium for irony and humor?' JO ANN ENGELBERT, a Kentucky native, attended Adelphi University Middlebury College, and New York University and teaches Latin American literature at Montclair State University in New Jersey She has translated work by Macedonio Fernández, Jorge Luis Borges, Julio Cortázar, Carmen Naranjo, Isabel Allende, and Roberto Sosa, among others. She compares translating a text to crawling under a car to see how it works. Translating Pitol, she reports, is ‘like crawling under a Rolls?' JOAN LINDGREN is a teacher and writer in the San Diego/Tijuana area. Her own poetry and essays on border poetry have been published in anthologies, as well as translations of the Argentine poet Juan Gelman and Costa Rican artist/poet Magda Santonostasio. She taught a Cross-border Literary Translation Workshop at the University of Baja California The story by Martin del Campo she places in the tradition of Juan Rulfo, and likens it to a glass of water reminding us ‘how thirsty we always are for transparency and simplicity in describing our shared human condition. She points out that the story by Daniel Sada is in large part the ‘doggedly self-defeating interior monologue of Juventino, the central character ‘His attitudes and his language are shaped by the harshness of the Coahuilan landscape, a deep-seated distrust of authority (even the authority of his own experience), and the whine of the Mexican ballad or corridor.' IMERA PUSATERI, born in Mexico of Italian parents, was a member of Joan Lindgren's translation workshop at UABC; she is currently translating into Spanish a book of poems by Margaret Gibson, and does simultaneous interpreting in the San Diego! Tijuana area Regarding the story by Martin del Campo, she adds that Sentadito (the original title of the story we have rendered as ‘Little Mister Chair-Man?') is typical of the Mexican practice of giving affectionate and accepting nicknames descriptive of physical or personality traits, (The literal meaning of Sentadito is ‘little seated one: '). CHARLES D. BROWN was raised in Havana and lived in Mexico City and Guayaquil. He studied sociology and film at New York University before moving to San Diego where he works as a staff Certified Court Interpreter in the California State Court. DAVID UNGER was born in Guatemala, grew up in Florida, and is now associated with the City University of New York and serves as U.S co-ordinator for the Guadalajara International Book Fair He is a published poet, and the translator and editor of Nicanor Parra's Antipoems: New and Selected. Taibo's uproar ious story, like his detective novels well known to U.S. readers, shows the author's strong social concerns but does so ‘with straight-forward humor and earthy dialogue: ' NICK CAISTOR, a producer in the BBC World Service and translator of novels by Argentine, Nicaraguan, and Uruguayan authors, was born in Lancashire, England. He edited The Faber Book of Contemporary Latin American Short Stories (1989) from which Puga's ‘The Trip' was taken, as well as a book of short stories, Columbus' Egg (Serpent's Tail, 1992). The challenge of translating ‘The Trip'; he says, lay in maintaining the ambiguity and suspense, so that only at the very end is it clear just what kind of trip this is-not the drugs trips so popular in much Mexican writing of La Onda in the 1960s and 70s. ALLISON B. PEERY is an architect with a master's degree in Counseling Psychology, and a long-time student of Latin American literature He lives in San Antonio, Texas. He describes ‘Puzzles' (original title ‘La Que No se Comprende') as characteristic of Arredondo, with its ‘authoritative female perspective and haunting sensuality: ' NAOMI LINDSTROM is professor of Spanish and Portuguese at the University of Texas (Austin) and Director of Publications for the Institute of Latin American Studies. Her most recent books are a study of Borges' short fiction, and Twentieth Century Spanish-American Fiction, appearing in 1994. Lara Zavala is remarkably successful, she says, in writing ‘Little Sister' from the point of view of the chronically overshadowed younger sibling. Conversely, we have Marta Cerda writing about puberty and the search for sexual initiation from a lower-class, male perspective typical of Mexican machismo. TIM RICHARDS is an associate professor of Spanish at the University of Missouri, Kansas City, where he teaches Latin American literature and history His research focuses on Mexican and Central American narrative, and he has translated short fiction from Nicaragua and Mexico. He recognizes a strain of ‘conflict, ambiguity and obsession' in Ramos' stories and points out that while ‘Doctor's Prescription?' was written a dozen years ago it deals with the currently fashionable topic of repressed memory, using a unique and ironic second-person narrative voice. IRENE MATTHEWS is a graduate of University College in London, with a doctorate in comparative literature from University of California (Davis), and has written widely on gender race, and war. She has published studies on Gabriela Mistral and Rigoberta Menchü and translated Nellie Campobello and Elena Poniatowska, among others. She presently teaches at Northern Arizona University, including a course on Mexican women writers. Poniatowska's story in this volume she finds ‘wonderfully representative of one of the author's most significant recurrent themes: the urban married woman caught up in the manic tension between banal domesticity and romantic dreams?' ADRIANA VALADËS is the daughter of Edmundo ValadEs and serves as cultural attachE with the Embassy of Mexico in Bonn. JUAN ANTONIO ASCENCIO (Leon 1937), co-editor has conducted writing workshops for the past 15 years and is a member of the editorial board of the magazine El Cuento since 1984. His biography of Juan Rulfo will appear in 1995. . David Bowen is the founder and publisher of Corona. After several years as a freelance journalist in Latin America during the early 1960s, he took a master's degree in Latin American history at City College of New York, and continues to travel widely in Mexico. He recently edited Columbus and the Crowns (1992) from the work of historian William H. Prescott. Juan Antonio Ascencio (Leon 1937), co-editor, has conducted writing workshops for the past 15 years and is a member of the editorial board of the magazine El Cuento since 1984. His biography of Juan Rulfo will appear in 1995. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Braymer, Nan and Lillian Lowenfels (translators). Modern Poetry From Spain and Latin American. New York. 1964. Corinth. Contains Work by Vallejo, Guillen, De La Selva, Cremer, De Otero, Millares, Alberti, Oliver, Casahonda, Goytisolo, De Bohigas. 63 pages. paperback. The portrait of Vallejo on the cover is by Picasso. Readers generally agree with Coleridge that what is essential in a poem is the untranslatable. It would seem that that this group of translations is an exception: Vallejo, Alberti, CrEmer, Guillen and the others have been put into the American idiom. Why this particular selection of poets and not others, say, Hernandez, Machado, Neruda, Mistral and so forth? The poems are linked by an essential unity. Across the time and space separating the twelve poets, an emotional texture is sustained that brings to mind Artaud's observation that ‘no one ever wrote, painted, sculpted, designed, built or invented except to get out of hell.' The book is especially valuable in what it does for Vallejo-the contemporary and friend of Picasso and Aragon. For many, this poet has become one of those legendary names (like Pushkin) whose work doesn't make it too readily across the language barrier. Here an important selection of his later work can be read-in context with other poets of Spain and Latin America-and the reader will be able to find for himself the ‘solitary, silent wisdom' Vallejo left us in the poems he wrote, sometimes two or three a day, as he lay dying of starvation in Paris. |
![]() | ![]() | ANTHOLOGIES. . Caistor, Nick (editor). The Faber Book of Contemporary Latin American Stories. London. 1989. Faber & Faber. 0571153593. 188 pages. hardcover. Jacket illustration by Michael Bennallack-Hart. Latin American short stories of the sixties and seventies were considered to be among the best in the world. Writers such as Borges, Rulfo, Carpentier, and Garcia Marquez produced remarkable and exhilarating work that found a receptive audience in Britain and North America. In FABER BOOK OF CONTEMPORARY LATIN AMERICAN SHORT STORIES Nick Caistor sets out to explore the wealth of fiction produced since this so-called boom. With stories from Isabel Allende, Joao Ubaldo Ribeiro and other, as yet unfamiliar names, this exciting and diverse collection demonstrates that the creative upsurge continues to flourish. The twenty stories represent work from the whole continent, including the United States. Many are published here in English for the firs time. They are exciting proof of the enduring vitality of a literature that continues to defy categorization and to enjoy a worldwide appeal. CONTENTS: Acknowledgements; Introduction; ARGENTINA - Uncle Facundo/ISIDORO BLAISTEN; Aunt Lila/DANIEL MOYANO; Up Among the Eagles/LUISA VALENZUELA; BRAZIL - Alaindelon de la Patrie/JOAO UBALDO RIBEIRO; Peace and War/MOACYR SCLIAR; CHILE - The Judge's Wife/ISABEL ALLENDE; CUBA - Goodbye Mother/REINALDO ARENAS; GUATEMALA - Woman in the Middle/ARTURO ARIAS; The Proof/RODRIGO REY ROSA; MEXICO - Martina's Wardrobe/JESUS GARDEA; The Trip/MARIA LUISA PUGA; NICARAGUA - Saint Nikolaus/SERGIO RAMIREZ; Chicken for Three/FERNANDO SILVA; PARAGUAY - Under Orders/HELIO VERA; PERU - Anorexia with Scissors/ALFREDO BRYCE ECHENIQUE; UNITED STATES - The Rites/ROLANDO HINOJOSA; URUGUAY - The Rest is Lies/EDUARDO GALEANO; Presence/JUAN CARLOS ONETTI; The Museum of Vain Endeavours/CRISTINA PEN ROSSI; VENEZUELA - The Game/LUIS BRITTO GARCIA; Notes on Authors. Nick Caistor (born 15 July 1946) is a British translator and journalist, best known for his translations of Spanish and Portuguese literature. He is a past winner of the Valle-Inclán Prize for translation. He is a regular contributor to BBC Radio 4, the BBC World Service, The Times Literary Supplement, and The Guardian. He lives in Norwich, and is married to fellow translator Amanda Hopkinson. |
![]() | ![]() | ANTHOLOGIES. . Canfield Jr., Cass (editor). Masterworks of Latin American Short Fiction. New York. 1996. Harper Collins. 0064315029. Introduction by Ilan Stavans. Includes Work by Gabriel Garcia Marquez. Ana Lydia Vega, G. Cabrera Infante, Alvaro Mutis, Alejo Carpentier, Julio Cortazar, Joao Guimaraes Rosa, & Felisberto Hernandez. 387 pages. hardcover. Jacket design by Margaret MacLean Mirabile. Jacket illustration, detail of Still Life with Parrot, 1951, by Frida Kahlo Harry Ransom Humanities Research Center, University of Texas, Austin. This unique anthology of eight Latin American novellas by major modern writers demonstrates the richness and variety of Latin American literature with selections of sufficient length for a real appreciation of each writer unlike most anthologies where the selections are short. The writers included are: Gabriel Garcia Márquez, Ana Lydia Vega, C. Cabrera Infante, Alvaro Mutis, Alejo Carpentier, Julio Cortázar, Joao Guimarães Rosa, Felisberto Hernández. An Introduction to the novella in Latin American literature by llan Stavans and biographical summaries of the authors are included. CASS CANFIELD, JR., is a Senior Editor at HarperCollins who has published numerous Latin American authors over the years. ILAN STAVANS teaches at Amherst College and is the author of The Hispanic Condition, BANDIDO, THE ONE-HANDED PIANIST AND OTHER STORIES, and other works. He is also coeditor of Growing Up Latino. He has contributed articles and reviews to the Nation, the Washington Post, the Boston Globe, the Miami Herald, Bloomsbury Review, Commonweal, and other media. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Caracciolo-Trejo, E. (editor). The Penguin Book of Latin American Verse. Middlesex. 1971. Penguin Books. 014042136x. 425 pages. paperback. The cover shows a detail from ‘America before the Conquest’, a mural by Diego Rivera. This anthology of Latin American verse includes poems from thirteen countries in which the literary language is Spanish and from one, Brazil, in which it is Portuguese. Plain prose translations by various translators. Introductory essay. This volume also includes an appendix, 'An explanatory guide to movements in Latin-American poetry'. Selections arranged alphabetically by country. Argentina: Esteban Echeverria, Jose Hernández, Leopoldo Lugones, Baldomero Fernández Moreno, Enrique Banchs, Oliverio Girondo, Ezequiel Martinez Estrada, Ricardo B. Molinari, Jorge Luis Borges, Enrique Molina, Edgar Bayley, Alberto Girri, Raül Gustavo Aguirre. Bolivia: Ricardo Jaimes Freyre. Brazil: Chile: Vicente Huidobro, Gabriela Mistral, Pablo Neruda, Nicanor Parra, Enrique Lihn. Colombia: Gregorio GutiErrez Gonzalez, Jose Asuncion Silva, Guillermo Valencia, Porfirio Barba Jacob, Leon de Greiff, Alvaro Mutis. Cuba: Jose Marti, Julián del Casal, Nicolás GuillEn, Eugenio Florit, Emilio Ballagas, Jose Lezama Lima, Roberto Fernández Retamar, Pablo Armando Fernández. Ecuador: Jose Joaquin de Olmedo, Jorge Carrera Andrade. Guatemala: Luis Cardoza y Aragon. Mexico: Salvador Diaz Miron, Manuel Jose Othon, Manuel GutiErrez Nájera, Enrique Gonzalez Martinez, Jose Juan Tablada, Ramon Lopez Velarde, Alfonso Reyes, Carlos Pellicer, Jose Gorostiza, Xavier Villaurrutia, Salvador Novo, Octavio Paz, Jaime Sabines, Marco Antonio Montes de Oca, Jose Emilio Pacheco. Nicaragua: Ruben Dario, Ernesto Cardenal. Peru: Manuel Gonzalez Prada, Jose Santos Chocano, Jose Maria Eguren, CEsar Vallejo, Martin Adán, Carlos German Belli. Puerto Rico: Luis LlorEns Torres, Luis Pales Matos. Uruguay: Julio Herrera y Reissig, Emilio Frugoni, Delmira Agustini, Carlos Sabat Ercasty, Emilio Oribe, Idea Vilarino. Venezuela: AndrEs Bello, AndrEs Eloy Blanco, Rafael Cadenas. |
![]() | ![]() | ANTHOLOGIES. [Paraguay - Poetry]. Carlisle, Charles Richard (editor). Beyond the Rivers: An Anthology of Twentieth Century Paraguayan Poetry. Berkeley. 1977. Thorp Springs Press. Translated by Bruce Culter, Willis Knapp Jones, Edward James Schuster and the editor. 72 pages. paperback. Traces the historical context of Paraguayan poetry, and a chronological summary of themes and poets. Brief biobibliographical section for each poet. Poets included: Alejandro Guanes (2), Juan E. O'Leary, Eloy Farina Nunez, Guillermo Molinas Rolon, Heriberto Fernandez, Herib Campos Cervera, Josefina Pla (4), Hugo Rodriguez- Alcala (4), Augusto Roa Bastos (3), Jose Antonio Bilbao (2), Oscar Ferreiro (3), Elvio Romero (5), Elsa Weizell (5), Jose-Luis Appleyard (5), Ramiro Dominguez (2), RubEn Bareiro Saguer (2), Francisco PErez-Maricevich, Esteban Cabanas (3), Miguel Angel Fernandez (3), J. A. Rauskin (5), RenE Davalos (2), Guido Rodriguez-Alcala (3), Adolfo Ferreiro (2), Emilio PErez-Chavez (2), Juan Manuel Marcos, Lourdes Espinola (3) bibliog. The introduction. |
![]() | ![]() | ANTHOLOGIES. . Carlson, Lori M. and Ventura, Cynthia L. (editors). Where Angels Glide at Dawn: New Stories From Latin America. New York. 1990. Lippincott. 0397324243. Introduction by Isabel Allende. Illustrations by Jose Ortega. 114 pages. hardcover. Jacket art by Jose Ortega. Like Latin America itself, these stories contain a wide range of moods and characters: the hi-jinks of millionaires, five mobsters, and a musical elephant in Mexico City: the sweet sadness of a clown who has nothing left but his smile during El Salvador's endless civil war: the eeriness of a Panamanian storeroom in which a child's cat becomes a monster: the sly cleverness of magical rabbits who cannot be ignored, even by the fiercest and most determined would-be Wolf, in a tale from Chile. Mixing together the real sights and sounds of many lands with humor, poetry, politics, and especially imagination, these modern stories translated into English invite the reader to explore both the people and the literature of Latin America. Includes Stories by Agosin, Arenas, Bencastro, Cortazar, Dorfman, Fort, Ibarguengoitia, Levi, Mujica, & Villanueva-Collado. CONTENTS: INTRODUCTION By Isabel Allende; THE BEAR'S SPEECH By Julio Cortázar; THE REBELLION OF THE MAGICAL RABBITS By Ariel Dorfman; THE DAY WE WENT TO SEE SNOW By Alfredo Villanueva-Collado; W1TH MY EYES CLOSED By Reinaldo Arenas; THE CAVE By Enrique Jaramillo Levi; PALETON AND THE MUSICAL ELEPHANT By Jorge Ibargüengoitia; A CLOWN'S STORY By Mario Bencastro; TARMA By Maria Rosa Fort; FAIRY TALE By Barbara Mujica; A HUGE BLACK UMBRELLA By Marjorie Agosin; GLOSSARY; ABOUT THE AUTHORS; ABOUT THE EDITORS; ACKNOWLEDGMENTS. Lori Marie Carlson is the author of two novels, two landmark bilingual poetry anthologies, and many other young adult and children's books. Cynthia L. Ventura is a Spanish-language translator and legal interpreter in New York City's court system. She grew up in San Juan Puerto Rico, where she began her career translating the works of prominent Latin American authors. |
![]() | ![]() | ANTHOLOGIES. . Carpentier, Hortense and Brof, Janet (editors). Doors and Mirrors: Fiction and Poetry From Spanish America (1920-1970). New York. 1972. Grossman. 0670280429. 454 pages. hardcover. Jacket drawings by Ralph Carpentier. Readers in the United States are acquainted only with the most renowned Spanish American writers of this century, literary figures like Jorge Luis Borges, Pablo Neruda, Julio Cortázar, and Octavio Paz. Few realize, however, that this quartet merely leads an orchestra of tremendous depth and strength. The twentieth-century literature of Spanish America is the greatest in its history, and among the greatest in the world-for it is only lately that Spanish-speaking Americans have sent abroad a body of works stamped with creative autonomy instead of works derived solely from European models. This powerful, prophetic, and authentic literature has now been skillfully gathered into an anthology unique in its scope and its quality. Twenty-one writers of prose fiction are represented, including Borges and Cortazar, as well as Alejo Carpentier, Juan Rulfo, Jose Lezama Lima, and Roberto Arlt. In addition to Paz and Neruda, the twenty-three poets, whose work is presented bilingually, include Nicolas Guillen, Cesar Vallejo, Nicanor Parra, and Vincente Huidobro. Almost none of the writings in Doors and Mirrors has appeared in English before, and no anthology has gathered such a distinguished and varied roster of translators, among whom are W. S. Merwin, Norman Thomas di Giovanni, Jerome Rothenberg, Robert Bly, Clayton Eshleman, Alastair Reid, Nathaniel Tarn, and the late Paul Blackburn. CONTENTS: PREFACE BY THE EDITORS; INTRODUCTION: TO READERS, FRIENDS AND STRANGERS BY ANGEL RAMA; EPILOGUE: LITERATURE IS FIRE BY MARIO VARGAS LLOSA; FICTION - Felisberto Hernández-The Crocodile; Roberto Arlt-Esther Primavera; Miguel Angel Asturias-The Mirror of Lida Sal; Jorge Luis Borges-Delia Elena San Marco; The Dead Man; Augusto Roa Bastos-The Living Tomb; Alejo Carpentier-The Fugitives; Jose Maria Arguedas-The Ayla; Juan Carlos Onetti-A Dream Come True; Juan Rulfo-The Day of the Landslide; Rene Marques-There's a Body Reclining on the Stern; Gabriel Garcia Márquez-Balthazar's Marvelous Afternoon; Adriano Gonzalez Leon-The Rainbow; Ricardo Ocampo-The Indian Paulino; Daniel Moyano-Vaudeville Artists; Salvador Elizondo-Bridge of Stone; Enrique Lihn-Rice Water; Jose Lezama Lima-FROM Paradiso (a novel); Julio Cortázar-Silvia; Jaime Espinal-Migraines and Phantoms; Norberto Fuentes-Captain Descalzo; For the Night; Order #13; Antonio Skármeta-The Cartwheel; POETRY - Vicente Huidobro-De Altazor de Canto I/FROM Altazor, fragment of Canto I; Tenemos un Cataclismo Adentro/There is a Cataclysm Inside Us; La Poesia es un Atentado Celeste/ Poetry is a Heavenly Crime; Monumento al Mar/Monument to the Sea; Cesar Vallejo-Agape/Agape; Voy a Hablar de la Esperanza/I Am Going to Speak of Hope; Traspie entre Dos Estrellas/Stumble between Two Stars; Palmas y Guitarra/Palms and Guitar; Los Desgraciados/The Wretched of the Earth; Luis Pales Matos-De Los Animales Interiores/from The Animals Within; Falsa Cancion de BaquinE/Spurious Song for a Baquine; Jorge Luis Borges-Despedida/Parting; Pagina Para Recordar al Coronel Sudrez/Page to Commemorate Colonel Sudrez; A un Poeta Sajon/ To a Saxon Poet; Pablo Neruda-Oda Con un Lamento/Ode With a Lament; Solo La Muerte/Nothing but Death; De Las Furias y Las Penas/from Furies and Sufferings; DE Alturas de Macchu Picchu, VI/from Summits of Macchu Picchu, VI; Nicolás Guillen-El Apellido/The Name; Jose Coronel Urtecho-Autoretrato/Self-Portrait; Barberia/Barbershop; Final de Oda a Ruben Dario/Finale FROM Ode to Ruben Dario; Luna de Palo/Wooden Moon; San Carlos/San Carlos; Carlos Oquendo de Amat-Poema del Manicomio/Madhouse Poem; Film de los Paisajes/Movie of the Countryside; Poema/Poem; Octavio Paz-Lectura de John Cage/On reading John Cage; Blanco/ Blanco; Cintio Vitier-La Palabra/The Word; La Noticia/The Notice; Nicanor Parra-Yo Jehova Decreto/I Jehovah Decree; La Trampa/The Trap; Antes Me Parecia Todo Bien/Everything Used to Look Good to Me; Esto Tiene Que Ser un Cementerio/This Has To Be a Cemetery; Alvaro Mutis-Cada Poema/Every Poem; La Muerte de Matias Aldecoa/The Death of Matias Aldecoa; Ernesto Cardenal-Uno se despierta con canonazos/ Waking up to cannon shots; Epitafio para la Tumba de Adolfo Báez Bone/Epitaph for the Tomb of Adolfo Báez Bone; 2 AM./2 AM.; Detras del monasterio/Behind the monastery; Ha venido la primavera/Spring has come; Me contaron/Someone told me; Los insectos acuaticos/Long legged aquatic insects; Sebastian Salazar Bondy-Testamento Olografo/Olographic Testament; Pregunto por la Tierra Perdida/Question for the Lost Land; Roberto Juarroz-Una mosca anda cabeza abajo/A fly is walking head downward; En alguna parte hay un hombre/Somewhere there's a man; Llueve sobre el pensamiento/It's raining onto thought; Jaime Sabines-De La Senal/from The Signal; De Diario Semanario/from Weekly Journal; Tengo ojos para ver/I have eyes to see; Desde los cuerpos/From the bodies; Enrique Lihn-Cementerio de Punta Arenas/Graveyard at Punta Arenas; Gallo/Rooster; Roberto Fernández Retamar-Sonata para Pasar Esos Dias y Piano/Sonata for Surviving Those Days & Piano; Los Feos/The Uglies; Usted Tenia Razon, Tallet: Somos Hombres de Transicion/ You Were Right, Tallet: We Are Transitional People; Ranion Paloinares-El Noche/Night; Eduardo Escobar-Para contar/Just to say; Como las gotas de agua resbalan/Like waterdrops that skid; Juan Gelman-El Juego en que Andamos/The Game We Play; Costumbres/Customs; La Victoria/Victory; Hechos/Deeds; Roque Dalton-De nuevo la carcel/Jail again; Algunas Nostalgias/Some Nostalgias; El Gran Des pecho/At the Bottom Javier Heraud- Arte Poetical/The Art of Poetry; Palabra de Guerrillero/ Word of the Guerrilla Fighter; BIOGRAPHICAL NOTES; INDEX OF TRANSLATORS. |
![]() | ![]() | ANTHOLOGIES. [Cuba]. Carranza, Sylvia and Cazabon, Maria Juana (editors). Cuban Short Stories 1959-1966. Havana. 1967. Book Institute. 229 pages. hardcover. This book of short stories is a sampling of the most dissimilar examples of different literary trends that have emerged in Cuba since 1959. It is not, strictly speaking, an anthology. It might better be called a collection where the diverse schools of current Cuban literature converge - schools wherein all forms and styles are cultivated without prejudice or premise. The reader, however, will be aware of a coherence within this diversity: the will to reflect the human and universal characteristics of this universal, human age represented by the Revolution. CONTENTS: FELIX PITA RODRIGUEZ/The seed (Illustrated by Jorge Rigol); VIRGILIO PINERA/The philanthropist (Illustrated by E. Muñoz Bachs); SAMUEL FEIJOO/Soldier Eloy (Illustrated by Posada); VICTOR AGOSTINI/Rebirth (Illustrated by Lesbia Vent Dumois); ONELIO JORGE CARDOSO/The peacock (Illustrated by Posada); RAUL APARICIO/There were four of us (Illustrated by Chago); OSCAR HURTADO/Letter from a judge (Illustrated by Carmelo Gonzalez); DORA ALONSO/The rat (Illustration by Rafael Morante); HUMBERTO ARENAL/Mister Charles (Illustrated by Felix Beltran); JOSE LORENZO FUENTES/Señor Garcia (Illustrated by Raimundo Garcia); JESUS DIAZ/Who the hell can stand this? (Illustrated by Tony Evora); ANGEL ARANGO/The day New York reached Heaven (Illustrated by R. Martinez Sopeña); MIGUEL COLLAZO/The man who worshipped the Saturnians (Illustrated by Paco Sierra); EZEQUIEL VIETA/My friend Victor (Illustrated by Felix Beltran); ANTON ARRUFAT/The discovery (Illustrated by Raul Martinez); RAUL GONZALEZ DE CASCORRO/The return of the pimp (Illustrated by Manolo Vidal); LUIS AGUERO/One Friday the thirteenth (Illustrated by Antonia Eiriz); MARIA ELENA LLANA/The two of us (Illustrated by Paco Sierra); ROGELIO LLOPIS/Lycanthropy (Illustrated by E. Muñoz Bachs); EVORA TAMAYO/Sylvia (Illustrated by Abelalonso); ARNALDO CORREA/Gunners (Illustrated by Roberto Quintana); ANA MARIA SIMO/Aunt Albertina's last party (Illustrated by Umberto Pena); REINALDO GONZALEZ/Honey for New Year's (Illustrated by Aldo Amador); DAVID CAMPS/The mouse (Illustrated by Hector Villaverde); GLOSSARY. . . |
![]() | ![]() | ANTHOLOGIES. [Brazil]. Carter, Henry Hare. Contos e anedotas brasileiros: A Graded Portuguese Reader. Boston. 1942. D. C. Heath and Company. 241 pages. hardcover. The material herein presented has been selected as a first reading text in Portuguese, and presupposes on the part of the student some acquaintance with the grammatical structure of the language. The pronunciation of Portuguese, " sans doute la plus delicate et la plus compliquEe de n'importe quelle langue romane (Goncalves Viana), must, of course, be learned from the lips of the teacher. Henry Hare Carter (28 June 1905 - 2001) was an American linguistics professor, commander in the US Naval Reserve, translator, and a Spanish or Portuguese writer of textbooks and research. Henry Hare Carter was born on June 28, 1905, in Staten Island, New York, to John Hanford and Elizabeth Carter (nEe Ensminger). He married Gloria Maria Castello Branco de Gouveia (deceased May 16, 2015) in Recife, Brazil in 1946. Professor Carter received his B.S., A.M. & Ph.D. degrees from the University of Pennsylvania in years 1928, 1931 and 1937. Dr. Carter was a professor of romance languages for almost 40 years at several colleges and universities, including the University of Pennsylvania; Northwestern University, Evanston; the Naval Academy; DePaul University; Colorado College; and for the last 24 years of teaching (from 1956) at the University of Notre Dame in South Bend, Indiana, where he retired as Professor Emeritus of Romance Languages and Literatures. Among his teaching specialities were Spanish literature; the history of the Spanish language; and Spanish poetry, drama, and prose. He spoke seven languages. During his student days, he would often travel and study abroad during the summers in Europe with foreign studies, including Madrid in 1931, the Sorbonne (Paris) in 1933, Corsi Roma (Rome) 1937, and Coimbra, Portugal in 1939. For most of his professional life he was interested in the translation of 12th- and 13th-century manuscripts, written by monks, about the stories of Joseph of Arimathea and the Holy Grail, and the legend of El Cid. He also was a scout on his travels in South America and Spain for new Spanish words to be included in the Williams' Spanish-English Dictionary. His endorsement of the book was included on the front cover of the paperback edition. Henry Carter was elected to numerous academies, both in the United States and abroad, including: the Brazilian Academy of Philology (1971), the Academy of Sciences, Lisbon (1975), and AcadEmico de MErito, in the Portuguese Academy of History (1989). During World War II, he was assigned to the Office of Naval Intelligence; serving in Washington, D.C., Puerto Rico, and Brazil, where he was the liaison officer between the American and Brazilian navies. He retired from the US Naval Reserve with the rank of commander. During his Navy years, he wrote Paleographical Edition and Study of the Language of a Portion of Codex Alcobacensis 200 and Cancioneiro da Ajuda: A Diplomatic Edition (1941). In retirement, Professor Carter resided with the Congregation of Holy Cross at Moreau Seminary, where he regularly shared stories of the obscure origins of words and delighted generations of seminarians. He died in 2001. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Cohen, J. M. (editor and translator). The Penguin book of Spanish verse. Harmondsworth & Baltimore. 1956. Penguin. 441 pages. paperback. A bilingual edition with plain prose translations. Superseded by No. 44 as far as Latin American poetry is concerned. The majority of poets represented are Spanish. Spanish American poets included are: Jorge Carrera Andrade (Ecuador), Ali Chumacero (Mexico), Ruben Dario (Nicaragua), Salvador Diaz MirOn (Mexico), Enrique González Martinez (Mexico), Nicolás GuillEn (Cuba), Julio Herrera y Reissig (Uruguay), Sor Juana InEs de la Cruz (Mexico), Ramon Lopez Velarde (Mexico), Ricardo E. Molinari (Argentina), Pablo Neruda (Chile), Salvador Novo (Mexico), Silvina Ocampo (Argentina), Manuel Jose Othon (Mexico), Octavio Paz (Mexico),Alberto Quintero Alvarez (Mexico), Alfonso Reyes (Mexico), CEsar Vallejo (Peru), Xavier Villaurrutia (Mexico). J. M. (John Michael) Cohen (5 February 1903 - 19 July 1989) was a prolific translator of European literature into English. Born in London, he was educated at St. Paul's School and Queen's College of Cambridge University.After working in his father's manufacturing business from 1925 until 1940, he was moved by a wartime shortage of teachers to become a schoolmaster. In addition to teaching young people, he spent the war years teaching himself Spanish and Russian, and he launched his translation career with the first English translation of poems by Boris Pasternak, then unknown outside the Soviet Union. His translation of Pasternak garnered praise from American poet John Ashbery, in his book Other Traditions. In 1946, on the strength of a commission from Penguin Books for a major translation of Don Quixote, Cohen quit his teaching job to dedicate himself full-time to writing and translation. His workmanlike and accurate translation of Don Quixote, published in 1950, has been highly praised, and remained in print until 2000. However, some critics have compared it unfavorably to the translation by Samuel Putnam on the basis of Cohen being "too faithful to the original." In addition to his translations of major works of Spanish and French literature for Penguin, Cohen also edited several important anthologies of Spanish and Latin American literature, as well as many of the Penguin Classics (alongside E. V. Rieu). He played an instrumental role in the Latin Boom of the 1960s by translating works by Jorge Luis Borges, Octavio Paz, and Carlos Fuentes, and by bringing the works of Gabriel García Márquez to the attention of his future English publisher. He also wrote a number of works of literary criticism and biography. In its obituary, The Times described him as "the translator of foreign prose classics for our times." The Guardian declared that he "did perhaps more than anyone else in his generation to introduce British readers to the classics of world literature by making them available in good modern English translations." |
![]() | ![]() | ANTHOLOGIES. . Cohen, J. M. (editor). Latin American Writing Today. Baltimore. 1967. Penguin Books. 267 pages. paperback. This new Penguin series is designed to break this sound- barrier of inertia, language, culture, and tradition. The unity of Latin America is one only of name. Latin American Writing Today, with its translations of recent prose and poetry in Spanish and Portuguese, is evidence of the social and literary differences between the countries it covers. CONTENTS: Introduction; Gabriela Mistral/The Liana; Jorge Luis Borges/The Handwriting of God; CEsar Vallejo/Four Poems from Trilce; Ricardo E. Molinari/Ode; Pablo Neruda/Some Animals; Ode to the Magnolia; Juan Carlos Onetti/Dreaded Hell; Carlos Pellicer/Sketches for a Tropical Ode; Alejo Carpentier/Journey to the Seed; Carlos Drummond de Andrade/Travelling in the Family; Don't Kill Yourself; Julio Cortázar/Bestiary; Octavio Paz/Hymn Among Ruins; Ustica; Wind from All Compass Points; Joäo Guimaräes Rosa/The Third Bank of the River; Rosario Castellanos/Foreign Woman; Alf Chumacero/Epitaph for a Virgin; Carlos Fuentes/Aura; Nicanor Parra/Portrait of the Author; Piano Solo; The Pilgrim; Alberto Girri/Epistle to Hieronymus Bosch; Mario Benedetti/The Iriartes; Vinicius de Moraes/Christmas Poem; Sonnet on Separation; Jose Donoso/Ana Maria; Joao Cabral de Melo Neto/From ‘The Death and Life of a Severino'; Juan Rulfo/They Gave Us the Land; Jaime Sabines/Like Crabs; I Have Seen Them in the Pictures; Gabriel Garcia Marquez/The Day after Saturday; G. Cabrera Infante/At the Great ‘Ecbo'; Marco Antonio Montes de Oca/The Fool's Farewell; The Lip Cracks; C. Vasconcelos Maia/Sun; Pablo Armando Fernández/ Origin of Eggo; Abel Reflects; Denunciation; Breno Accioly/Joäo Urso; Enrique Lihn/The Tree-Clump in the Garden; The Invasion; The Friends of the House; Jonah; Onelio Jorge Cardoso/It's a Long Time Ago; Jose Emilio Pacheco/The Elements of Night; Biographical Notes on Authors. J. M. (John Michael) Cohen (5 February 1903 - 19 July 1989) was a prolific translator of European literature into English. Born in London, he was educated at St. Paul's School and Queen's College of Cambridge University.After working in his father's manufacturing business from 1925 until 1940, he was moved by a wartime shortage of teachers to become a schoolmaster. In addition to teaching young people, he spent the war years teaching himself Spanish and Russian, and he launched his translation career with the first English translation of poems by Boris Pasternak, then unknown outside the Soviet Union. His translation of Pasternak garnered praise from American poet John Ashbery, in his book Other Traditions. In 1946, on the strength of a commission from Penguin Books for a major translation of Don Quixote, Cohen quit his teaching job to dedicate himself full-time to writing and translation. His workmanlike and accurate translation of Don Quixote, published in 1950, has been highly praised, and remained in print until 2000. However, some critics have compared it unfavorably to the translation by Samuel Putnam on the basis of Cohen being "too faithful to the original." In addition to his translations of major works of Spanish and French literature for Penguin, Cohen also edited several important anthologies of Spanish and Latin American literature, as well as many of the Penguin Classics (alongside E. V. Rieu). He played an instrumental role in the Latin Boom of the 1960s by translating works by Jorge Luis Borges, Octavio Paz, and Carlos Fuentes, and by bringing the works of Gabriel García Márquez to the attention of his future English publisher. He also wrote a number of works of literary criticism and biography. In its obituary, The Times described him as "the translator of foreign prose classics for our times." The Guardian declared that he "did perhaps more than anyone else in his generation to introduce British readers to the classics of world literature by making them available in good modern English translations." |
![]() | ![]() | ANTHOLOGIES. [Cuba]. Cohen, J. M. (editor). Writers in the New Cuba. London. 1967. Penguin Books. 191 pages. hardcover. Cover design by John Sewell. This lively selection of contemporary Cuban writing shows many influences - Kafka, Eliot and Apollinaire among them - but, above all, it introduces us to a new generation of writers who - irrespective of political coloration - are, in their new-found sense of nationhood, as exciting as any in the world. CONTENTS: Introduction; CALVERT CASEY The Execution; ROBERTO FERNANDEZ RETAMAR Two Poems; ONELIO JORGE CARDOSO The Cat's Second Death; HERBERTO PADILLA The Childhood of William Blake; CALVERT CASEY The Lucky Chance; FAYAD JAMIS Two Poems; VIRGILIO PINERA The DragEe; PABLO ARMANDO FERNANDEZ Three Poems from ‘The Book of Heroes'; HUMBERTO ARENAL Mister Charles; LUIS MARRE Your Name; ANTÔN ARRUFAT The Discovery; ABELARDO ESTORINO Cain's Mangoes, A Play in One Act; ANA MARI A SIMO A Deathly Sameness; JOSH ALVAREZ BARAGANO Illumination; ROGELIO LLOPIS A Horrible Man; GUILLERMO CABRERA INFANTE A Sparrows' Nest In The Awning; ROLANDO RIGALI Likeness; JESUS DIAZ RODRIGUEZ The Cripple; DOMINGO ALFONSO ArtepoEtica; LUIS AGUERO Santa Rita's Holy Water; REYNALDO GONZALEZ Fourina Jeep; ANA MARIA SIMO Growth of the Plant; FIDEL CASTRO Extracts from ‘Words to the Intellectuals', June 1961; Index of Authors. J. M. (John Michael) Cohen (5 February 1903 - 19 July 1989) was a prolific translator of European literature into English. Born in London, he was educated at St. Paul's School and Queen's College of Cambridge University.After working in his father's manufacturing business from 1925 until 1940, he was moved by a wartime shortage of teachers to become a schoolmaster. In addition to teaching young people, he spent the war years teaching himself Spanish and Russian, and he launched his translation career with the first English translation of poems by Boris Pasternak, then unknown outside the Soviet Union. His translation of Pasternak garnered praise from American poet John Ashbery, in his book Other Traditions. In 1946, on the strength of a commission from Penguin Books for a major translation of Don Quixote, Cohen quit his teaching job to dedicate himself full-time to writing and translation. His workmanlike and accurate translation of Don Quixote, published in 1950, has been highly praised, and remained in print until 2000. However, some critics have compared it unfavorably to the translation by Samuel Putnam on the basis of Cohen being "too faithful to the original." In addition to his translations of major works of Spanish and French literature for Penguin, Cohen also edited several important anthologies of Spanish and Latin American literature, as well as many of the Penguin Classics (alongside E. V. Rieu). He played an instrumental role in the Latin Boom of the 1960s by translating works by Jorge Luis Borges, Octavio Paz, and Carlos Fuentes, and by bringing the works of Gabriel García Márquez to the attention of his future English publisher. He also wrote a number of works of literary criticism and biography. In its obituary, The Times described him as "the translator of foreign prose classics for our times." The Guardian declared that he "did perhaps more than anyone else in his generation to introduce British readers to the classics of world literature by making them available in good modern English translations." |
![]() | ![]() | ANTHOLOGIES. . Colchie, Thomas (editor). A Hammock Beneath the Mangoes: Stories From Latin America. New York. 1991. Dutton. 0525933670. 434 pages. hardcover. Jacket illustration by Cathleen Toekle. This splendid collection of stories by 26 Latin American authors features the new voices and celebrate masters of one of the world's foremost literatures. Explore the gothic sexual ambiguitites of Carlos Fuentes' 'The Doll Queen,' the psychological compression of Clarice Lispector's 'Love,' or the baroque pyrotechnics of Machado de Assis and Adolfo Bioy Casares. Discover the paradically 'hard-boiled' detectice fiction of Ana Lydia Vega and some decidedly 'soft-boiled' criminals in Rubem Fonseca's 'Lonelyhearts.' From erotic comedies by Isabel Allende and Jorge Amado to the playful labyrinths of Guillermo Cabrera Infante's London streets or Armonia Somers' roomful of elocks. A Hammock Beneath the Mangoes reveals the virtuosity of Latin American literature at its finest, and provides an illuminaing journey into dreamlike and unexpected worlds. Thomas Colchie is an acclaimed translator, editor, and literary agent for international authors. He is the editor of A Hammock Beneath the Mangoes. He has written for the Village Voice and The Washington Post. His translations include Manuel Puig's Kiss of the Spider Woman and (with Elizabeth Bishop, Gregory Rabassa, and Mark Strand) Carlos Drummond de Andrade's Travelling in the Family. |
![]() | ![]() | ANTHOLOGIES. . Colchie, Thomas (editor). A Hammock Beneath the Mangoes: Stories From Latin America. New York. 1992. Plume/New American Library. 0452268664. 433 pages. paperback. Cover illustration by Cathleen Toelke. This splendid collection of stories by 26 Latin American authors features the new voices and celebrated masters of one of the world's foremost literatures. Included are Jorge Luis Borges, Gabriel Garcia Marquez, Rosario Ferre, Juan Carlos Onetti, Manuel Puig, Joao Ubaldo Ribeiro, and others. From the erotic comedies by Isabel Allende and Jorge Amado to the playful labyrinths of Guillermo Cabrera Infante's London streets or Armonia Somers' roomful of clocks. A HAMMOCK BENEATH THE MANGOES offers abundant reading pleasure for those simply curious about, or already captivated by the magic of Latin America's fiction. Organized geographically, this innovative anthology includes a number of stories never before published in English, and captures the extraordinary variety of themes and styles embodying that peculiarly Latin American vision of the world. Also included are short biographies of the authors that place their works in context. Explores the gothic sexual ambiguities of Carlos Fuentes' ‘The Doll Queen', the psychological compression of Clarice Lispector's ‘Love', or the baroque pyrotechnics of Machado de Assis and Adofo Bioy Casares. Discover the parodically ‘hard-boiled' detective fiction of Ana Lydia Vega and some decidedly ‘soft-boiled' criminals in Rubem Fonseca's ‘Lonelyhearts'. From Horacio Quiroga's ‘The Dead Man', who is disturbingly alive, to the quintessential feat of magical realism found in Alejo Carpentier's ‘Journey Back to the Source'. A HAMMOCK BENEATH THE MANGOES reveals the virtuosity of Latin American literature at it finest, and provides an illuminating journey into dreamlike and unexpected worlds. CONTENTS/ Introduction; 1. THE RIVER PLATE - Horacio Quiroga/ THE DEAD MAN; Julio Cortázar/ Axolotl; Armonia Somers/ WAITING FOR POLIDORO; Jorge Luis Borges/ THE CIRCULAR RUINS; Juan Carlos Onetti/ THE DOG WILL HAVE ITS DAY; Adolfo Bioy Casares/ THE IDOL; Manuel Puig/ RELATIVE HUMIDITY 95%; 2. CHILE - Isabel Allende/TOAD'S MOUTH; 3. BRAZIL - Jorge Amado/ THE MIRACLE OF THE BIRDS; Murilo Rubião/ THE EX-MAGICIAN FROM THE MINHOTA TAVERN; Clarice Lispector/ LOVE; Joaquim Maria Machado de Assis/ THE PSYCHIATRIST; Moacyr Scliar/ THE PLAGUES; Joao Guimarães Rosa/ THE THIRD BANK OF THE RIVER; Joao Ubaldo Ribeiro/ IT WAS A DIFFERENT DAY WHEN THEY KILLED THE PIG; Lygia Fagundes Telles/ THE CORSET; Rubem Fonseca/ LONELYHEARTS; Paulo Emilio Salles Gomes/ TWICE WITH HELENA; 4. MEXICO - Carlos Fuentes/ THE DOLL QUEEN; Juan Rulfo/ LUVINA; 5. THE CARIBBEAN - Rosario FerrE/ THE GIFT; Reinaldo Arenas/ BESTIAL AMONG THE FLOWERS; Ana Lydia Vega/ STORY-BOUND; Gabriel Garcia Marquez/ THE LAST VOYAGE OF THE GHOST SHIP; Guillermo Cabrera Infante/ THE PHANTOM OF THE ESSOLDO; Alejo Carpentier/ JOURNEY BACK TO THE SOURCE. . Thomas Colchie is a noted translator and literary agent for writers from Latin America, Portugal, Spain, and Portuguese Africa. His translations include Manuel Puig's KISS OF THE SPIDER WOMAN, Marcio Souza's EMPEROR OF THE AMAZON, and Murilo Rubiao's THE EX-MAGICIAN AND OTHER STORIES. He has co-edited THE BORZOI ANTHOLOGY OF LATIN AMERICA LITERATURE (with Emir Rodriguez Monegal) and TRAVELLING IN THE FAMILY/ SELECTED POEMS BY CARLOS DRUMMOND DE ANDRADE (with Mark Strand). He has also been awarded a Guggenheim Fellowship to translate THE DEVIL IN THE BACKLANDS by Joao Guimaraes Rosa. Thomas Colchie is an acclaimed translator, editor, and literary agent for international authors. He is the editor of A Hammock Beneath the Mangoes. He has written for the Village Voice and The Washington Post. His translations include Manuel Puig's Kiss of the Spider Woman and (with Elizabeth Bishop, Gregory Rabassa, and Mark Strand) Carlos Drummond de Andrade's Travelling in the Family. |
![]() | ![]() | ANTHOLOGIES. . Colchie, Thomas (editor). A Whistler in the Nightworld: Short Fiction From the Latin Americas. New York. 2002. Plume/New American Library. 0452283582. 412 pages. paperback. Cover design by Lucia Kim. The variety of styles, settings, and intrigues in this anthology are wildly unpredictable, from Santos -Febres's edgy depiction of the literally murderous pace of media living (‘Flight'), to the Chekhovian delicacy in Laura Restrepo's rendering of an elderly couple's adulterous reunion (‘The Scent of Invisible Roses'), to the hallucinatory precision of Ignacio Padilla's tale of British Colonial nostalgia and ruin (‘The Antipodes and the Century'). So much has changed in the geography of Latin American literature since the ‘boom' of the sixties and the decade that followed. If the ‘boom' writers were less than comfortable with the very notion of a homogeneous cultural landscape called Latin America, the new Latin American authors have exploded it entirely. CONTENTS - Acknowledgments; Introduction; Mayra Santos-Febres - FLIGHT; Pedro Juan GutiErrez - NOTHING TO DO; Laura Restrepo - THE SCENT OF INVISIBLE ROSES; Carlos Franz - CIRCLE; Anna Kazumi Stahl - NATURAL DISASTERS; Federico Andahazi - THE SLEEP OF THE JUST; Ernesto Mestre -Reed - AFTER ELIAN; Angeles Mastretta - AUNT CONCHA ESPARZA; Edgardo Vega YunquE - EIGHT MORENOS; Ignacio Padilla - THE ANTIPODES AND THE CENTURY; Carmen Posadas - THE NUBIAN LOVER; Edgard Telles Ribeiro - THE TURN IN THE RIVER; Laura Esquivel - BLESSED REALITY; Jaime Manrique - THE DOCUMENTARY ARTIST; Julia Alvarez - THE BLOOD OF THE CONQUISTADORS; Mayra Montero - THAT MAN, POLLACK; Javier ValdEs - PEOPLE LIKE US; Edmundo Paz-Soldán - DOCHENY; Rafael Franco Steeves - THE COUPLE AND THE STRANGER; Junot Diaz - EDISON, NEW JERSEY; Jorge Volpi - ARS POETICA. . THOMAS COLCHIE is an acclaimed translator, editor, and literary agent for international authors. He is the editor of A HAMMOCK BENEATH THE MANGOES (available from Plume) and has written for The Village Voice and The Washington Post. His translations include Manuel Puig's KISS OF THE SPIDER WOMAN and (with Elizabeth Bishop, Gregory Rabassa, and Mark Strand) Carlos Drummond de Andrade's TRAVELLING IN THE FAMILY. . . Thomas Colchie is an acclaimed translator, editor, and literary agent for international authors. He is the editor of A Hammock Beneath the Mangoes. He has written for the Village Voice and The Washington Post. His translations include Manuel Puig's Kiss of the Spider Woman and (with Elizabeth Bishop, Gregory Rabassa, and Mark Strand) Carlos Drummond de Andrade's Travelling in the Family. |
![]() | ![]() | ANTHOLOGIES. [Drama]. Colecchia, Francesca and Matas, Julio (editors, translators, and introduction). Selected Latin American one-act plays. Pittsburgh. 1973. University of Pittsburgh Press. 0822932644. 204 pages. Works by 10 Spanish American dramatists from 7 countries. They include: Xavier Villaurrutia (Mexico), Incredible though it seems (Parece men tira, 1934); Osvaldo Dragun (Argentina), The man who turned into a dog (from Historias para ser contadas, 1956); Elena Garro (Mexico), A solid home (Un hogar solido, 1957); Carlos Solorzano (Guatemala), Crossroads (Cruce de vias, 1958); Gustavo Andrade Rivera (Colombia), Remington 22 (Remington 22, 1961); Matias Montes Huidobro (Cuba), The guillotine (La madre y la guillotina, 1961); Luisa Josefina Hernández (Mexico), Dialogues (3 of 19 from La calle de la gran ocasion, 1961); Ramon Chalbaud (Venezuela), The forceps (Las pinzas, 1962), Julio Matas (Cuba), Ladies at play (Juego de damas); Jorge Diaz (Chile), Love yourselves above all others (Amaos los unos sobre los otros [originally La pancarta], 1971). Francesca Colecchia, former chair of the Department of Modern Languages and Literatures at Duquesne University, has written or edited several books including a two-volume annotated bibliography on Lorca. A former Fulbright grantee to Colombia, she has published articles of literary criticism in journals in this country as well as abroad. She has also served in various capacities on the editorial board of a number of journals and completed a term as a member of the MLA Delegate Assembly. Julio Matas, born 1931 in Havana, Cuba, is a writer and theater artist. He was an actor by vocation and a writer by inspiration. He is a playwright, novelist, actor, theater director and professor emeritus at the University of Pittsburgh. He received the ICRA Award from the Cuban Heritage Collection at the University of Miami. He founded the group "Arena" (1954), where he introduced E. Ionesco's works in Cuba: The Bald Soprano and The Lesson. He also directed works by T. Williams, V. Piñera and A. Arrufat and acted in some of them. |
![]() | ![]() | ANTHOLOGIES. . Colford, William E. (translator and editor). Classic Tales From Spanish America. Woodbury. 1962. Barron's Educational Series. Includes Stories by Rojas, Dario, Palma, Barrios, Quiroga, Nervo, Pietri, Lugones, & Others. 210 pages. paperback. All the authors in this anthology are twentieth-century writers, though many - of course - were born in the nineteenth. The subject-matter of the stories covers a wide range: soldiers in colonial Peru and in nineteenth-century Mexico, present-day miners and railroad workers in the snow-covered Andes, missionaries in the steaming jungles of Venezuela, stevedores in coastal Chile, sugar workers and revolutionaries in Cuba, horsemen of the Argentine pampa, Indians in lofty Bolivia, city dwellers in several contemporary cities. They are here translated, and collected for the first time in a volume expressly prepared for students of Comparative Literature. CONTENTS: MANUEL ROJAS - The Cub; The Glass of Milk; EDUARDO BARRIOS - Like Sisters; BALDOMERO LILLO - The Abyss; RICARDO JAIMES FREYRE - Indian Justice; RICARDO PALMA - The Magistrate's Ears; Margarita's Nightgown; HECTOR VELARDE - Father's Day; LEOPOLDO LUGONES - Yzur; ALBERTO GERCHUNOFF - The Owl; JAVIER DE VIANA - The Horse-Breaker; HORACIO QUIROGA - The Contract Workers; ARTURO USLAR PIETRI - The Voice; RUBEN DARIO - The Death of the Empress of China; AMADO NERVO - One Hope; GREGORIO LOPEZ Y FUENTES - A Letter to God; RAFAEL BERNAL - Natural Causes; GONZALO MAZAS GARBAYO - The Valley; ENRIQUE SERPA - Against Regulations; CAYETANO COLL Y TOSTE - The Pirate's Treasure; ABELARDO DIAZ ALFARO - ‘Santo Clo' Comes to La Cuchilla. Dr. William E. Colford was a professor of Romance languages at City College of New York and former assistant dean of its College of Liberal Arts and Science. He was on the faculty of City College for 42 years and. had served as head of his department. A 1929 graduate of City College, where he was a member of Phi Beta Kappa, he received a Ph.D.. degree from Columbia in 1942. Dr. Colford taught Spanish and Portuguese at City College, and was Fulbright and foreign?study adviser for many years. He directed the summer sessions of the college from 1952 to 1957. |
![]() | ![]() | ANTHOLOGIES. . Correas De Zapata, Celia (editor). Short Stories By Latin American Women: The Magic and the Real. Houston. 1990. Arte Publico Press. 1558850023. 224 pages. paperback. Cover art by Nivia Gonzalez. A collection of stories by thirty of the most important women writers of Latin America and cast into English by such renowned translators as Gregory Rabassa and Margaret Sayers Peden. CONTENTS: Foreword by Isabel Allende; Introduction; Isabel Allende (Chile) An Act of Vengeance; Dora Alonso (Cuba) Sophie and the Angel; Helena Araujo (Colombia) Asthmatic; Maria Luisa Bombal (Chile) The Tree; Rosario Castellanos (Mexico) Culinary Lesson; Amparo Dávila (Mexico) The End of a Struggle; Guadalupe Dueñas (Mexico) In Heaven & Shoes for the Rest of my Life; Maria Virginia Estenssoro (Bolivia) The Child That Never Was; Rosario FerrE (Puerto Rico) The Poisoned Tale; Elena Garro (Mexico) Blame the Tlaxcaltecs; Nora Glickmann (Argentina) The Last Emigrant; Lucia Guerra (Chile) The Virgin Passion; Liliana Heker (Argentina) Berkley or Mariana of the Universe; Vlady Kociancich (Argentina) Knight, Death and the Devil; Luisa Mercedes Levinson (Argentina) The Cove; Clarice Lispector (Brazil) Looking For Some Dignity; Maria Elena Llano (Cuba) In the Family; Carmen Naranjo (Costa Rica) Symbiotic Encounter; Olga Orozco (Argentina) The Midgets; Antonia Palacios (Venezuela) A Gentleman on the Train; Cristina Pen Rossi (Uruguay) Breaking the Speed Record; NElida Piñon (Brazil) Big-bellied Cow; Josefina Pla (Paraguay) To Seize the Earth; Elena Poniatowska (Mexico) Park Cinema; Teresa Porzencanski (Uruguay) The Story of a Cat; Maria Teresa Solari (Peru) Death and Transfiguration of a Teacher; Marta Traba (Argentina/Colombia) The Tale of the Velvet Pillows; Luisa Valenzuela (Argentina) Up Among the Eagles; Rima de Vallbona (Costa Rica) Penelope's Silver Wedding Anniversary; Ana Lydia Vega (Puerto Rico) Cloud Cover Caribbean; Alicia Yáñez Cossio (Ecuador) The IWM 1000; Biographies; Translators. Celia Correas de Zapata (born 9 October 1935 in Mendoza, Argentina) is an academic, poet, and author, and a leading scholar of the history of Latin American women writers. She is a professor of literature at San Jose State University, and was director of the 1976 Conference of Inter-American Women Writers, one of the earliest U.S. conferences in this field. Born in Argentina, she now resides in California. She edited the anthology Short Stories by Latin America Women: The Magic and the Real with introduction by Isabel Allende. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Craig, George Dundas (compiler and translator). The modernist trend in Spanish American poetry: A collection of representative poems of the modernist movement and the reaction. Berkeley. 1934. University of California Press. Translated from the Spanish by into English verse, with a commentary. Bibliography.(reprint New York: Gordian Press, 1971). 347 pages. A bilingual edition, parallel texts. Used as a textbook at the university level for many years. Poets included are: Enrique Banchs (Argentina), Jorge Luis Borges (Argentina) Jose Santos Chocano (Peru), Ruben Dario (Nicaragua), Enrique Gonzalez Martinez (Mexico), Juan Guzmân Cruchaga (Chile), Julio Herrera y Reissig (Uruguay), Vicente Huidobro (Chile), Ricardo Jaimes Freyre (Bolivia), Leopoldo Lugones (Argentina), Gabriela Mistral (Chile), Pablo Neruda (Chile), Amado Nervo (Mexico), Carlos Pezoa Veliz (Chile), Pedro Prado (Chile), Jose Asuncion Silva (Colombia), Victor Domingo Silva (Chile), Alfonsina Storni (Argentina), Arturo Torres-Rioseco (Chile), Guillermo Valeiicia (Colombia). George Dundas Craig (1874-1952) was an Assistant Professor Emeritus at UC Berkeley. Dr. Craig was born in Arbroath, Scotland, January 6, 1874. His formal education was at Harris Academy in Dundee, and at the University of Edinburgh, from which he won his bachelor's degree, with First Class Honours in English Language, Literature, and History, and subsequently an M.A. He was George Saintsbury's first honors student at that institution. He taught for more than a quarter of a century in the secondary schools of Scotland: in Glasgow, Stanraer, Dundee, in his native town of Arbroath (where he was English Master and head of his department), and last at Dollar Academy, near Edinburgh, where he remained from 1910 to 1924. During these earlier years, he traveled widely in Europe, especially Spain, and in northern Africa. When in Madrid he studied for a time under Tomás. In 1924 reasons of family health caused him to move, first to Switzerland for a brief period, and then to California. For a year he was tutor to the sons of William Randolph Hearst. In the summer of 1925 he became a member of the Department of English at the University of California, in Berkeley, where his family joined him and where he spent the rest of his career. He became a citizen of the United States on June 6, 1930. In 1934 the degree of D.Litt. was conferred upon him by his old university, Edinburgh, in recognition of his book, The Modernist Trend in Spanish-American Poetry, which was published in 1934 by the University of California Press. He continued his distinguished and useful activity in the field of Latin-American poetry during the remaining years of his life. He was also coauthor with Arthur E. Hutson and Guy Montgomery of a useful textbook, Essentials of English Grammar, published in 1941 by F. S. Crofts and Company. Professor Craig was deeply attached to music throughout his life, both as an ardent concert-goer and as a performer. His interest in the musical activities of the communities in which he lived was matched only by his love of playing himself. As a young man (and before he came to the United States), his chief enthusiasm was the piano and the organ, and to a lesser extent the violin. But it was the latter instrument and especially the viola with which musicians in Berkeley associated him. His joy in playing string quartets can be appreciated best by those who have shared similar experiences. For about fifteen years Mr. Craig was one of the most faithful members of the University Symphony Orchestra, playing first under Professor Modeste Alloo and later under Professor Albert Elkus. Late in the 1940's, however, the onset of arthritis compelled him to lay aside his instruments. Modest and unassuming, Professor Craig had an infectious enthusiasm for music that transmitted itself to those about him. He was a musical amateur in the true sense of the word. |
![]() | ![]() | ANTHOLOGIES. . Cranfill, Thomas Mabry and Schade, George D. (editors). The Muse in Mexico: A Mid-Century Miscellany. Austin. 1959. University of Texas Press. 117 pages. Issued as a supplement to Texas Quarterly, II, No. 1, but a book in itself. Various translators. Translations edited by George D. Schade. Includes photographs of 16 creative artists of Mexico, by Hans Beachan. A nice introduction to Mexican art and letters of the period. Prose fiction selections by: Juan de la Cabada, Juan Jose Arreola (2), Juan Rulfo (2), Guadalupe Amor, Jose Vasconcelos, Emilio Carballido, Guadalupe Duenas, Julio Torri. Poetry selections include 3 Aztec poems, 3 Nahuatl poems. Poets represented: Rosario Castellanos, Juan Jose Tablada, Enrique Rivas, Francisco Gonzalez Guerrero, Ali Chumacero, Manuel Durãn, Neftali Beltrán, Ruben Bonifaz Nuno, Jaime Sabines, Tomàs Segovia, Carlos Pellicer, Octavio Paz. Unpaged section includes 61 drawings by Siqueiros, Orozco, Tamayo, Rivera, Castro Pacheco, Dr. Atl. Photographs. |
![]() | ![]() | ANTHOLOGIES. [Peru]. Darroch, Lynn A. (editor). Between Fire and Love: Contemporary Peruvian Writing. Portland. 1980. Mississippi Mud. Photography by Lynn A. Darroch, page 25 and page 27. Photography by Alfonso Ego Aguirre, page 71 and page 95. Photography by David Milholland, page 56 and page 82. Photography by Peter Yenne, title page and pages 9, 21, 37, 42, 47, 59, 99, 113. Illustrations. 117 pages. paperback. Cover design by Susan Gustavson. For the first time in English translation, an exciting variety of short stories and poems by younger Peruvian writers today. Diverse and dynamic, these younger authors are united by their conviction that literature is an essential cultural tool for the society in which they live. Their work is situated between the passionate fire of specific injustice and that broader love for humanity which endows the immediate, personal moment with a significance we all can share. An Introduction for North American readers and profiles of the twenty-four authors are provided by the editor, who gathered the material in Peru in 1978-1979. The translations are by twenty-two North American professional and university writers, translators and scholars. Printed on high-quality paper and stitched and glued in a multi-color, soft cover volume of 117 pages, this collection is handsomely illustrated by original drawings and fourteen photographs as well as reproductions of pre-Columbian textile and ceramic motifs. CONTENTS: Lynn A. Darroch - Introduction; SECTION ONE - Jose Antonio Bravo - Neighborhood Of Strife; Efrain Miranda - E.C.; E.L.; M.E.; SECTION TWO - Antonio Gálvez - October; I'm Hoarse; Black Burra; Edgardo Rivera - Phoenix; SECTION THREE - Blanca Varela - Curriculum Vitae; Villainous Song; Cruci-fiction; Slight Hint; Lady's Journal; Antonio Cisneros - Last Rite Of The Day (Anthropology); Fatigue Of The Bum On The Beach (Arithmetic); On The ClichE; Prayer; Helicopters In The Kingdom Of Peru; SECTION FOUR - Omar Ames - La Negra; If You Could Remember; Juan Cristöbal - Number Six; Augusto Higa - Mogollon; Cesar Toro - Coconut I; Coconut II; Christmas; Passion Fruit I; Passion Fruit II; Luis Fernando Vidal - Against The Light; SECTION FIVE - Enrique Verástegui - Datzibao; Poem Written On An Impression Caused By ‘The Lovers' Whirlpool'-A Painting By William Blake; Nicolas Yerovi - Poem; Poem; Mario Montalbetti - Poem About Small Cars; Dan-ce; And At The Time Of The South American Games; After Of Course My Wife I; SECTION SIX - Roger Santiváñez - Statement; Lima; Homage To Ernesto Che Guevara; Those About To Be; Guillermo Niño de Guzmán - After The Darkness; Edgar O'Hara - Thus; Arica; Cafeteria 15/5/74 1 p.m.; Data; To Give Mountain & Also Sea; Ernesto Mora - The Broken Doll Ballad; Dalmacia Ruiz-Rosas - Samahod; Homage To Cuba And Borges; Turned Upside Down; Poem; Poem; Poem; Luis Rebaza - I Always Wanted To Split You In A Poem; Meanwhile You Smiled At The Man Who Took Up Your Time; Guillermo Nino de Guzmán - The End Of Something; SECTION SEVEN - Luis Urteaga - A Voice In The Wind; Roberto Reyes - A Letter; Juan Bullitta - Salaverry Avenue (every block of it); Tailor From Lima; Gregorio Martinez - How To Kill The Wolf; TRANSLATORS; CONSULTING EDITORS; PHOTOGRAPHERS. LYNN A. DARROCH is the editor of this collection. He received a MA English from the State University of New York at Stony Brook and has in the English departments of the University of Wyoming and Lewis Clark College. He is a published fiction writer and lives in Portland, Oregon. |
![]() | ![]() | ANTHOLOGIES. [Mexico - Poetry]. de la Torre, Monica and Wiegers, Michael (editors). Reversible Monuments: Contemporary Mexican Poetry. Port Townsend. 2002. Copper Canyon Press. 1556591594. 675 pages. paperback. Cover art by Tatiana Parcero - 'Cartografia interior #31'. Cover design by John D. Berry. This bilingual anthology will introduce American audiences to the rich poetries of modern Mexico. Not since the 1950s, when Samuel Beckett and Octavio Paz edited Mexican Poetry, has there been a volume as extensive as this. The contributors include both major and emerging poets and translators-poets like imagist and Buddhist Alberto Blanco and translators like Margaret Sayers Peden (trans. Isabelle Allende, Pablo Neruda). Introduced by Elliot Weinberger, this volume includes an extensive bibliography of suggested readings, bios of the poets, and over 200 poems by more than two dozen poets. Monica de la Torre is a poet and translator. She edited and translated a volume of selected poems by Gerardo Deniz published by Lost Roads and Ditoria in 2000. With artist Terence Gower she is co-author of Appendices, Illustrations & Notes (Smart Art Press, 1999). She was brought up in Mexico City and moved to New York in 1993, when she received a Fulbright grant to study an MFA in Poetry at Columbia University. She's currently pursuing a doctorate in Comparative Literature at the same university. Her writings about art, poems, and translations have appeared in American Poetry Review, ArtNews, BOMB, Boston Review, Fence, Lit, Mandorla, Pierogi Press, Review: Latin American Literature and Arts, TRANS,and Verse. For the past decade Michael Wiegers has worked in independent publishing as an editor, and is currently the Executive Editor of Copper Canyon Press. His reviews and criticism have appeared in American Poetry Review, Publishers Weekly, Rain Taxi, The City Pages, The St. Paul Pioneer Press, Portlandia, among other publications. He has edited three anthologies: Reversible Monuments: Contemporary Mexican Poetry, The Poet's Child, and This Art: Poems on Poetry. |
![]() | ![]() | ANTHOLOGIES. . de Onis, Harriet (editor). Spanish Stories and Tales. New York. 1954. Knopf. 270 pages. hardcover. Typography, binding, and jacket design by Herbert Bayer. Pleasurable reading was the criterion by which this book of short Spanish fiction was edited and created. It is not a historical survey or a tendentious selection-but quite simply a collection of good reading. The longest and most impressive stories in this volume are Ramôn del Valle-Inclan's ‘My Sister Antonia,' Miguel de Cervantes's ‘The Call of the Blood,' Miguel de Unamuno's ‘Saint Manuel Bueno, Martyr,' Lino Novas Calvo's ‘The Dark Night of Ramôn Yendia,' Eduardo Mallea's ‘The Heart's Reason,' Armando Palacio Valdes's ‘1 Puritani,' and Benjamin Subercaseaux's ‘The Salt Sea.' In addition to these seven long stories, there are sixteen other narratives by Jorge Luis Borges, Leopoldo Alas (‘Clarin'), Carlos Wyld Ospina, Emilia Pardo Bazán, Arturo Cancela, Horacio Quiroga, Don Juan Manuel, Ricardo Güiraldes, Pio Baroja, Ricardo Palma, Pedro Antonio de Alarcon, Romulo Gallegos, Arturo Souto Alabarce, and Hernando TEllez, and selections from Calila y Ditnna and the Book oj Sendebar. In a geographic sense, then, the selection was not limited to Spain, but includes as well Argentina, Chile, Colombia, Cuba, Guatemala, Mexico, Peru, Uruguay, and Venezuela. Harriet de Onis, well known as a translator and as the editor of The Golden Land, has added an Editor's Note and brief biographical information on each of the writers represented. SPANISH STORIES AND TALES is the second book in a Borzoi series. It was preceded by GERMAN STORIES AND TALES, edited by Robed Pick, and will be succeeded by FRENCH STORIES AND TALES, edited by Stanley Geist. From Harriet de Onis's ‘Editor's Note' - ‘The larger part of the work in this volume has been selected from the writers of our own century. Even though choosing from the work of living or recently deceased authors is difficult because criticism has not yet wholly defined and evaluated them, nevertheless theirs is the artistic idiom we best understand. The wealth of material has been so great that in order to comply with the limitations of space I had to omit a number of writers who have every right to be included; often a single writer must represent a group or tendency. For all their diversity, a common thread runs through them all, The Spanish ideal of beauty has in it less of the purely aesthetic, the finished and exquisite; it is more integral, more humane, of wider appeal. It is characterized by a large-hearted sympathy, understanding, and humor; it achieves its effects by the combination of deep human interest and an absorbing love of life, bowing, with Fray Luis de Leon, that ‘this is the true beauty, that everything should act according to its own nature,' which is the definition of artistic honesty.' CONTENTS: Introduction: The Spanish Short Story; MY SISTER ANTONIA, by Ramon del Valle-Inclan; THE SECRET MIRACLE, by Jorge Luis Borges; THE CALL OF THE BLOOD, by Miguel de Cervantes; THE COCK OF SOCRATES, by Leopoldo Alas (‘Clarln'); SAINT MANUEL BUENO, MARTYR, by Miguel de Unamuno; THE THIEF AND THE LADDER OF MOONBEAMS, from Calila y Dimna; THE HONOR OF HIS HOUSE, by Carlos Wyld Ospina; SISTER APARICION, by Emilio Pardo Bazan; THE TATTLETALE PARROT, from Book of Sendebar; LIFE AND DEATH OF A HERO, by Arturo Cancela; THE FATHERLAND, by Horacio Quiroga; THE MAN WHO MARRIED AN ILL-TEMPERED WIFE, by Don Juan Manuel; THE DARK NIGHT OF RAM ON YENDIA, by Lino Novas Cahlo; THE OLD RANCH, by Ricardo Guiraldes; THE CABBAGES OF THE CEMETERY, by Pio Baroja; THE HEART'S REASON, by Eduardo Mallea; TWO COOING DOVES, by Ricardo Palma; THE PROPHECY, by Pedro Antonio de Alarcon; I PURITANI, by Armando Palacio ValdEs; A MAN OF CHARACTER, by Romulo Gallegos; COYOTE 13, by Arturo Souto Alabarce; ASHES FOR THE WIND, by Hernando TEllez; THE SALT SEA, by Benjamin Subercaseaux. Harriet de Onis was born in Sheldon, Illinois, on June 1, 1899. She received her B.A. degree from Barnard College, and has (lone postgraduate work at Columbia University and Oxford University. She has been connected with Doubleday, Page & Company and the Houston Publishing Company, and since 1924 has been a free-lance writer and translator. Her translations include the works of Martin Luis Guzman, Ricardo Güiraldes, Ciro Alegria, German Arciniegas, and Fernando Ortiz. She has traveled widely in Latin America, and is married to Federico de Onis, professor at Columbia University. |
![]() | ![]() | ANTHOLOGIES. . de Onis, Harriet (editor). Spanish Stories and Tales. New York. 1956. Pocket Books. A Pocket Library book. 288 pages. paperback. PL-40. From the great literary heritage of Spain, Harriet de Onis has selected twenty-three magnificent short stories. They have been chosen not only for their classic stature, but for their lively qualities of reading pleasure. This book provides the reader with the opportunity to become acquainted with the delights of Spanish literature, as varied and dramatic as the rich culture that produced it. ommon thread runs through them all, The Spanish ideal of beauty has in it less of the purely aesthetic, the finished and exquisite; it is more integral, more humane, of wider appeal. It is characterized by a large-hearted sympathy, understanding, and humor; it achieves its effects by the combination of deep human interest and an absorbing love of life, bowing, with Fray Luis de Leon, that ‘this is the true beauty, that everything should act according to its own nature,' which is the definition of artistic honesty.' CONTENTS: Introduction: The Spanish Short Story; MY SISTER ANTONIA, by Ramon del Valle-Inclan; THE SECRET MIRACLE, by Jorge Luis Borges; THE CALL OF THE BLOOD, by Miguel de Cervantes; THE COCK OF SOCRATES, by Leopoldo Alas (‘Clarln'); SAINT MANUEL BUENO, MARTYR, by Miguel de Unamuno; THE THIEF AND THE LADDER OF MOONBEAMS, from Calila y Dimna; THE HONOR OF HIS HOUSE, by Carlos Wyld Ospina; SISTER APARICION, by Emilio Pardo Bazan; THE TATTLETALE PARROT, from Book of Sendebar; LIFE AND DEATH OF A HERO, by Arturo Cancela; THE FATHERLAND, by Horacio Quiroga; THE MAN WHO MARRIED AN ILL-TEMPERED WIFE, by Don Juan Manuel; THE DARK NIGHT OF RAM ON YENDIA, by Lino Novas Cahlo; THE OLD RANCH, by Ricardo Guiraldes; THE CABBAGES OF THE CEMETERY, by Pio Baroja; THE HEART'S REASON, by Eduardo Mallea; TWO COOING DOVES, by Ricardo Palma; THE PROPHECY, by Pedro Antonio de Alarcon; I PURITANI, by Armando Palacio ValdEs; A MAN OF CHARACTER, by Romulo Gallegos; COYOTE 13, by Arturo Souto Alabarce; ASHES FOR THE WIND, by Hernando TEllez; THE SALT SEA, by Benjamin Subercaseaux. Harriet de Onis was born in Sheldon, Illinois, on June 1, 1899. She received her B.A. degree from Barnard College, and has (lone postgraduate work at Columbia University and Oxford University. She has been connected with Doubleday, Page & Company and the Houston Publishing Company, and since 1924 has been a free-lance writer and translator. Her translations include the works of Martin Luis Guzman, Ricardo Güiraldes, Ciro Alegria, German Arciniegas, and Fernando Ortiz. She has traveled widely in Latin America, and is married to Federico de Onis, professor at Columbia University. |
![]() | ![]() | ANTHOLOGIES. . de Onis, Harriet (editor). The Golden Land: An Anthology of Latin American Folklore in Literature. New York. 1948. Knopf. 395 pages. hardcover. This panoramic view of the culture and beliefs of Spanish America and Brazil is designed primarily for pleasurable reading. From the works of distinguished Latin American writers Harriet de Onis has selected and translated stories, narratives, and telling excerpts in which they have made creative use of folk materials. No mere anthology of folkloric field-notes, then, this is a storehouse of fine writing. It supplies a vastly entertaining display of the imaginations of some of the most imaginative peoples of the world - from the period of the Spanish and Portuguese explorers and conquerors to the present day. THE GOLDEN LAND is made up of fifty-four selections and represents forty-four writers. It is divided into sections, each with a critical, historical, and explanatory introduction by Harriet de Onis, who has likewise supplied short critical and biographical sketches of all the writers included. The total result is a 1)00k to set beside German Arciniegas's The Green Continent on the most select shelf of Latin Americana. At once readable and highly informative, it presents a condensed and thought-provoking portrait of the minds and attitudes that have built the Latin American republics of our time. Harriet de Onis was born in Sheldon, Illinois, on June 1, 1899. She received her B.A. degree from Barnard College, and has (lone postgraduate work at Columbia University and Oxford University. She has been connected with Doubleday, Page & Company and the Houston Publishing Company, and since 1924 has been a free-lance writer and translator. Her translations include the works of Martin Luis Guzman, Ricardo Güiraldes, Ciro Alegria, German Arciniegas, and Fernando Ortiz. She has traveled widely in Latin America, and is married to Federico de Onis, professor at Columbia University. |
![]() | ![]() | ANTHOLOGIES. [Argentina]. Di Giovanni, Norman Thomas (editor). Celeste Goes Dancing: Contemporary Argentine Stories. San Francisco. 1990. North Point Press. 0865474389. Includes Stories by Silvina Ocampo. Adolfo Bioy-Casares. Fernando Sorrentino. & Many Others. 184 pages. hardcover. Jacket painting by Antonio Segui. Jacket design: David Bullen. This exciting collection of stories from the 1980s by fourteen of Argentina's finest living writers shows how far the story has evolved under the brilliant influence of Borges. In a variety of settings and styles these fantastical stories expose the tenuous nature of identity, some through the unexpected appearances of doubles. In Silvina Ocampo's story, an artist meets her younger self; Adolfo Bioy-Casares's Argentine tourist finds himself trapped in a labyrinth in East Berlin. In a beautifully haunting story by Jorge Asis, a salesman of religious artifacts visits a remote village, learns that he bears an uncanny resemblance to the recently deceased village hero, Mule, and daringly assumes the dead man's persona. Fernando Sorrentino renders an age-old tale: in his version a young man witnesses the appearance of a dybbuk in suburban Buenos Aires. Each an accomplished work on its own, together these stories form a magnificent collection introducing to English readers startling voices from Argentina's literary landscape. Di Giovanni's choice of living writers whose stories have been first published in the eighties makes this volume the first of its kind to appear in the English-speaking world. ‘In Argentina a story tends to take upon itself all the untrammelled freedom of the imagination.' - Jorge Luis Borges. CONTENTS include: Acknowledgements, Introduction, THE DRAWING LESSON by Silvina Ocampo, THE WINDOWLESS ROOM by Adolfo Bioy-Casares, LOTZ MAKES NO REPLY by Isidoro Blaisten, JAVIER WICONDA'S SISTERS by Fernando Sánchez-Sorondo, CELESTE GOES DANCING by Estela dos Santos, NEITHER SAINTS NOR SINNERS by Alberto Vanasco, SHORT STORY CONTEST by Marcos Aguinis, YOU'VE GOT A NIPPER, DON'T YOU? by Eduardo Gudiño-Kieffer, THE LETTER TO RICARDO by Liliana Heer, THE VISITATION by Fernando Sorrentino, A MEMORY OF PUNKAL by Angel Bonomini, MULE by Jorge Asis, FOR SERVICES RENDERED by Abelardo Castillo, and COUSINS by Santiago Sylvester. Also included are Notes on Contributors. Norman Thomas di Giovanni (1933 - 16 February 2017, Bournemouth, UK) was an American-born editor and translator known for his collaboration with Argentine author Jorge Luis Borges. |
![]() | ![]() | ANTHOLOGIES. . Donoso, Jose (guest co-editor) / Newman, Charles (editor) / Henkin, William A. (managing editor). Triquarterly - Contemporary Latin American Literature. Evanston. 1968. Triquarterly. 13/14 - Fall/Winter 1968/69. 505 pages. paperback. Cover: Antonio Segui, Lourd D’Oreille, 1965, lithograph. ‘Spanish-American literature is an enterprise of the imagination. We are resolved to invent our own reality. Our dreams are waiting for us around the corner.' So Octavio Paz introduces this epochal collection of poetry, fiction, and critical essays by the leading writers in Latin America today. Included are short stories and extracts from novels by Ernesto Sabato, Juan Jose Arreola, Jorge Luis forges, Dalton Trevisan, Miguel Asturias, Carlos Morena, Julio Cortazar, Carlos Fuentes, Clarice Lispector, and Joao Guimaraes Rosa, as well as pieces by young writers whose work is just beginning to be known. The poets represented are Cesar Vallejo, Javier Heraud, Octavio Paz, Carlos German Belli, Pablo Neruda, Enrique Lihn, Jorge Luis Borges, Nicanor Parra, Carlos Saavedra, Rafael Pineda, Enrique Molina, Marco Antonio Montes de Oca, and Jose Emilio Pacheco. In addition, there are short anthologies of Cuban, Peruvian, Argentine, Paraguayan, Mexican, and Chilean poetry. This is an indispensable anthology for anyone interested in Latin America and its rich and unpredictable literature. Contributors include: Jose-Luis Appleyard, Homero Aridjis, Juan Jose Arreola, Miguel Arteche, Miguel Angel Asturias, Juan Banuelos, Miguel Barnet, Efrain Barquero, Edgar Bayley, Carlos German Belli, Jorge Luis Borges, Miguel Angel Bustos, Esteban Cabanas, Alfonso Calderon, Cesar Calvo, Antonio Cisneros, Julio Cortazar, Rene Davalos, Washington Delgado, Marco Antonio, Montes de Oca, Eliseo Diego, Ramiro Dominguez, Clayton Eshleman, Pablo Armando Fernandez, Aldofo Ferriero, Isabel Fraire, Carlos Fuentes, Juan Gelman, Armando Tejada Gomez, Miguel Grinberg, Oscar Hahn, Javier Heraud, Juan Jose Hernandez, Fayad Jamis, Vincente Lenero, Enrique Lihn, Jose Lezama Lima, Clarice Lispector, Joaquin Sanchez Macgregor, Leopoldo Marechal, Francisco Perez Maricevich, Gabriel Garcia Marquez, Gonzalo Millan, Sergio Mondragon, Enrique Molina, Rodriguez Monegal, Carlos J. Moneta, Carlos Martinez Moreno, Pablo Neruda, Julio Ortega, Jose Emilio Pacheco, Herberto Padilla, Basilia Papastamatiu, Nicanor Parra, Octavio Paz, Rafael Pineda, Nelida Pinon, Roberto Fernandez Retamar, Gonzalo Rojas, Joao Guimaraes Rosa, Juan Gonzalo Rose, Alberto Rubio, Carlos Castro Saavedra, Ernesto Sabato, Ruben Bareiro Saguier, Gustavo Sainz, Horacio Salas, Jose Maria Gomez, Sanj urjo, Maximo Simpson, Jorge Teillier, Dalton Trevisan, Cesar Vallejo, Roque Vallejos, and Maria Vargas Llosa. ‘ . . . a treasure house of all that is new and best in Latin America' - JOHN MURCHISON, translator . . . ‘an extraordinary job of translation' - RAFAEL PINEDA. About the Editors - Jose Donoso Yáñez (October 5, 1924–December 7, 1996) was a Chilean writer. He lived most of his life in Chile, although he spent many years in self-imposed exile in Mexico, the United States (Iowa) and mainly Spain. Although he had left his country in the sixties for personal reasons, after 1973 he said his exile was also a form of protest against the dictatorship of Augusto Pinochet. He returned to Chile in 1981 and lived there until his death. Donoso is the author of a number of remarkable stories and novels, which contributed greatly to the Latin American literary boom. The term 'Boom' was coined in his 1972 essay Historia personal del ‘boom'. His best known works include the novels Coronacion, El lugar sin límites (The Place Without Limits) and El obsceno pájaro de la noche (The Obscene Bird of Night). His works deal with a number of themes, including sexuality, the duplicity of identity, psychology, and a sense of dark humor. After his death, his personal papers at the University of Iowa revealed his homosexuality; a revelation that caused a certain controversy in Chile. CHARLES NEWMAN was a novelist, critic and founding editor of TriQuarterly, Newman transformed what had been a student and faculty publication at Northwestern University into a literary journal with international reach. As editor from 1964 to 1975, he championed writers as diverse as Sylvia Plath and John Barth and introduced the vanguard of Latin American and Eastern European authors, including Jorge Luis Borges and Czeslaw Milosz, to TriQuarterly’s discerning readership of American writers and intellectuals. |
![]() | ![]() | ANTHOLOGIES. . Donoso, Jose and Henkin, William (editors). Triquarterly Anthology of Contemporary Latin American Literature. New York. 1969. Dutton. 496 pages. hardcover. Jacket design by Seymour Chwast. ‘Spanish-American literature is an enterprise of the imagination. We are resolved to invent our own reality. Our dreams are waiting for us around the corner.' So Octavio Paz introduces this epochal collection of poetry, fiction, and critical essays by the leading writers in Latin America today. Included are short stories and extracts from novels by Ernesto Sabato, Juan Jose Arreola, Jorge Luis forges, Dalton Trevisan, Miguel Asturias, Carlos Morena, Julio Cortazar, Carlos Fuentes, Clarice Lispector, and Joao Guimaraes Rosa, as well as pieces by young writers whose work is just beginning to be known. The poets represented are Cesar Vallejo, Javier Heraud, Octavio Paz, Carlos German Belli, Pablo Neruda, Enrique Lihn, Jorge Luis Borges, Nicanor Parra, Carlos Saavedra, Rafael Pineda, Enrique Molina, Marco Antonio Montes de Oca, and Jose Emilio Pacheco. In addition, there are short anthologies of Cuban, Peruvian, Argentine, Paraguayan, Mexican, and Chilean poetry. This is an indispensable anthology for anyone interested in Latin America and its rich and unpredictable literature. Contributors include: Jose-Luis Appleyard, Homero Aridjis, Juan Jose Arreola, Miguel Arteche, Miguel Angel Asturias, Juan Banuelos, Miguel Barnet, Efrain Barquero, Edgar Bayley, Carlos German Belli, Jorge Luis Borges, Miguel Angel Bustos, Esteban Cabanas, Alfonso Calderon, Cesar Calvo, Antonio Cisneros, Julio Cortazar, Rene Davalos, Washington Delgado, Marco Antonio, Montes de Oca, Eliseo Diego, Ramiro Dominguez, Clayton Eshleman, Pablo Armando Fernandez, Aldofo Ferriero, Isabel Fraire, Carlos Fuentes, Juan Gelman, Armando Tejada Gomez, Miguel Grinberg, Oscar Hahn, Javier Heraud, Juan Jose Hernandez, Fayad Jamis, Vincente Lenero, Enrique Lihn, Jose Lezama Lima, Clarice Lispector, Joaquin Sanchez Macgregor, Leopoldo Marechal, Francisco Perez Maricevich, Gabriel Garcia Marquez, Gonzalo Millan, Sergio Mondragon, Enrique Molina, Rodriguez Monegal, Carlos J. Moneta, Carlos Martinez Moreno, Pablo Neruda, Julio Ortega, Jose Emilio Pacheco, Herberto Padilla, Basilia Papastamatiu, Nicanor Parra, Octavio Paz, Rafael Pineda, Nelida Pinon, Roberto Fernandez Retamar, Gonzalo Rojas, Joao Guimaraes Rosa, Juan Gonzalo Rose, Alberto Rubio, Carlos Castro Saavedra, Ernesto Sabato, Ruben Bareiro Saguier, Gustavo Sainz, Horacio Salas, Jose Maria Gomez, Sanj urjo, Maximo Simpson, Jorge Teillier, Dalton Trevisan, Cesar Vallejo, Roque Vallejos, and Maria Vargas Llosa. ‘ . . . a treasure house of all that is new and best in Latin America' - JOHN MURCHISON, translator . . . ‘an extraordinary job of translation' - RAFAEL PINEDA. About the Editors - Jose Donoso Yáñez (October 5, 1924–December 7, 1996) was a Chilean writer. He lived most of his life in Chile, although he spent many years in self-imposed exile in Mexico, the United States (Iowa) and mainly Spain. Although he had left his country in the sixties for personal reasons, after 1973 he said his exile was also a form of protest against the dictatorship of Augusto Pinochet. He returned to Chile in 1981 and lived there until his death. Donoso is the author of a number of remarkable stories and novels, which contributed greatly to the Latin American literary boom. The term 'Boom' was coined in his 1972 essay Historia personal del ‘boom'. His best known works include the novels Coronacion, El lugar sin límites (The Place Without Limits) and El obsceno pájaro de la noche (The Obscene Bird of Night). His works deal with a number of themes, including sexuality, the duplicity of identity, psychology, and a sense of dark humor. After his death, his personal papers at the University of Iowa revealed his homosexuality; a revelation that caused a certain controversy in Chile. WILLIAM A. HENKIN was born in Brooklyn, New York, in 1944. He received a B.A. and an M.A. (1967) from Northwestern University. Mr. Henkin was managing editor of Tri-Quarterly from 1966-69. He is the author of a book of poems, Towards Skiles. He lives in New York with his wife. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Dorn, Edward and Brotherston, Gordon (translators). Our Word: Guerrilla Poems From Latin America. New York. 1968. Grossman/Cape Goliard. 0206615574. Bilingual. unpaginated. paperback. A collection of guerrilla poetry from Latin America. Many of the poems are published here for the first time. The collection is meant to be fairly specifically of poems by and about guerrillas, and is not intended in any way to rival the many good collections of revolutionary poetry in general which have appeared in Latin America in recent years. Ed Dorn (April 2, 1929 - December 10, 1999) was an American poet and teacher often associated with the Black Mountain poets. His most famous work is Gunslinger. Gordon Brotherston came to Essex in 1965. His main publications have dealt with Hispanic, Latin American and Native American literatures, as well as literary translation. They include Manuel Machado (1968); Latin American Poetry (1976); The Emergence of the Latin American Novel (1977); and Image of the New World (1979). He has published volumes on native script and chronology: A Key to the Mesoamerican Reckoning of Time (1982) and Calendars in Mesoamerica and Peru (1983; with A. Aveni); also Voices of the First America (1986); these were followed by numerous further publications on Latin American literature and Mexican themes. Gordon organised the exhibition of Mexican Painted Books at the British Museum in 1992 and has published a number of studies of Mexican iconography and native American literature, including Book of the Fourth World: Reading the Native Americas through their Literature (1992), and Painted Books from Mexico: Codices in the United Kingdom Collections and the World they Represent (1995). |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Duran, Cheli (editor and translator). Yellow Canary Whose Eye Is So Black: Poems of Spanish-Speaking Latin America. New York. 1977. Macmillan. 0027329100. 348 pages. hardcover. Jacket design by Red Hat Studio. Latin America, colored by extremes of climate and temperament, scarred by conquest and revolution, has inspired more than four hundred years of poetry that is among the most powerful and imaginative ever written. This bilingual anthology offers a rich sampling of the poetry of Spanish-speaking Latin America from pre-Columbian cultures to the present. The selections, newly translated in verse by Cheli Duran, include folk poetry as well as works by famous (Ruben Dario, Gabriela Mistral, Cesar Vallejo, Octavio Paz, Pablo Neruda) and lesser-known poets from South and Central America and the Caribbean. The poems reflect the striking imagery, the concern with life and death, the sense of social injustice, and the continued search for identity that run throughout Latin American literature, and provide a deeply affecting introduction to the poetic voice of an extraordinary region. CONTENTS: NAHUATL - Yo, el poeta/I, the Poet; Solo venimos a dormir/We Only Come to Sleep; Abro mis alas/Opening My Wings; Cantos de Cacamatzin/The Song of Cacamatzin; QUECHUA/QUECHUAN - Me dio el ser mi madre/My Mother Gave Me Life; Apu Inka Atawallpaman/Lament for the Inca Atahualpa; LUIS DE SANDOVAL Y ZAPATA - A una comica difunta/On the Death of an Actress; JUANA DE ASBAJE - Redondillas/Verses; VICENTE RIVA PALACIO - Al viento, en la prision de Tlatelolco/To the Wind, from Tlatelolco Prison; ANoNIMO/ANONYMOUS - Santo Tomes/St. Thomas; JOSE HERNÁNDEZ - de Martin Fierro/from Martin Fierro; MANUEL GONZALEZ PRADA - El Mitayo/The Mitayo; JOSE MARTI - de Versos sencillos/from Simple Verses; Dos patrias/Two Motherlands; MANUEL JOSE OTHoN - Mira el paisaje/Look at the View; JULIÁN DEL CASAL - Crepuscular/Twilight; JOSE ASUNCIoN SILVA - Avant propos/Avant-Propos; Ars/Ars; RUBEN DARIO - Torres de Dios!/Towers of God! Poets!; A Roosevelt/To Roosevelt; Lo fatal/Fate; El gallo/The Fighting Cock; JOSE JUAN TABLADA - Haikais/Haikus; LEOPOLDO LUGONES - de Los infimos/from The Humble; La blanca soledad/White Solitude; JOSE MARIA EGUREN - El caballo/The Horse; ANoNIMO/ANONYMOUS - Cuatro villancicos/Four Christmas Carols; RAMoN LOPEZ VELARDE - Mi prima Agueda/My Cousin Agatha; GABRIELA MISTRAL - Cancion del maizal/Song of the Corn; La medianoche/Midnight; Todas ibamos a ser reinas/We Were Going to Be Queens; ALFONSO REYES - Sol de Monterrey/Monterrey Sun; MARIANO BRULL - Verdehalago/Greencaress; CESAR VALLEJO - Los nueve monstrous/The Nine Monsters; Considerando en frio/Considering Coldly; Va corriendo, andando, huyendo/He Goes Running, Walking, Fleeing; De puro calor tengo frio/I'm Frozen from Heat; Los desgraciados/The Wretched; Traspie entre dos estrellas/Stumbling Between Two Stars; Un hombre pasa/A Man Walks By; Masa/The Masses; ANoNIMO/ANONYMOUS - Cuando sali de mi tierra/When I Left My Country; Las niñas de Tucuman/Young Ladies of Tucuman; Un mosquito/The Mosquito; Receta contra el amor/Medicine to Cure Love; VICENTE HUIDOBRO - Alerta/Alert; Hortzonte/Horizon; de Altazor/from Altazor; LUIS PALES MATOS - Topografia/Topography; RICARDO E. MOLINARI - Cancionero de Principe de Vergara/Songbook of the Prince of Vergara; JORGE LUIS BORGES - Poema conjeturai/Conjectual Poem; JOSE GOROSTIZA - Acuario/Aquarium; NICOLÁS GUILLEN - Cana/Cane; Sensemayá/Sensemaya; Madrigal/Madrigal; Calor/Heat; JORGE CARRERA ANDRADE - Cone de cebada/Reaping the Barley; El hombre del Ecuador baja la Torre Eiffel/The Man of Ecuador Under the Eiffel Tower; XAVIER VILLAURRUTIA - Nocturno rosa/Rose Nocturne; PABLO NERUDA - de Alturas de Macchu Picchu/from The Heights of Macchu Picchu; Oda a la alcachofa/Ode to an Artichoke; El padre/Father; MANUEL DEL CABRAL - de Mon dice cosas/from Mon Steaks Out; SARA DE IBÁNEZ - Isla en la luz/island in the Light; ANoNIMO/ANONYMOUS - La fiesta de la Candelaria/The Candlemas Feast; OCTAVIO PAZ - Himno entre ruinas/Hymn Among Ruins; Madrugada/Dawn; Agua nocturna/Night Water; Piedra nativa/Native Stone; Aqui/Here; Pares y nones/Odds or Evens; NICANOR PARRA - Recuerdos de juventud/Memories of Adolescence; JUAN JOSE ARREOLA - Metamorfosis/Metamorphosis; CINTIO VITIER - La luz del Cayo/Key West Light; ERNESTO CARDENAL - Epiggrama/Epigram; de La hora O/from Zero Hour; JAIME SABINES - Alga sobre la muerte del mayor Sabines/Words on the Death of Sabines Senior; BLANCA VARELA - Las cosas que digo son ciertas/What I Say Is True; CARLOS GERMAN BELLI - En vez de humanos dulces/Instead of Gentle Human Beings; Papa, mama/Papa, Mama; ENRIQUE LIHN - Recuerdos de matrimonio/Souvenirs of Marriage; ROBERTO FERNÁNDEZ RETAMAR - Ninas y niños, muchcahas y muchachos/Girls and Boys, Young Men and Women; FAYAD JAMIS - Que es para usted la poesia?/What's Poetry for You?; ANTONIO CISNEROS - Poema sobre Jonas y los desalienados/Poem on Jonas and Others Out of Line; JAVIER HERAUD - Las moscas/Flies; Arte poetica/The Art of Poetry; INDICE DE POETAS/INDEX TO POETS; INDICE DE TITULOS/INDEX TO TITLES; INDIEE DE PRIMEROS VERSOS/INDEX TO FIRST LINES; BIBLIOGRAFIA ESEOGIDA/SELECTED BIBLIOGRAPHY. Cheli Duran was born in New York. She is a graduate of Trinity College, Dublin, where she majored in English and Spanish literature. She has worked as a children's book editor in New York City and as a free-lance writer. Among her books for younger children is the much-honored HILDILID'S NIGHT, which was a 1972 Caldecott Honor Book and National Book Award Finalist, a 1971 ALA Notable Book, and a Children's Book Council Showcase and AIGA Children's Book Show selection. Ms. Duran lived in Cuba as a child and later in Chile and Spain. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Ediciones Puelche. Homenaje a Neruda/Homage To Neruda. Palo Alto. 1978. Editorial Puelche. Bilingual. 73 pages. paperback. Cover art by Juio R. Alegria. A collection of poems in homage to the great Chilean poet Pablo Neruda by Fernando Alegria, Efrain Barquero, Oscar Hahn, Osvaldo Rodriguez, Omar Lara, Sergio Macias and Miguel Moreno Monroy. Also contains a poem by Neruda entitled "Ode to the Popular Poets." |
![]() | ![]() | ANTHOLOGIES. [Chile - Poetry]. Edwards, Agustin (editor). My Native Land: Chilean Reminiscence, Folklore, Panorama, Writers. London. 1929. Ernest Benn. 430 pages. Contains a collection of Chilean poetry in translation. Poets included are: Julio Vicuna Cifuentes, Carlos Pezoa Veliz, Luis . Contardo, D. Duble Urrutia, Manuel Magallanes Moure, Francisco Contreras, Victor Domingo Silva, Gabriela Mistral. Agustín Edwards (June 17, 1878 - 1941) was a Chilean politician, financier, and writer. At age twenty-two, Edwards became one of the youngest members in Chile's House of Representatives. At the same time he became active in the Edwards Bank of Valparaíso. Elected vice president of the House and president of the Ministry of Finance in 1902, he negotiated a peace treaty with Bolivia and initiated the construction of a railroad from Arica to La Paz. In 1906 he began his diplomatic career, serving successively in Italy, Spain, and Switzerland. Upon his return to Chile, he served as finance minister under President Pedro Montt. During World War I he was named envoy to Great Britain in charge of diplomatic and financial affairs and, in 1920, became special envoy to the Court of St. James. In 1921 he was named representative to the League of Nations. He received many honors in Chile and Europe. While living abroad Edwards studied newspaper and magazine production, then utilized this knowledge in Chile, where he founded the newspaper El Mercurio and several magazines, including Zig-Zag. In the financial domain, he reorganized the Edwards Bank, founded several companies, and was involved in nitrate mining. In 1925 he resolved a conflict with Bolivia and reestablished peace. Among his writings are his Memoria sobre el plebiscito tacneño (1926), in which he opposes a plan to allow Tacna and Arica to determine their nationality; My Native Land (1928), a cultural history of Chile; Peoples of Old (1929), on the Araucanian Indians; The Dawn (1931), on Chilean history from Independence (1810) to the first elected president (1841); and Cuatro presidentes de Chile (1932), on the period from 1841 to 1932. |
![]() | ![]() | ANTHOLOGIES. [Chile - Poetry]. Edwards, Agustin (editor). My Native Land: Chilean Reminiscence, Folklore, Panorama, Writers. New York. 1976. Gordion Press. Reprint. Originally published 1929. Contains selections of poetry. Agustín Edwards (June 17, 1878 - 1941) was a Chilean politician, financier, and writer. At age twenty-two, Edwards became one of the youngest members in Chile's House of Representatives. At the same time he became active in the Edwards Bank of Valparaíso. Elected vice president of the House and president of the Ministry of Finance in 1902, he negotiated a peace treaty with Bolivia and initiated the construction of a railroad from Arica to La Paz. In 1906 he began his diplomatic career, serving successively in Italy, Spain, and Switzerland. Upon his return to Chile, he served as finance minister under President Pedro Montt. During World War I he was named envoy to Great Britain in charge of diplomatic and financial affairs and, in 1920, became special envoy to the Court of St. James. In 1921 he was named representative to the League of Nations. He received many honors in Chile and Europe. While living abroad Edwards studied newspaper and magazine production, then utilized this knowledge in Chile, where he founded the newspaper El Mercurio and several magazines, including Zig-Zag. In the financial domain, he reorganized the Edwards Bank, founded several companies, and was involved in nitrate mining. In 1925 he resolved a conflict with Bolivia and reestablished peace. Among his writings are his Memoria sobre el plebiscito tacneño (1926), in which he opposes a plan to allow Tacna and Arica to determine their nationality; My Native Land (1928), a cultural history of Chile; Peoples of Old (1929), on the Araucanian Indians; The Dawn (1931), on Chilean history from Independence (1810) to the first elected president (1841); and Cuatro presidentes de Chile (1932), on the period from 1841 to 1932. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Fife, Austin F. (editor and translator). Latin American interlude. Logan, Utah. 1966. Utah State University Press. 83 pages. A bilingual selection of poems, 'Hispanic-American lyrics' (pp. 21. 69) is included. Selections of uneven quality by nineteenth and early twentieth. century poets. One or two poems by each poet. Poets are: Jose Joaquin Pesado (Mexico), Joaquin Arcadio Pagaza (Mexico), Jose Maria Bustillos (Mexico), Rafael Obligado (Argentina), Luis G. Urbina (Mexico), Alfonsina Storni (Argentina), Ruben Dario (Nicaragua), Luis Carlos Lopez (Colombia), Luis L. Franco (Argentina), Gabriela Mistral (Chile). |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Fitts, Dudley (editor). Anthology of Contemporary Latin American Poetry. Antologia de la poesia americana contemporanea. Westwood, Connecticut. 1976. Greenwood Press. Reprint. Originally published 1942. Dudley Fitts (April 28, 1903 - July 10, 1968) was an American teacher, critic, poet, and translator. He was born in Boston, Massachusetts and attended Harvard University, where he edited the Harvard Advocate. He taught at The Choate School 1926–1941 and at Phillips Academy at Andover 1941–1968. He and his former student at Choate, Robert Fitzgerald, published translations of Alcestis of Euripides (1936), Antigone of Sophocles (1939), Oedipus Rex (1949), and The Oedipus Cycle (1949). Their translations were praised for their clarity and poetic quality. He died in Andover, Massachusetts. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Fitts, Dudley (editor). An Anthology of Contemporary Latin American Poetry. New York. 1942. New Directions. Bilingual. 667 pages. hardcover. This is a representative anthology of contemporary poetry in the Latin American countries. It is New Directions' contribution to a quickened cultural understanding in what, with all-inclusive pride, we are learning to call The Continent - which is to say, this hemisphere. Prepared by Dudley Fitts, an outstanding poet and literary critic, and translated by authorities in the several literatures, this anthology presents the best poets of today. The Spanish, Portuguese and French texts are printed opposite the English versions, so that the reader may have access to the original and acquire familiarity with the language by parallel reading. The Brazilian section was chosen and translated by Dudley Poore; H. R. Hays contributes a biographical and critical note on each poet. It is fortunate for readers of poetry in the United States that recent events have awakened interest in the literature of our neighbors in the other American Republics at a time when it is so remarkably vigorous and varied. Traditional force, combining with native talents, gives us here a poetry that North American writers may profitably consider and North American readers abundantly enjoy. In making his selection for this volume, the editor has aimed at presenting a picture of the most important poetic activity of the past quarter-century - approximately since the death of Ruben Dario. While a few of the older poets are included as forerunners, this is a Latin American anthology of today and for today. Dudley Fitts (April 28, 1903 - July 10, 1968) was an American teacher, critic, poet, and translator. He was born in Boston, Massachusetts and attended Harvard University where he edited the Harvard Advocate. He taught at The Choate School 1926–1941 and at Phillips Academy at Andover 1941–1968. He and his former student at Choate, Robert Fitzgerald, published translations of Alcestis of Euripides (1936), Antigone of Sophocles (1939), Oedipus Rex (1949), and The Oedipus Cycle (1949). Their translations were praised for their clarity and poetic quality. He died in Andover, Massachusetts. |
![]() | ![]() | ANTHOLOGIES. . Flakoll, Darwin J. and Alegria, Claribel (editors). New Voices of Hispanic America: An Anthology. Boston. 1962. Beacon Press. 226 pages. hardcover. Darwin J. Flakoll and Claribel Alegria New voices are heard today all over Latin America. From Tierra del Fuego to the Rio Grande, new talents reflect a ferment of growth and activity in the arts, as in every aspect of public life. This book introduces over thirty of the best modern writers from the Spanish-speaking countries of the Americas, including Cuba, Puerto Rico, Mexico and Argentina; many of them appear in English for the first time. Their short stories and poems capture the distinctive flavor of the Hispanic-American temperament, heritage and environment, and convey a spirit of eager adventure and self-awareness paced with Latin America's growing political prominence. The variations in themes from the regional writings to the psychological story - not only bespeak Hispanic America's unique style and tempo, but also touch upon the shared experiences of all men. The result of a careful process of selection, this anthology represents the choice fruits of the fresh literary talents from ‘south of the border.' The introduction affords the reader a frame of reference by illustrating the contrasts in standards of value and ways of life in the two Americas; in addition, the particular problems and preoccupations of the new generation of Spanish-American writers are discussed. With poems in both English and Spanish, this volume offers the student a valuable source book on modern Hispanic America. For those who delight in discovering vigorous new fiction and poetry, here is a vital art making its bid for a place in world literature. And all who read this book will gain fresh insight into the mind and emotions, the problems and aspirations of our Latin American neighbors. Darwin J. Flakoll and Claribel Alegria (Mrs. Flakoll) are both steeped in Spanish-American writing. Mr. Flakoll, a former newspaperman, editor and free-lance writer, is now serving as Second Secretary in the U.S. Embassy at Buenos Aires, Argentina; his previous assignments have taken him to many Spanish-American countries. Miss Alegria, a Salvadorean writer, has published five books of poetry and one of children's stories. While living in Mexico, the Flakolls came to know many young writers and conceived the idea of compiling an anthology of modern Hispanic American literature for a North American audience. Their project was accepted by The Catherwood Foun- dation which extended them a grant to undertake the work while they were residing in Santiago, Chile. The Flakolls polled numerous leading literary critics, editors, writers and teachers of Latin-American literature for their nominations of the best new writers. From several thousand manuscripts and books of poetry and short stories, they culled the stories and poems that appear in New Voices of Hispanic America. . . Darwin J. Flakoll (1923-1995) was born on February 20, 1923 in Wendte, South Dakota. His parents, Arthur and Alma, both of Norwegian descent, ran one of the small rural schools in the Dakota plains. There he met the grandson of the Chief of the Lakota Sioux, Sitting Bull, with whom he formed a close friendship. This friendship gave him a different point of view of the mythical Wild West on which he would write stories later. His family emigrated to San Diego, California during the depression. He graduated from San Diego State University at the age of 19 and practiced journalism. That same year he enlisted in the Navy during World War II. He served both in the Atlantic and in the Pacific aboard destroyers. At the end of the war he enrolled in the University of George Washington to pursue his Masters in History and met Claribel Alegría. Claribel Alegría was born on May 12, 1924 in Estelí, Nicaragua, daughter of Ana María Vides, Salvadoran and Dr. Daniel Alegría, Nicaraguan. When Claribel was only nine months old, his parents, for being against the North American occupation of Nicaragua and facing threats, emigrated to the city of Santa Ana, El Salvador. Claribel spent his childhood and adolescence there but since then he was aware of having "Homeland and Matria" and is considered to this day "SlavaNica". During the thirties in San Salvador, when he was only seven years old, he remembers the massacre of the peasants and indigenous people of El Salvador, at the hands of the dictator Martínez. It was an indelible milestone that marked her forever and from there comes her social commitment to human rights. In 1943, she left a scholarship to the University of Loyola (New Orleans, United States) and completed her Bachelor of Arts in Philosophy and Letters at the University of George Washington. While there he met Juan Ramon JimEnez, the Spanish Nobel Prize winner, who was his mentor and who gathered his first poems that are in "Anillo de Silencio", his first book. |
![]() | ![]() | ANTHOLOGIES. . Flores, Angel (editor and introduction). Great Spanish short stories. New York. 1962. Dell. 304 pages. paper. The early twentieth-century selections from Latin America are over-shadowed by the wider range of Spanish peninsular stories. Includes works by Gregorio Lopez y Fuentes (Mexico), Ricardo Palma (Peru), and Hernando TEllez (Colombia), with selections by Spanish authors. Angel Flores was born October 2, 1900 in Barceloneta, Puerto Rico. He left Puerto Rico at age 18 or 19 for New York. He received his B.A. from New York University (1923), his M.A. from Lafayette College (1925), and his PhD from Cornell University (1947). Flores' career was as literary critic, pundit, teacher, translator, and publisher. He navigated both the English-speaking and Spanish-speaking worlds of literature. He was one of the early translators of Pablo Neruda into English; he was the original Spanish translator for T. S. Eliot's The Waste Land. He was a friend of Federico Garcia Lorca. Flores is credited with being the first person to apply the term "magical realism" to literature. Flores was on the faculty of Cornell University during the late 1930s, and with the support of Cornell, he founded Dragon Press, in order to provide a publishing venue for modern poets without wide public appeal. Flores spent the 1940s in Washington D.C. working for the Pan American Union (later, the Organization of American States). His work there led to the establishment of Latin American Studies as an academic discipline. Flores retired as Professor Emeritus from Queens College, New York City. He died on January 3, 1992 in Guadalajara, Mexico. During his lifetime, Angel Flores wrote more than 80 books. |
![]() | ![]() | ANTHOLOGIES. . Flores, Angel (editor). Spanish Stories/Cuentos Espanoles: A Bantam Dual-Language Book. New York. 1964. Bantam Books. 339 pages. paperback. ND4436. This BANTAM DUAL-LANGUAGE BOOK gives you - thirteen great, representative stories in the Spanish language with vivid, accurate English translations, printed in corresponding paragraphs on facing pages; an informative essay on Spanish literature; biographical-critical introductions to each story; notes on obscure references and idioms; Spanish-to-English vocabulary; teaching and practice aids; a helpful introduction on the uses of this volume. Bantam Dual-Language Books are designed for everyone who wants to read good stories - everyone interested in a foreign language. Angel Flores was born October 2, 1900 in Barceloneta, Puerto Rico. He left Puerto Rico at age 18 or 19 for New York. He received his B.A. from New York University (1923), his M.A. from Lafayette College (1925), and his PhD from Cornell University (1947). Flores' career was as literary critic, pundit, teacher, translator, and publisher. He navigated both the English-speaking and Spanish-speaking worlds of literature. He was one of the early translators of Pablo Neruda into English; he was the original Spanish translator for T. S. Eliot's The Waste Land. He was a friend of Federico Garcia Lorca. Flores is credited with being the first person to apply the term "magical realism" to literature. Flores was on the faculty of Cornell University during the late 1930s, and with the support of Cornell, he founded Dragon Press, in order to provide a publishing venue for modern poets without wide public appeal. Flores spent the 1940s in Washington D.C. working for the Pan American Union (later, the Organization of American States). His work there led to the establishment of Latin American Studies as an academic discipline. Flores retired as Professor Emeritus from Queens College, New York City. He died on January 3, 1992 in Guadalajara, Mexico. During his lifetime, Angel Flores wrote more than 80 books. |
![]() | ![]() | ANTHOLOGIES. . Flores, Angel and Poore, Dudley (editors). Fiesta in November: Stories From Latin America. Boston. 1942. Houghton Mifflin. Introduction by Katherine Anne Porter. 608 pages. hardcover. Here, in one handsome volume, is the best of Latin American fiction - novels, novelettes, and short stories - selected by two specialists in the field for the enjoyment of North American readers. In the Introduction, Katherine Anne Porter says: ‘These stories are wonderfully interesting to me because they give a view of South American life and people that I never found anywhere else. . . . The world of most of these stories is an outside world, full of weather. Men live on horseback, on foot, in carts, in boats. They travel in the fields, over mountains, through jungles, on water, facing heat, flood, snow, rain, bitter cold. The themes are flight, pursuit, the search for adventure, and the struggle for survival. CONTENTS: INTRODUCTION, by Katherine Anne Porter; ARGENTINA - FIESTA IN NOVEMBER, by Eduardo Mallea; ECUADOR - Don Goyo, by Demetrio Aguilera Malta; PERU - GAVIOTA, by Jose Diez-Canseco; COLOMBIA - COUNTRY GIRL, by Luis Tablanca; VENEZUELA - THE SLOOP ‘ISABEL' ARRIVED THIS EVENING, by Guillermo Meneses; MEXICO - THE FUTILE LIFE OF PIT0 PEREZ, by Jose RubEn Romero; ARGENTINA - DANGEROUS MEN, by Hector I. Eandi; BRAZIL - SEA OF THE DEAD, by Jorge Amado; URUGUAY - THE FUGITIVES, by Horacio Quiroga; PANAMA - THEY CAME TO A RIVER, by Rogelia Sinan; ARGENTINA - THE WHITE WIND, by Juan Carlos Davalos; VENEZUELA - RAIN, by Arturo Uslar Pietri; PERU - THE GOOD KNIGHT CARMELO, by Abraham Valdelomar; BOLIVIA - LA MISQUI-SIMI, by Adolfo Costa du Rels; CHILE - VAGABONDS' CHRISTMAS EVE, by Salvador Reyes; CHILE - ESCAPE, by Rafael Maluenda Labarca; CHILE - PILGRIMAGE, by Armando Arriaza; CHILE - BROTHER ASS, by Eduardo Barrios. Angel Flores was born October 2, 1900 in Barceloneta, Puerto Rico. He left Puerto Rico at age 18 or 19 for New York. He received his B.A. from New York University (1923), his M.A. from Lafayette College (1925), and his PhD from Cornell University (1947). Flores' career was as literary critic, pundit, teacher, translator, and publisher. He navigated both the English-speaking and Spanish-speaking worlds of literature. He was one of the early translators of Pablo Neruda into English; he was the original Spanish translator for T. S. Eliot's The Waste Land. He was a friend of Federico Garcia Lorca. Flores is credited with being the first person to apply the term "magical realism" to literature. Flores was on the faculty of Cornell University during the late 1930s, and with the support of Cornell, he founded Dragon Press, in order to provide a publishing venue for modern poets without wide public appeal. Flores spent the 1940s in Washington D.C. working for the Pan American Union (later, the Organization of American States). His work there led to the establishment of Latin American Studies as an academic discipline. Flores retired as Professor Emeritus from Queens College, New York City. He died on January 3, 1992 in Guadalajara, Mexico. During his lifetime, Angel Flores wrote more than 80 books. Dudley Poore (September 6, 1893 – 1981) was an American poet, author, and translator. He was renowned for his translations of notable works from Spanish and Portuguese into English, including Our Daily Bread (1943) by Ecuador’s Enrique Gil Gilbert, which received honorable mention at Farrar Rinehart’s Latin-American Prize Novel Contest. Poore’s translation of The Bonfire (1944) by Cecilio J. Carneiro of Brazil also garnered critical acclaim. Apart from translation, Poore co-edited Fiesta in November: Stories from Latin America (1942) and North American Storytellers (1946). His poetry was featured in Eight Harvard Poets (1917). The Dudley Poore papers, which document both his personal and professional life, are housed in the Beinecke Rare Book and Manuscript Library at Yale University. This collection includes his correspondence, writings, photographs, notebooks, and other materials. |
![]() | ![]() | ANTHOLOGIES. . Franco, Jean (editor and introduction). Short stories in Spanish. Cuentos hispánicos. Harmondsworth & Baltimore. 1966. Penguin. 204 pages. A noteworthy collection of outstanding stories by leading contemporary authors. Bilingual edition, parallel texts. Of interest are the 'Biographical notes on authors,' pp. 191-195, and 'Notes on Spanish texts,' pp. 197-204. Various translators. Of eight writers, only one is Spanish (Camilo Jose Cela). Spanish American authors are: Mario Benedetti (Uruguay), Jorge Luis Horges (Argentina), Gabriel Garcia Márquez (Colombia), Carlos Martinez Moreno (Uruguay), Juan Carlos Onetti (Uruguay), Juan Rulfo (Mexico), and H. A. Murena (Argentina). Jean Franco, born in 1924 in Dukinfield, Cheshire, was educated at Hyde Grammar School and at Manchester and London Universities. She lived for four years in Guatemala and Mexico, from 1953 to 1957, and in 1960 took up an appointment as Lecturer in Spanish at Queen Mary College, London University. In 1964 she was appointed Reader in Latin American Literature at King's College, London University, and in 1968 became Professor of Latin American Literature at the University of Essex. She is a founder-member of the Society for Latin American Studies of Great Britain and has served as Chairman since 1967. She has published many articles and translations in British periodicals and has contributed to Latin American periodicals. She is the editor of Short Stories in Spanish (Penguin, 1966), the author of An Introduction to Spanish American Literature (1969), and a contributor to the Latin American section in the Penguin Companion to Literature, Volume 3. |
![]() | ![]() | ANTHOLOGIES. . Frank, Waldo (editor). Tales from the Argentine. New York. 1977. Gordion Press. Translated by Anita Brenner. Reprint. Originally published 1930. Works from the nineteenth and early twentieth centuries. Stories by Domingo Faustino Sarmiento, Lucio Vicente Lopez, Roberto J. Payro, Leopoldo Lugones, Ricardo Güiraldes, and Horacio Quiroga (Uruguay) Waldo David Frank (1889-1967) was a prolific American novelist, historian, political activist, and literary critic, who wrote extensively for The New Yorker and The New Republic during the 1920s and 1930s. Frank is best known for his studies of Spanish and Latin American literature and culture and his work is regarded as an intellectual bridge between the two continents. A radical political activist during the years of the Great Depression, Frank delivered a keynote speech to the first congress of the League of American Writers and was the first chair of that organization. Frank broke with the Communist Party, USA in 1937 over its treatment of exiled Soviet leader Leon Trotsky, whom Frank met in Mexico in January of that year. |
![]() | ![]() | ANTHOLOGIES. . Frank, Waldo (editor). Tales From the Argentine. New York. 1930. Farrar & Rinehart. Illustrations by Mordecai Gorelik. Translated from the Spanish by Anita Brenner. 268 pages. hardcover. Cover: Mordecai Gorelik. A robust, virile picture of the Argentine in all its picaresque and languorous detail. There are ribald love stories, quaint pictures of Buenos Aires, the twanging guitars of happy gauchos, wild fighting in the hills, man-eating tigers in the wilderness, the story of the great Anaconda lifting her coiled body in the jungle. A fascinating panorama. TALES FROM THE ARGENTINE is the first of many books from South America to be published by Farrar & Rinehart under the general editorship of Mr. Frank, who is an authority on things Latin-American. He is a shrewd editor. This fascinating volume is not only emotionally exciting but informative and in his Introduction and notes, Mr. Frank gives us a colorful picture of the Argentine and a background of its history and politics as well as its writing. Includes the stories: LAUCHA'S MARRIAGE by Roberto J. Payro; DEATH OF A GAUCHO by Leopoldo Lugones; HOLIDAY IN BUENOS AIRES by Lucia V. Lopez; THE PRIVATE LIFE OF FACUNDO by Domingo F. Sarmiento; THE DEVIL IN PAGO CHICO by Roberto J. Payrol ROSAURA by Ricardo Güiraldes; THE RETURN OF ANACONDA by Horacio Quiroga. Waldo David Frank (1889-1967) was a prolific American novelist, historian, political activist, and literary critic, who wrote extensively for The New Yorker and The New Republic during the 1920s and 1930s. Frank is best known for his studies of Spanish and Latin American literature and culture and his work is regarded as an intellectual bridge between the two continents. A radical political activist during the years of the Great Depression, Frank delivered a keynote speech to the first congress of the League of American Writers and was the first chair of that organization. Frank broke with the Communist Party, USA in 1937 over its treatment of exiled Soviet leader Leon Trotsky, whom Frank met in Mexico in January of that year. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Freixas, Claudio (editor). Translations of Poems of Five Modernist Spanish-American Poets. Arcata. 1975. Humboldt State University. 29 pages. paperback. A literary movement which began in Spanish America toward the last thirty years of the Nineteenth Century was called modernism. It was started by one Mexican, Manuel Gutierrez Najera, one Colombian, Jose Asuncion Silva, and two Cubans, Jose Marti and Julian del Casal. Some critics also include in this group two other poets, Salvador Diaz Miron, a Mexican, and Manuel Gonzalez Prada, a Peruvian. A Nicaraguan, Ruben Dario, spread and consolidated this autochthonous literary movement of Spanish America. It produced profound changes in the literature of the Hispanic world, There was also a revival of the Spanish language. quality, sincerity, and independence of the writers, besides beauty, were the main goals of modernism. Its principal outcome was the literary unification of all Spanish-American countries. In modernism were merged literary schools that were antagonistic in France, the Parnassian School and the Symbolist School, and elements of other literary movements such as romanticism, realism, and naturalism. CONTENTS: PREFACE; INTRODUCTION; JOSE MARTI - My Poetry/Mi poesia; MANUEL GUTIERREZ NAJERA - For That Moment/Para entonces, Dead Waves/Ondas muertas; JULIAN DEL CASAL - The Greatest Sadness/La mayor tristeza, Nihilism/Nihilismo; JOSE ASUNCION SILVA - Tropical Landscape/Paisaje tropical; ?;?; RUBEN DARIO - Melancholy/Melancolia, Nocturne/Nocturno. . . Claudio Freixas is a Cuban-American translator. |
![]() | ![]() | ANTHOLOGIES. . Fremantle, Anne (editor). Latin-American Literature Today. New York. 1977. Mentor/New American Library. 0451615875. 342 pages. paperback. ME1587. Cover: Alejandro Obregon. EXCITING NEW FRONTIERS OF THE MODERN LITERARY WORLD - During our century, the many currents of Latin-American literature have come to form one of the most powerful and richly textured literary movements in the world. This anthology brings together representative fiction, essays, and poetry by the outstanding figures who have played and continue to play vital roles in this great outpouring of native sensibility and universal genius. The writers in this volume range from world-famous names like Gabriel Garcia Márquez, Jorge Luis Borges, and Pablo Neruda to brilliant new talents whose works have been translated here for the first time. Complete with biographical notes on all the authors, LATIN-AMERICAN LITERATURE TODAY invites us to explore a brilliant world of reading pleasure, and to fully appreciate the scope and significance of a literature rooted in a vast social, economic, and historical landscape. Here is a collection alive with writing that masterfully and magically fuses the old with the new. CONTENTS; CIRO ALEGRIA - The Puma of Shadows; JUAN JOSE ARREOLA - Prologue/Felines/ The Monkeys/The Trap/ You and I/The Interview; MIGUEL ANGEL ASTURIAS - Tecun-Uman; MANUEL BANDEIRA - New Poetic/Apple/A Light Supper/Poem Taken from a Newspaper Article/Moment in a CafE/Poem of the Dead/ I'm Leaving for Pasárgada/The Art of Loving; JORGE LUIS BORGES - Inferno, I/Paradiso, XXXI/ Ragnarok/ Parable of Cervantes and the Quixote/The Witness/A Problem/Borges and I/Everything and Nothing/The Cyclical Night; SILVINA BULLRICH - The Bridge; ERNESTO CARDENAL - Spring Has Come/Love; ALEJO CARPENTIER - The Fugitives; JORGE CARRERA ANDRADE - Epilogue/Each Thing Is a World in Itself/There Isn't/I Am the One Who Dwells Among Stones; ROSARIO CASTELLANOS - from Office of Tenebrae; AUGUSTO CESPEDES - The Well; JULIO CORTAZAR - The Island at Noon; JOSE DONOSO - The Guero; SALVADOR ELIZONDO - The Butterfly; CARLOS FUENTES - The Hight Cost of Living/Central and Eccentric Writing; GABRIEL GARCIA MARQUEZ - Monologue of Isabel Watching It Rain in Macondo; KITZIA HOFFMAN - Old Adelina; JORGE IBARGUENGOITIA - Herod's Law; CLARICE LISPECTOR - The Man Who Appeared/Better than to Burn; GERARDO MARIA - Matusalen, the Village Without Time; RENE MARQUES - A Body Abaft; CECELIA MEIRELES - The Bath of the Buffaloes/Improvisation/Song/ Song of the Afternoon in the Field/Swimmer/Fine Rain/Portrait; GABRIELA MISTRAL - Notes on Pablo Neruda/Castile (An Imaginary Encounter with Saint Theresa); CARLOS MONTEMAYOR - Dearest/Ramadan; AUGUSTO MONTERROSO - Mr. Taylor; PABLO NERUDA - Lord Cochrane de Chile/from Memoirs; RUBEN BONIFAZ NUNO - from La flama en el espejo; VICTORIA OCAMPO - The Lakes of the South; JUAN CARLOS ONETTI - Santa Rosa; JOSE EMILIO PACHECO - The Pleasure Principle; OCTAVIO PAZ - from Alternating Current; AUGUSTO ROA BASTOS - from Hijo de hombre; JUAN RULFO - Tell Them Not to Kill Me!; DALTON TREVISAN - The White Butterfly; ARTURO USLAR PIETRI - Simeon Calamaris; MARIO VARGAS LLOSA - Interview with Carlo Meneses; LUIZ VILELA - Daring/God Knows What He's Doing; RAMoN XIRAU - fom Palabra y sllencio. Anne Fremantle, who has taught at both New York University and the United Nations, is a widely known author and critic whose fiction, articles, and reviews have been published in Harper's Bazaar, Saturday Review, Commonweal, The New Yorker, The New York Times, and many other publications. She is the editor of Mao Tse Tung: An Anthology of His Writings and The Age of Belief: The Medieval Philosophers. |
![]() | ![]() | ANTHOLOGIES. . Fuentes, Carlos and Ortega, Julio (editors). The Vintage Book of Latin American Stories. New York. 2000. Vintage Books. 067977551x. Paperback Original. 380 pages. paperback. Game board, artist unknown. Cover design: Megan Wilson. In this expansive anthology, Carlos Fuentes and Julio Ortega present the most compelling short fiction from Mexico to Chile. Surreal, poetic, naturalistic, urbane, peasant-born; all styles intersect and play, often within a single piece. CONTENTS: ACKNOWLEDGEMENTS; THE STORYTELLER Carlos Fuentes; INTRODUCTION Julio Ortega; JORGE LUIS BORGES The Aleph; FILISBERTO HERNANDEZ The Balcony; JOAO GUIMARAES ROSA The Third Bank of the River; VIRGILIO PINERA The One Who Came to Save Me; JUAN CARLOS ONETTI Hell Most Feared; JUAN RULFO Luvina; JULIO CORTAZAR Blow-up; CLARICE LISPECTOR Love; JOSE DONOSO Ana Maria; GABRIEL GARCIA MARQUEZ The Handsomest Drowned Man in the World; SALVADOR GARMENDIA The Melancholic Pedestrian; JULIO RAMON RIBEYRO The Wardrobe, the Old Man and Death; INES ARREDONDO Subterranean River; ANTONIO BENITEZ ROJO The Scissors; ALEJANDRO ROSSI Orion's Glow; LUIS LOAYZA ANew Man; SERGIO PITOL Bukhara Nocturne; LUIS RAFAEL SANCHEZ Getting Even; NELIDA PINON House of Passion; LUISA VALENZUELA Panther Eyes; JOSE EMILIO PACHECO The Queen; ALFREDO BRYCE ECHENIQUE A Brief Reappearance by Florence, This Autumn; JOSE BALZA The Stroke of Midnight; MOACYR SCLIAR Van Gogh's Ear; ANTONIO SKARMETA The Cyclist of San Cristobal Hill; MARIO LEVRERO Notes from Buenos Aires; POLICARPO VARON The Feast; RODOLFO HINOSTROZA The Benefactor; SERGIO RAMIREZ The Centerfielder; MARIA LUISA PUGA Naturally; HERNAN LARA ZAVALA Mirror Images; ANGELES MASTRETTA from Big-Eyed Women; FERNANDO AMPUERO Taxi Driver, Minus Robert De Niro; SENEL PAZ Don't Tell Her You Love Her; ALBERTO RUY SANCHEZ Voices of the Water; ANTONIO LOPEZ ORTEGA from Naturalezas menores; JUAN VILLORO Coyote; RODRIGO FRESAN National Sovereignty; PABLO SOLER FROST Clamour; AUTHOR BIOGRAPHIES; COPYRIGHT ACKNOWLEDGEMENTS. Carlos Fuentes Macías (November 11, 1928 - May 15, 2012) was a Mexican novelist and essayist. Among his works are The Death of Artemio Cruz (1962), Aura (1962), The Old Gringo (1985) and Christopher Unborn (1987). In his obituary, the New York Times described him as ‘one of the most admired writers in the Spanish-speaking world' and an important influence on the Latin American Boom, the ‘explosion of Latin American literature in the 1960s and '70s', while The Guardian called him ‘Mexico's most celebrated novelist'. His many literary honors include the Miguel de Cervantes Prize as well as Mexico's highest award, the Belisario Domínguez Medal of Honor. He was often named as a likely candidate for the Nobel Prize in Literature, though he never won. A native of Peru, Professor Julio Ortega is an accomplished scholar, poet, playwright, and novelist, with 15 books as well as several critical editions to his credit. After six years of teaching at the University of Texas at Austin, and two years as professor and chairperson at Brandeis University, Professor Ortega joined Brown's Department of Hispanic Studies in 1989. He has also been a visiting professor at numerous universities both in the United States and abroad, including recent terms as Simon Bolivar Professor of Latin American Studies at the University of Cambridge (1995-96) and Catedra de Estudios Avanzados at the Universidad Central de Venezuela (Summer 1995). |
![]() | ![]() | ANTHOLOGIES. . Fuentes, Carlos/Donoso, Jose/Sarduy, Severo. Triple Cross. New York. 1972. Dutton. 0525222804. 331 pages. hardcover. Jacket design by Ginger Giles. The original title of 'Holy Place' is Zona sagrada Copyright (c) ;1967, 1969 by Siglo XXI Editores, LA. The original title of 'Hell Has No Limits' is El lugar skilmites Copyright (c) 1966 by Editorial Joaquin Mortiz, LA. The original title of 'From Cuba w An embarrassment of riches describes the appearance in one volume of three superlative works by these giants of contemporary Latin American literature. In ‘Holy Place,' Carlos Fuentes, Mexico's most important novelist, uses movie techniques - close-ups, longshots, flashbacks, dissolves-to tell the story of the son of a famous movie star. ‘Holy Place' is by turns comic and terrifying as it follows Guillermo's obsessive need to possess his mother and unite with her. In critic Leonard Michaels' words, ‘a dazzling salad of traditional and contemporary myth,' Fuentes' novel is, he says, ‘a virtuoso performance in paradox.' ‘Hell Has No Limits' by Jose Donoso covers one day in the affairs of La Manuela, an old queen and ‘madam' of a ramshackle whorehouse. Manuela, reluctant husband of the former madam, now dead, and father of Japonesita, has an irresistible desire to don a tattered red silk dress and dance for one particular customer who she knows will end by beating her. Like the other short novels in Triple Cross, Donoso's story deals with shifting identities, terror, and redemption. The final novella marks the first appearance in English of the Cuban writer Severo Sarduy. Unmistakably a tour de force of style, ‘From Cuba with a Song' consists of three fables which share in common three characters: a blond Spaniard named Mortal, and Help and Mercy, also called the Flower Girls. In the first fable, Mortal is a lecherous old general who pursues the image of Lotus Flower, a soprano at the Chinatown Opera House. In the second fable, Mortal is a politician whose rise and fall parallels the rise and fall of Dolores Rondon, immortalized in a ten-line poem of Christ in Havana,' Mortal is an absent young on her tombstone. In the third fable, ‘The Entry lover who will become a metaphor for Christ. All three short novels, in their technical mastery, insight and bravado, are works of unforgettable power. No one interested in contemporary writing can fail to be impressed. CONTENTS: Carlos Fuentes/Holy Place; Jose Donoso/Hell Has No Limits; Severo Sarduy/From Cuba with a Song. CARLOS FUENTES was born in Mexico in 1928. His published works include WHERE THE AIR IS CLEAR (1958), THE GOOD CONSCIENCE (1959), AURA (1962), THE DEATH OF ARTEMIO CRUZ (1962), and A CHANGE OF SKIN (1967). His works have been translated into many languages. He lives in Mexico. JOSE DONOSO was born in 1924 in Santiago, Chile. He received his A.B. from Princeton in 1951. He has taught English literature at the University of Chile and has been a writer-in-residence at the University of Iowa. His books include THIS SUNDAY and CORONATION, which won the William Faulkner Foundation Prize for Chile in 1962. He lives in Spain. SEVERO SARDUY was born in Camaguey, Cuba, in 1937. His works in French translation have established him as a leading avant-garde writer. FROM CUBA WITH A SONG is his first book publication in English. He lives in Paris. |
![]() | ![]() | ANTHOLOGIES. [Argentina - Poetry]. Gannon, Patricio and Manning, Hugo (editors). Argentine Anthology of Modern Verse. Buenos Aires. 1942. Francisco A. Columbo. Translated by Hugo Manning.Preface by Patricio Gannon. 73 pages. Poems of the early and mid-century. Poems by: Rafael Alberto Arrieta, Enrique Banchs, Francisco Luis Bernárdez, Jorge Luis Borges, Baldomero Fernández Moreno, Eduardo Gonzalez Lanuza, Enrique Larreta, Roberto Ledesma, Leopoldo Lugones, Leopoldo Marechal, Ricardo F. Molinari, Conrado Nale Roxlo, Pedro Miguel Obligado, Jose Pedroni, Alfonsina Storni. Hugo Manning, poet, journalist, and mystic, has been described as a major poet with a minor reputation. Unfortunately, there is little extant biographical material written about Manning. Standard reference tools are silent and biographers have not been forthcoming. The information gathered here has been derived from personal papers, eulogies, and obituaries found in this collection. Of particular interest is a document that records the origin of Hugo Manning's name. On April 3, 1943, a "Deed Poll on Change of Name" was registered at the Central Office of the Supreme Court of Judicature whereby Lazarus Perkoff, also known as Hugh Leslie Perkoff, legally assumed the name Hugo Manning. Lazarus Perkoff was born on July 15, 1913 at 123 Oxford Street in Mile End Road, London, to Jewish parents, Myer Perkoff, a tailor's machinist, and Rosa Perkoff (formerly Green), both born in Russian Poland. In time, Manning's father operated a sweet and tobacco shop in the East End and Manning attended the Stepney Jewish School until he was 14. Under the name Leslie Perkoff, Manning studied violin, viola, and theory from 1926 to 1931 at the Trinity College of Music, London, securing a scholarship in his last three years. In 1929, Manning pursued his violin study with the renowned European teacher Otakar Sevcik in Pisek, Czechoslovakia. For unknown reasons, Manning chose not to pursue a career in music; indeed, he appears to have been reticent about his musical talent, even with his friends. In the early 1930s, Manning (then known as Hugh Leslie Perkoff) returned to London where he wrote weekly newspaper articles for the Sunday Referee and was a member of its editorial staff during 1935-36, among other freelance assignments. By May 1937, Manning was working in Vienna as a correspondent for the Jewish Chronicle and World Film News. From 1939 to 1942, Manning lived in Buenos Aires, Argentina where he was employed in various capacities by several newspapers and magazines including La Nacion, Argentina Libre, Sur, Agonía, The Buenos Aires Herald, and The Times of Argentina. During his stay in Argentina, Manning was acquainted with leading South American literary figures such as Victoria Ocampo, Patricio Gannon with whom he edited the Argentine Anthology of Modern Verse (1942), and Jorge Luis Borges, who became his lifelong friend. In November 1943, Manning volunteered for service in the British Army Intelligence Corps. While stationed in North Africa he suffered a leg injury and was subsequently discharged in August 1944. His injury caused him to walk with a cane for the remainder of his life. In 1946 Manning joined the staff of Reuters, where he served for 19 years on the South American desk, working nights so he could devote his daytime hours to writing. In his last few years with Reuters, Manning became the senior sub-editor and features writer for the UK desk. He retired in 1968 and devoted the remainder of his life to literary pursuits. Although Manning's career as a journalist began in the early 1930s, it wasn't until 1942 that his verse and prose was published privately and by small publishers including Villiers, Enitharmon Press, Village Press, and Trigram Press. Titles include The Secret Sea, Dylan Thomas, Dear Little Prince, Woman At the Window, This Room Before Sunrise, Madame Lola, Modigliani, Ishmael, and The It and the Odyssey of Henry Miller. Manning counted among his friends Denis ApIvor, Roy Campbell, Lawrence Durrell, John Cowper Powys, William Oxley, Suzan Rapoport, Derek Stanford, Phil Coram, Henry Miller, Paul Peter Piech, Alfred Perlès, Rosamond Lehmann, Jack Hammond, Muriel Spark, Alan Clodd, Kathleen Raine, David McFall, Mauricio Lasansky, and Jorge Luis Borges. Manning's belief in a spiritual afterlife permeates much of his writing, as does the "discovery of man's role in the cosmic design." Manning believed in a purposeful existence wherein the proliferation of isolated, unique natures combine to form a transcendent wholeness guided and sustained by a "Life Force." In a letter to J. B. Priestley in 1969, Manning wrote "I consider myself to be a deeply religious person but find all systems of belief insufficient unless the question of man's immortality is looked at fearlessly …. I have had extra-sensory experiences of a revealing nature quite a number of times in my life; this has led me to undertake psychic research and the truth of man's immortality has become more than apparent to me …. Surely the acceptance of this immense truth could and would alter the pattern of most lives." |
![]() | ![]() | ANTHOLOGIES. [Literary Criticism]. Garcia Pinto, Magdalena. Women Writers of Latin America: Intimate Histories. Austin. 1991. University of Texas Press. 0292738668. Translated by Trudy Balch in cooperation with the author; illustrations by Karen Parker Lears. 258 pages. paperback. What does it take for a woman to succeed as a writer? In these revealing interviews, first published in 1988 as Historias intimas, ten of Latin America's most important women writers explore this question with scholar Magdalena Garcia Pinto, discussing the personal, social, and political factors that have shaped their writing careers. The authors interviewed are Isabel Allende, Albalucia Angel, Rosario Ferre, Margo Glantz, Sylvia Molloy, Elvira Orphee, Elena Poniatowska, Marta Traba, Luisa Valenzuela, and Ida Vitale. In intimate dialogues with each author, Garcia Pinto draws out the formative experiences of her youth, tracing the pilgrimage that led each to a distinguished writing career. The writers also reflect on their published writings, discussing the creative process in general and the motivating force behind individual works. They candidly discuss the problems they have faced in writing and the strategies that enabled them to reach their goals. While obviously of interest to readers of Latin American literature, this book has important insights for students of women's literature and cultural studies, as well as for aspiring writers. Magdalena García Pinto is Associate Professor Emerita of Spanish at the University of Missouri, Columbia. Trudy Balch (1956–2010) was a translator specializing in Spanish and Ladino. |
![]() | ![]() | ANTHOLOGIES. [Puerto Rico]. Garcia Ramis, Magali. Happy Days, Uncle Sergio. Fredonia. 1995. White Pine Press. 1877727520. Translated from the Spanish by Carmen C. Esteves. 175 pages. paperback. Cover: Nick Quijano. A novel of love and loss set against the rapidly-changing backdrop of 1950s Puerto RicoJuan Martínez Capo called it a "novel that is a joyful chronicle of Puerto Rican solidarity," and Efraín Barradas stated that its "combination of traditional mythical structure and contemporary realism gives García Ramis' novel a very special appeal, a present-day ambiguity." Magali García Ramis (born 1946) is a Puerto Rican writer. Magali García Ramis was born in 1946 in Santurce, Puerto Rico. She lived all her childhood in this borough of San Juan, with her mother, father and brothers, near her mother's family, with close relations with uncles, cousins and her maternal grandmother. Her father worked as a civil servant in Fort Buchanan; her mother worked for a while in her sister's laboratory and later stayed home with her children. Her eldest aunt, María Luisa Ramis, was the first woman in Puerto Rico to open a laboratory and all the aunts worked there. García Ramis spent many hours of her childhood in her grandmother's house and in the laboratory. When García Ramis was a teenager, her family moved to the upscale Miramar section and she and her elder brother had to change schools. She enrolled at the Academia del Perpetuo Socorro (Academy of Our Lady of Perpetual Help), where she graduated from high school. That school emphasized American culture and history, and García Ramis and many classmates, comparing the U.S. and Puerto Rico interpreted all things American as being better than those of the island. García Ramis always struggled with this idea and in college she learned more about Puerto Rican culture. These themes can be found in her literary work. In 1964 she enrolled at the University of Puerto Rico where she majored in History. After graduating, she worked for the newspaper El Mundo. In 1968 she received a scholarship and moved to New York City to study journalism at Columbia University. It is in New York that she writes her first story, 'Todos los domingos' ('Every Sunday'). With this story she won first prize in the literary contest of the Ateneo Puertorriqueño (Puerto Rican Athenaeum). She returned to Puerto Rico in 1971 and started to work for the newspaper El Imparcial. She worked for the newspaper until 1972. She also worked for a literary magazine called Avance until 1973. During this period she continued to write short stories. García Ramis sent a book composed of 4 short stories to a contest sponsored by the Casa de las AmEricas in Cuba. She received an honorary mention for one of the stories 'La viuda de Chencho el Loco' ('The Widow of Chencho, the Mad Man') which was published in 1974. That same year she moved to Mexico. She returned to Puerto Rico in 1977 and published another book of short stories called La familia de todos nosotros. She also started to work for the School of Communications at the University of Puerto Rico. She routinely collaborated in several Puerto Rican newspapers. She finished her famous semi-autographical novel Felices días, tío Sergio (Happy Days, Uncle Sergio) in 1985; it was published in 1986. In 1988, she received a Guggenheim Fellowship for her second novel, Las horas del Sur (The Hours of the South). In 1993, García Ramis published La ciudad que me habita (The City that Inhabits Me), a collection of journalistic essays that she wrote while she worked for El Mundo, El Imparcial, Avance, Claridad and La Hora. García Ramis's stories are depictions of Puerto Rican culture, family and politics. She writes about interactions within a family, Puerto Rican identity and women's identity. In her best known novel Happy Days, Uncle Sergio, she explores the relationship between a young Puerto Rican tomboy and her uncle, who is rumored to be a homosexual. |
![]() | ![]() | ANTHOLOGIES. [Cuba]. Garcia, Cristina (editor). Cubanisimo: The Vintage Book of Contemporary Cuban Literature. New York. 2003. Vintage. 0385721374. Edited & with an introduction by Cristina Garcia. 378 pages. paperback. Cover design by Megan Wilson. ¡Cubanísimo! is the first book to gather Cuban stories, essays, poems and novel excerpts in one volume that summarizes the richness and depth of a great national literature. From the turn of the century to the present, from Havana to Miami, New York, Mexico City, Madrid and beyond, the spirit and diversity of Cuban culture converge in one vibrant literary jam session. Cristina García has ingeniously grouped her selections according to ‘the music of their sentences' into five sections named for Cuban dance styles. ¡Cubanísimo! begins with an elegant classical danzon section that includes poems and diaries from the father of Cuban literature, Jose Martí, and Antonio Benítez-Rojo's hallucinatory story A View from the Mangrove. As it moves to more contemporary dances, the book offers, among other delights, the essay by Alejo Carpentier that was the first to define magical realism; the scandalously sensual eighth chapter from Jose Lezama Lima's controversial 1966 novel Paradiso; Ana Menendez's Little Havana-inspired story, In Cuba I was a German Shepherd; a passage from Reinaldo Arenas's acclaimed memoir Before Night Falls and six witty musings - or mambos - on language from Gustavo PErez Firmat's Life on the Hyphen. A brilliant introduction for readers who want to explore Cuban literature, as well as a collectible volume for those who love Cuba, ¡Cubanísimo! is a celebration of Cuban culture, from the island to its farthest flung voices. Cristina García (born July 4, 1958) is a Cuban-born American journalist and novelist. After working for Time Magazine as a researcher, reporter, and Miami bureau chief, she turned to writing fiction. Her first novel, Dreaming in Cuban (1992), received critical acclaim and was a finalist for the National Book Award. She has since published her novels The Agüero Sisters (1997) and Monkey Hunting (2003), and has edited books of Cuban and other Latin American literature. Her fourth novel, A Handbook to Luck, was released in hardcover in 2007 and came out in paperback in April 2008. |
![]() | ![]() | ANTHOLOGIES. . Garfield, Evelyn Picon (editor and translator). Women's Fiction From Latin America. Detroit. 1988. Wayne State University Press. 0814318584. 356 pages. hardcover. AN ANTHOLOGY of literature is by nature selective. When dealing with such a large geographic area as Latin America and with a century as fertile as the twentieth, you have two basic choices: to try to include as many authors as possible with the briefest selections in order to ‘cover the continents,' or to limit the number of authors and represent them more fully by including more than one text or longer works, In either case, omissions would be obvious; a global representation from Latin America would be impossible; and personal preferences would inevitably prevail. The editor of this volume has chosen the latter option of presenting fiction by twelve authors from seven countries: Argentina, Brazil, Chile, Costa Rica, Cuba, Mexico, and Uruguay. Although some of these authors have also written poetry, literary criticism, art history, or cultural studies, in this anthology the concentration is on prose, including nineteen short stories, a one-act play, and four excerpts from novels. CONTENTS: Introduction; Acknowledgments; Lydia Cabrera (Cuba) - The Mire of Almendares; Tatabisako; Armonia Somers (Uruguay) - The Tunnel; The Burial; Plunder; Elena Garro (Mexico) - The Tree; Clarice Lispector (Brazil) - Love; Family Ties; Griselda Gambaro (Argentina) - Bitter Blood; Elvira OrphEe (Argentina) - Angel's Last Conquest [Selection from the novel]; The Silken Whale; Carmen Naranjo (Costa Rica) - Ondina; Why Kill the Countess?; Marta Traba (Argentina) - Mothers and Shadows [Selection from the novel]; Conformity; All in a Lifetime; Julieta Campos (Cuba/Mexico) - A Redhead Named Sabina [Selections from the novel]; All the Roses; Nelida Piñon (Brazil) - Bird of Paradise; The New Kingdom; Luisa Valenzuela (Argentina) - Blue Water-Man; Other Weapons; I'm Your Horse in the Night; Isabel Allende (Chile) - Rosa the Beautiful [Selection from the novel The House of the Spirits]; Bibliographies. Evelyn Picon Garfield was professor of Spanish at University of Illinois, Urbana-Champaaign. She received her Ph.D from Rutgers University and was the author of Es Julio Cortazar un Surrealista?, Julio Cortazar, and Cortazar por Cortazar. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. General Secretariat of the Organization of American States Washington. Young Poetry of the Americas, Volume 1. Washington, D.C. 1967. Pan American Union. 116 pages. A bilingual collection of selections reprinted from issues of Americas. Various translators. Poems, with brief introductions, are arranged by country in short anthologies. They are: 'Seven Argentine poets' (edited Manuel Grinberg and Juan Carlos Martelli):Alberto Couste, Alejandro Vignati, Leopoldo Jose Bartolome, Alejandra Pizarnik, Ignacio Beola, Marcelo Pichon Riviere, Juan Gelman; 'Five Chilean poets' (edited Jose Donoso): Nicanor Parra, Efrain Barquero, Alberto Rubio, Enrique Lihn, Miguel Arteche; 'Eight Costa Rican poets': Jorg Debravo, Jorge Ibãñez, Laurean Albán, Julieta Doblez Yzaguirte Marco Aguilar, Rodrigo Quiros Alfonso Chase, Arabella Salaverry; 'Six Ecuadorian poets' (edited Gal Rene Perez and Ulises Estrella): An Maria Ixa, Francisco Araujo Sánchez, Manuel Zabala Ruiz, Carl Manuel Arizaga, Euler Grand Simon Corral; 'Four Salvadorian poets' (edited Eunice Odio): Dora Guerra, Claud Lars, Hugo Lindo, Pedro Geoffr Rivas; 'Five Mexican poets' (edited Ser Mondragon): Octavio Paz, Joaq Sanchez MacGregor, Homero Arjis, Jose Emilio Pacheco, Jai Augusto Shelley; 'Avant-garde poetry in Panama' (edited Aristides Martinez Ortega): Carlos Francisco Chan-Marin, Tristan Solarte, Homero Icaza Sanchez, Jose de Jesus Martinez, Guillerma Ross Zanet, Jose Franco, Demetrio Fábrega; 'Six Uruguayan poets' (edited Saul Ibargoxen Islas): Mario Benedetti, Carlos Brandy, Juan Cunha, Milton Schinca, Jorge Medina Vidal, Idea Vilariño. |
![]() | ![]() | ANTHOLOGIES. [Mexico]. Gibbons, Reginald (editor). New Writing From Mexico. Ann Arbor. 1992. Triquarterly Books. 0916384136. The graphic art reproduced in this issue was curated by Alberto Ruy Sanchez. The artists are Monica Castillo, Miguel Castro Lenero, Laura Cohen, Javier de la Garza, Rocio Maldonado, Lucia Maya, Dulce Maria Nunez, Georgina Quintana, Adolfo Riestra, Gerardo. 420 pages. paperback. Cover design by Gini Kondziolka; cover painting by Alejandro Romero (Nuestros dioses/Our Gods, 22' x 30' watercolor and pen and ink, collection of Frank Aguilar Padr?n). A TriQuarterly collection of newly translated prose and poetry. CONTENTS: Reginald Gibbons/Intorduction: Borders; Raül Aceves/[Where the conch of] (poem); Luis Miguel Aguilar/The Huapango (poem); Aurelio Asiain/After Everything; Life (poems); Raül Banuelos/A Life (poem); Efrain Bartolomeo/Monkey House (poem); Alberto Blanco/Paper Roads, Settling Accounts (poems); Oscar de la Borbolla/The Emancipation of the Lunatics (fiction); Carmen Boullosa/Letter to the Wolf (poem), Storms of Torment (prose); Coral Bracho/In This Warm Dark Mosque; Refracted in Your Life Like an Enigma (poems); Hector Carreto/The House at 5 Allende Street (poem); Ricardo Castillo/Ode to Feeling Like It (poem); Carlos Chimal/Brine (fiction); Elsa Cross/The Cenote at Zaq-qui (poem); Luis Humberto Crosthwaite/Marcela and the King Together at Last on the Boardwalk (fiction); Antonio Deltoro/Thursday; Sunken Landscapes (poems); Ricardo Elizondo/The Canary House (fiction); Jorge Esquinca/Episode in Al-Qayrawan (poem); Jesus Gardea/The Guitar (fiction); Francisco Hernandez/From ‘How Robert Schumann Was Defeated by Demons' (poem); David Huerta/Tea Blues (poem); Barbara Jacobs/The Time I Got Drunk (fiction); Ethel Krauze/The Mule Going Round the Well (fiction); Eduardo Langagne/Discoveries (poem); Hernán Lara Zavala/In the Darkness (fiction); Monica Lavin/The Lizard (fiction); Carmen Lenero/Kaleidoscope; The Slippery Soul; From Magic (prose); Elva Macias/On Capricorn; For Aries; Open House: Tulijá River (poems); Hector Manjarrez/Nicaragua (fiction); Lucia Manriquez Montoya/Virgins (poem); Monica Mansour/[the street doesn't understand what I say]; [there are lovers who appear]; [women - for example, three women -](poems), In Secret (fiction); Angeles Mastretta/From Big-Eyed Women (fiction); Dante Medina/Forget Uruapan, Hermano (fiction); Ruben Medina/Priam; Poets Don't Go to Paris Anymore (poems); Victor Manuel Mendiola/The Room, Like the Ocean (poems); Silvia Molina/Starting Over (fiction); Carlos Montemayor/The Memory of Silver (poem), The Dawn (fiction); Fabio Morábito/The Last of the Tribe (poem), The Vetriccioli (fiction); Jesus Morales Bermüdez/Toward the Horizon (fiction); Myriam Moscona/Naturalization Papers (poem); Maria Luisa Puga/The Natural Thing To Do (fiction), From The Hidden Language (essay excerpt); Vicente Quirarte/A Woman and a Man (poem); Luis Arturo Ramos/Sunday (fiction); Jose Luis Rivas/A Season of Paradise (poem); Silvia Tomasa Rivera/ I Saw You in the Park; What I Wouldn't Give to Know (poems); Martha Robles/An Historical Adventure: Notes on Chicano Literature (essay); Alberto Ruy Sanchez/Voices of the Water (fiction); Severino Salazar/Jesus, May My Joy Be Everlasting (fiction); Guillermo Samperio/She Lived in a Story (fiction), Free Time (fiction); Enrique Serna/Man with Minotaur on Chest (fiction); Bernarda Solis/Art and Monsters (fiction); Manuel Ulacia/The Stone at the Bottom (poem); Alvaro Uribe/The Never-Ending Story (fiction); Roberto Vallarino/Dogs (poem); Gloria Velazquez/Temptress of the Torch-Pines (fiction); Juan Villoro/The Navigable Night (fiction); Veronica Volkow/#1 and #9 from The Beginning, Popocatepetl; Quito (poems); Luis Zapata/Red Slippers (fiction). Reginald Gibbons is an American poet, fiction writer, translator, literary critic, and Professor of English and Classics at Northwestern University and Director of the Center for the Writing Arts there. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Goldberg, Isaac (editor and introduction). Some Spanish American Poets. New York & London. 1929. D. Appleton. Translated from the Spanish by Alice Stone Blackwell. 559 pages. A bilingual edition which includes notes and introductory material in Spanish and English. One of the earliest comprehensive anthologies which contains work by long forgotten poets. Provides a panorama of the poetry from the colonial period to the post-modernists, with emphasis on nineteenth and early twentieth-century poets. The poets are: Manuel Acuña, (Mexico), Almafuerte (Argentina), Enrique Alvarez Henao (Colombia), Olegario Victor Andrade (Argentina), Rafael Arevalo Martinez (Guatemala), Santiago Argiiello (Nicaragua), Andres Bello (Venezuela), Rufino Blanco Fombona (Venezuela), Dulce Maria Borrero de Luján (Cuba), Mario Bravo (Argentina), Roberto Brenes Mesen (Costa Rica), Bonifacio Byrne (Cuba), Rafael Cabrera (Mexico), Jose A. Calcaño (Venezuela), Jose Eusebio Caro (Colombia), Joaquin Castellanos (Argentina), Jose Santos Chocano (Peru), Luis F. Contardo (Chile), Francisco Contreras (Chile), Agustin F. Cuenca (Mexico), Ruben Dario (Nicaragua), Balbino Dávalos (Mexico), Juan B. Delgado (Mexico), Salvador Diaz Miron (Mexico), Luis L. Dominguez (Argentina), Manuel Duque (Bolivia), Maria Enriqueta Camarillo y Roa de Pereyra (Mexico), Demetrio Fábrega (Panama), Enrique Fernández Granados (Mexico), Fabio Fiallo (Dominican Republic), Julio Flores (Colombia), Manuel Maria Flores (Mexico), Jose Gautier Benitez (Puerto Rico), Alberto Ghiraldo (Argentina), Gertrudis Gomez de Avellaneda (Cuba), Alfredo Gomez Jaime (Colombia), Joaquin Gomez Vergara (Mexico, Jorge Gonzalez B. (Chile), Enrique Gonzalez Martinez (Mexico), Alejandro Guanes (Paraguay), Ricardo Gutierrez (Argentina), Manuel GutiErrez Nájera (Mexico), Jose Maria Heredia (Cuba), Julio Herrera y Reissig (Uruguay), David Hine (Costa Rica), Jorge Hubner (Chile), Juana de Ibar bourou (Uruguay), Francisco A. d Icaza (Mexico), Ricardo Jaime Freyre (Bolivia), Sor Juana lnes de la Cruz (Mexico), Leopoldo Lugones (Argentina), Luisa Luisi (Uruguay), Magallanes Moure (Chile), Mercedes Mann del Solar (Chile), Roman Mayorga Rivas (El Salvador), Concha Melendez (Puerto Rico), Gabriela Mistral (Chile), Bartolome Mitre (Argentina), Amado Nervo (Mexico), Rafael Obligado (Argentina), Jose Joaquin de Olmedo (Ecuador), Luis Ortiz (Mexico), Manuel Jose Othon (Mexico), Benigno Palma (Panama), Ricardo Palma (Peru), Ramon de Palma y Romay (Cuba), Ignacio A. Pane (Paraguay), S. Jose M. Pino (Mexico), Rafael Pombo (Colombia), Pedro Prado (Chile), Carlos Augusto Salaverry (Peru), Justo Sierra (Mexico), Jose Asuncion Silva (Colombia), Victor Domingo Silva (Chile), Francisco Sosa (Mexico), Alfonsina Storni (Argentina) Jaime Torres Bodet (Mexico), Froylan Turcios (Honduras), Luis G. Urbina (Mexico), Salome Urena de Henriquez (Dominican Republic), Diego Uribe (Colombia), Guillermo Valencia Colombia), Jesus E. Valenzuela (Mexico), Jose Leon del Valle (Mexico), Daniel de la Vega (Chile), Juan Zorrilla de San Martin (Uruguay). Reprinted numerous times - Philadelphia: University of Pennsylvania Press, 1937; London: H. Milford, Oxford University Press, 1937; New York: Greenwood Press, 1968; New York; Biblo and Tannen, 1968). Isaac Goldberg (Boston, 1887 - July 14, 1938 ) was an American Romanist , Hispanist, Lusitanist, Americanist, literary scholar, music writer, journalist, translator and polygraph. Goldberg studied at Harvard University . He did his doctorate there in 1912 with Jeremiah Denis Matthias Ford on Don Jose Echegaray, a study in modern Spanish drama. In addition to his work as a a journalist, and translator from the Romance languages ??and from Yiddish, Goldberg published numerous works, scientific as well as popular science, many in the Little Blue Books paperback series published by Haldeman-Julius in Girard (Kansas). Alice Stone Blackwell (September 14, 1857 – March 15, 1950) was an American feminist, suffragist, journalist, radical socialist, and human rights advocate. Blackwell was born in East Orange, New Jersey to Henry Browne Blackwell and Lucy Stone, both of whom were suffrage leaders and helped establish the American Woman Suffrage Association (AWSA). She was also the niece of Elizabeth Blackwell, America's first female physician. Her mother introduced Susan B. Anthony to the women's rights movement and was the first woman to earn a college degree in Massachusetts, the first to keep her own last name after getting married, and the first to speak about women's rights full-time. Blackwell was educated at the Harris Grammar School in Dorchester, the Chauncy School in Boston and Abbot Academy in Andover. She attended Boston University, where she was president of her class, and graduated in 1881, at age 24. She belonged to Phi Beta Kappa Society. Blackwell is well known for her work towards women's rights. At first resisting the cause of her mother and father, she later became a prominent reformer. After graduating from Boston University, Alice began working for the Woman's Journal, the paper started by her parents. By 1884, her name was alongside her parents on the paper's masthead. After her mother's death in 1893, Alice assumed almost sole editing responsibility of the paper. Susan B. Anthony and Alice Stone Blackwell signed NAWSA check, written by the group's treasurer Harriet Taylor Upton. In 1890, she helped reconcile the American Woman Suffrage Association and National Woman Suffrage Association, two competing organizations in the women's suffrage movement, into the National American Woman Suffrage Association (NAWSA). The movement had become split in 1869 over disputes over the degree to which women's suffrage should be tied to African-American male suffrage. This split created the AWSA, which her parents helped organize, and the National Woman Suffrage Association (NWSA), headed by Susan B. Anthony and Elizabeth Cady Stanton. From 1890 to 1908, Alice Stone Blackwell was NAWSA's recording secretary and in 1909 and 1910 one of the national auditors. She was prominent in Woman's Christian Temperance Union activities. In 1903, she reorganized the Society of Friends of Russian Freedom in Boston. She was also president of the New England and Massachusetts Woman Suffrage associations and honorary president of the Massachusetts League of Women Voters. In later life, Blackwell went blind. She died March 15, 1950, at the age of ninety-two. |
![]() | ![]() | ANTHOLOGIES. [Brazil]. Goldberg, Isaac (editor). Brazilian Tales. Boston. 1921. Four Seas Company. Translated from the Portuguese by Isaac Goldberg. 96 pages. paperback. Dr. Isaac Goldberg, noted authority on Latin American literature, selected for this volume half a dozen of the best-known short stories in Brazilian literature, and acompanied them with an extensive essay on Brazilian fiction. This volume gives an opportunity to know some of the outstanding authors of the great nation in the Southern Hemisphere. Isaac Goldberg (1887 - July 14, 1938) was an American journalist, author, critic, translator, editor, publisher, and lecturer. Born in Boston to Jewish parents, he studied at Harvard University and received a BA degree in 1910, a MA degree in 1911 and a PhD in 1912. He traveled to Europe as a journalist during World War I writing for the Boston Evening Transcript. He wrote biographies of H. L. Mencken, Havelock Ellis, W. S. Gilbert, Arthur Sullivan, and George Gershwin, books on theatrical and musical appreciation, and contributed articles for many magazines. He also founded, published, and edited a monthly news magazine called Panorama. He was fluent in Yiddish, Spanish, French, German, Italian, and Portuguese and translated a variety of literary works into English. He received a fellowship from the Guggenheim Foundation in 1932 to write a history of Spanish and Portuguese literature in America. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Goldberg, Isaac (editor). Mexican Poetry: An Anthology. Girard, Kansas. 1925. Haldeman-Julius. Little Blue Book No. 810. 64 pages. A brief selection of poems by poets from colonial times to the post-modernists. Poets are: Manuel Acuña, Rafael Cabrera, Maria Enriqueta Camarillo y Roa, Agustin F. Cuenca, Balbino Dávalos, Salvador Diaz Miron, Enrique Fernández Granados, Manuel M. Flores, Enrique Gonzalez Martinez, Manuel Gutierrez Nájera, Sor Juana Ines de la Cruz, Amado Nervo, Manuel Jose Othon, Jose M. Pino, Jose Rosas Moreno, Jose Juan Tablada, Luis G.Urbina, Jesus E. Valenzuela. Isaac Goldberg (Boston, 1887 - July 14, 1938 ) was an American Romanist , Hispanist, Lusitanist, Americanist, literary scholar, music writer, journalist, translator and polygraph. Goldberg studied at Harvard University . He did his doctorate there in 1912 with Jeremiah Denis Matthias Ford on Don Jose Echegaray, a study in modern Spanish drama. In addition to his work as a a journalist, and translator from the Romance languages ??and from Yiddish, Goldberg published numerous works, scientific as well as popular science, many in the Little Blue Books paperback series published by Haldeman-Julius in Girard (Kansas). |
![]() | ![]() | ANTHOLOGIES. . Gonzalez Echevarria, Roberto (editor). The Oxford Book of Latin American Short Stories. New York. 1997. Oxford University Press. 0195095901. 481 pages. hardcover. Jacket design by Leah Lococo. Jacket painting by Ciclóng I by Flora Fong, Havana, Cuba. In THE OXFORD BOOK OF LATIN AMERICAN SHORT STORIES, editor Roberto Gonzalez Echevarria brings together fifty-three stories that span the history of Latin American literature and represent the most dazzling achievements in the form. In his fascinating introduction, Gonzalez Echevarria traces the evolution of the short story in Latin American literature, explaining why the genre has flourished there with such brilliance, and illuminating the various cultural and literary tensions that resolve themselves in ‘magical realism.' The stories themselves exhibit all the inventiveness, the luxuriousness of language, the wild metaphoric leaps and uncanny conjunctions of the ordinary with the fantastic that have given the Latin American short story its distinctive and unforgettable flavor: From the Joycean subtlety of Machado de Assis's ‘Midnight Mass,' to the brutal parable of Julio Ramon Ribeyro's ‘The Featherless Buzzards,' to the startling disorientation of Alejo Carpentier's ‘Journey Back to the Source' (which is told backward, because a sorcerer has waved his wand and made time flow in reverse), to the haunting reveries of Maria Luisa Bombal's ‘The Tree.' Readers familiar with only the most popular Latin American writers will be delighted to discover many exciting new voices here, including Catalina de Erauso, Ricardo Palma, Ruben Dario, Augusto Roa Bastos, Cristina Pen Rossi, along with Borges, Garcia Márquez, Fuentes, Cortázar, Vargas Llosa, and many others. Gonzalez Echevarria also provides brief and extremely helpful headnotes for each selection, discussing the author's influences, major works, and central themes. Roberto González Echevarría (born 28 November 1943, Sagua La Grande, Cuba) is a Cuban-born critic of Latin American literature and culture. He is the Sterling Professor of Hispanic and Comparative Literature at Yale University. He received his bachelor's from the University of South Florida (1964), masters from Indiana University (1966) and doctorate from Yale (1970). He also holds honorary doctorates from Colgate University (1987), the University of South Florida (2000), and Columbia University (2002). In 1999 he was inducted into the American Academy of Arts and Sciences. After receiving his doctorate, González Echevarría taught at Yale and then at Cornell (1971-1977), where he was one of the first editors of the journal Diacritics. Since 1977 he has taught at Yale, where he was awarded the first endowed chair in Spanish (R. Selden Rose). In 1991, he was named Bass Professor of Hispanic and Comparative Literature, and in 1995, Sterling Professor, the highest-ranking university chair at Yale. His Myth and Archive won the 1989-90 MLA's Katherine Singer Kovacs Prize and the Latin American Studies Association's 1992 Bryce Wood Book Award, and The Pride of Havana received the Dave Moore Award for the Best Baseball Book of 2002. His Love and the Law in Cervantes (2005) had its origin in his 2002 DeVane Lectures at Yale. His Lecturas y relecturas won the 2014 Premio Anual de la Crítica (Book Prize in Criticism) in Cuba. An international symposium was held in his honor at the Universidad de Puerto Rico, Arecibo (2002) and an issue (no. 33, 2004) of Encuentro de la cultura cubana was published in his honor. He is a member of the American Academy of Arts and Sciences. In March 2011, he was awarded the National Humanities Medal of 2010 by President Obama. He has also received a Guggenheim Fellowship and, among others, grants from the Rockefeller Foundation and the Social Science Research Council. His undergraduate course on Cervantes's Don Quixote is available on the web through Open Yale Courses and was made into a book in 2015. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Green, Ernest S. and von Lowenfels, Harriet (editors and translators). Mexican and South American Poems (Spanish and English). New York. 1974. Gordion Press. Translated by E. S. Green and Miss H. von Lowenfels. Reprint. Originally published 1892. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Green, Ernest S. and von Lowenfels, Harriet (editors and translators). Mexican and South American poems (Spanish and English). San Diego, California. 1892. Dodge and Burbeck. Translated by E. S. Green and Miss H. von Lowenfels. 398 pages. A collection of 19th-century Latin American poetry, also including selected works of Spaniard Nuñez de Arce. Brief notes on each poet. Among the many poets represented are: Manuel Acuna (Mexico), Gertrudis Gomez de Avellaneda (Cuba), Esteban Echeverria (Argentina), Jose Maria Heredia (Cuba), Jose Mármol (Argentina), and others. |
![]() | ![]() | ANTHOLOGIES. [Brazil]. Grossman, William L. (editor). Modern Brazilian Short Stories. Berkeley. 1969. University of California Press. 167 pages. hardcover. The seventeen stories in this anthology have been carefully chosen to provide a wide, representative range of recent and contemporary Brazilian themes and styles. The scenes vary from a nearly abandoned village or a ranch in the northeastern backlands to the streets of Rio and Sao Paulo. The characters equally diverse, embrace wealthy landowners, middle-class merchants, cowboys, thieves, and prostitutes. There is diversity too in mood. Especially striking is the irony found in most of these stories. Characteristic of much of the best Brazilian fiction from Machado de Assis to Guimaraes Rosa, this irony tempers the underlying warmth of the stories with a certain wryness. Incidentally, Guimaraes Rosa, the giant of contemporary Brazilian fiction, is represented in this collection by an unconventional and unforgettable little masterpiece, ‘The Third Bank of The River.' Brazilian humor is said to be much like North American humor. In any case, it is here in abundance, variously mordant, hilarious, casual, homely, nostalgic, and in Graciliano Ramos's story of an inept thief, almost Chaplinesque. But there is also a certain voluptuous melancholy, the much bruited tristeza brasileira. In such stories as ‘My Father's Hat', it blends with the humor to produce an enchantment profoundly Brazilian in tone and feeling. ‘The Crime of the Mathematics Professor' is a strange plunge into the mystery of a man's sense of guilt. With this sole exception, the stories in the present anthology are thoroughly Brazilian and yet, by a sort of mass literary miracle, universal. The reader may find the setting and the manners exotic at times, but he will understand the people. For there is a pervasive humanity in Brazil's best writers and, even when the ‘local color' is striking, they are never merely parochial. When their settings are provincial it is because the provinces are where they can see the human comedy most vividly. WILLIAM L. GROSSMAN was a professor of airline economics at Technological Institute of Aeronautics (ITA) between 1948 and 1952 and Head of the Departments of Economics and Transportation at ITA . He held a degree in economics from Harvard University and a law degree from New York University. He was a professor at the New York University School of Commerce, where he taught transportation economics and inspection for many years He came to ITA together with other founding professors invited by the Brazilian Air Force Ministry. Before coming to Brazil, he published several books on transportation, such as Air Passenger Traffic (1947), Ocean Freight Rates (1956) and Fundamentals of Transportation (1959). He published in several international journals and was a member of the Transportation Research Forum in New York. He fell in love with Brazilian literature and translated several books by Machado de Assis and Jorge Amado into English. While at ITA, he made the first translation of Machado de Assis's Memórias póstumas de Brás Cubas into English. In the preface to the first edition he thanks Arnaldo Pessoa , who "went over the text with me" and Joseph Morgan Stokes , "whose annotated comments on my first draft are reflected in this final version." He died in 1980. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Hays, H. R. (editor and translator). 12 Spanish American Poets: An Anthology. Boston. 1971. Beacon Press. 0807063967. Includes Ramon Lopez Velarde, Luis Carlos Lopez, Vicente Huidobro, Eugenio Florit, Jorge Luis Borges, Jorge Carrera Andrade, Jose Gorostiza, Pablo De Rokha, Nicolas Guillen, Pablo Neruda. 336 pages. hardcover. In order to understand the poetry of the Spanish American peoples of that huge area embracing Mexico, Central and South America, and the Caribbean islands, one must realize what fundamental differences separate this Culture from that of the United States. Although Latin America had universities and the beginning of a literature almost a hundred years before North America had them, its economic and social development, as a result of geographical and political obstacles, has been retarded and today the industrial revolution is still going on. As a result, the population is clustered here and there in a few urban centers while vast areas are hardly settled at all, and between these population centers there is often very limited communication. On the other hand national boundaries are sometimes artificial, and whole sections which are divided into separate nations are racially, economically, and culturally similar. The present anthology makes no pretension to comprehensiveness. No attempt has been made to represent all the Spanish American republics since political boundaries are of geographical but not poetic importance. A dozen leading poets have been selected in order to give the reader a bird's-eye view of contemporary Spanish American poetry. The number has been rigorously limited so as to make possible the inclusion of a fair sample of each poet's work. In each case poems have been chosen to give an idea of the writer's development. There are many other poets of equal or nearly equal stature. The twelve included have been picked, first, because of their intrinsic poetic interest and, secondly, in order to represent the most important contemporary trends, They are also, in most cases, poets whose influence has been strongly felt. The Mexican, Ramon Lopez Velarde, though not a contemporary in time, has qualities which relate him to the present. He also represents the postmodernist movement at its best. Symbolist or modernist elements are also present in the work of Jose Gorostiza, Jorge Carrera Andrade, the early work of Neruda; in fact, as has been said, almost every writer included has sewed his apprenticeship in the symbolist style. Vicente Huidobro is one of the earliest links with the European vanguardist movement. Vallejo is also related to it. Borges was actually associated with the Spanish ultraists. Surrealism appears as an influence on Neruda, Fombona Pachano, and Pablo de Rokha. Some of Carrera Andrade's poems are indigenist. Nicolás GuillEn represents the Afro- Cuban school. Both he and Pablo de Rokha are influenced by Marxism. Gorostiza and Eugenio Florit are in feeling close to contemporary Spanish poetry. L. C. Lopez and Borges are both poets of local color. The translator has not attempted to rhyme poems which rhyme in the Spanish or to reproduce the original meters syllable by syllable since this inevitably results in padding and distortion. He has, however, tried to render the images faithfully and to preserve in every case the character of the original meter and to add nothing of his own. Translating into ‘equivalent meters' is often no better than a paraphrase. Even though the octosyllabic line is not common in English, turning it into anything else changes the character of the poem. It is hoped that the English versions preserve the spirit Of the originals. CONTENTS: RAMON LOPEZ VELARDE (Mexico) - My Cousin Agueda (Mi prima Agueda); Our Lives Are Pendulums (Nuestras vidas son pEndulos); Ants (Hormigas); The Sound of the Heart (El son del corazon); The Ascension and the Assumption (La Ascension y la Asuncion); Gentle Fatherland (Suave patria); LUIS CARLOS LOPEZ (DE ESCUARIZA) (Colombia) - The Mayor (El alcalde); Old Maids (Muchachas solteranas); To My Native City (A mi ciudad nativa); Rubbish, IV (Despilfarros, IV); Rubbish, VII (Despilfarros, VII); To a Dog (A un perro); To Satan (A Satan); VICENTE HUIDOBRO (Chile) - Emigrant to America (Emigrante a America); Prelude to Hope (Preludio de esperanza); Time of Waiting (Tiempo de espera); Nature Vive (Naturaleza viva); In (En); Serenade of Laughing Life (Ronda de la vida riendo); EUGENIO FLORIT (Cuba) - Nocturne (Nocturno); Elegy for Your Absence (Elegia para tu ausencia); The Dead Nereid (La nereida muerta); Atlantic (Atlantico); Aquarium (Aquarium); The Signal (La senal); The Present Evening (Tarde presente); Death in the Sun (La muerte en el sol); JORGE LUIS BORGES (Argentina) - A Patio (Un patio); Butcher Shop (Carniceria); Benares (Benares); The Recoleta (La Recoleta); A Day's Run (Singladura); General Quiroga Bides to Death in a Carriage (El General Quiroga va en coche al muere); July Avenue (El Paseo de Julio); Natural Flow of Memory (Fluencia natural del recuerdo); JORGE CARRERA ANDRADE (Ecuador) - Windy Weather (Tiempo ventoso), Biography (Biografía), Dining-room Mirror (Espejo de comedor), Election Handbill of Green (Cartel electoral del verde), Bulletin of Bad Weather (Boletin del mal tiempo); Indian Rebellion (Indiada), Anonymous Speech (Discurso anonimo), Hydrographic Poem (Poema hidrogrdfico), The Stranger (El extranjero), Nothing Belongs to us (Nada nor pertenece), Dust, Corpse of Time (Polvo, cadaver del tiempo), Nameless Islands (Islas sin nombre); JOSE GOROSTIZA (Mexico) - Who Will Buy Me an Orange? (QuiEn me compra una naranja?), Fisherman of the Moon (Pescador de luna), Pauses II (Pausas II), Autumn (Otoño), The Bloom Hoists Its Banner (Iza la flor su enseña), Who Is It? (Tan-tan! Quien es? Es el diablo), Prelude (Preludio); PABLO DE ROKHA (Cantos Diaz Loyola) (Chile) - Seafaring Towns (Los pueblos marinos); Lament (Treno); The Pale Conquerors (Los palidos conquistadores); Tribal Lay (Canto de tribu); Elegy for All Ages (Elegia de todos los tiempos); Subterranean Days and Nights (Los dias y las noches subterraneas); NICOLAS GUILLEN (Cuba) - Yellow Girl (Mulata); Big-lipped Negro (Negro bembon); Ballad of the Two Grandfathers (Balada de los dos abuelos); Sensemayá (Sensemaya); Ballad of the Guije (Balada del Guije); Reveille at Daybreak (Diana); PABLO NERUDA (Neftali Ricardo Reyes Basualto) (Chile) - Lightless Suburb (Barrio sin luz); No, XVIL (No. XVII); Savor (Sabor); Ode with a Lament (Ode con un lamento); Sexual Water (Agua sexual); Alberta Rojas Jimenez Comes Flying (Alberto Rojas JimEnez viene volando); Ode of the Sun to the People's Army (Oda solar al ejErcito del pueblo); CESAR VALLEJO (Peru) - The Black Messengers (Los heraldos negros); The Spider (La Arana), Distant Footsteps (Los pasos lejanos); XVIII (XVIII); XXVIII (XXVIII); XLIV (XLIV); The Miners (Los mineros); Anger (La colera); The Nine Monsters (Los nueve monstruos); Pedro Rojas (Pedro Rojas); Little Responsory for a Republican Hero (Pequeno resportso a un hEroe de la republica); Masses (Masa); JACINTO FOMBONA PACHANO (Venezuela) - The Coca Tree (La Coca); The Puddle (El pozo); Since Tomorrow Is Sunday (Mañana, como es domingo); The Complaint (La queja); America, My Sweet (Mi America, la dulce); The Clouds Have Already Told Me (Ya las nubes me lo tenian dicho); Dance of the Lost Key (Danza de la llave perdida); I Announce the Kingdom of the Star (Anuncio el reino de la estrella); BIBLIOGRAPHY; INDEX OF ENGLISH TITLES; INDEX OF SPANISH TITLES. . . Hoffman Reynolds Hays (March 25, 1904, New York City, NY - October 10, 1980) was a poet, translator, novelist and playwright, an historian of anthropology and zoology, and a teacher. Some of his twenty-two books, reflecting the diversity of his interests, were the pioneering works in their fields. His The Dangerous Sex: the Myth of Feminine Evil, served as respected source material for Feminist writers. Sir Julian Huxley regarded Hays' popular history of zoology, Birds, Beasts and Men, as a classic of its genre. His translations of the poetry of Brecht, Vallejo, Borges, Neruda, and many others were among the first to bring these major twentieth century writers to the attention of the English-speaking world. His plays, such as The Ballad of Davy Crockett, with music by Kurt Weill, were performed on Broadway. More than twenty of his shorter works appeared on television during its early days. The groundbreaking significance of Hays' translations of Latin American poets is immense. Today, most readers are familiar with Neruda, Borges, and Cesar Vallejo. But in 1943, when his Twelve Spanish American Poets was published, the huge area embracing Mexico, Central and South America, and the Caribbean islands was barely known to North Americans, except pejoratively, as banana republics, the home of bearded, gun-toting, cigar-smoking banditos, and illiterate peasants. That such a seemingly primitive, under-developed region should also be the birthplace of a sophisticated literary culture, something the educated North Americans could be interested in and even respect, was a new idea to many English speakers. Hays was one of the first to reveal this, and the effect of his translations on young poets was profound. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Hays, H. R. (editor and translator). 12 Spanish American Poets: An Anthology. New Haven. 1943. Yale University Press. Includes Ramon Lopez Velarde, Luis Carlos Lopez, Vicente Huidobro, Eugenio Florit, Jorge Luis Borges, Jorge Carrera Andrade, Jose Gorostiza, Pablo De Rokha, Nicolas Guillen, Pablo Neruda. 336 pages. hardcover. In order to understand the poetry of the Spanish American peoples of that huge area embracing Mexico, Central and South America, and the Caribbean islands, one must realize what fundamental differences separate this Culture from that of the United States. Although Latin America had universities and the beginning of a literature almost a hundred years before North America had them, its economic and social development, as a result of geographical and political obstacles, has been retarded and today the industrial revolution is still going on. As a result, the population is clustered here and there in a few urban centers while vast areas are hardly settled at all, and between these population centers there is often very limited communication. On the other hand national boundaries are sometimes artificial, and whole sections which are divided into separate nations are racially, economically, and culturally similar. The present anthology makes no pretension to comprehensiveness. No attempt has been made to represent all the Spanish American republics since political boundaries are of geographical but not poetic importance. A dozen leading poets have been selected in order to give the reader a bird's-eye view of contemporary Spanish American poetry. The number has been rigorously limited so as to make possible the inclusion of a fair sample of each poet's work. In each case poems have been chosen to give an idea of the writer's development. There are many other poets of equal or nearly equal stature. The twelve included have been picked, first, because of their intrinsic poetic interest and, secondly, in order to represent the most important contemporary trends, They are also, in most cases, poets whose influence has been strongly felt. The Mexican, Ramon Lopez Velarde, though not a contemporary in time, has qualities which relate him to the present. He also represents the postmodernist movement at its best. Symbolist or modernist elements are also present in the work of Jose Gorostiza, Jorge Carrera Andrade, the early work of Neruda; in fact, as has been said, almost every writer included has sewed his apprenticeship in the symbolist style. Vicente Huidobro is one of the earliest links with the European vanguardist movement. Vallejo is also related to it. Borges was actually associated with the Spanish ultraists. Surrealism appears as an influence on Neruda, Fombona Pachano, and Pablo de Rokha. Some of Carrera Andrade's poems are indigenist. Nicolás GuillEn represents the Afro- Cuban school. Both he and Pablo de Rokha are influenced by Marxism. Gorostiza and Eugenio Florit are in feeling close to contemporary Spanish poetry. L. C. Lopez and Borges are both poets of local color. The translator has not attempted to rhyme poems which rhyme in the Spanish or to reproduce the original meters syllable by syllable since this inevitably results in padding and distortion. He has, however, tried to render the images faithfully and to preserve in every case the character of the original meter and to add nothing of his own. Translating into ‘equivalent meters' is often no better than a paraphrase. Even though the octosyllabic line is not common in English, turning it into anything else changes the character of the poem. It is hoped that the English versions preserve the spirit Of the originals. CONTENTS: RAMON LOPEZ VELARDE (Mexico) - My Cousin Agueda (Mi prima Agueda); Our Lives Are Pendulums (Nuestras vidas son pEndulos); Ants (Hormigas); The Sound of the Heart (El son del corazon); The Ascension and the Assumption (La Ascension y la Asuncion); Gentle Fatherland (Suave patria); LUIS CARLOS LOPEZ (DE ESCUARIZA) (Colombia) - The Mayor (El alcalde); Old Maids (Muchachas solteranas); To My Native City (A mi ciudad nativa); Rubbish, IV (Despilfarros, IV); Rubbish, VII (Despilfarros, VII); To a Dog (A un perro); To Satan (A Satan); VICENTE HUIDOBRO (Chile) - Emigrant to America (Emigrante a America); Prelude to Hope (Preludio de esperanza); Time of Waiting (Tiempo de espera); Nature Vive (Naturaleza viva); In (En); Serenade of Laughing Life (Ronda de la vida riendo); EUGENIO FLORIT (Cuba) - Nocturne (Nocturno); Elegy for Your Absence (Elegia para tu ausencia); The Dead Nereid (La nereida muerta); Atlantic (Atlantico); Aquarium (Aquarium); The Signal (La senal); The Present Evening (Tarde presente); Death in the Sun (La muerte en el sol); JORGE LUIS BORGES (Argentina) - A Patio (Un patio); Butcher Shop (Carniceria); Benares (Benares); The Recoleta (La Recoleta); A Day's Run (Singladura); General Quiroga Bides to Death in a Carriage (El General Quiroga va en coche al muere); July Avenue (El Paseo de Julio); Natural Flow of Memory (Fluencia natural del recuerdo); JORGE CARRERA ANDRADE (Ecuador) - Windy Weather (Tiempo ventoso), Biography (Biografía), Dining-room Mirror (Espejo de comedor), Election Handbill of Green (Cartel electoral del verde), Bulletin of Bad Weather (Boletin del mal tiempo); Indian Rebellion (Indiada), Anonymous Speech (Discurso anonimo), Hydrographic Poem (Poema hidrogrdfico), The Stranger (El extranjero), Nothing Belongs to us (Nada nor pertenece), Dust, Corpse of Time (Polvo, cadaver del tiempo), Nameless Islands (Islas sin nombre); JOSE GOROSTIZA (Mexico) - Who Will Buy Me an Orange? (QuiEn me compra una naranja?), Fisherman of the Moon (Pescador de luna), Pauses II (Pausas II), Autumn (Otoño), The Bloom Hoists Its Banner (Iza la flor su enseña), Who Is It? (Tan-tan! Quien es? Es el diablo), Prelude (Preludio); PABLO DE ROKHA (Cantos Diaz Loyola) (Chile) - Seafaring Towns (Los pueblos marinos); Lament (Treno); The Pale Conquerors (Los palidos conquistadores); Tribal Lay (Canto de tribu); Elegy for All Ages (Elegia de todos los tiempos); Subterranean Days and Nights (Los dias y las noches subterraneas); NICOLAS GUILLEN (Cuba) - Yellow Girl (Mulata); Big-lipped Negro (Negro bembon); Ballad of the Two Grandfathers (Balada de los dos abuelos); Sensemayá (Sensemaya); Ballad of the Guije (Balada del Guije); Reveille at Daybreak (Diana); PABLO NERUDA (Neftali Ricardo Reyes Basualto) (Chile) - Lightless Suburb (Barrio sin luz); No, XVIL (No. XVII); Savor (Sabor); Ode with a Lament (Ode con un lamento); Sexual Water (Agua sexual); Alberta Rojas Jimenez Comes Flying (Alberto Rojas JimEnez viene volando); Ode of the Sun to the People's Army (Oda solar al ejErcito del pueblo); CESAR VALLEJO (Peru) - The Black Messengers (Los heraldos negros); The Spider (La Arana), Distant Footsteps (Los pasos lejanos); XVIII (XVIII); XXVIII (XXVIII); XLIV (XLIV); The Miners (Los mineros); Anger (La colera); The Nine Monsters (Los nueve monstruos); Pedro Rojas (Pedro Rojas); Little Responsory for a Republican Hero (Pequeno resportso a un hEroe de la republica); Masses (Masa); JACINTO FOMBONA PACHANO (Venezuela) - The Coca Tree (La Coca); The Puddle (El pozo); Since Tomorrow Is Sunday (Mañana, como es domingo); The Complaint (La queja); America, My Sweet (Mi America, la dulce); The Clouds Have Already Told Me (Ya las nubes me lo tenian dicho); Dance of the Lost Key (Danza de la llave perdida); I Announce the Kingdom of the Star (Anuncio el reino de la estrella); BIBLIOGRAPHY; INDEX OF ENGLISH TITLES; INDEX OF SPANISH TITLES. . . Hoffman Reynolds Hays (1939-1980) was a poet, translator, novelist and playwright, an historian of anthropology and zoology, and a teacher. Some of his twenty-two books, reflecting the diversity of his interests, were the pioneering works in their fields. His The Dangerous Sex: the Myth of Feminine Evil, served as respected source material for Feminist writers. Sir Julian Huxley regarded Hays' popular history of zoology, Birds, Beasts and Men, as a classic of its genre. His translations of the poetry of Brecht, Vallejo, Borges, Neruda, and many others were among the first to bring these major twentieth century writers to the attention of the English-speaking world. His plays, such as The Ballad of Davy Crockett, with music by Kurt Weill, were performed on Broadway. More than twenty of his shorter works appeared on television during its early days. The groundbreaking significance of Hays' translations of Latin American poets is immense. Today, most readers are familiar with Neruda, Borges, and Cesar Vallejo. But in 1943, when his Twelve Spanish American Poets was published, the huge area embracing Mexico, Central and South America, and the Caribbean islands was barely known to North Americans, except pejoratively, as banana republics, the home of bearded, gun-toting, cigar-smoking banditos, and illiterate peasants. That such a seemingly primitive, under-developed region should also be the birthplace of a sophisticated literary culture, something the educated North Americans could be interested in and even respect, was a new idea to many English speakers. Hays was one of the first to reveal this, and the effect of his translations on young poets was profound. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Hispanic Notes & Monographs. Translations From Hispanic Poets. New York. 1938. Hispanic Society Of America. 271 pages. hardcover. CONTENTS: SPAIN AND PORTUGAL: THIRTEENTH CENTURY - PAYO GOMEZ CHARINO (ca. 1223-1295?) - Song/Song; FOURTEENTH CENTURY - PEDRO LOPEZ DE AYALA (1332-1407) - I H S; JUAN RUIZ (fl. 1343) - Song of a Mountain Girl; Dona Cuaresma Prepares for a Pilgrimage; FIFTEENTH CENTURY - ANONYMOUS - Song; AUZIAS MARCH (ca. 1397-ca. 1458) - Hours of Delight, Now Gone, to Memory Cling; INIGO LOPEZ DE MENDOZA MARQUIS OF SANTILLANA (1398-1458) - Sonnet XVIII; GOMEZ MANRIQUE (1412?-1490?) - To a Lady Well Wrapped; JUAN DEL ENCINA (1468-1529?) - Chorus; Mingo's Discourse; GIL VICENTE (1465?-ca. 1536) - Song; Ballad of FlErida; BALLADS - Love Than Death More Strong; Ballad of the Lovely Infanta; The Prisoner; Reduan; Mass of Love; Flowing Water, Flowing Water; Rose Unravished, Rose Unravished; Beware, Beware, O King Don Sancho; SIXTEENTH CENTURY - ANONYMOUS - Lullaby; COMENDADOR ESCRIVA (fl. 1500) - Song; GARCILASO DE LA VEGA (ca. 1501-1536) - Song III; JUAN BOSCAN (d. 1542) - Sonnet LVIII; SANTA TERESA DE JESUS (1515-1582) - On the Words ‘Dilectus Meus Mihi'; GUTIERRE DE CETINA, (ca. l520-ca. 1560) - Madrigal; LUIZ DE CAMOES (1524?-1580) - Song IV; LUIS DE LEON (1527?-1591) - Ascension Day; FERNANDO DE HERRERA (1534-1597) - Sonnet LXV; JUAN DE LA CRUZ, SAN (1542-1591) - Spiritual Canticle between the Soul and Christ, Her Spouse; LUIS DE GONGORA Y ARGOTE (1561-1627) - Roundelay; Song; When Don Luis Was in Cuenca; LOPE FELIX DE VEGA CARPIO (1562-1635) - Clover; Song; Stanzas to His Love; Echo Song; SEVENTEENTH CENTURY - FRANCISCO DE QUEVEDO VILLEGAS (1580-1645) - To a Nose; To Sedan Chairs Accompanied by Many Lackeys; FRANCISCO DE BORJA, PRINCE OF ESQUILACHE (1581-1658) - Ballad XXXIV; EIGHTEENTH CENTURY - NICOLAS FERNÁNDEZ DE MORATIN (1737-1780) - Apology for an Error; TOMAS DE IRIARTE (1750-1791) - Fable XLIV; NINETEENTH CENTURY - JOSE DE ESPRONCEDA (1808-1842) - To a nightingale; THE AXE of the King; The Beggar; Pirate's Song; RAMON DE CAMPOAMOR Y CAMPOOSORIO (1817-1901) - Boredom; Roses and Strawberries; JOSE ZORRILLA, (1817-1893) - from Don Juan Tenorio; Oriental; GUSTAVO ADOLFO BECQUER (1836-1870) - II; IX; X; XIII: LXVII; ROSALIA DE CASTRO (1837-1885) - Padron, Padron!; JACINTO VERDAGUER (1845-1902) - To the Bees; JOAN MARAGALL (1860-1911) - Iberian Anthem; MANUEL MACHADO (b. 1874) - Abel; Adelphos; Figurines; Charles the Fifth; Philip the Fourth; ANTONIO MACHADO (b. 1875) - Autumn Dawn; Iberian God; Songs of Several Lands; Sonnet; FRANCISCO VILLAESPESA (1877-1936) - Worn Gold; RICARDO DE MONTIS Y ROMERO - The Custodia of Enrique de Arfe; ENRIQUE DE MESA (1879-1929) - Sing me a Song, Jimena; Song of the Mountain Brook; EDUARDO MARQUINA (b. 1879) - The Little White Goat; The Woodcutters; JUAN RAMON JIMINEZ (b. 1881) - Autumnal Aria XVIII; I Want to Sleep This Night; Pastoral; The Distant Sea; The Shepherd's Star; Watch; FERNANDO VILLALON (1881?- 1930) - Ballad of The Nineteenth Century, 1825; PEDRO SALINAS (b. 1891) - It Might be Avila; Escorial II; JORGE GUILLEN (b. 1893) - Slender Spring; The Swan; FEDERICO GARCIA LORCA (1899-1930) - Oil Lamp; Idyl; The Guitar; The Quarrel; Capture of Antonio el Camborio on the Road to Sevilla; Ballad of the Summoned One; EMILIO PRADOS (b. 1899) - Tranquillity; RAFAEL ALBERTI (b. 1903) - Elegy of the Fisher Boy; My Funeral; Day of the Hunt; Belorado; Hungarian Gypsy; MANUEL ALTOLAGUIRRE (b. 1905) - I; ADRIANO DEL VALLE - Bullfight at Sevilla; CENTRAL AND SOUTH AMERICA - ARGENTINA - BARTOLOME MITRE (1821-1906) - The Gaucho's Horse; MARTINIANO LEGUIZAMON (1858-1935) - Trisste; LEOPOLDO LUGONES (1874-1938) - Drops of Gold; Morning Song; ENRIQUE BANCHS (b. 1888) - Tiger; RAFAEL ALBERTO ARRIETA (b. 1889) - Rain; ALFONSINA STORNI (b. 1892) - Inheritance; Your Arrows; OSCAR BIETTI (b. 1913?) - Ballad of The Dead Love; BRAZIL - JORGE DE LIMA (b. 1895) - Songs; CHILE - CARLOS PEZOA VELIS (1879-1908) - Afternoon in the Hospital; GABRIELA MISTRAL (b. 1889) - Ballad of the Star; Night; COLOMBIA - JORGE ISAACS (1837-1895) - The Nima; JOSE ASUNCIÔN SILVA (1865-1896) - Nocturne; A Poem; GUILLERMO VALENCIA (b. 1873) - The Camels; LUIS CARLOS LOPEZ (b. 1885) - From My Farm; COSTA RICA - CARLOS LUIS SAENZ (b. 1899) - As a Petal; FERNANDO LUJAN (b. 1912) - Song of the Long Drouth; CUBA - GETRUDIS GOMEZ DE AVELLANEDA (1814-1873) - On the Betis; JOSE MARTI (1853-1895) - Simple Stanzas XXXIX; JULIAN DEL CASAL (1863-1893) - Scene in the Tropics; MEXICO - JUANA INES DE LA CRUZ (1651-1695) - Sonnet; JOAQUIN ARCADIO PAGAZA (1839-1918) - Evensong; SALVADOR DIAZ MIRON (1853-1928) - The Vision; MANUEL GUTIERREZ NAJERA (1859-1895) - When I Die; Schubert's Serenade; FRANCISCO A. DE ICAZA, (1863-1925) - Landscape Colours; AMADO NERVO (1870-1919) - Not All; The Hail; Purity; ENRIQUE GONZALEZ MARTINEZ (b. 1871) - In a Stately Garden; MARIA ENRIQUETA (b. 1875) - Landscape; JAIME TORRES BODET (b. 1902) - Song; Voyage; NICARAGUA - RUBEN DARIO (1867-1916) - Autumnal Sonnet to the Marquis of Bradomin; The Grandmother's Clavichord; Leda; Symphony in Gray Major; To Marguerite Debayle: PERU - MANUEL GONZALEZ PRADA (1844-1918) - Triolet; JOSE SANTOS CHOCANO (1875-1934) - Horses of the Conquerors; URUGUAY - FERNAN SILVA VALDES (b. 1887) - Ballad of the White Colt; EMILIO ORIBE (b. 1893) - Music; JUANA DE IBARBOUROU (b. 1895) - The Smith; The Shepherdess; Fleeting Restlessness; VENEZUELA - RUFINO BLANCO-FOMBONA (b. 1874) - The Horse on the Shield; INDEX OF AUTHORS; TRANSLATORS - Ruth Matilda Anderson; Jean Willard Burnham; Grace Hardendorff Burr; Dorothy Dartt; Anne Sawyer Durand; Helen Eldredge Fish; Alice Wilson Frothingham; Ada Marshall Johnson; Jean Rogers Longland; Florence Lewis May; Alice Jane McVan; Adelaide M. Meyer; Beatrice Gilman Proske; Anna Pursche; Eleanor E. Sherman; Elizabeth Du Gue Trapier; Jessie Read Wendell. . . |
![]() | ![]() | ANTHOLOGIES. [Drama]. Holt, Marion Peter and Woodyard, George W. (editors). Drama Contemporary: Latin America. New York. 1986. PAJ Publications. 1555540058. 189 pages. paperback. Cover design by Steven Hoffman. Illustration by Jean Tuttle. For well over two decades Latin American authors have gained international recognition for the passion, innovation, and magic of their fiction. Many of these same writers have written plays - a sampling of them is collected for the first time in Drama Contemporary Latin America, the fourth in a PAJ series of collections of foreign plays in translation. Now the dramatic works can be read alongside the novels, and considered, too, in the context of Latin American films which have attracted more and more attention. This volume is comprised of four novelist-playwrights who have successfully bridged the genre gap. Manuel Puig's The Kiss of the Spider Woman (English adaptation by Michael Feingold) is the theatrical version of the encounter between a revolutionary and a homosexual in a Latin American jail that was turned into the film of the same name. Mario Vargas Llosa, author of the celebrated novel The Real Life of Alejandro Mayta, is represented by Kathie and the Hippopotamus (translated by Kerry McKenny and Anthony Oliver-Smith), a comic study of playacting and reality. Orchids in the Moonlight by Carlos Fuentes, author of the recent The Old Gringo, is a voluptuous fantasy of myth, cinema, and imagination which premiered at the American Repertory Theatre (Cambridge) in 1982. Burning Patience by Antonio Skarmeta (translated by Marion Peter Molt) offers a lyrical portrait of Chilean poet and Nobel Prize-winner Pablo Neruda, a play highly praised in its 1986 INTAR premiere. As the editors of the volume, George W. Woodyard and Marion Peter Molt point out, ‘the theatre of the vast area we know as Latin America is only beginning to be translated and performed abroad-despite a large repertoire of viable plays and the remarkable number of new ones that appear each year.' Drama Contemporary: Latin America is an introduction to this special theatrical geography. CONTENTS: INTRODUCTION by George W. Woodyard and Marion Peter Holt; THE KISS OF THE SPIDER WOMAN by Manuel Puig; BURNING PATIENCE by Antonio Skármeta; KATHIE AND THE HIPPOPOTAMUS by Mario Vargas Llosa; ORCHIDS IN THE MOONLIGHT by Carlos Fuentes. A PAJ PUBLICATIONS TITLE DramaContemporary is a series devoted to foreign piays in translation, organized by country or region. This volume includes significant work of four Latin American authors writing today: Manuel Puig (The Kiss of the Spider Woman); Antonio Skármeta (Burning Patience); Mario Vargas Llosa (Kathie and the Hippopotamul) Carlos Fuentes (Orchids in the Moonlight). The editors of the volume set the novelist, playwrights and their work against the framework of social and artistic upheavals in Latin American politics of recent years. George W. Woodyard is professor of Spanish at the University of Kansas and editor of Latin American Theatre Review. He has traveled extensively to observe first-hand the work of groups most active in creating new theatrical modes in Latin America. His publications include Dramatists in Revolt: The New Latin American Theatre, edited with Leon Lyday, and The Modern Stage in Latin America: Six Plays. Marion Peter Holt teaches in the Ph.D program in Theatre of the City University of New York and at the College of Staten Island. His translations of contemporary Spanish plays have been staged in New York and in leading regional theatres. He is the editor of DramaContemporary: Spain and his articles and reviews have appeared in Modern Drama, Theatre Journal, Performing Arts Journal, and Estreno. |
![]() | ![]() | ANTHOLOGIES. [Drama]. Holt, Marion Peter and Woodyard, George W. (editors). Drama Contemporary: Latin America. New York. 1986. Performing Arts Journal Publications. 155554004x. Includes Works by Mario Vargas Llosa, Carlos Fuentes, Antonio Skarmeta, Manuel Puig. 189 pages. hardcover. Cover design by STEVEN HOFFMAN. ILLUSTRATION DY JEAN TUTTLE. For well over two decades Latin American authors have gained international recognition for the passion, innovation, and magic of their fiction. Many of these same writers have written plays - a sampling of them is collected for the first time in Drama Contemporary Latin America, the fourth in a PAJ series of collections of foreign plays in translation. Now the dramatic works can be read alongside the novels, and considered, too, in the context of Latin American films which have attracted more and more attention. This volume is comprised of four novelist-playwrights who have successfully bridged the genre gap. Manuel Puig's The Kiss of the Spider Woman (English adaptation by Michael Feingold) is the theatrical version of the encounter between a revolutionary and a homosexual in a Latin American jail that was turned into the film of the same name. Mario Vargas Llosa, author of the celebrated novel The Real Life of Alejandro Mayta, is represented by Kathie and the Hippopotamus (translated by Kerry McKenny and Anthony Oliver-Smith), a comic study of playacting and reality. Orchids in the Moonlight by Carlos Fuentes, author of the recent The Old Gringo, is a voluptuous fantasy of myth, cinema, and imagination which premiered at the American Repertory Theatre (Cambridge) in 1982. Burning Patience by Antonio Skarmeta (translated by Marion Peter Molt) offers a lyrical portrait of Chilean poet and Nobel Prize-winner Pablo Neruda, a play highly praised in its 1986 INTAR premiere. As the editors of the volume, George W. Woodyard and Marion Peter Molt point out, ‘the theatre of the vast area we know as Latin America is only beginning to be translated and performed abroad-despite a large repertoire of viable plays and the remarkable number of new ones that appear each year.' Drama Contemporary: Latin America is an introduction to this special theatrical geography. CONTENTS: INTRODUCTION by George W. Woodyard and Marion Peter Holt; THE KISS OF THE SPIDER WOMAN by Manuel Puig; BURNING PATIENCE by Antonio Skármeta; KATHIE AND THE HIPPOPOTAMUS by Mario Vargas Llosa; ORCHIDS IN THE MOONLIGHT by Carlos Fuentes. A PAJ PUBLICATIONS TITLE DramaContemporary is a series devoted to foreign piays in translation, organized by country or region. This volume includes significant work of four Latin American authors writing today: Manuel Puig (The Kiss of the Spider Woman); Antonio Skármeta (Burning Patience); Mario Vargas Llosa (Kathie and the Hippopotamul) Carlos Fuentes (Orchids in the Moonlight). The editors of the volume set the novelist.playwrights and their work against the framework of social and artistic upheavals in Latin American politics of recent years. . . George W. Woodyard is professor of Spanish at the University of Kansas and editor of Latin American Theatre Review. He has traveled extensively to observe first-hand the work of groups most active in creating new theatrical modes in Latin America. His publications include Dramatists in Revolt: The New Latin American Theatre, edited with Leon Lyday, and The Modern Stage in Latin America: Six Plays. Marion Peter Holt teaches in the Ph.D program in Theatre of the City University of New York and at the College of Staten Island. His translations of contemporary Spanish plays have been staged in New York and in leading regional theatres. He is the editor of DramaContemporary: Spain and his articles and reviews have appeared in Modern Drama, Theatre Journal, Performing Arts Journal, and Estreno. |
![]() | ![]() | ANTHOLOGIES. . Howes, Barbara (editor). Eye of the Heart: Short Stories From Latin America. Indianapolis. 1973. Bobbs-Merrill. 0672516373. 415 pages. hardcover. Here in a single volume are forty-two short stories from the finest writers in Latin American literature. The contributors include not only highly respected names (Neruda, Borges, Cortazar, Mistral, Fuentes, Asturias, Amado, Paz) but also the most controversial and experimental storytellers, some of whom have emerged only in the last few years (Donoso, de Assis, Novas-Calvo, Bosch, Reyes, and dozens more). The Minneapolis Tribune describes THE EYE OF THE HEART as ‘a substantial sampling . . . gifts of truth. Their authors saw with the heart.' And Jorge Luis Borges calls this book ‘quite impressive. All of the important writers are there and the stories are all good . . . I know nothing like it now.' Barbara Howes (May 1, 1914 New York City - February 24, 1996 Bennington, Vermont) was an American poet. She was adopted by well-to-do Massachusetts family, and reared chiefly in Chestnut Hill, where she attended Beaver Country Day School. She graduated from Bennington College in 1937. She worked briefly for the Southern Tenant Farmers Union in Mississippi, and then edited the literary magazine, Chimera, from 1943 to 1947 and lived in Greenwich Village. In 1947 she married the poet William Jay Smith, and they lived for a time in England and Italy. They had two sons, David Smith, and Gregory. They divorced in the mid-1960s, and she lived in Pownal, Vermont. In 1971, she signed a letter protesting proposed cuts to the School of the Arts, Columbia University. Her work was published in, Atlantic, Chicago Review, New Directions, New Republic, New Yorker, New York Times Book Review, Saturday Review, Southern Review, University of Kansas Review, Virginia Quarterly Review, and Yale Review. |
![]() | ![]() | ANTHOLOGIES. . Howes, Barbara (editor). Eye of the Heart: Short Stories From Latin America. New York. 1974. Avon Bard. 0380001632. 576 pages. paperback. Here in a single volume are forty-two short stories from the finest writers in Latin American literature. The contributors include not only highly respected names (Neruda, Borges, Cortazar, Mistral, Fuentes, Asturias, Amado, Paz) but also the most controversial and experimental storytellers, some of whom have emerged only in the last few years (Donoso, de Assis, Novas-Calvo, Bosch, Reyes, and dozens more). The Minneapolis Tribune describes THE EYE OF THE HEART as ‘a substantial sampling . . . gifts of truth. Their authors saw with the heart.' And Jorge Luis Borges calls this book ‘quite impressive. All of the important writers are there and the stories are all good . . . I know nothing like it now.' Barbara Howes (May 1, 1914 New York City - February 24, 1996 Bennington, Vermont) was an American poet. She was adopted by well-to-do Massachusetts family, and reared chiefly in Chestnut Hill, where she attended Beaver Country Day School. She graduated from Bennington College in 1937. She worked briefly for the Southern Tenant Farmers Union in Mississippi, and then edited the literary magazine, Chimera, from 1943 to 1947 and lived in Greenwich Village. In 1947 she married the poet William Jay Smith, and they lived for a time in England and Italy. They had two sons, David Smith, and Gregory. They divorced in the mid-1960s, and she lived in Pownal, Vermont. In 1971, she signed a letter protesting proposed cuts to the School of the Arts, Columbia University. Her work was published in, Atlantic, Chicago Review, New Directions, New Republic, New Yorker, New York Times Book Review, Saturday Review, Southern Review, University of Kansas Review, Virginia Quarterly Review, and Yale Review. |
![]() | ![]() | ANTHOLOGIES. . Jaffe, Harold (editor). Fiction International 16: 2-Central American Writing. San Diego. 1986. Fiction International/San Diego State University Press. 224 pages. paperback. Cover: Nicaraguan revolutionary poster. Inside covers: map by Deborah Small. Inside covers: map by Deborah Small . Keywords: Literature Translated Central America Anthology Latin America. An issue devoted to the writing of Central America. Contents: foreword; CENTRAL AMERICAN WRITING - Leonel Rugama/I am RenE Espronceda de la Barca; Carmen Naranjo/Ondina; Margaret Randall/from Sandino's Daughters; Arturo Ambrogi/The Village; Claribel Alegria/The Last 48 Hours: 15-17 July 1979; Victor Montejo/The World Needs You; Margaret Randall/Talking with Ernesto Cardenal; Leonel Rugama/Six Poems; Benjamin Ramon/Two Fictions; Alejandro Bravo/Two Short Stories; Octavio Armand/Birth Certificates as Fiction; Patricia Eakins/Death in My Country; Argueles Morales/Over the Walls; Manlio Argueta/Little Red Riding Hood in the Red Zone; Blase Bonpane/Liberation Theology: Guatemala; Arturo Arias/Guatemala 1954-Funeral for a Bird; Mario Benedetti/An Hour with Roque Dalton; Lisa Shipley/Mortar; Roque Dalton/Miguel Mármol; Victor Perera/Kindergarten; Claribel Alegria and D.J. Flakoll/They'll Never Take Me Alive: The Salvadoran Woman in the Revolution; Harold Jaffe/Mussel; REVIEWS - Five Books on Guatemala reviewed by Jean Franco; Nicaragua in Revolution and Nicaragua Under Siege reviewed by Dianne Walta Hart; Class Poetry: Five Books from Curbstone Press reviewed by Dale Jacobson; Magic Realism in Nicaragua: Sergio Ramirez reviewed by Prescott Nichols; Reelpolitik: Invention and Intervention in Three U.S. Films on Central America reviewed by Julianne Burton; ART - Central American Revolutionary Posters; Four Photographs by Mel Rosenthal; Five Cuban Photographs; Photographs by Janet Delaney, Margaret Randall, and Susan Meiselas; Contributors. Harold Jaffe (born July 8, 1942) is an American writer of novels, short fiction, drama and essays. He is the author of 26 books, including 14 collections of fiction, four novels and two volumes of essays. He is also the editor of the literary-cultural journal Fiction International. His works have been translated into 15 languages, including German, Japanese, Spanish, Italian, French, Turkish, Dutch, Czech, and Serbo-Croatian. Jaffe is also a Professor of Creative Writing, English and Comparative Literature at San Diego State University. Jaffe's fiction has appeared in such journals as Mississippi Review; City Lights Review; Paris Review; New Directions in Prose and Poetry; Chicago Review; Chelsea; Fiction;Central Park; Witness; Black Ice; Minnesota Review;Boundary 2; ACM; Black Warrior Review; Cream City Review; Two Girls'Review; and New Novel Review. His fictions have also been anthologized in Pushcart Prize; Best American Stories; Best of American Humor; Storming the Reality Studio; American Made; Avant Pop: Fiction for a Daydreaming Nation; After Yesterday's Crash: The Avant-Pop Anthology; Bateria and Am Lit (Germany);Borderlands (Mexico); Praz (Italy); Positive (Japan); and elsewhere. The 2004 issue of The Journal of Experimental Fiction called The Literary Terrorism of Harold Jaffe was devoted to his writings. |
![]() | ![]() | ANTHOLOGIES. . Jaffe, Harold (editor). Fiction International 25: Special Issue-Mexican Fiction. San Diego. 1994. Fiction International/San Diego State University Press. 1879691221. 277 pages. paperback. Cover image by Cataro Nunez. This is more a practical guide for tourists of Mexican prose fiction than a catalogue for specialists in the subject. The principal reader is he or she who desires an ongoing relation with Mexican fiction, who wonders: What does Mexican literature offer? Which narrative trends predominate? Which themes have fallen into oblivion, and which have emerged into the national literary consciousness? What are the motivations of current writers who place themselves in a position to tell us their stories? What do these stories say, and how do they say it? What do they conceal, and how do they conceal it? CONTENTS: Gabriel Trujillo Muñoz/Mexican Narrative at the End of the Century: A Tourist Guide; Federico Campbell/Los Brothers; Acela Bernal/The Taste of Good Fortune; Luis Zapata/The Articles of Faith of a Good Rable-Rouser; Rosina Conde/Sonatina; Jorge Raül Lopez Hidalgo/The Knots Are Unconnected; Josefina Estrada/Women in Captivity; Francisco Luna/With a Flower in Her Hand; Dante Medina/Shopping in New York; Jorge Ruiz Dueflas/The Island Kingdom' (excerpt); Alberto Ruy Sanchez/A Hand on the Sand; (excerpt); Daniel Sada/The Opportunist; Ana Clavel/Dark Tears of a Mere Sleeper; Mauricio-Jose Schwarz/Glimmerings in Blue Glass; Raül Acevedo Savin/Momo Camacho's Message; Jose Joaquin Blanco/The Lady-Killer (excerpts); Juan Antonio Di Bella/Nanoroutines (excerpt); Sergio Gomez Montero/The Children of God (excerpts); Jesus Guerra/The Universe is Named Julia; Alberto Blanco/The Scribe's Dream and Adventures in an Inkwell; Gabriel Trujillo Muñoz I Border Hotel and Pancho Villainies; Hernán GutiErrez/The Third Hobby or Conical Life (excerpts); Regina Swain/The Devil Also Dances in the Aloha and Señorita Superman and the Instant Soup Generation; Patricia Laurent Kullick/Crazy Cuts; Luz Mercedes Barrera/Molding You; Ignacio Betancourt/The Omen; Cristina Ibarra/The Little Eastern Star; Carlos Adolfo GutiErrez Vidal/The Festive Years, Calm, and Bedouin Rap; Paco Ignacio Taibo II/Tlaloc; Monica Lavin/Nicolasa's Lace; Hugo ValdEs Manriquez/The Crime on Aramberri Street (excerpt); Silvia Castillejos Peral/Tomorrow the World Ends; Regina Cohen/Jazzbluesing; Jose Manuel Di Bella/For Our Daily Bread; Art Bibiana Padilla Maltos/two images I mixed media; Raül Romano Osuna/two photographs. . . Harold Jaffe (born July 8, 1942) is an American writer of novels, short fiction, drama and essays. He is the author of 26 books, including 14 collections of fiction, four novels and two volumes of essays. He is also the editor of the literary-cultural journal Fiction International. His works have been translated into 15 languages, including German, Japanese, Spanish, Italian, French, Turkish, Dutch, Czech, and Serbo-Croatian. Jaffe is also a Professor of Creative Writing, English and Comparative Literature at San Diego State University. Jaffe's fiction has appeared in such journals as Mississippi Review; City Lights Review; Paris Review; New Directions in Prose and Poetry; Chicago Review; Chelsea; Fiction;Central Park; Witness; Black Ice; Minnesota Review;Boundary 2; ACM; Black Warrior Review; Cream City Review; Two Girls'Review; and New Novel Review. His fictions have also been anthologized in Pushcart Prize; Best American Stories; Best of American Humor; Storming the Reality Studio; American Made; Avant Pop: Fiction for a Daydreaming Nation; After Yesterday's Crash: The Avant-Pop Anthology; Bateria and Am Lit (Germany);Borderlands (Mexico); Praz (Italy); Positive (Japan); and elsewhere. The 2004 issue of The Journal of Experimental Fiction called The Literary Terrorism of Harold Jaffe was devoted to his writings. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Johnson, Mildred Edith (editor and translator). Swan, Cygnets, and Owl: An Anthology of Modernist Poetry in Spanish America. Columbia. 1956. University of Missouri Press. Introduction by John S. Brushwood. 199 pages. hardcover. A bilingual selection of poems written between 1885 and about 1956. Divided into three sections: 'Precursors,' 'the Modernists,' and 'the Post-Modernists.' Each section is preceded by short biographical sketches of the poets. Two to five poems for each poet. Brushwood's essay, 'An introductory essay on Modernism,' is a full-length article (pp. 1-33). Poets: Delmira Agustini (Uruguay), Rafael Arevalo Martinez (Guatemala), Rafael Alberto Arrieta (Argentina), Enrique Banchs (Argentina), Jorge Luis Borges (Argentina), Julián del Casal (Cuba), Jose Santos Chocano (Peru), Ruben Dario (Nicaragua), Enrique Gonzalez Martinez (Mexico), Manuel Gonzalez Prada (Peru), Manuel Gutierrez Nájera (Mexico), Julio Herrera y Reissig (Uruguay), Juana de Ibarbourou (Uruguay), Ricardo Jaimes Freyre (Bolivia), Ramon Lopez Velarde (Mexico), Leopoldo Lugones (Argentina), Jose Marti (Cuba), Pablo Neruda (Chile), Amado Nervo (Mexico), Jose Asuncion Silva (Colombia), Alfonsina Storni (Argentina), Jaime Torres Bodet (Mexico). |
![]() | ![]() | ANTHOLOGIES. . Jones, Willis Knapp (editor and introduction). Spanish American Literature in Translation: A Selection of Prose, Poetry, and Drama Since 1888. Vol. II. New York. 1963. Frederick Ungar. 469 pages. bibliog. Various translators. The volume includes a bibliography ('A reading list') and an index. A comprehensive selection up to but not including the new generation of writers. Stresses the modernist and post-modernist periods. Prose selections by: Eduardo Acevedo Diaz (Uruguay), Demetrio Aguilera Malta (Ecuador), Ciro Alegria (Peru), Rafael ArEvalo Martinez (Guatemala), Alcides Arguedas (Bolivia), Mariano Azuela (Mexico), Eduardo Barrios (Chile), Rufino Blanco Fombona (Venezuela), Alberto Blest Gana (Chile), Jorge Luis Borges (Argentina), Marta Brunet (Chile), Jose Antonio Campos (Ecuador), Romulo Gallegos (Venezuela), Ricardo Guiraldes (Argentina), Martin Luis Guzmán (Mexico), Jorge Icaza (Ecuador), Enrique Larreta (Argentina), Carmen Lyra (Costa Rica), Gregorio Lopez y Fuentes (Mexico), Eduardo Mallea (Argentina), Rafael Maluenda Labarca (Chile), Enrique MEndez Calzada (Argentina), Amado Nervo (Mexico), Angel Pino (Chile), Pedro Prado (Chile), Horacio Quiroga (Uruguay), Jose Eustasio Rivera (Colombia), Jose Enrique Rodo (Uruguay), Froylán Turcios (Honduras), CEsar Uribe Piedrahita (Colombia), Hugo Wast (Argentina). Selections of poetry by: Lino Arguello (Nicaragua), Santiago Arguello Barreto (Nicaragua), Enrique Banchs (Argentina), Jorge Luis Borges (Argentina), Herib Campos Cervera (Paraguay), Jorge Carrera Andrade (Ecuador), Julián del Casal (Cuba), Jose Santos Chocano (Peru), Stella Corvalán (Chile), Ruben Dario (Nicaragua), Salvador Diaz Miron (Mexico), Jorge Escobar Uribe (Argentina), Jacinto Fombona Pachano (Venezuela), Eloy Farina Nuñez (Paraguay), Fabio Fiallo (Dominican Republic), Gaston Figueira (Uruguay), Enrique González Martinez (Mexico), Manuel Gonzalez Prada (Peru), Alejandro Guanes (Paraguay), Nicolâs GuillEn (Cuba), Manuel Gutierrez Nájera (Mexico), Juan Guzmân Cruchaga (Chile), Enrique Hernández Miyares (Cuba), Julio Herrera y Reissig (Uruguay), Vicente Huidobro (Chile), Juana de Ibarbourou (Uruguay), Ricardo Jaimes Freyre (Bolivia), Claudia Lars (El Salvador), Luis LlorEns Torres (Puerto Rico), Luis Carlos Lopez (Colombia), Ramon Lopez Velarde (Mexico), Leopoldo Lugones (Argentina), Jose Marti (Cuba), Gabriela Mistral (Chile), Guillermo Molinas Rolon (Paraguay), Pablo Neruda (Chile), Amado Nervo (Mexico), Juan B. O'Leary (Paraguay), Miguel Angel Osorio (Colombia), Luis Pales Matoa (Puerto Rico), Octavio Paz (Mexico), Regino Pedroso (Cuba), Josefina Pla (Paraguay), Alfonso Reyes (Mexico), Augusto Roa Bastos (Paraguay), Elvio Romero (Paraguay), Cesáreo Rosa-Nieves (Puerto Rico), Jose Asuncion Silva (Colombia), Medaro Angel Silva (Ecuador), Alfonsina Storni (Argentina), CEsar Tiempo (Argentina), Jaime Torres Bodet (Mexico), Froylán Turcios (Honduras), Guillermo Valencia (Colombia), CEsar Vallejo (Peru), Julio Vicuña Cifuentes (Chile). Drama selections by: Antonio Acevedo Hernández (Chile), Isidora Aguirre (Chile), Carlos S. Damel (Argentina), Camilo Darthes (Argentina), Samuel Eichelbaum (Argentina), Jose Joaquin Gamboa (Mexico), Eduardo GutiErrez (Argentina), RenE Marques (Puerto Rico), Armando Moock (Chile), Francisco Navarro (Mexico), Pedro E. Pico (Argentina), Jose J. Podestâ (Argentina), Jose Antonio Ramos (Cuba), Jose Maria Rivarola Matto (Paraguay), Florencio Sanchez (Uruguay), Rodolfo Usigli (Mexico). WILLIS KNAPP JONES has been introducing the American public to the literature of Spanish America for many years. A prolific translator, especially of poetry and drama, he is the author of Breve historia del teatro latinoamericano, HIGH LIGHTS OF LATIN AMERICA, and other works in field. He has visited all the countries represented in the present volume and a was teacher at the Institute Ingles, Santiago. He is professor emeritus of Spanish, Miami University, Oxford, Ohio. |
![]() | ![]() | ANTHOLOGIES. . Jones, Willis Knapp (editor and translator). Spanish American Literature in Translation: A Selection of Prose, Poetry, and Drama Before 1888, Volume I. New York. 1966. Frederick Ungar. 356 pages. bibliog. The second of a two volume anthology of selected writings. The volume of modern literature was published first. See No. 11. Many translator. Provides a broad overview of the literature, with introductory material and notes. Selections include fragments from the Maya-Quiche Popol Vuh, Inca and Nahuatl poems, and selections from the writings of Cristobal Colon, CortEs, and BartolomE de Las Casas of Spain. Other Spanish writers who wrote and lived in America are listed according to the country described in their works. Prose selections are by: Jose de Acosta (Peru), Ignacio Manuel Altamirano (Mexico), Fray Bernardino de Sahagün (Mexico), Alberto Blest Gana (Chile), Simon Bolivar Venezuela), Pedro Cieza de Leon (Peru), Concolorcorvo [Alonso Carrio de la Vandera], Bernal Diaz del Castillo (Mexico), Ruiz Diaz de Guzmán (Paraguay), Esteban Echeverria (Argentina), Jose Joaquin Fernandez de Lizardi (Mexico), Manuel de Jesus Galvân (Dominican Republic), Inca Garcilaso de la Vega (Peru), Jorge Isaacs (Colombia), Diego de Landa (Mexico), Jose Marmol (Argentina), Clorinda Matto de Turner (Peru), Juan Leon Mera (Ecuador), BartolomE Mitre (Argentina), Juan Montalvo (Ecuador), Motolinia [Fray Toribio de Benavente] (Mexico), Francisco Morazán (Honduras), Alvar Nuñez Cabeza de Vaca (Mexico), Francisco Nuñez de Pineda y Bascunan (Chile), Alonso de Ovalle (Chile), Ricardo Palma (Peru), Manuel Payno (Mexico), Vicente Perez Rosales (Chile), Domingo Faustino Sarmiento (Argentina), Carlos de Siguenza y Gongora (Mexico), Cirilo Villaverde (Cuba). Selections of poetry by: Manuel Acuna (Mexico), 'Amarilis' (Peru), Olegario Victor Andrade (Argentina), Bernardo de Balbuena (Mexico), AndrEs Bello (Venezuela), Estanislao del Campo (Argentina), Jose Eusebio Caro (Colombia), Juan Cruz Varela (Argentina), Esteban Echeverria (Argentina), Alonso de Ercilla y Züniga (Chile), Jose Gautier Benitez (Puerto Rico), Gertrudis Gomez de Avellaneda (Cuba), Jose Maria Heredia (Cuba), Sor Juana InEs de la Cruz (Mexico), Joaquin Lorenzo Luaces (Cuba), Jose Jacinto MilanEs y Fuentes (Cuba), Rafael Obligado (Argentina), Jose Joaquin de Olmedo (Ecuador), Pedro de Ona (Chile), Juan Gualberto Padilla (Puerto Rico), 'Plácido' (Cuba), Rafael Pombo (Colombia), Mariano Ramallo (Bolivia), Salvador Sanfuentes (Chile), Francisco de Terrazas (Mexico), Juan Zorrilla de San Martin (Uruguay). Selections of drama by: Carlos Bello (Chile), Gertrudis Gomez de Avellaneda (Cuba). Sor Juana InEs de la Cruz (Mexico), Camilo Henriquez (Chile), Jeronimo de Monforte y Vera (Peru), Jose Peon y Contreras (Mexico), Ramon Vial y Ureta (Chile). In addition, fragments from 3 Indian dramas from Peru, Mexico, and Guatemala, and one anonymous play (Argentina) are includedited The volume is completed by a bibliography of works in English translation (pp. 345-351) and an index. WILLIS KNAPP JONES has been introducing the American public to the literature of Spanish America for many years. A prolific translator, especially of poetry and drama, he is the author of Breve historia del teatro latinoamericano, HIGH LIGHTS OF LATIN AMERICA, and other works in field. He has visited all the countries represented in the present volume and a was teacher at the Institute Ingles, Santiago. He is professor emeritus of Spanish, Miami University, Oxford, Ohio. |
![]() | ![]() | ANTHOLOGIES. . Jones, Willis Knapp (editor). Spanish-American Literature in Translation, Volume II: A Selection of Poetry, Fiction, and Drama Since 1888. New York. 1977. Frederick Ungar. 0804424365. 469 pages. hardcover. Reprint. Originally published 1963. Second of a two-volume set. ‘Tomorrow poets shall hold the world in thrall And war shall be no more. . . ‘ Thus the hope, perhaps even the prophecy, of Mexico's Enrique Gonzalez Martinez - physician, diplomat, poet, a combination by no means extraordinary in the lands to the south. For in Spanish America poetry is an admired, almost universal language, one that poured forth in magnificent abundance from the time of Modernism, which had its momentous birth in 1888 and which infused poetic language with new rhythm and color. Gonzalez Martinez was the last great poet of Modernism, as Ruben Dario of Nicaragua was its herald. Both are represented in this outstanding new anthology, along with other distinguished poets, novelists, short story writers, and dramatists of all the Spanish-American nations. Grouped chronologically by nationality, here are the best, or the most representative, or the most faithfully translated of the writers of Spanish America - too little known, unfortunately, to the average English reader, who is thus cut off from awareness of provocative literary currents. As Spanish America becomes more and more important on the international scene, the literature of this sprawling and varied area is of increasing interest not only in itself, but because it introduces the English reader to a world both mysterious and challenging. Here is a sampling of it - raw, bitter, graceful, exciting in turn. More than half of the volume comprises new translations never before published. Here are writers you will want to know better - and that is the real goal of any good anthology. Dip into it at leisure. And read the Introduction first to place your favorite selections in the over-all picture of a growing and lively literature. WILLIS KNAPP JONES has been introducing the American public to the literature of Spanish America for many years. A prolific translator, especially of poetry and drama, he is the author of Breve historia del teatro latinoamericano, HIGH LIGHTS OF LATIN AMERICA, and other works in field. He has visited all the countries represented in the present volume and a was teacher at the Institute Ingles, Santiago. He is professor emeritus of Spanish, Miami University, Oxford, Ohio. |
![]() | ![]() | ANTHOLOGIES. [Drama]. Jones, Willis Knapp (editor, translator, and introduction). Men and angels: Three South American comedies. Carbondale, Illinois. 1970. Southern Illinois University Press. 0809304287. Bibliography. 191 pages. Includes the following works: Juan Fernando Camilo DarthEs and Carlos S. Damel (Argentina), The quack doctor (La hermana Josefina, 1938); Jose Maria Rivarola Matto (Paraguay), The fate of Chipi Conzález (El fin de Chipi Gonzalez, 1954); Miguel Frank (Chile), The man of the century (El hombre del siglo, 1958). The comedies are preceded by a long introduction. (pp. xiii-xlvi) and the volume is completed by a 'Checklist of translations of Latin American plays arranged alphabetically by countries and by names of dramatists' (pp. 181-191). WILLIS KNAPP JONES has been introducing the American public to the literature of Spanish America for many years. A prolific translator, especially of poetry and drama, he is the author of Breve historia del teatro latinoamericano, HIGH LIGHTS OF LATIN AMERICA, and other works in field. He has visited all the countries represented in the present volume and a was teacher at the Institute Ingles, Santiago. He is professor emeritus of Spanish, Miami University, Oxford, Ohio. |
![]() | ![]() | ANTHOLOGIES. [Drama]. Jones, Willis Knapp (translator). Short Plays of the Southern Americas. Stanford, California. 1944. Dramatists' Alliance of Stanford University. 8.5 x 11 inches, original illustrated wrappers. 106 pages. mimeo. Companion volume to Plays of the southern Americas. It includes the following selections: Florencio Sanchez (Uruguay), Midsummer day narents (CEdulas de San Juan, 1904); Pedro Pico (Argentina), Common clay (Del mismo barro, 1918); Eduardo Barrios (Chile), For the sake of a good reputation (Por el decoro, 1913); Jorge Zalamea (Colombia). The inn of Bethlehem (El meson de BelEn, 1941); Jose Antonio Ramos (Cuba), The traitor (El traidor); Victor Rendon (Ecuador), The lottery ticket (Billete de loteria, 1924); Jose Joaquin Gamboa (Mexico), An old yarn (Cuento viejo, 1930); Manuel Ascensio Segura (Peru), Sergeant Can uto (El sargento Canuto, 1839). WILLIS KNAPP JONES has been introducing the American public to the literature of Spanish America for many years. A prolific translator, especially of poetry and drama, he is the author of Breve historia del teatro latinoamericano, HIGH LIGHTS OF LATIN AMERICA, and other works in field. He has visited all the countries represented in the present volume and a was teacher at the Institute Ingles, Santiago. He is professor emeritus of Spanish, Miami University, Oxford, Ohio. |
![]() | ![]() | ANTHOLOGIES. [Uruguay - Poetry]. Kercheval, Jesse Lee (editor). América invertida: An Anthology of Emerging Uruguayan Poets. Albuquerque. 2016. University of New Mexico Press. 9780826357250. Mary Burritt Christiansen Poetry Series. 6 x 9. 304 pages. paperback. AmErica invertida introduces twenty-two Uruguayan poets under the age of forty to English-speaking audiences for the first time. Kercheval paired poets and translators to produce a rich volume based on a multicultural dialogue about poetry and the written word. AmErica invertida presents Spanish poems and their English translations side by side to give readers an introduction to Uruguay's vibrant literary scene. Jesse Lee Kercheval is the author, editor, and translator of thirteen books, including Cinema Muto, My Life as a Silent Movie: A Novel, and The Invisible Bridge / El puente invisible: Selected Poems of Circe Maia. |
![]() | ![]() | ANTHOLOGIES. [Mexico - Poetry]. Lamadrid, Enrique R. and Del Valle, Mario (editors). Un Ojo En El Muro/An Eye Through the Wall: Mexican Poetry 1970-1985. Santa Fe. 1986. Tooth Of Time Books. 0940510146. An edition of 3000 copies set in 11 point Barcelona Roman & Italic design by Wendy Welsh & John Brandi printed by Thomson-Shore. Bilingual texts in Spanish and English. 225 pages. paperback. POETS INCLUDED: Luis Miguel Aguilar; Gaspar Aguilera Diaz; Homero Aridjis; Alejandro Aura; Jose Carlos Becerra; Coral Bracho; Ricardo Castillo; Elsa Cross; Mario del Valle; Raul Garduño; Orlando GuillEn; Francisco Hernández; David Huerta; Elizabeth Hulverson; Eduardo Langagne; Elva Maclas; Hector Manjárrez; Gilberto Meza; Jose Emilio Pacheco; Jaime Reyes; Jose Luis Rivas; Rafael Torres Sanchez; Ricardo Yañez. Dr. Enrique R. Lamadrid teaches folklore, literature, and cultural history in the University of New Mexico's Dept. of Spanish and Portuguese. His research interests include ethnopoetics, folklore and music, Chicano literature, contemporary Mexican poetry, and literary translation. His field work centers in NM, but ranges as well into Mexico, Spain, the Andes and the Caribbean. His research on the IndoHispanic traditions of New Mexico charts the influence of indigenous cultures on the Spanish language and imagination. His literary writings explore the borderlands between cultures, their natural environments, and between popular traditions and literary expression. In 2006 and 2008 he organized an international research team working on the spiritual traditions of the Camino Real, with special focus on Durango, the role of penitential brotherhoods, and the Mexico experiences of Padre Antonio Jose Martínez. In 2009 and 2010 he organized expeditions to Aguascalientes, Mexico and Jinotepe, Nicaragua to document popular festivals on Santiago, the patron saint of Spain most associated with conquest and resistance to conquest. Author of numerous books and articles, Lamadrid's collaboration with renowned photographer Miguel Gandert is legendary. In 2009 they were jointly awarded the Gilberto Espinosa Prize by the New Mexico Historical Society for their work on the intangible cultural heritage of the Camino Real, Hermanitos Comanchitos: Indo-Hispano Rituals of Captivity and Redemption (UNM Press 2003), won the Chicago Folklore Prize in 2004, the oldest and most important in the nation for folklore and ethnography. Nuevo MExico Profundo: Rituals of an Indo-Hispano Homeland (Museum of NM 2000), a previous collaboration with Gandert won the prestigious Southwest Book Award in 2001. In 2005, Hermanitos Comanchitos also won the Southwest book award. The same year he was awarded the AmErico Paredes Prize by the American Folklore Society in 2005 to recognize his community based cultural work. Lamadrid is a scholar of the corrido ballad tradition of Greater Mexico and has several key articles on the subject, as well as a book co-authored with Jack Loeffler, La Música de los Viejitos: Hispano Folk Music of the Río Grande del Norte (UNM Press). He has produced a notable series of CDs. In the museum world, he led the design team and was co-curator of the permanent exhibit at the International Camino Real Heritage Center south of Socorro, NM. He was also a member of the curatorial team of the Smithsonian El Río exhibit on bio-regionalism and traditional culture in the Río Grande/Bravo basin. Lamadrid was sole curator of Nuevo MExico, ¿Hasta Cuándo?: Four Centuries of Hispanic Ballady, a component of the renown Smithsonian exhibit Corridos sin Fronteras / Ballads without Borders: A New World Ballad Tradition. Lamadrid is also an acequia activist and scholar of traditional water management. He and his students are preparing documentation for a UNESCO nomination for the Acequia cultures and systems of New Mexico and northern Mexico for world heritage status in the category of intangible cultural heritage. He is mayordomo of five sub-laterals of the Gallegos Lateral in Albuquerque's north valley, a district of 90 parciantes known as Acequia los Alamos de los Gallegos. His recent children's book is titled Juan the Bear and the Water of Life: La Acequia de Juan del Oso, and combines the history of the acequias in the beautiful Mora valley with the famous Juan del Oso cycle of traditional cuentos. |
![]() | ![]() | ANTHOLOGIES. . Lawaetz, Gudie (editor and introduction). Spanish short stories 2/Cuentos hispanicos 2. Harmondsworth & Baltimore. 1972. Penguin. 214 pages. paperback. A bilingual edition, parallel texts. Companion volume to Short stories in Spanish. Cuentos hispánicos, with more selections from the most outstanding contemporary writers. Of 8 writers, 7 are Latin Americans. Includes representative stories by: Jorge Edwards (Chile), Mario Vargas Llosa (Peru), Juan Canlos Onetti (Uruguay), Carlos Fuentes (Mexico), Norberto Fuentes (Cuba), Gabriel Garcia Márquez (Colombia), Julio Cortázar (Argentina). |
![]() | ![]() | ANTHOLOGIES. . Leonard, Kathy S. (editor and translator). Cruel Fictions, Cruel Realities: Short Stories By Latin American Women Writers. Pittsburgh. 1997. Latin American Literary Review Press. 0935480870. Foreword by Ana Maria Shua. 133 pages. paperback. Cover art by Mirta Toledo. Editor and translator Kathy Leonard created this superb and diverse anthology to provide a literary outlet for the best of the new fiction by contemporary Latin American women authors. Through her work with the authors represented here, Leonard brings to these stories an uncompromised clarity of translation as well as useful biographical information about the authors. Contains work by - Gloria Artigas (Chile), Yolanda Bedregal (Bolivia), Velia Calvimontes (Bolivia), Nayla Chehade Durán (Colombia), Silvia Diez Fierro (Chile), InEs Fernández Moreno (Argentina), Gilda HoIst Molestina (Ecuador), Maria Eugenia Lorenzini (Chile), Andrea Maturana (Chile), Viviana Mellet (Pew), Ana Maria Shua (Argentina), and Mirta Toledo (Argentina). . . ‘A fine collection of 19 stories by 12 South American women. All the stories are linked . . . by the common theme of cruelty, and embattled womanhood is indeed given pride of place. But there's a refreshing range shown by portrayals of variously disturbed and endangered adolescence (Gilda Hoist Molestina's ‘The Competition,' Gloria Artigas's ‘Corners of Smoke') and political injustice (Nayla Chehade Durán's excellent ‘The Vigil'). Surrealism and black comedy are strikingly present, in InEs Fernández Moreno's deadpan ‘A Mother to Be Assembled,' and especially in the volume's standout story: Ana Maria Shua's hilarious cautionary tale about the perils of crossing one's dentist (‘A Profession Like Any Other'). A highly entertaining anthology.' - Kirkus Reviews. Kathy S. Leonard is professor of Spanish and Hispanic Linguistics at Iowa State University, Ames. She is the author of Bibliographic Guide to Chicana and Latina Narrative (2003). |
![]() | ![]() | ANTHOLOGIES. [Costa Rica Panama]. Levi, Enrique Jaramillo (editor). When New Flowers Bloomed: Short Stories By Women Writers From Costa Rica and Panama. Pittsburgh. 1991. Latin American Literary Review Press. 0935480471. 208 pages. hardcover. Cover illustration by Lisette Denise Miller. Cover design by Ewa Kamienska. Women writers from the Central American nations of Costa Rica and Panama have distinguished themselves in the fields of short fiction and poetry during recent years. Their triumph mirrors their countries' struggles to overcome poverty and political violence. The quality and sheer number of their stories testify to their ongoing pursuit of artistic perfection. The women whose stories have been especially translated into English for this special issue have found the key to effective communication by searching their hearts and minds, and by exploring the intricately textured web of life that surrounds them. Costa Rica and Panama are linked by culture, geographical location and political history. A recent earthquake that struck sections of both countries at once underlined their similar vulnerability to natural disaster. A deep and continuous theme running through these writings is a note of hope for a calmer future. CONTENTS; Prologue by Enrique Jaramillo Levi; WOMEN WRITERS FROM COSTA RICA: DELFINA COLLADO - Garabito the Indomitable/The Indian Mummy; CARMEN LYRA - Ramona, Woman of the Ember/Estefania; EMILIA MACAYA - Alcestis/Eva; ROSIBEL MORERA - AndrEs Cejudo, Reader/Laura; CARMEN NARANJO - My Byzantine Grandmother's Two Medieval Saints/When New Flowers Bloomed; EUNICE ODIO - The Vestige of the Butterfly; YOLANDA OREAMUNO - Urban Wake/Of Their Obscure Family; JULIETA PINTO - The Country Schoolmaster/The Meeting; VICTORIA URBANO - Death in Mallorca; RIMA DE VALLBONA - The Good Guys/The Wall; WOMEN WRITERS FROM PANAMA: LILIA ALGANDONA - Nightmare at Deep River; GIOVANNA BENEDETTI - The Ramon the Fire/The Scent of Violets; ROSA MARIA BRITTON - The Wreck of the Enid Rose; GRISELDA LOPEZ - One Minute/I'll Eat the Land; MORAVIA OCHOA LOPEZ - A heavy Rain/The Date; BERTALICIA PERALTA - Elio; BESSY REYNA - And this Blue Surrounding me Again; GRACIELA ROJAS SUCRE - Wings; ISIS TEJEIRA - The Birth/The Piano of my Desire; About the Writers; About the Translators; About the Editor; Bibliography. ENRIQUE JARAMILLO LEVI, one of the most distinguished writers of Central America, is a poet, fiction writer and founding editor of Maga: revista panameña de cultura, a literary magazine published in Panama City. His short stories have been translated into English, Polish, Hungarian and German. As editor of this anthology, Jaramillo Levi has selected these original short stories by women writers of Costa Rica and Panama. The skillful combination of language, imagination and narrative technique transforms their personal experiences into short fiction, expressing their past sorrows and their dreams of a better world. |
![]() | ![]() | ANTHOLOGIES. [Central America]. Levi, Enrique Jaramillo and Chambers, Leland H. (editors). Contemporary Short Stories From Central America. Austin. 1994. University of Texas Press. 0292740301. 275 pages. hardcover. ‘An anthology in translation as well chosen as this one should be of great interest to the public. Practically all important Central American short story authors writing during the last quarter century are represented.' - Maria A. Salgado, professor of Spanish American literature, University of North Carolina, Chapel Hill . . . This volume collects some of the best short fiction from the six Spanish-speaking countries of Central America-Guatemala, Honduras, El Salvador, Nicaragua, Costa Rica, and Panama. Selected from stories written between 1963 and 1988, it is the only collection currently available with such broad representation of active Central American writers. Many of the stories are quite sophisticated, dealing with middle-class concerns more often associated with the more developed countries of the world, and often utilize elements of the absurd or techniques of magical realism. In ‘The Circumstantial or the Ephemeral,' Guatemalan writer Augusto Monterroso depicts the strain on a couple's relationship when the husband, a distinctly mediocre writer, wins a literary contest. ‘Floral Caper' by Costa Rican Carmen Naranjo depicts a man who floods his house with flowers to bolster his failed sense of self-esteem, and, in ‘Love Is Spelled with a G,' Panamanian Rosa Maria Britton writes of a young mulatto city girl who attempts to escape the near-hopelessness of her racial and social situation by snagging an anglo U.S. military man for a husband. Some of the stories deal with war-the unending struggle against dictators and military power that is such a fact of life for Central Americans. In ‘To Tell the Story,' Salvadoran writer Alfonso Quijada Urias describes the welcome received by a group of revolutionaries from the citizens of a village they have just taken over - and the subsequent rain of destruction by the more powerful military forces. Several of the stories explore the realm of the writer's imagination. In ‘Metaphors,' Samuel Rovinski (Costa Rica) shows how a writer's superficial attempt to interpret experience metaphorically cripples him in social circumstances, while, in ‘Gloria Wouldn't Wait,' Panamanian Jaime Garcia Saucedo focuses on the egotism of the writer's imagination as it tries to convert the tragedies of everyday life into some kind of literary document whose artistic qualities would belie their actual reality. Human-and humane-values in the face of adversity are celebrated throughout, even when seemingly futile in the midst of overwhelming odds. CONTEMPORARY SHORT STORIES FROM CENTRAL AMERICA embraces every aspect of the human condition addressed by the literature of the Western world and demonstrates the cultural vitality of our Central American neighbors. CONTENTS: Acknowledgments; Introduction; GUATEMALA - Arturo Arias/Toward Patzün (Leland H. Chambers, trans.), Jose Barnoya/Garcia Transito (Leland H. Chambers, trans.), Franz Galich/The Rat Catcher (Pamela Carmell, trans.), Dante Liano/An Indolence of Feelings (Sylvia Schulter, trans.), Augusto Monterroso/The Circumstantial or the Ephemeral (Leland H. Chambers, trans.); HONDURAS - Eduardo Bähr/Tarzan of the Apes (Clark M. Zlotchew, trans.), Edilberto Borjas/The Last Act (Clark M. Zlotchew, trans.), Roberto Castillo/The Attack of the Man-Eating Paper (Clark M. Zlotchew, trans.), Julio Escoto/Reality before Noon (Clark M. Zlotchew, trans.), Jorge Luis Oviedo/The Final Flight of the Mischievous Bird (Sabina Lask-Spinac, trans.), Roberto Quesada/The Author (Sabina Lask-Spinac, trans.), Pompeyo del Valle/The Forbidden Street (Sabina Lask-Spinac, trans.); EL SALVADOR - Jose Roberto Cea/The Absent One Inside (Elizabeth Gamble Miller, trans.), David Escobar Galindo/Restless (Elizabeth Gamble Miller, trans.), Jorge Kattán Zablah/The Raccoons (Elizabeth Gamble Miller, trans.), Hugo Lindo/That Confounded Year . . .! (Elizabeth Gamble Miller, trans.), Ricardo Lindo/Cards (Elizabeth Gamble Miller, trans.), Jose Maria Mendez/The Circle (Elizabeth Gamble Miller, trans.), Alfonso Quijada Urias/To Tell the Story (Elizabeth Gamble Miller, trans.), Napoleon Rodriguez Ruiz/The Suicide of Chamiabak (Elizabeth Gamble Miller, trans.); NICARAGUA - Mario Cajina-Vega/Gloria Lara (Don D. Wilson, trans.), Lizandro Chavez Alfaro/Pregnant City (Don D. Wilson, trans.), Pablo Antonio Cuadra/August (Lynne Beyer, trans.); Horacio Pena/The House (Leland H. Chambers, trans.), Sergio Ramirez/On the Stench of Corpses (Don D. Wilson, trans.), Mario Santos/In the Midst of the Downpour They Took Away My Cousin (Don D. Wilson, trans.), Fernando Silva/Francisco (Lynne Beyer, trans.); COSTA RICA - Luis Bolanos Ugalde/Rite (Charles Philip Thomas, trans.), Alfonso Chase/The Path of the Wind (Charles Philip Thomas, trans.), Jose Ricardo Chaves/Burned Soldiers (Leland H. Chambers, trans.), Carlos CortEs/Funeral Rites in Summer (Pamela Carmell, trans.), Fabian Dobles/The Trunk (Leland H. Chambers, trans.), Carmen Naranjo/Floral Caper (Charles Philip Thomas, trans.), Julieta Pinto/Disobedience (Charles Philip Thomas, trans.), Uriel Quesada/Behind the Door (Leland H. Chambers, trans.), Marco Retana/The Back Rooms (Charles Philip Thomas, trans.), Samuel Rovinski/Metaphors (Charles Philip Thomas, trans.), Victoria Urbano/The Face (Sylvia Schulter, trans.); PANAMA - Lucas Bárcena/The Sweetheart of the Spirits (Leland H. Chambers, trans.), Ricardo J. Bermüdez/The Horse in the Glassware Shop (Leland H. Chambers, trans.), Rosa Maria Britton/Love Is Spelled with a ‘G' (Leland H. Chambers, trans.), Enrique Chuez/The Woman (Leland H. Chambers, trans.), Claudio de Castro/The Chameleon (Leland H. Chambers, trans.), Ernesto Endara/Family Photograph (Leland H. Chambers, trans.), Jaime Garcia Saucedo/Gloria Wouldn't Wait (Leland H. Chambers, trans.), Enrique Jaramillo Levi/Duplications (Leland H. Chambers, trans.), Raül Leis/Señor Noboa (Leland H. Chambers, trans.), Bertalicia Peralta/The Village Virgin (Leland H. Chambers, trans.), Dimas Lidio Pitty/Our Boss (Leland H. Chambers, trans.), Pedro Rivera/Games (Leland H. Chambers, trans.), Jorge Turner/Carnival (Leland H. Chambers, trans.); Notes on the Authors; Notes on the Translators; Permissions Acknowledgments. Enrique Jaramillo Levi is former director of the Editorial Universitaria of the Universidad de Panama and now teaches at the Instituto Technologico y de Estudios Superiores de Monterrey in QuerEtaro, Mexico. Leland H. Chambers is emeritus professor of English and comparative literature at the University of Denver. |
![]() | ![]() | ANTHOLOGIES. [Argentina]. Lewald, H. Ernest (editor and translator). The Web: Stories By Argentine Women. Washington DC. 1983. Three Continents Press. 0894100858. 173 pages. hardcover. Within the Hispanic world that embraces a continent and a half in the Americas, there coexists different levels of cultures-ranging from life in the rain forests to the Paris-like milieu of Greater Buenos Aires with its eight million people of European descent. With two exceptions the stories in this volume, translated from the Spanish, center around a big-city ambiance in which the dominant currents consist of female-male confrontations. Over the last three decades Argentine women writers especially have given us in ever-increasing numbers a very particular, even at times feminist, view of this urban confrontation. Over these years, tone, treatment and style have reflected the changing status of the portena, the women of Buenos Aires. Silvina Ocampo's female protagonists still employ hypocrisy and manipulation within their marriages, and Silvina Bullrich's airline stewardess tries to be an independent woman (only to confess at the end that she really longed for male understanding and protection). But in the prose of the younger writers (a Luisa Valenzuela, Cecilia Absatz or a Reina Roffe), we find an ironic detachment that allows the leading female characters to examine, condemn or ridicule the male ‘condition.' Though the two non-urban stories offer even harsher reactions to male dominance, it seems clear the main battleground of the future will be in the great cities. It will become an almost obligatory task for new Argentine women writers to further examine the psychological needs of women who, for their own purposes, accept the role of sex objects (personified by Marta Lynch's beauty queen), or to condemn continued male sexual hostility (as. displayed in Luisa Valenzuela's story). In this sense the Argentine women writers included in this volume clearly constitute precursors for a growing group of female interpreters of a dynamic cosmopolitan society that blends a long static European heritage with the fast evolving ‘American' attitudes of both men and women. CONTENTS: Introduction; Luisa Mercedes Levinson - The Clearing/Mistress Frances; Silvina Ocampo - The Prayer; Silvina Bullrich - The Lover/Self Denial; Maria Angelica Bosco - Letter from Ana Kareninia to Nora/Letter from Nora to Ana Karenina; Syria Poletti - The Final Siri; Beatriz Guido - Ten Times Around the Block/Takeover; Marta Lynch - Bedside Story/Latin Lover; Amalia Jamilis - Night Shift/Department Store!; Eugenia Calny - Siesta; Luisa Valenzuela - Change of Guard; Cecilia Absatz - A Ballet for Girls; Reina Roffe - Let's Hear What He Has to Say!; Biographic Note on Translator. H. Ernest Lewald first became acquainted with River Plate culture while attending a high school in Montevideo and working for a newspaper m Buenos Aires. In the United States he studied French, German and American literature before finally deciding on a doctorate in Spanish. Although his dissertation dealt with Spanish nineteenth century naturalism, he began to publish articles and, later, books on Spanish American literature and culture. He is presently chairman of the Latin American Studies Department, The University of Tennessee. |
![]() | ![]() | ANTHOLOGIES. [Chile - Poetry]. Lowenfels, Walter (editor). For Neruda, For Chile: An International Anthology. Boston. 1975. Beacon Press. 0807063827. 249 pages. hardcover. This international anthology of prose and poetry pays tribute to the life of Pablo Neruda and to the legacy of the Popular Unity Government of Salvador Allende, overthrown by a military coup in September 1973. This chorus of voices, which includes more than 140 poets from 27 countries, honors the determination of the Chilean people and affirms the struggle of all people to be free. Neruda's voice will not be silenced by coups and guns. Nor will Allende's work be forgotten. Like the struggle for freedom, their inspiration lives on. CONTENTS: Rudolf Fabry/What About It, Brother World; Walter Lowenfels/From the Editor; Hortensia Bussi de Allende; I. GRIEF IS A LARGE SPACE - Margot de Silva/Don Pablo Neruda Eva Ban/In Memoriam Pablo Neruda Aragon/Elegie a Pablo Neruda; John Tagliabue/The Self Not Seen; Miguel Angel Asturias/Pablo Neruda Alive; Ramona Weeks/For Neruda; Michael Gizzi/For & After Pablo Neruda; Rafael Alberti/With Pablo Neruda in My Heart; David Ray/The Andes; Jean Brierre/Me Duele Chile; Leo Romero/For Pablo Neruda; Emily Paine/For the Spirit of Neruda; Volker Braun/Last Residence On Earth; Rafael Mendoza/This Pablo; Muriel Rukeyser/Neruda, The Wine; II. LIGHT THAT ARRIVES - Matilde Urrutia Neruda/Pablo's Death; Jose H. Llubien/Neruda: Light That Arrives; Ruth Lisa Schechter/Are We Saying All Your Verses?; Jack Curtis/The House; Thomas McGrath/A Warrant for Pablo Neruda; Joseph Bruchac/Pine Cone; Yusuf Al-Khal/For Neruda Upon His Death; Primno Castrillo/Pablo Neruda; Robert Rosenberg/To the Memory of Pablo Neruda; Allen Ginsberg/To a Dead Poet; Robert Zaller/Lament for Neftali ‘Reyes; Hugo Stanchi/A trilogy in memory of Pablo; Ed Ochester/For Neruda; Duane Locke/Kaivalya; Ida Gramcko/To Neruda Incommunicado; III. BLUES FOR SALVADOR - Salvador Allende/Farewell Speech over Radio Magallenes, September 11, 1973; Karl Vennberg/First Day of Autumn 1973; Geoffrey Rips/Resurrection: For Allende; Michael Szporer/elegy for allende; Tanure Ojaide/Chicho; A. Appercelle/To Chile-To Allende-; D. H. Melhem/Homage to Allende; Tobias Berggren/Poem From Gotland, September 1973; Gayl Jones/Más Alla; Gary Esolen/Dialectic: To the Victims of History; Antar Sudan Katara Mberi/Blues for Salvador; Lee Baxandall/Neruda's Last Poem; IV. TRACT FOR GENERAL PINOCHET - John Barnes; Alain Bosquet/Tract For General Pinochet; Tom Wayman/The Return; Gilbert Langevin/Anti-Cancer Concert; Christina Morris/Memo; Elena Wilkinson/Chile: Elegia de la Venganza; Carol Tinker/'Another Defenestration in Prague'; Nelson Estupinan Bass/A Candle for Pablo; Piero Santi/For Chile-Love; Harvey Mudd/The Near Sierra; Louise Gareau-Des-Bois/Dream of the Other America; Pedro Vera/Chile, the wretched beasts; V. THE CHILEAN SINGER - Miguel Cabezas/Victor Jara Died Singing; James Scully/Now Sing; Eamon Grennan/The Chilean Singer; Linda Lizut/Untitled; June Jordan/Poem: To my sister; Bob Arnold/Faraway, Like The Deer's Eye; Andrew Salkey/Victor; Hugo Loyacono/Victor Jara; Victor Jara/Chile Stadium; VI. BLOODYING THE TWILIGHT - Ricardo Garibay/Pablo Neruda's Funeral; Carlos Golibart/For Pablo Neruda; Christian Riondet/Words for Pablo; Serge Gavronsky/what was written in black; Lionel Ray/. . . it was from far away under the lantern that the shadows wiped out the dignity of questions; Pierre Gamarra/Ballad of Chilean Liberty; Hans Juergensen/Pablo Neruda; Quincy Troupe/Crossings, These Words; Neeli Cherry/For Neruda, For Chile; Nicolas Guillen/To Chile; James Scully/Toque de Queda; Bob Honig/Did you ask for me?; Michel Cahour/Now the night falls on Santiago; Zoe Best/Neruda; VII. ALIVE, ALIVE - William Wantling/Alive, Alive; Willis Barnstone/Pablo Neruda; Cecil Rajendra/For Pablo Neruda; Alan Britt/Pablo Neruda's Death; Pat Lowther/Anniversary Letter to Pablo; Charle Hayes/Pablo; Syl Cheney Coker/On the Death of Pablo Neruda; Lorenzo Thomas/Suicide Administration; Jose-Angel Figueroa/pablo neruda; Will Inman/Late Chant for Pablo Neruda; Robert Reinhold/On the Passing of Neruda; Luis Cardoza y Aragon/Pablo Neruda; Steve Kowit/'Neruda's remains were expelled this week'; VIII. DOOMSDAY IN SANTIAGO - Osman Turkay/Doomsday in Santiago; Eva Kovicovi/What's Theirs; Elias Hruska-Cortes/El Golpe; Mike Dobbie/you fell from the skies/the last days; Stuart McCarrell/For Chile; Kyoko Komori/Driving Nails with a Rock; Alejandro Murguia/Newsreport; Josë Kozer/Death Is Pitiless; Kemal Ozer/If Chile Is Bent Like a Dagger; Gyorgy Somlyo/'Chile, when shall. . .; IX. ONE CIRCLE OF LIGHT - Olga Cabral/Poem About Death; Ishmael Reed/Poem Delivered Before Assembly Of Colored People Held At Glide Memorial Church, Oct. 4, 1973 And Called To Protest Recent Events In The Sovereign Republic Of Chile; Anselm Hollo/Epitafio; Tom Wayman/the chilean elegies; Thomas McGrath/Lament for Pablo Neruda; Nina Serrano/Elegy for Pablo Neruda; Maria Rival/when he died; Stephen Kessler/Beyond Everything; Nico Suarez/To Pablo Neruda; Etel Adnan/A Candle for Pablo Neruda; John Robert Colombo/Proverbial Neruda; William Harrold/Musical Water; Eric Greinke/The Diplomat; X. THE SKY IS RED - Dominique Grandmont/An Example; W. S. Di Piero/Morning in Santiago; Clarke Wells/for pablo neruda 1904-1973; James R. Scrimgeour/Spotted off the Coast of Chile September 1973; Evgenii Yevtushenko/The Generals' Boots; L M. Jendrzejczyk/Migration; Ronald Lee Emmons/For Our Brothers in Chile; Charles Cantrell/The Unbound Voice; Harriet Zinnes/For Pablo Neruda; Orlin Orlinov/Chilean Fiesta; XI. CANTO - George Amabile/Canto; Steven Michael Gray/Return of Son of La Guardia; Jory Sherman/Poema Para Pablo Neruda; Chinweizu/The Return of the Flies; Sean Griffin/And Gather the Banners; Giannis Ritsos/Chile; Robert Hass/Elegy: Residence on Earth; Dick Kurie/today; Tom Schmidt/Vagando; XII. TOMORROW'S SUN - Walter Lowenfels/For Pablo Neruda; Nathaniel Tarn/At Gloucester,Mass., After Foreign Travel; Sharon Barba/For Pablo Neruda; Jose Rodeiro/The Cube-Root of Pablo; Vincius de Moraes/Natural History of Pablo Neruda; David Martinson/South Wind in October; Ann du Cille/For Your Preservation; Eduardo Escobar/Goodbye to Neruda Without Raising My Hand; Franz Douskey/Amorphous Water; Edwin Honig/Pablo Neruda; Darcy Gottlieb/Come, Neruda, Come; Barbara A. Holland/The Insane Pursuit of Tio Pablo; Susan Grathwohl/For Pablo Neruda; Gabriela Haringova/For Pablo Neruda; Henry Beissel/C'est la Mort Bernard Kelly/Tomorrow's Sun; Ray Smith/Neruda; Beatriz Allende; Appendix; Pablo Neruda: A Chronology; Some Dates in Chilean History; Other Books by Walter Lowenfels; Acknowledgments. Walter Lowenfels (May 10, 1897 - July 7, 1976) was an American poet, journalist, and member of the Communist Party USA. He also edited the Pennsylvania Edition of The Worker, a weekend edition of the Communist-sponsored Daily Worker. |
![]() | ![]() | ANTHOLOGIES. . Luby, Barry J. and Finke, Wayne H. (editors). Anthology of Contemporary Latin American Literature 1960-1984. Cranbury. 1986. Associated University Presses. 0838632556. 319 pages. hardcover. ANTHOLOGY OF CONTEMPORARY LATIN AMERICAN LITERATURE, 1960;1984 contains poetry and short stories in English translation by both prominent and newly emerging writers in the Spanish;speaking Americas. These translations of original works appear in this volume for the first time, and in some cases the English translation is also the first publication of an authors most recent prose or poetry. This principle of selection accounts for the omission of works by Jorge Luis Borges, Juan Rulfo, Gabriel Garcia Marquez, and others whose works have been widely translated. It also explains the inclusion of lesser;known works by famous writers, since their well;known pieces have been translated and widely anthologized. This collection comprises a cross;section of Latin American literature from 1960 to 1984. An introductory essay provides the reader with an overview of current literary and social trends in the authors respective countries and elucidates the major themes present in their writings. Three categories of writers are included. The first are well;versed in political theory, active politically, and totally aware of the reasons for their commitment. The second group has no specific political affiliations, may know very little of political philosophy, and speaks more of universal, themes. However, political problems are still felt by these authors and are at the very core of their expression. Adherence to either of these two groups is in no way incompatible with the artists role as creator. A writers work encompasses the historical and political realities of the times. This fact accounts for the perception that in Latin American literature today, most artists are actively engaged in the struggle for independence, whether their works treat openly of politics or have seemingly no political theme. The writers of the third group have totally divorced themselves from the political situations surrounding them and write in a highly personal or lyrical style. In this final stage of their coming of age, Spanish American writers have begun to speak of universal things. This anthology also includes poetry of certain well;known prose writers and the prose of other prominent and renowned poets, demonstrating that the ideas within each of the major groups mentioned are expressed in both genres. CONTENTS: JORGE ENRIQUE ADOUM: Ecuador; Fait Divers; LAUREANO ALBAN: Self;Portrait; It is the hour of the sea; GUSTAVO ALVAREZ GARDEAZABAL: Donaldo Arrieta; REINALDO ARENAS: Epigram; A Story; Marxs Contribution; Processional; Will to Live by Manifestation; HOMERO ARIDJIS: Chapultepec; Encounter; JUAN JOSE ARREOLA: The Switchman; CARLOS GERMAN BELLI: Segregation; Bah, Vitamin A; Antibiotic Miscellany; Sextain of Kid and Lulu; Looking at my little daughters; ADOLFO BIOY CASARES: The First Class Passenger; ALFREDO BRYCE ECHENIQUE: In Paracas with Jimmy; CECILIA BUSTAMANTE: Vocabulary; Dawn; JESUS CABEL: Last Vision of the Promised Land; CESAR EMILIO CANTONI: Absent Man; In Memoriam Dylan Thomas; ERNESTO CARDENAL: Psalm 36; The Heavy Drops; The Rains of May; Our Poems; The National Guard; Girl; You were alone; I have distributed clandestine leaflets; Epitaph for Joaquin Pasos; Epitaph for the Tomb of Adolfo Baez Bone; MAGOLO CARDENAS: But What If I Liked the Panchos; JORGE CARRERA ANDRADE: Final Invocation; HECTOR CARRETO: Sleeping Beautys Request; Vanity of Vanities; St. Georges Sword; St. Theresas Confession; AIDA CARTAGENA PORTALATIN: Colita; CARLOS CASTRO SAAVEDRA: Unemployed; ANTONIO CISNEROS: Your Head of an Italian Archangel; CafE on Martirok Utja; Sunday in St. Christinas of Budapest; JUAN GUSTAVO COBO BORDA: Errant Dwelling; In the Hotel of Your Soul; I Lost My Life?; HUMBERTO COSTANTINI: Immortality; Gardel; Algebra; PABLO ANTONIO CUADRA: The Calabash Tree; The Indian and the Violin; BELKIS CUZA MALE: Pandoras Box; Oh, My Rimbaud; Women Dont Die on the Front Lines; The Nature of Life; Order of the Day; ROQUE DALTON: Poet in Jail; The Art of Poetry; The Sea; MATILDE DAVIU: Ophelias Transfiguration; GERARDO DENIZ: Crisis; Tolerance; Infancies I; It was I; RODRIGO DIAZ;PEREZ: Edgar Allan Poes Room; Cycles; Fleeting Afternoon; Memories; JULIETA DOBLES: Caged Laurel; Music in the Caress; Thanatos in Stone; ROBERTO ECHAVARREN: For Tonight; Oyster Bar; DAVID ESCOBAR GALINDO: We; Myths and Flowers; Dawn; We Sprout Beneath the Soil; Oblivion; If I Walk; Suddenly Our life; In the Light; MAURICIO FERNANDEZ: Moon; PABLO ARMANDO FERNANDEZ: I Hope You Awaken; Mv Wife; In a Low Voice; ROSARIO FERRE: Catalina; To the Cavalier of the Rose; Epithalamium; HJALMAR FLAX: Our Father; In Tow; Advanced Course; Love or Cult; Carpe; Departed of Spring; BLANCA GARNICA: The Letter; I Do Not Know; FREDDY GATON ARCE: Monday, October 19; Sunday, July 31; JUAN GELMAN: Maria the Servant Girl; Medals; History; Poetic Art; Nun on the Bus; MEMPO GIARDINELLI: Revolution on a Bicycle; ALBERTO GIRRI: Lyric; Quartet in F Minor; Poem from Kierkegaard; MARGOT GLANTZ: Genealogies; ISAAC GOLDEMBERG: Body of Love; Origins; The Beehive and Its Roots; ; ALEXIS GOMEZ ROSA: High Quality, Ltd.; JORGE GUITART: Buffalo; The Book and the Child; The Fire; Something Neither Vivid Nor Concrete; OSCAR HAHN: Photograph; Doves of Peace; The Last Supper; Ocular Landscape; Canis Familiaris; Comet; Top Sheet; JAVIER HERAUD: I Do Not Laugh at Death; FRANCISCO HERNANDEZ: #8; #ll; #17; #18; FRANCISCO HINOJOSA: The Green Lagoon; The Dandy; DAVID HUERTA: Nine Years Later; JORGE IBARGUENGOITIA: What Became of Pampa Hash?; ROBERTO JUARROZ: I Do Not Hold God; Life; There Are Few Whole Deaths; You Have No Name; Vertical Poetry I; Vertical Poetry II; Vertical Poetry XIII; Vertical Poetry XVII; Vertical Poetry LXXII; JOSE KOZER: You Remember, Sylvia; This Is the Book of Psalms; Reminiscences of Grandmother at Home; A Franz Kafka Triptych; St. Francis of Assisi; PEDRO LASTRA: Later We Will Talk of Our Youth; Drawbridges; Etude; The Dissolving of Memory; ENRIQUE LIHN: The Sewer; Elizabeth Rawsthorne; Old Woman in the Subway; Edward Hopper; Reality and Memory; Nineteenth Century Lions; ROBERT LIMA: Peripatetic; Persona; Lorca; Sillustani; Civil War-Spain; Child Ecology; JUAN LISCANO: III; IV; VIII; XIII; XVII; JOSE LOPEZ-HEREDUA: The Retiree; JAIME MANRIQUE: Ode to a Hummingbird; JUAN CARLOS MARTINEZ: Luis and Clara; I am by nature; My Country; The Plastic Flower; ARISTIDES MARTINEZ ORTEGA: Words Before the End; PEDRO MIR: The Hurricane Neruda; EDUARDO MITRE: You tread; From Dark to Light; For it is law; Twins; It was; In ter mit tenT; ALVARO MUTIS: Caravansary; Invocatiion; LUIS ROGELIO NOGUERAS: Poetic Material; Non Omnia Morior; There is a poem; Time Maude; Love the Wild Swan; JULIO ORTEGA: Syllables and Lines (excerpts); JOSE EMILIO PACHECO: First Degree Equation with One Variable; The & ; In Defense of Anonymity; JUANA ROSA PITA: Stroke the Back; The Height of Letters; Walls Like Tears; ALBERTO LUIS PONZO: History; Powers; Languages; Inscriptions; Tutmosis; According to a Native American; Eleven OClock; ULISES PRIETO: I come painting dreams; Red and Black; I'm on the Road to Varadero; Miami; Before the Coastline; LILLIANA RAM0S: The Islands Economy; The Golden Age; JULIO RAMoN RIBEYRO: The Double; Vultures Without Feathers; GONZALO ROJAS: Love Letter; Lost Port; The Farce; Sunday Daimon; Visiting Professor; JUAN SANCHEZ PELAEZ: The Circle Opens; Today; VI;VIII; XIII; SEVERO SARDUY: Entering you; The shiny greased piston; Neither voice preceded by echo; Though you oiled the threshold; JAVIER SOLOGUREN: love and bodies; in you; celebration; GUILLERMO SUCRE: Whitebodied Lady; Not Keeping Silent; Atlantic April; DAVID UNGER: The Limbo Bar; Hotel Canada; Insomnia; ARMANDO F. VALLADARES: Reality; CARMEN VALLE: With the Psychiatrist; Hide n Seek; Days; When We Live; ANIBAL YARYURA-TOBIAS: The Voyeur; SAUL YURKIEVICH: Spaces; RAÜL ZURITA: Pastorale; Pastorale of Chile; Splendor in the Wind; Utopias. ABOUT THE EDITORS - BARRY J. LUBY, Professor of Spanish at John Jay College of Criminal Justice (CUNY), received his Ph.D. at New York University. He is the author of Unamuno a la luz del empiricismo logico contemporáneo and Maimonides and Spinoza: Their Sources, Cosmological Metaphysics, and Impact on Modern Thought and Literature. His published works also include several anthologies and articles on Spanish and Latin American literature, as well as articles on Sephardic philosophy and culture. He edited The Literary Review Spanish issue, and coedited the Latin American issue. He is currently writing a book titled, Unamuno in the Light of Twentieth-Century Thought. WAYNE H. FINKE is Assistant Professor of Spanish at Baruch College (CUNY). His Ph.D. dissertation at New York University provided the first study of the pioneering medieval criticism of the Catalonian critic, Manuel Milá ya Fontanals, and will soon be published. He has written extensively on this important nineteenth-century critic, and has also done work on Garcia Lorca and on onomastics. Professor Finke coedited the Winter 1980 issue of The Literary Review, Latin;American Literature, The 60s and 70s, and was recently elected Executive Secretary-Treasurer of the American Name Society. . . |
![]() | ![]() | ANTHOLOGIES. [Drama]. Luzuriaga, Gerardo and Rudder, Robert S. (editors, translators, and introduction). The Orgy: Modern One-Act Plays from Latin America. Los Angeles. 1974. UCLA Latin American Center. 0879030259. 180 pages. paperback. A well-balanced collection of 11 works by established playwrights and lesser-known writers. The plays are: Alberto Adellach (Argentina), March (Marcha) from Homo dramaticus (2nd edition, 1969); Enrique Buenaventura (Colombia), The orgy (La orgia) and The schoolteacher (La maestra) from Las papeles del infierno (1968); Marco Denevi (Argentina), Romeo before the corpse of Juliet (Romeo frente al cadaver de Julieta) and You don't have to complicate happiness (No hay que complicar la felicidad) from Falstficaciones; Jorge Diaz (Chile), The eve of the execution, or Genesis was tomorrow (La v(spera del deguello, 1967); Osvaldo Dragün (Argentina), The story of Panchito Gonzalez (Historia de Panchito González) and The story of the man who turned into a dog (Historia del hombre que se con virtio en perro) from Historias para ser con tadas (1957); Jose Martinez Queirolo (Ecuador), R. I. P. (Q. F. P. D., 1969); Alvaro MenEn Desleal (pseud. of Alvaro MenEndez Leal) (El Salvador), Black light (Luz negra, 1966); Carlos Solorzano (Guatemala), The crucifixion (El crucificado, 1958). Gerardo Luzuriaga is Professor Emeritus in the department of Spanish and Portuguese at UCLA. Robert S. Rudder taught Spanish at the University of Minnesota during the 1960’s, where he met with Ana María Matute and translated some of her stories. Later, while teaching at UCLA and other universities, his translations of the Lazarillo de Tormes, and of such writers as Benito Pérez Galdós, Rosario Castellanos, and Cristina Peri Rossi were published. He has received writing grants from the Spanish Ministry of Culture, and the National Endowment for the Arts. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Mallan, Lloyd / Wicker, C.V. / Grucci, Joseph Leonard (translators). Three Spanish American Poets: Pellicer, Neruda, and rade. New York. 1977. Gordion Press. Reprint. Originally published 1942. Poems by twentieth-century poets Carlos Pellicer (Mexico). Translated by Mary and C. V. Wicker; Pablo Neruda (Chile), by J. L. Grucci, and Jorge Carrera Andrade (Ecuador), by Lloyd Mallan. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Mallan, Lloyd / Wicker, C.V. / Grucci, Joseph Leonard (translators). Three Spanish American poets: Pellicer, Neruda, Andrade. Albuquerque, NM. 1942. Sage Books/Swallow & Critchlow. 73 pages. paperback. Poems by twentieth-century poets Carlos Pellicer (Mexico). Translated by Mary and C. V. Wicker; Pablo Neruda (Chile), by J. L. Grucci, and Jorge Carrera Andrade (Ecuador), by Lloyd Mallan. |
![]() | ![]() | ANTHOLOGIES. . Mancini, Pat McNees (editor). Contemporary Latin American Short Stories. New York. 1974. Fawcett. Paperback Original. Fawcett World Library. 479 pages. paperback. X701. Contemporary Latin America - South America, Central America, Mexico, and the West Indies - is producing many excellent and original writers, and the short stories in this anthology are proof that they have found their true voice after a long history of imitating European fiction. There is a variety of work ranging from the traditional Indian folktale to stories of social realism to more introspective and ironic writing about urban society. A number of the stories are newly translated. In some ways Latin American fiction has an exotic appeal: the mere landscape, the details of daily life, the cultural differences that are apparent in an America that is not only physically harsher than the United States but also was settled by Spanish Catholics rather than by Anglo-Saxon Protestants. At the same time there -are striking similarities: their gauchos and our cowboys; their oppressed Indians and ours; race problems; the frontier tradition and, most importantly, the creation of a new culture. The stories are placed in perspective by an informative introduction that also includes a brief history of Latin American fiction. In addition, there are biographical notes about the authors and a bibliography of recommended reading. CONTENTS: Introduction; JOAQUIM MARIA MACHADO DE ASSIS - Midnight Mass; RUBEN DARIO - The Case of Señorita Amelia; LEOPOLDO LUGONES - Yzur; HORACIO QUIROGA - How the Flamingoes Got Their Stockings; ROMULO GALLEGOS - Peace on High; MIGUEL ANGEL ASTURIAS - The Legend of ‘El Cadejo'; JORGE ICAZA - Big Precipice; JUAN BOSCH - Two Dollars Worth of Water; JORGE AMADO - Sweat; ROBERTO ARLT - Small-Time Property Owners; JORGE LUIS BORGES - Death and the Compass; ALEJO CARPENTIER - Journey Back to the Source; OCTAVIO PAZ - The Blue Bouquet; Letter to a Young Lady in Paris; JOAO GUIMARÃES ROSA - the Third Bank of the River; JUAN JOSE ARREOLA - I'm Telling You the Truth; AUGUSTO ROA BASTOS - The Vacant Lot; HERNANDO TELLEZ - Just Lather, That's All; ADOLFO BIOY CASARES - A Letter About Emilia; MARIA LUISA BOMBAL - The Tree; JUAN RULFO - Talpa; CARLOS FUENTES - The Doll Queen; GABRIEL GARCIA MÁRQUEZ - Balthazar's Marvelous Afternoon; JOSE DONOSO - Paseo; CLARICE LISPECTOR - The Imitation of the Rose; RENE MARQUES - Island of Manhattan; JUAN CARLOS ONETTI - Welcome, Bob; MARIO BENEDETTI - Gloria's Saturday; PEDRO JUAN SOTO - The innocents; GUILLERINO CABRERA INFANTE - Nest, Door, Neighbors; NORBERTO FUENTES - Honor Cleaned; MARIO VARGAS LLOSA - Sunday; MANUEL PUIG - A Meeting; ABELARDO CASTILLO - Ernesto's Mother; JOSE AGUSTIN - Mourning; Further Readings. Pat McNees Mancini was born on January 30, 1940, in Riverside, CA, the daughter of Glenn Harold (an ironworker) and Eleanor (a bank teller; maiden name, McCoskrie). She worked at Harper & Row, New York, NY, as an assistant editor from 1963-66; Fawcett Publications, New York, NY, editor of "Fawcett Premier Books," 1966-70; freelance editor and writer, 1970 - ; Resource Planning Associates, Washington, DC, editorial associate, 1979-80; currently consultant in writing, editing, and public relations. Editor and rewriter for various New York City publishers, Washington, DC consulting firms, particularly those specializing in energy and economics, and for think tanks. Mancini is a member of American Society of Journalists and Authors, Association of Personal Historians, Authors Guild, PEN, Washington Independent Writers, Society of Professional Journalists, Society of Technical Communicators, Women's National Book Association. |
![]() | ![]() | ANTHOLOGIES. . Manguel, Alberto (editor). Other Fires: Short Fiction By Latin American Women. New York. 1986. Potter. 051755870x. 222 pages. paperback. Cover art: George Tooker. The Gypsy (1951). Egg tempera on gesso panel. Front cover: Detail. ‘The lucky discoverers of these splendid stories by Brazilian, Argentinian, Mexican, Colombian, Cuban, and Uruguayan writers will be struck by the sense of falling into other colorations, other tones, other themes, into a quality of strangeness and intensity not common in our own literature. Alberto Manguel has once again opened an unfrequented door behind which new arid stirring voices call.' - CYNTHIA OZICK . . . ‘I congratulate Alberto Manguel on this selection of stories. It demonstrates that Latin American women have their own vision of the world and know how to express it in their own personal, irreverent, furious, fantastic, ironic, and poetic language.' - ISABEL ALLENDE. CONTENTS: Foreword by Isabel Allende; Introduction; ARMONIA SOMERS-The Fall; RACHEL DE QUEIROZ-Metonymy, or The Husband's Revenge; MARTA LYNCH-Latin Lover; CLARICE LISPECTOR-The Imitation of the Rose; DINAH SILVEIRA DE QUEIROZ-Guidance; ALEJANDIA PIZARNIK-The Bloody Countess; ANGELINA QGORODISCHER- Man's Dwelling Place; VLADY KOCIANCICH-Knight, Death and the Devil; INES ARREDONDO-The Shunanmnite; ALBALUCIA ANGEL-The Guerrillero; AMPARO DAVILLA-Haute Cuisine; ELENA PONIATOWSKA-The Night Visitor; SILVINA OCAMPO-Two Reports; LILIANA HEKER-The Stolen Party; ELENA GARRO-It's the Fault of the Tlaxcaltecas; LYDIA FAQUNDES TELLES-Tigrela; BEATRIZ GUIDO-The Usurper; LYDIA CABRERA-How the Monkey Lost the Fruit of His Labor; ROSARIO CASTELLANOS-Death of the Tiger; The Authors. . ALBERTO MANGUEL was born in Buenos Aires and now lives and teaches in Toronto, Canada. His previous anthology, Black Water: The Book of Fantastic Literature, was widely praised as ‘uncommonly satisfying,' ‘exciting,' ‘compulsively entertaining,' and ‘superb.' Alberto Manguel (born 1948 in Buenos Aires) is an Argentine Canadian anthologist, translator, essayist, novelist and editor. He is the author of numerous non-fiction books such as The Dictionary of Imaginary Places (co-written with Gianni Guadalupi in 1980), A History of Reading (1996), The Library at Night (2007) and Homer's Iliad and Odyssey: A Biography (2008); and novels such as News From a Foreign Country Came (1991). Though almost all of Manguel's books were written in English, two of his novels (El regreso and Todos los hombres son mentirosos) were written in Spanish, and El regreso has not yet been published in English. Manguel has also written film criticism such as Bride of Frankenstein (1997) and collections of essays such as Into the Looking Glass Wood (1998). In 2007, Manguel was selected to be that year's annual lecturer for the prestigious Massey Lectures. For over twenty years, Manguel has edited a number of literary anthologies on a variety of themes or genres ranging from erotica and gay stories to fantastic literature and mysteries. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Marquez, Robert (editor). Latin American Revolutionary Poetry/Poesia Revolucionaria Latinoamericana. New York. 1974. Monthly Review Press. 0853453675. Bilingual. 505 pages. paperback. Front panel illustration by Leopoldo Mandez. An anthology of 28 poets from Mexico, Central and South America, and the Caribbean . . . all speaking their deep hatred of capitalism for the humiliating economic deprivation and cultural domination it has inflicted on people of the Third World. The themes of anger and revolt, underlined by the urgency and anguish excluded people feel, produce poems of an intensity that at times becomes fearsome. For many readers this will be a first encounter with the poetic expression of South American militancy; and, while they will be moved by its beauty and compassion, neither will they soon forget its threats. The poets' revolt has literary aspects too: they have rejected obscure, difficult poetry, and have chosen an accessible, unadorned style. The translations bring the reader near the feeling on the original. INDICE/ CONTENTS: ARGENTINA - ENRIQUE MOLINA - Hue/ Hue; Informacion/ Information; Hueco nocturno/ Night Watch; JUAN GELMAN - Los ojos/ Eyes; Epocas/ Epochs; Argelia/ Algiers; Historia/ History; VICTOR GARCIA ROBLES - Sepa lo que pasa a lagrirna viva y con malas palabras/ Know Ye What Happens Amidst Copious Tears and with Four-Letter Words; BOLIVIA - PEDRO SHIMOSE - Sueno de una noche de verano/ A Midsummer Night's Dream; Epigrama pequenoburgues superacademi-correalista/ A Petty-Bourgeois Suracademicrealistic Epigram; El conde Dracula sale de inspeccion/ Count Dracula on an Inspection Tour; BRASIL - THIAGO DE MELLO - Os estatutos do homem/ The Statutes of Man; Canção do amor armado/ Song of Armed Love; CHILE - ENRIQUE LIHN - Europeos/Europeans; ANONIMO/ANONYMOUS - Bandos marciales/ Proclamations; COLOMBIA - ANONIMO/ANONYMOUS - Colombia masacrada/ Colombia Massacred; CUBA - NICOLAS GUILLÊN - Crecen altas las flores/ The Flowers Grow High; Tengo/ I Have; Angela Davis/ Angela Davis; Lectura de Domingo/ Sunday Reading; ROBERTO FERNÁNDEZ RETAMAR - Epitafio de un invasor/ Epitaph for an Invader; Es bueno recorder/We Do Well to Remember; Es mejor encender un cirio que maldecir la oscuridad/ It's Better to Light a Candle than to Curse the Darkness; Seria bueno merecer este epitafio/ It Would Be Nice to Deserve This Epitaph; DAVID FERNÁNDEZ CHERICIÁN - Seccion de anuncios clasificados/ Classified Section; Respecto del Tercer Mundo/ On the Third World; Una cancion de paz/ A Song of Peace; NANCY MOREJON - Los Aqueos/ The Achaeans; Freedom Now/ Freedom Now; DOMINICAN REPUBLIC/LA REPÜBLICA DOMINICANA PEDRO MIR - Amen de mariposas/ Amen to Butterflies; ECUADOR - JORGE ENRIQUE ADOUM - Condecoracion y ascenso/ Medals and Promotion; Pasadologia/ Pastology; EL SALVADOR - ROQUE DALTON - Sobre dolores de cabeza/ On Headaches; OEA/ OAS; Karl Marx/ Karl Marx; Dos guerrilleros griegos: un viejo y un traidor/ Two Greek Guerrillas: An Old Man and a Traitor; GUATEMALA - OTTO RENE CASTILLO - Informe de una justicia/ Report of an Injustice; Revolucion/ Revolution; lntelectuales apoliticos/ Apolitical Intellectuals; Viudo del mundo/ Widowed of the World; MARCO ANTONIO FLORES - De la carcel/ On Jail; De la madre/ Mother; Habana 59/Havana 59; HAITI - RENE DEPESTRE - Minerai noir/ Black Ore; Confession/ Confession; MEXICO - JUAN BANUELOS - En Vietnam las püas gotean nubes de corderos/ In Vietnam the Thorns Drip Clouds of Lambs; Perros/ Dogs; Fusil, hoja que conmueve a todo el árbol/ A Gun, the Leaf That Moves the Entire Tree; NICARAGUA - ERNESTO CARDENAL - Salmo 48/ Psalm 48; Salmo 36/ Psalm 36; Salmo 5/ Psalm 5; La hora cero/Zero Hour; ANONIMO/ANONYMOUS - La cortina del pals natal/ The Curtain of the Native Land; PERU - ANTONIO CISNEROS - Karl Marx Died 1883 Aged 65/ Karl Marx Died 1883 Aged 65; In Memoriam/ In Memoriam; Cronica de Chapi, 1965/ Chronicle of Chapi, 1965; ARTURO CORCUERA - Fábula de Tom y Jerry/ Tom and Jerry: A Fable; Fabula del Lobo Feroz/ Fierce Wolf: A Fable; Cow-boy y fabula de Buffalo Bill/ Cowboy and Fable of Buffalo Bill; JAVIER HERAUD - Alabanza de los dias destruccion y elogio de las sombras/ In Praise of Days Destruction and Eulogy to Darkness; Palabra de guerrillero/ A Guerrilla's Word; Arte poEtica/ Ars Poetica; PUERTO RICO - PEDRO PIETRI - Obituario puertorriqueno/ Puerto Rican Obituary; IVAN SILEN - Los he mandado a llamar/ I sent for you; Voy a escriber un poema/ I am going to write a poem; A veces estoy aburrido/ I am sometimes bored; IRIS M. ZAVALA - Duelo I/ Lament I; Nunca conocerE tu rostro/ I'll never know your face; Palabras y palabras/ Words words; URUGUAY - MARIO BENEDETTI - Con permiso/ With Your Permission; Holocausto/ Holocaust; Quemar las naves/ Burning the Ships; Contra los puentes levadizos/ Against Drawbridges; CARLOS MARIA GUTIERREZ - Condiciones objetivas/ Objective Conditions; 03: 15 AM / 4 degrees/3: 15 A.M,/.4 degrees; Cartilla civica/ Voting Instructions; Piedra blanca sobre piedra blanca/ White Stone on White Stone; VENEZUELA - EDMUNDO ARAY - Sin titulo/ Untitled; Siete y cincuenta y cinco/ Seven Fifty-Five; Esto leo a nii hija/ I Read This to My Daughter. Translator, editor, essayist, and literary critic Roberto Marquez is William R. Kenan Jr. Professor of Latin American and Caribbean Studies at Mount Holyoke College. A Puerto Rican born and raised in Spanish Harlem, Márquez has traveled, lived, studied, and worked in various parts of Spain, South America, and the Caribbean, including Jamaica, Trinidad, Guyana, Cuba, Brazil, and Nicaragua. An alumnus of Bronx Community College Operation Second Chance Program, Márquez received his B.A. from Brandeis University in 1966 and an M.A. and Ph.D. from Harvard University. The recipient of a Fulbright Fellowship for study in Peru (1966), he has also received National Endowment for the Humanities (1978–1979) and Tinker Foundation (1980–1981) Postdoctoral Fellowships, a Coordinating Council on Literary Magazines (CCLM) Editor's Fellowship Award for his work as founder-editor of Caliban: A Journal of New World Thought and Writing, and the Dorothy Blumenfeld Moyer Prize "for creative work in Languages and Literature" (1966). Professor Márquez has served on the board of advisory editors of theAmerican Quarterly, the advisory board of the Curbstone Press, the board of directors of the North American Congress on Latin America (NACLA) (1981–1991), and on the editorial board of NACLA's Report on the Americas (1991–1996). He has served as a member of the advisory committee of the Clarence L. Holte Literary Prize, on the international jury for the Premio Casa de Las Americas, as a member of the editorial board of the Massachusetts Review, and as area coordinator of the Migrant Education Program of Middlesex County, Massachusetts. A member of the board of trustees of Hampshire College from 1988 to 1996 and now trustee emeritus, from 1993 to 1995 he was also on the board of the Girls Club, Inc., in Holyoke. He has also served (1994–2000) on the board of directors of the Massachusetts Foundation for the Humanities and is an associate editor of the University of Virginia Press's New World Studies Series. Recognized for the caliber of his many translations from the work of a wide variety of Latin American poets and writers and for his work in the field of Caribbean literary and cultural history, Márquez is the editor of several volumes of the poetry of Nicolás GuillEn, includingMy Last Name and Other Poems, The Great Zoo, Patria o Muerte: The Great Zoo and Other Poems, and, with D. A. McMurray, Man-Making Words: Selected Poems. Márquez is also editor of the bilingual anthology Latin American Revolutionary Poetry. His essays, reviews, and commentaries have appeared in a variety of publications both in the U.S. and abroad, including Sin nombre (Puerto Rico), Casa de Las Americas (Havana), Escritura (Venezuela), Jamaica Journal(Kingstown), West Indian Guide (Baltimore and The Hague), Anales del Caribe (Havana), Ideologies and Literature, Latin American Research Review, the New York Times Book Review, the Village Voice Literary Supplement, the Latino Review of Books, and the Latino/a Research Review. |
![]() | ![]() | ANTHOLOGIES. [Dominican Republic]. Martínez, Erika M. (editor). Daring to Write: Contemporary Narratives by Dominican Women. Athens. 2016. University of Georgia Press. 9780820349268. Foreword by Julia Alvarez. 234 pages. paperback. With this new Latino literary collection Erika M. Martínez has brought together twenty-four engaging narratives written by Dominican women and women of Dominican descent living in the United States. The first volume of its kind, Daring to Write's insightful works offer readers a wide array of content that touches on a range of topics: migration, history, religion, race, class, gender, and sexuality. The result is a moving and imaginative critique of how these factors intersect and affect daily lives. The volume opens with a foreword by Julia Alvarez and includes short stories, novel excerpts, memoirs, and personal essays and features work by established writers such as Angie Cruz and Nelly Rosario, alongside works by emerging writers. Narratives originally written in Spanish appear in English for the first time, translated by Achy Obejas. An important contribution to Latino/a studies, these writings will introduce readers to a new collection of rich literature. Erika M. Martínez was born in New Jersey to Dominican parents and lived many of her childhood years in Santo Domingo. She is the editor of the anthology, Daring to Write: Contemporary Narratives by Dominican Women. Recipient of a Fulbright Fellowship and a Hedgebrook Writing Residency, she holds an MFA in English and Creative Writing from Mills College in Oakland, CA where she currently resides. Her writing was adapted for the stage and has been featured in the anthologies, Wise Latinas: Writers on Higher Education; Homelands: Women's Journeys Across Race, Place and Time andSecond Sense of Place: The Washington State Geospatial Poetry Anthology. Her work has also recently appeared in Muthamagazine.com, Consequence Magazine, and the Afro-Hispanic Review, among other publications. She has taught creative writing in the Dominican Republic and works with the National Writing Project . She lives in Oakland, California. |
![]() | ![]() | ANTHOLOGIES. [Puerto Rico]. Marzan, Julio (editor). Inventing a Word: An Anthology of Twentieth-Century Puerto Rican Poetry. New York. 1980. Columbia University Press/Center For Inter-American Relations. 0231050100. 184 pages. hardcover. Jacket design by Laiying Chong. The history of twentieth-century Puerto Rican poetry is one of ongoing controversy between generations of poets over poetics, culture, and the political destiny of their nation. It is a poetry born of two distinct literary traditions: the lyrical Hispanist-reformist tradition with its strong ties to European culture, and the Puerto Rican-separatist tradition with its stark anti-poetic vision of the island's past and present. Fusing the best of these divergent traditions in the modern Puerto Rican identity, Inventing a Word showcases a vital poetic heritage that encompasses both political reality and the lyrical imagination. The twenty-three poets in this bilingual anthology are at the forefront of both traditions, and include the ‘pure' poet Evaristo Ribera Chevremont; the metaphysical and Afro-Antillean poet Luis Pales Matos; Julia de Burgos, whose passionate writings alternate between total rebellion and total surrender; the younger poets who crusade against the purist aesthetic; and the poets of the post-war immigration, who write of the immigrant Puerto Rican's subjugation to the dominant North American culture. In the title poem, Vicente Rodriguez Nietzche writes: ‘Let us invent! letter by letter! the word we shall say when it happens.! A tender word! that will define us! with perfect seriousness.' With the majority of the translations rendered by Julio Marzan, and with additional translations by Rachel Benson, Grace Schulman, Carmen Valle, and Donald Walsh, Inventing a Word gives voice to the unique poetic vision of contemporary Puerto Rican culture. JULIO MARZÁN, a poet and translator, is a member of the Department of Modern Languages at Fordham University. |
![]() | ![]() | ANTHOLOGIES. [Puerto Rico - Poetry]. Matilla, Alfredo and Silen, Ivan (editors). The Puerto Rican Poets/Los Poetas Puertorriquenos. New York. 1972. Bantam Books. Paperback Original. Includes bibliography. 238 pages. paperback. RM7265. ‘To our knowledge, it is the first book to cover the entire range of Puerto Rican poetry from Luis Llorens Torres to Hugo Margenat, from Evaristo Ribera Chevremont to Pedro Pietri. It is also the first book to include both the works of writers who have developed revolutionary concepts of language and reality and the works of the more ‘pure' writers dating from before 1955. It is also the first volume to include poems that express the full range of the Puerto Rican's experience in New York - their anger, their will for struggle, their vision of their particular world, their sense of themselves as victims of a universal process of displacement, driven from their homeland to a strange metropolis.' - from the Prologue. Contributors - Luis Llorens Torres, Evaristo Ribera Chevremont, Juan Antonio Corretjer, Francisco Matos Paoli, Luis Pales Matos, Julia do Burgos, Hugo Margenat, Juan Sáez Burgos, Jose Maria Lima, Alfredo Matilla, Luis A. Rosario Quiles, Iris M. Zavala, Marina Arzola, Pedro Pietri, Jorge Maria Ruscalleda Bercedoniz, Angela Maria Dávila, Billy Cajigas, Ivan Silen, Edwin Reyes Berrios, Angel Luis Mendez, Felipe Luciano, Victor Hernández Cruz, Etnairis Rivera. Alfredo Matilla was a scholar, poet and novelist who for 23 years was a professor in the University of Buffalo Department of American Studies, A UB faculty member from 1972-95 and chair of the Department of American Studies from 1991-95, at the time of his death Matilla was a professor of English and Spanish at the University of Puerto Rico. He was the well-established and critically recognized Latin-American author of several books, including a historical/biographical chronicle, "El Espanolito y el espia," cited by literary critics as one of the most important books of 1999 by a Latin-American author. At the time of his death, he was writing a sequel. He also was a nationally known poet and short-fiction writer and served as a producer, writer, actor and consultant for 15 short independent films. Among his edited works was a collection of theater criticism by his father, Alfred Matilla Jimeno, a classical musician who, along with Picasso and Pablo Casals, was a leading exile from Spain after the Spanish Civil War. His father later became a member of the faculty of the University of Puerto Rico and was a leading theater critic in Puerto Rico. Matilla was the co-founder and sub-director of the National Center for the Arts in San Juan, Puerto Rico, and served on the editorial board of several Latino and Chicano- or Hispano-American literary publications. Matilla often said he was Spanish by birth, Puerto Rican by choice. He earned his doctorate in Spanish literature magna cum laude in 1967 from New York University and held a master's degree from NYU and a bachelor's degree from the University of Puerto Rico, both cum laude. He joined UB after teaching briefly at Long Island University, Vassar College, Goucher College and Brooklyn College.He served UB as director of the graduate program in Puerto Rican studies and the Overseas Academic Program in Puerto Rico, chair and director of the graduate program of the Department of American Studies and adjunct professor of the Bilingual Program in the Graduate School of Education. He had been a member of the Committee on Hispanic Affairs in the State of New York and Western New York Hispanic Arts Advisory Council, co-founder of the Latin Artists' Coalition, contributing writer for the Western New York Spanish-language weekly "El Hispano," director of the Latino Theater Workshop, a volunteer weekly lecturer at Attica State Correctional Facility and instructor in the American Studies Master of Arts Program at Auburn Correctional Facility. He died March 29, 2001 in Puerto Rico. He was 63. Iván Silén.is a poet, storyteller and essayist. He has approached philosophy and through a neo-baroque exercise, he has begun to shake the bourgeois pseudo-consciousness of postmodernity thanks to a new gap in thought: silenism." |
![]() | ![]() | ANTHOLOGIES. . Menton, Seymour. The Spanish American Short Story. Berkeley. 1980. University of California Press. 0520032322. 496 pages. hardcover. Jacket desiqn by John P. Johnson. Originally published in Mexico in 1964 in two volumes under the title of El cuento hispano-americana, this is the only anthology of the Spanish American short story in any language that traces critically the development of the genre from its Romantic beginnings in the 1830s to its mature exuberance in the 1970s. Although there have been, literally, hundreds of Spanish American short story anthologies, very few of these anthologies include any truly critical analyses of the stories. In this selection of stories four equally important criteria were used: (1) significance in the development of the genre; (2) reflection of the prevailing literary movement; (3) reflection of the development of distinct national characteristics; and (4) outstanding quality as a work of art with universal value. It is rare to find stories that exemplify all four criteria. This anthology is structured according to the different literary movements that have marked the evolution of Spanish American literature from the 1830s on: Romanticism, Realism, Naturalism, Modernism, criollismo, Cosmopolitanism (Surrealism, Cubism, Magic Realism, and Existentialism), Neorealism, and the boom literature of the 1960s. Each movement is defined in terms of its general characteristics, its international origins, and its Spanish American variants. Each story is preceded by a short biographical sketch and followed by a critical analysis. Thus, the two main purposes of this anthology are to present in an orderly historical way the best examples of the Latin American short story and to propose by example a method of analyzing short stories which, hopefully, will result in a clearer interpretation and fuller appreciation of short stories that the reader may read now and in the future. Seymour Menton (March 6, 1927 - March 8, 2014) was Chairman of the Department of Spanish and Portuguese at the University of California, Irvine, and a recipient of the UCI Distinguished Faculty Lectureship Award for 1980. He has been widely published with over seventy-five articles and reviews on the Latin American novel and short story. |
![]() | ![]() | ANTHOLOGIES. . Menton, Seymour. The Spanish American Short Story. Berkeley. 1982. University of California Press. 0520046412. 496 pages. paperback. Originally published in Mexico in 1964 in two volumes under the title of El cuento hispano-americana, this is the only anthology of the Spanish American short story in any language that traces critically the development of the genre from its Romantic beginnings in the 1830s to its mature exuberance in the 1970s. Although there have been, literally, hundreds of Spanish American short story anthologies, very few of these anthologies include any truly critical analyses of the stories. In this selection of stories four equally important criteria were used: (1) significance in the development of the genre; (2) reflection of the prevailing literary movement; (3) reflection of the development of distinct national characteristics; and (4) outstanding quality as a work of art with universal value. It is rare to find stories that exemplify all four criteria. This anthology is structured according to the different literary movements that have marked the evolution of Spanish American literature from the 1830s on: Romanticism, Realism, Naturalism, Modernism, criollismo, Cosmopolitanism (Surrealism, Cubism, Magic Realism, and Existentialism), Neorealism, and the boom literature of the 1960s. Each movement is defined in terms of its general characteristics, its international origins, and its Spanish American variants. Each story is preceded by a short biographical sketch and followed by a critical analysis. Thus, the two main purposes of this anthology are to present in an orderly historical way the best examples of the Latin American short story and to propose by example a method of analyzing short stories which, hopefully, will result in a clearer interpretation and fuller appreciation of short stories that the reader may read now and in the future. . . Seymour Menton (March 6, 1927 - March 8, 2014) was Chairman of the Department of Spanish and Portuguese at the University of California, Irvine, and a recipient of the UCI Distinguished Faculty Lectureship Award for 1980. He has been widely published with over seventy-five articles and reviews on the Latin American novel and short story. |
![]() | ![]() | ANTHOLOGIES. [Biography]. Meyer, Doris (editor). Lives On the Line: The Testimony of Contemporary Latin American Authors. Berkeley. 1988. University of California Press. 0520060024. 315 pages. hardcover. Jacket art: Paraja en Gris [Couple in Grey], 1983, by Rufino Tamayo, oil on canvas, 95 x 130 cm. Courtesy of Marlborough Gallery. Jacket design: Linda M. Robertson. Since the 1960s contemporary Latin American literature has enjoyed widespread popularity and critical acclaim. Today such names as Jorge Luis Borges, Pablo Neruda, and Gabriel Garcia Marquez, among others, are known to countless readers throughout the world. For more than a century Latin American writers have been preoccupied with defining a Latin American identity, but since 1960 this concern has taken on greater urgency and richer texture. New voices, particularly those of women writers, have contributed to the ongoing dialogue. These thoughtfully assembled writings by many of Latin America's finest authors bear first-person witness to the personal, social, and political situation of the writer and of literature in Latin America. At different times ironic, impassioned, humorous, reflective, autobiographical, polemical, and always vivid and engaging, they acquaint us with the individual and collective experience of various writers, all of whom have sought a creative confrontation through writing with their history and the realities of daily life. This collection of writings is indispensable to a full appreciation of the achievement of twentieth-century Latin American literature. Some of the thirty pieces presented here were written expressly for this volume; others have been translated for the first time. The translations themselves, all done by accomplished hands, make this volume as easy as it is rewarding to read. ‘The authors in this collection run a broad gamut of the outstanding writers; it is a stellar gathering and what they have to say will be important if only because they are the ones saying it. Not only will it be of interest to those who have no Spanish, but even for those who could read these authors in the original it will be of great value because here they are all under one roof.' - GREGORY RABASSA, Queens College. CONTENTS: Acknowledgments; Doris Meyer INTRODUCTION; Jorge Luis Borges MATURITY; Alejo Carpentier LITERATURE AND POLITICAL AWARENESS IN LATIN AMERICA; Clarice Lispector SINCE ONE FEELS OBLIGED TO WRITE. . .; Pablo Neruda MY FIRST BOOKS; Miguel Angel Asturias QUESTIONS AND REALITIES; Victoria Ocampo WOMAN'S PAST AND PRESENT; Guillermo Cabrera Infante ENGLISH PROFANITIES; Julio Cortázar LETTER TO ROBERTO FERNANDEZ RETAMAR; Rosario Castellanos EARLY WRITINGS; Heberto Padilla AFTERWORD; Nicolás GuillEn WORDS OF GREETING; Carlos Fuentes CENTRAL AND ECCENTRIC WRITING; Mario Vargas Llosa SOCIAL COMMITMENT AND THE LATIN AMERICAN WRITER; Elena Poniatowska AND HERE'S TO YOU, JESUSA; LEdo Ivo To WRITE IS NOT TO LIVE; Octavio Paz THE TELLTALE MIRROR; Jose Donoso ITHACA: THE IMPOSSIBLE RETURN; NElida Piñon THE MYTH OF CREATION; Ernesto Cardenal CLOSING ADDRESS; Rosario FerrE THE WRITER'S KITCHEN; Gabriel Garcia Márquez THE SOLITUDE OF LATIN AMERICA; Isabel Allende THE SPIRITS WERE WILLING; Manuel Scorza LIST OF ERRATA; Antonio Skármeta A GENERATION ON THE MOVE; Lygia Fagundes Telles THE TRUTH OF INVENTION; Augusto Roa Bastos WRITING: A METAPHOR FOR EXILE; Pablo Antonio Cuadra POETRY AND THE TEMPTATIONS OF POWER; Luisa Valenzuela A LEGACY OF POETS AND CANNIBALS: LITERATURE REVIVES IN ARGENTINA; Isaac Goldemberg ON BEING A WRITER IN PERU AND OTHER PLACES; Claribel Alegria THE WRITER'S COMMITMENT; SELECTED BIBLIOGRAPHY. Doris Meyer is Professor of Hispanic Studies at Connecticut College. She is the author of Victoria Ocampo: Against the Wind and Tide, and numerous articles on Hispanic literature. She is also the co-editor of the two-volume Contemporary Women Authors of Latin America: Introductory Essays and New Translations. |
![]() | ![]() | ANTHOLOGIES. . Miller Jr., James F. / O'Neal, Robert / McDonnell, Helen M. (editors). From Spain and the Americas: literature in translation. New York. 1970. Scott, Foresman. Introduction by Angel Flores. 420 pages. The introduction. (pp. 9-16) includes a reading list of works in English translation. Also included are biographical sketches of the authors (pp. 410-414) and indices of authors, titles, and translators. The text is designed for high school use, with discussion questions and ample notes. Book divided into Spanish and Spanish American sections. Short stories by: Ciro Alegria (Peru), Armando Arriaza (pseud. Hermes Nahuel] (Chile), Jorge Luis Borges (Argentina), Jesus del Corral (Colombia), Juan Carlos Dávalos (Argentina), Marco Denevi (Argentina), Carlos Fuentes (Mexico), Gabriel Garcia Márquez (Colombia), Horacio Quiroga (Uruguay), Luis Tablanca [Enrique Pardo Farelo] (Colombia), Jose Vasconcelos (Mexico). Poems (2 to 6) by: Jorge Carrera Andrade (Ecuador), Jorge Luis Borges (Argentina), Pablo Antonio Cuadra (Nicaragua), Gaston Figueira (Uruguay), Gabriela Mistral (Chile), Pablo Neruda (Chile) (with one essay], Alfonsina Storni (Argentina), 'CEsar Tiempo' (Israel Zeitlin] (Argentina), Fernán Silva ValdEs (Uruguay), CEsar Vallejo (Peru). Includes short story by Brazilian Jose Bento Monteiro Lobato. |
![]() | ![]() | ANTHOLOGIES. . Moore, Evelyn (editor and translator). Sancocho: Stories and Sketches of Panama. Panama. 1938. American Publishing Company. 194 pages. The most extensive (although dated) source of Panamanian short fiction. Selections by: Guillermo Andreve, Julio Arjona, Lucas Bárcena, M. Francisco Carrasco, R. E. J. Castilleros, MoisEs Castillo, Elida L. C. de Crespo, Jose Huerta, Samuel Lewis, Santiago McKay ('Fray Rodrigo'), Octavio MEndez Pereira, Salomôn Ponce Aguilera, Graciela Rojas Sucre, Nacho ValdEs. |
![]() | ![]() | ANTHOLOGIES. [Central America - Poetry]. Murguia, Alejandro and Paschke, Barbara (editors). Volcan: Poems From Central America. San Francisco. 1983. City Lights Books. 0872861538. 159 pages. paperback. A contact bomb, a volcano ready to erupt' describes not only Central America today but - in the conception of its editors - this anthology of contraband poetry. The poems themselves were often copied by hand and smuggled into Mexico, from Honduras, El Salvador, Guatemala, and Nicaragua. In all those countries, except Nicaragua, this poetry is banned. The thirty -nine poets represented here give potent voice to the struggles of their peoples under the crushing oppression of life ‘under the volcano' in these war - stunned lands. Many of these women and men have been jailed, exiled, killed, or otherwise made to disappear. Still they here survive in these faithful and sensitive translations by a new literary underground in North America. CONTENTS - Notes on the Poets; Translators; Introduction; EL SALVADOR - Mercedes Durand - They Fell on the Stairway; Mercedes Durand - Requiem for the Sumpul; Jaime Suárez Quemain - The Dictators; Jaime Suárez Quemain - A Collective Shot; Lil Milagro Ramirez - Awakening; Ricardo Castorrivas - Bitter Sonnet to a Cup of Coffee; Ricardo Castorrivas - Consecration of the Corn Tortilla; Alfonso Quijada Urias - Before Death; Alfonso Quijada Urias - Chronicle; Claribel Alegria - Everything is Normal in Our Courtyard; Roberto Armijo - To Patrice Lumumba; Tirso Canales - City of San Salvador; Tirso Canales - Nocturne for Freedom; Roque Dalton - Towards a Better Love; Roque Dalton - Jubilant Poem; Roque Dalton - Poem of Love; Roque Dalton - Act; GUATEMALA - Otto RenE Castillo - Prayer for the Soul of My Country; Otto RenE Castillo - October; Mario Payeras - Tamborillo; Francisco Morales Santos - The Great Figure; Delia Quinonez - March, Vigilant Fire; Rafael Sosa - Guatemalan Huipil; Jose Luis Villatoro - Elegy for the Young Corpse; Marco Antonio Flores - Quiche Warrior; Maria de los Angeles Ruano - The Corpse; Roberto Obregon - The Fears; Roberto Obregon - That Sleepless Flame; Clementina Suárez - Combat; Rigoberto Paredes - Salon Chronicle; Rigoberto Paredes - Memorial; Jose Luis Quesada - The Incurable Love; Walter Martinez - Oil Painting; Roberto Sosa - Freehand Sketch; Roberto Sosa - The Poor; Roberto Sosa - The Other Death; NIGARAGUA - Ernesto Mejia Sanchez - The Death of Somoza; Carlos Martinez Rivas - Port Morazan; Leonel Rugama - The Houses Were Left Full of Smoke; Carlos Rigby - If I Were May; Fanor Tellez - Miss Babian Tending Bar on the Atlantic Coast; Ivan Uriarte - Rama; Ivan Uriarte - Pier; David Macfield - Black is Black; Gaspar Garcia Laviana - Meditations on the Lake; Gaspar Garcia Laviana - For the Land Barons; Vidaluz Meneses - Cachikel Woman; Carlos Jose Guadamuz - A Flower; Roberto Vargas - Chile; Daisy Zamora - When We Return; Daisy Zamora - Letter to a Sister Who Lives in a Distant Country; Giaconda Belli - Obligations of the Poet; Giaconda Belli - Strike; Giaconda Belli - Free Country, July 1979; Rosário Murillo - Christmas Carol; Rosário Murillo - Song of Wandering Times; Rosário Murillo - I'm Going to Plant a Heart on the Earth; Ernesto Cardenal - Ecology; Ernesto Cardenal - Vision from the Small Blue Window; Jose Coronel Urtecho - The Past Will Not Return. THE POETS: CLARIBEL ALEGRIA - recipient of Casa de las Americas prize for Sobrevivo (1978); other books - Via Unica and Aprendizaje; ROBERTO ARMIJO - belongs to Grupo de los Cinco; has published Seis Elegias y un Poema; GIACONDA BELLI - author of Linea de Fuego, (Casa de las AmEricas prize, 1978) and Truenos y Arco Iris; TIRSO CANALES - imprisoned fourteen times, wrote DespuEs de los Sentidos; ERNESTO CARDENAL - priest and former Nicaraguan Minister of Culture whose books have been translated into many languages; among them are Homenaje a los Indios Americanos and Nostalgia del Futuro; JOSE ADAN CASTELAR - (affiliated with El Dia in Tegucigalpa and a member of La Voz Convocada; OTTO-RENE CASTILLO - guerrilla poet; exiled in Eastern Europe, killed in Guatemala in 1967. Among his books - Vamonos Patria a Caminar and Tecun Uman; RICARDO CASTORRIVAS - member of Grupo de los Cinco; ROQUE DALTON - essayist, novelist, poet, and guerrilla, killed in 1975. His books include El Turno del Ofendido, Taberna y Otros Lugares, and Poemas Clandestinos; MERCEDES DURAND - exiled to Mexico, recently published Las Manos y los Siglos and A Sangre y Fuego; MARCO ANTONIO FLORES - poet, novelist and theater director; his books - Los Companeros, and Muros de Luz; CARLOS JOSE GUADAMUZ - guerrilla poet; was imprisoned for many years; GASPAR GARCIA LAVIANA - priest and guerrilla commander, killed in 1978; his Cantos de Amor y Guerra was published posthumously; WALTER MARTINEZ - published Ascencions in San Francisco, 1972; DAVID MACFIELD - was formerly the Nicaraguan Ambassador to several African nations; his books - En la Calle de en Medio and Poemas para el Alto del Elefante; VIDALUZ MENESES - Director of The Library and Archives, Nicaraguan Ministry of Culture; her books - Llama Guardada and El Aire Que Me Llama; ROSARIO MURILLO - Secretary-General of the Association of Sandinista Cultural Workers; her books - Gualtayan and Un Deber de Cantar; ROBERTO OBREGoN, author of five books, including El Fuego Perdido, was captured and disappeared along the Guatemala/El Salvador border in 1976; MARIO PAYERAS - his testimonial book on the guerrilla - Los Dias de la Selva -was awarded Casa de las Americas prize, 1968; JAIME SUÁREZ QUEMAIN -journalist and poet, kidnapped and assassinated in 1981; JOSE LUIS QUESADA - belongs to La Voz Convocada; DELIA QUINoNEZ - member of the group Nuevo Signo; her Barro Pleno recently published; LIL MILAGRO RAMIREZ - her poetry has appeared in Ventana; CARLOS RIGBY - works with the Center of Popular Culture in Bluefields; CARLOS MARTINEZ RIVAS - author of the classic La Insurrection Solitaria (1953); LEONEL RUGAMA - ex-seminarist guerrilla, killed at age twenty-one; his book Leonel Rugama Poemas published posthumously; MARIA DE LOS ANGELES RUANO - resident of Mexico, a student of Leon Felipe; she has recently published El Silencio Cerrado; FRANCISCO MORALES SANTOS - guerrilla and poet; ERNESTO MEJIA SANCHEZ -taught in Mexico for many years; his books - Ensalmos y Conjuros and La Carne Contigua; RAFAEL SOSA - author of Son de Pasos and Esbezo de Nidos, exiled from Guatemala since 1954; ROBERTO SOSA -received Casa de las Americas prize in 1976 for Un Mundo Para Todos Divido; CLEMENTINA SUÁREZ - grande dame of Honduran poetry; her books - Templo de Fuego and Iniciales; FANOR TELLEZ - author of Bluefields de la Vida Hurtada; ALFONSO QUIJADA URIAS - member of Grupo de los Cinco and author of Sagradas Escrituras; IVAN URIARTE - writes short stories as well as poems (Poemas Atlanticos and Este Que Habla). JOSE CORONEL URTECHO - one of the founders of the Vanguard Movement; among his books - Pol-la D'Anant a Katanta Paranta and Rapido Transito; ROBERTO VARGAS - Nicaragua's First Secretary in the Washington, D.C. Embassy; his books - Primeros Cantos, and Nicaragua Yo Te Canto Besos, Balas y Suenos de Libertad; JOSE LUIS VILLATORO - published Pedro a Secas and Canta Registrado; DAISY ZAMORA -a psychologist and poet -La Violenta Espuma. TRANSLATORS: Francisco K. Alarcon; Wilfredo Castano; Magaly Fernández; Cecilia Guidos; Juan Felipe Herrera; Jack Hirschman; Walter Martinez; Alejandro Murguia; Barbara Paschke; Tina Alvarez Robles; Toni Ryan; David Volpendesta. Alejandro Murguía was born in California, but raised in Mexico City. His experiences as an international volunteer in the Nicaraguan Insurrection of 1979 are recounted in his second collection of short stories Southern Front (American Book Award,1991). He lives in San Francisco, where he teaches Latin American literature at San Francisco State University. He was named Poet Laureate of San Francisco in 2012. |
![]() | ![]() | ANTHOLOGIES. [Brazil - Poetry]. Neistein, José (editor). Poesia brasileira moderna: A bilingual anthology. Washington, D.C. 1972. Brazilian-American Cultural Institute. Translated by Manoel Cardozo. 207 pages. Good selections from representative modern poets. Designed for the sophisticated and discerning reader. Includes introductions and bibliographical sketches of the poets. Selections by: Mario de Andrade, Oswald de Andrade, Menotti Del Picchia, Guilherme de Almeida, Sergio Milliet, Ronald de Carvalho, Manuel Bandeira, Cassiano Ricardo, Carlos Drummond de Andrade, Augusto Meyer, Jorge de Lima, Cecilia Meireles, Vinicius de Moraes, João Cabral de Melo Neto, Pericles Eugenio de Silva Ramos, Máiro Faustino Lindolf Bell, Neide Archanjo, MariajosE de Carvalho. José Menache Neistein, Ph. D (1934-2020) was born in São Paulo, Brazil in a Jewish immigrant family. He was an intellectual and appreciator of different artistic and cultural fields, performing throughout his life activities as a critic, teacher, curator, cultural attaché, lecturer and art collector. Residing in the United States from 1970 to 2020, Neistein was invited by the Itamaraty to occupy the position of Cultural Attaché at the Brazilian Embassy as Executive-Director of the Brazilian-American Cultural Institute (BACI) in Washington D.C. During the same period, Prof. Neistein was also a Visiting Professor at the University of Pennsylvania and a Contributing Editor for the Hispanic Division of the Library of Congress. |
![]() | ![]() | ANTHOLOGIES. [Brazil - Poetry]. Olinto, Antonio. Theories & Other Poems. London. 1972. Rex Collins. 0090172036. Translated from the Portuguese by Jean Mcquillen. Bilingual. 71 pages. paperback. Cover based on a drawing by Carbye. This selection of poems was made from a number of published works and they have been selected to show the width of his vision and interests and the depth of his understanding; they have never appeared in English before. . Antonio Olinto, the Brazilian poet, novelist and literary critic, has already had one of his novels, The Water House, published in English and Spanish (a French version will be published in 1973). During the last fourteen years Senhor Olinto has published five volumes of literary criticism, studies ranging from the Victorian novelists to modern writers such as Lawrence, Orwell and Graham Greene. Antônio Olinto Marques da Rocha (May 10, 1919 - September 12, 2009) was a Brazilian writer, essayist and translator. Among his work are included poetry, novels, literary criticism, political analysis, children's literature and dictionaries. He occupied the 8th chair of the Brazilian Academy of Letters from 1997 until his death in 2009. The translator, Jean McQuillen, lived for some time in Brazil and has a thorough knowledge of contemporary Brazilian literature. |
![]() | ![]() | ANTHOLOGIES. [Brazil - Poetry]. Oliveira, Carmen L. Rare and Commonplace Flowers: The Story of Elizabeth Bishop and Lota de Macedo Soares. New Brunswick. 2002. Rutgers University Press. 0813530334. Translated from the Portuguese by Neil K. Besner. Foreword by Lloyd Schwartz. 192 pages. hardcover. Jacket illustration 'BED OF MARIA-SEM~VERGONHA', PHOTO BY LENA TRINDADE, JACKET DESIGN BY KAROLINA HARRIS. AUTHOR PHOTO BY Rosiska Darcy De Oliveira. Original title: Floras raras e banalissimas: A historia de Lota de Macedo Soares e Elizabeth Bishop, 1995 - Editora Rocco Ltda., Rio de Janeiro, Brazil. RARE AND COMMONPLACE FLOWERS (a Brazilian best-seller) tells the story of two women. Elizabeth Bishop, the Pulitzer Prize - winning American poet, sought artistic inspiration in Brazil. There she met and fell in love with Lota de Macedo Soares, a self-trained Brazilian architect. This dual biography - brilliantly researched, and written in a lively, novelistic style - follows their relationship from 1951 to 1967, the time when the two lived together in Brazil. The fact that these two women had an intimate relationship caused an uproar when it first came to public notice. The relationship started out happily, yet ended tragically In 1961, Soares became increasingly obsessed with building and administering Flamengo Park, Rio de Janeiro's equivalent to New York City's Central Park. Though she had been the driving force behind the park's inception, the ultimate credit that was due her was stripped away because of petty politics and chicanery As Soares's career declined and Bishop's flourished, their relationship crumbled. RARE AND COMMONPLACE FLOWERS is a tale of two artists and two cultures, offering unique perspectives on both women and their work. Carmen L. Oliveira provides an unparalleled level of detail and insight, due to both her familiarity with Brazil, as well as her access to the country's artistic elite, many of whom had a direct connection with Bishop and Soares. Rare pictures of the two artists and their home bring this unique story to life. CARMEN L. OLIVEIRA is a Brazilian novelist. Neil K. Besner is a professor in the English department at the University of Winnipeg in Canada. |
![]() | ![]() | ANTHOLOGIES. [Drama]. Oliver, William I. (editor, translator, and introduction). Voices of Change in the Spanish American Theater: An Anthology. Austin. 1971. University of Texas Press. 294 pages. Well chosen and translated plays, with an introduction. on social conditions which influence contemporary Latin American dramatists. Included are: Emilio Carballido (Mexico), The day they let the lions loose (El dia que se soltaron los leones, 1957); Griselda Gambaro (Argentina), The camp (El campo, 1967); Carlos Maggi (Uruguay), The library (La biblioteca, 1959); Enrique Buenaventura (Colombia), In the right hand of God the Father (En la diestra de Dios Padre, 1960); Luisa Josefina Hernández (Mexico), The mulatto's orgy (1966); Sergio Vodânovic (Chile), Vina: Three beach plays (Viña, 1964). William I. Oliver (1926-1995) was a Professor of Dramatic Art at the University of California, Berkeley. He was a scholar, director, playwright, and translator. Oliver was born in Panama City, Nov. 6, 1926, the son of Methodist teaching missionaries, Walter and Anna Skow Oliver. He was educated at Methodist schools in Panama City and the Canal Zone. During the second World War, since he was equally fluent in Spanish and English, he served there as a translator in the U.S. Navy. In 1946, he left the Canal Zone and entered the theatre department of the Carnegie Institute of Technology's School of Fine Arts in Pittsburgh to study acting. He played two summer seasons at Woodstock, N.Y., opposite such stars as Lillian Gish. In 1950, he married a fellow drama student, Barbara Marsh, and together they moved to North Dakota to head the Fargo/Moorhead Community Players. In 1953, the Olivers left North Dakota for Cornell University, where he studied for the Ph.D. For his doctoral dissertation he translated and wrote critical assessments of Federico Garcia Lorca and Lope de Vega. He joined the faculty of the Department of Dramatic Art at Berkeley in 1958 and served as a teacher, director and administrator until his retirement in 1991. He taught stage direction, dramatic literature and criticism in classes that were distinguished by his lively and inquiring mind. His work as a stage director with departmental students included many memorable productions, among them Ben Jonson's Bartholomew Faire, the Jacobean melodrama The Changeling (with a young Stacy Keach), Hamlet, Peer Gynt, Danton's Death, e. e. cummings' him, Sartre's The Devil and the Good Lord, O'Neill's Ah Wilderness!, and Giraudoux's Electra. The wide range of his play selection was increased as he worked in the popular UC summer theatre, The Old Chestnut Drama Guild, where he directed standard classics as Noel Coward's Fallen Angels, Clarence Day's Life with Father, Pinero's The Amazons, and Philip Barry's Holiday and The Animal-Kingdom. His directorial energies were often employed beyond the university theatre. He staged short plays for San Francisco's One-Act Theatre Company and for Berkeley's Aurora Theatre, where he also appeared as an actor, playing with Barbara Oliver in The Gin Game. In both Latin and South American companies, his talents as a critic and as a stage director are well-known. In 1966, he traveled to Santiago, Chile, where he taught at the University of Chile and directed ITUCH, the national theatre in the Chilean premiere of Peter Weiss' Marat-Sade. In Mexico City in 1974, in addition to classes at the School of Fine Arts, he directed Arthur Schnitzler's La Ronde. He went three times to Costa Rica, where he both taught and staged productions, including Wilder's The Skin of our Teeth, Euripides' Orestes, and Shakespeare's The Comedy of Errors. During his fourth visit, he was preparing Albee's Seascape in his own translation. He was for several years a judge and critic at the prestigious El Paso Chamizal Festival of Golden Age Theatre, and in 1991, he was invited to present a paper in Cadiz at the first conference on educational theatre to be held in Spain. As a translator, he was prolific, moving plays and novels and works of criticism from and to Spanish with ease. As a dramatist, he was the author of a trilogy on Spanish themes, The Antifarce of Sir John and Leporello, The Masks of Barbara Blomberg, and Dumbshows of the King. The first two were premiered at Berkeley, the third was published in Spanish in a special edition, commemorative of the 500th anniversary of Columbus' voyage. |
![]() | ![]() | ANTHOLOGIES. . Olmos, Margarite Fernandez and Paravisini-Gebert, Liz. Pleasure in the Word: Erotic Writings By Latin American Women. Fredonia. 1993. White Pine Press. 1877727318. Includes Work by Bombal, Valenzuela, Castellanos, Allende & Others. 284 pages. hardcover. Cover painting by Mexican artist Heteo Perez. These intensely personal and intimate reflections on human sexuality in all its variations - heterosexuality and homosexuality, homoeroticism and autoeroticism - trace the erotic thread back to the final decade of the I 7th century. The quest for power and control over ones sexuality and the freedom to explore erotic fantasies are themes which gradually progress from veiled allusions to frank expression in the candid and direct writing contemporary authors. Included in this anthology are Isabel Allende, Luisa Valenzuela, Cristina Peri Rossi, Silvina Ocampo, Elena Poniatowska, Alejandra Pizarnik, Ana Lydia Vega, Celicia Vicuna, and others. CONTENTS: Preface by MARJORIE AGOSIN; Song of the Chalco Women; Introduction; DELMIRA AGUSTINA (Uruguay) - Another Race; The Goblet of Love; Intimate; Defeating the Jungle; JULIA DE BURGOS (Puerto Rico) - Harmony of Word and Instinct; Rio Grande de Loiza; CLEMENTINA SUAREZ (Honduras) - Sex; VI; Conjugation; CARILDA OLIVER LABRA (Cuba) - I Can't Help It, My Love, I Can't Help It; Eve's Discourse; MARIA LUISA BOMBAL (Chile) - Excerpt from THE LAST MIST; BEATRIZ GUIDO (Argentina) - Excerpt from THE HOUSE OF THE ANGEL; SILVINA OCAMPO (Argentina) - Albino Orma; ROSARIO CASTELLANOS (Mexico) - On the Edge of Pleasure; Nymphomania; MARIA LUISA MENDOZA (Mexico) - Excerpt from AUSENCIA'S TALE; Alejandra Pizarnik (Argentina) - Words; The Lady Buccaneer of Pernambuco Or Hilda The Polygraph; The Bloody Countess; In This Night, In This World; Death and the Young Woman (Schubert); ELENA PONIATOWSKA (Mexico) - Happiness; ILKE BRUNHILDE LAURITO (Brazil) - Genetrix I; Genetrix III; Genetrix V; Genetrix VI; LUISA VALENZUELA (Argentina) - Dirty Words; Excerpt from THE EFFICACIOUS CAT: The Fucking Game; ROSARIO FERRE (Puerto Rico) - Rice and Milk; Fable of the Bled Heron; MARJORIE AGOSIN (United States/Chile) - My Stomach; What We Are; Penis; CRISTINA PERI ROSSI (Uruguay) - The Witness; Ca Foscari; RENATA PALIOTINI (Brazil) - Woman Sitting on the Sand; A Message from Summer; My Pleasure; Cruel Testimony No. 2; ALBALUCIA ANGEL (Colombia) - Excerpt from THE SPOTTED BIRD PERCHED HIGH ABOVE UPON THE TALL GREEN LEMON TREE; CECILIA VICUÑA (Chile) Beloved Friend; GIOCONDA BELLI (Nicaragua) - On This Sunday's Painful Loneliness; ISABEL ALLENDE (Chile) - Excerpt from THE HOUSE OF THE SPIRITS; EUNICE ARRUDA (Brazil) Theme II; Theme III; LEILA MICCOLIS (Brazil) - Third Poem For My Lover; Illusion; Beyond Death; ANA LYDIA VEGA (Puerto Rico) - Lyrics For a Salsa and Three Soneos By Request; ROSAMARIA ROFFIEL (Mexico) - Gioconda; Excerpt from AMORA; NEMIR MATOS (Puerto Rico) - I Soar On the Wings; MATILDE DAVIU (Venezuela) - The Woman Who Tore Up the World; CHELY LIMA (Cuba) - Carnal Inventory; ANA ISTARU (Costa Rica) - III; XI; XII; XVI; XVII; XIX; XX; DAINA CHAVIANO (Cuba) - Erotica I; Memo For Freud; Erotica IV; PIA BARROS (Chile) - Foreshadowing of a Trace; A Smell of Wood and of Silence; ANGELA HERNANDEZ (Dominican Republic) - How to Gather the Shadows of the Flowers; Biographical Notes; Bibliography of Original Works in Spanish and Portuguese. . Marguerite Fernandez Olmos is professor of Spanish at Brooklyn College of the City University of New York. Recipient of a Ford Foundation Fellowship and a Post-doctoral Fellow of the National Research Council, she has lived and studied in Europe and Latin America. Lizabeth Paravisini-Gebert is associate professor in the department of Hispanic Studies at Vassar College. She is the co-editor of GREEN CANE AND JUICY FLOTSAM: SHORT STORIES BY CARIBBEAN WOMEN. . . Margarite Fernández Olmos is a professor of Spanish and Latin American literatures at Brooklyn College, City University of New York. She is the author/coeditor of many books, including The Latino Reader: An American Literary Tradition from 1542 to the Present. Lisa Paravisini-Gebert works in the fields of literature and cultural studies, specializing in the multidisciplinary, comparative study of the Caribbean. Growing up in her native Puerto Rico, she became fascinated by the many cultural connections between Caribbean peoples despite our different histories and languages and has made that the subject of her research and teaching. |
![]() | ![]() | ANTHOLOGIES. . Olmos, Margarite Fernandez and Paravisini-Gebert, Liz. Remaking a Lost Harmony: Stories From the Hispanic Caribbean. Fredonia. 1995. White Pine Press. 1877727369. 249 pages. paperback. Cover painting: Cemeterio pequeno de Culebra by Maria de Mater O'Neill. Oil crayons, oils on linen. Twenty-five diverse stories, all written after the 1959 Cuban Revolution, reflect both the unique and colorful culture of the islands and the social changes that provided the impetus to search for the lost harmony of Caribbean and Latin American culture. Although the perception is that the Spanish-language islands are separated not only linguistically but culturally from their Antillean neighbors, their mutual histories - European colonialism, African Slavery, plantation economies, and massive migrations - reveal the error of that assumption. These imaginative stories paint a vivid picture of the Hispanic Caribbean and of its people - both those who remained there and those who left. CONTENTS: Introduction; Acknowledgements; Truffle Hunters - Humberto Arenal; Black Alleluia - Luis Rafael Sanchez; Now That I'm Back, Tom - RenE del Risco Bermudez; The Fire - Hilma Contreras; Mambru Did Not Go To War - Aida Cartagena Portalatin; The Path to the Ministry - Marcio Veloz Maggiolo; The Marked One - Norberto Fuentes; Delicatessen - Miguel Alfonseca; Sad Though Brief the Rituals - Tomás Lopez Ramirez; After the Hurricane - Edgardo Sanabria Santaliz; Lulu or the Metamorphosis - Jose Alcántara Almánzar; Colonel Bum Vivant - Rosario FerrE; This Noise Was Different - Olga Nolla; Requiem For A Wreathless Corpse - Pedro Peix; Emilio's Visitations - Reinaldo Montero; Lillianne's Sunday - Ana Lydia Vega; The Blind Buffalo - Mirta Yanez; Public Declaration of Love - Soledad Cruz; Fritters and Moons - Magali Garcia Ramis; Corinne, Amiable Girl - Mayra Montero; Under the Weeping Willow - Senel Paz; Gnawing On A Rose - Angela Hernandez; Silvia - Veronica Lopez Konina; How Do You Know, Vivian? - Luis Manuel Garcia; Tosca - Abilio Esteves; Biographical Notes. Margarite Fernández Olmos is a professor of Spanish and Latin American literatures at Brooklyn College, City University of New York. She is the author/coeditor of many books, including The Latino Reader: An American Literary Tradition from 1542 to the Present. Lisa Paravisini-Gebert works in the fields of literature and cultural studies, specializing in the multidisciplinary, comparative study of the Caribbean. Growing up in her native Puerto Rico, she became fascinated by the many cultural connections between Caribbean peoples despite our different histories and languages and has made that the subject of her research and teaching. |
![]() | ![]() | ANTHOLOGIES. . Pan American Union. Literature in Latin America. Washington, D.C. 1950. Pan American Union. 112 pages. Brief selections of twentieth-century writers. The essays deal primarily with aspects of Latin American culture. Selections of prose fiction by: Juan Pablo Echaque (Argentina), Manuel Gonzalez Zeledon (Costa Rica), Virgilio Diaz Ordoñez (Dominican Republic), Gregorio Lopez y Fuentes (Mexico), Ricardo Palma (Peru), Julián Padron (Venezuela). Poetry selections by: Leopoldo Lugones (Argentina), Gabniela Mistral (Chile), Rafael Pombo (Colombia), Jose Asuncion Silva (Colombia), Guillermo Valencia (Colombia), Enrique Gonzalez Martinez (Mexico), Amado Nervo (Mexico), Justo Sierra (Mexico), Ruben Dario (Nicaragua), Jose Santos Chocano (Peru), Gaston Figueira (Uruguay), Julio Herrera y Reissig (Uruguay), Juana de Ibarbourou (Uruguay), AndrEs Bello (Venezuela). Essays by: German Arciniegas (Colombia), Antonio Gomez Restrepo (Colombia), Jose Gabriel Navarro (Ecuador), Ruben Dario (Nicaragua), Ricardo Joaquin Alfaro (Peru), Jorge Basadre (Peru), Hector David Castro (El Salvador), Gabriela Mistral (Chile), Carlos Acuna (Bolivia), F. Castillo Nájera (Mexico), Luisa Luisi (Uruguay). Pan-American Union was an organization formed in 1890 to promote cooperation among the countries of Latin America and the U.S. It was established (as the International Union of American Republics) at the first Pan-American conference, which was called by U.S. secretary of state James Blaine in order to reach agreements on various common commercial and juridical problems among the countries of the Americas. In 1948 it was reconstituted as the Organization of American States. |
![]() | ![]() | ANTHOLOGIES. . Pan American Union. The Literature of Latin America. Washington, D.C. 1942. Pan American Union. 64 pages. Mostly reprints from the Bulletin of the Pan American Union. Various translators. Short selections from mostly romantic and modernist writers. Not particularly representative of their best production. Prose selections (fiction, descriptive prose, essays) by: Jose S. Alvarez (Argentina), Leopoldo Lugones (Argentina), Gabriel RenE-Moreno (Bolivia), Gabriela Mistral (Chile), Daniel Samper Ortega (Colombia), Manuel Gonzalez Zeledon (Costa Rica), Jose Marti (Cuba), Pedro Henriquez Ureña (Dominican Republic), Juan Montalvo (Ecuador), Arturo Ambrogi (El Salvador), Jose Rodriguez Cerna (Guatemala), Marco Aurelio Soto (Honduras), Genaro Estrada (Mexico), Ruben Dario (Nicaragua), Ricardo J. Alfaro (Panama), Pablo Alborno (Paraguay), Jose Gálvez (Peru), Ricardo Palma (Peru), Juan Zorrilla de San Martin (Uruguay), Teresa de la Parra (Venezuela). Poems by: Leopoldo Lugones (Argentina), Jose Asuncion Silva (Colombia), Gabriela Mistral (Chile), Guillermo Valencia (Colombia), Amado Nervo (Mexico), Alfredo Gomez Jaime (Colombia), Luis G. Urbina (Mexico), Ricardo Palma (Peru), Osvaldo Bazil (Dominican Republic), Rufino Blanco Fombona (Venezuela), Jose Maria Heredia (Cuba), Enrique Gonzalez Martinez (Mexico), Jose Santos Chocano (Peru), Ruben Dario (Nicaragua), Antonio Nicolãs Blanco (Puerto Rico), Juana de Ibarbourou (Uruguay), Rafael Pombo (Colombia), Juan Zorrilla de San Martin (Uruguay), Sor Juana InEs de la Cruz (Mexico). Pan-American Union was an organization formed in 1890 to promote cooperation among the countries of Latin America and the U.S. It was established (as the International Union of American Republics) at the first Pan-American conference, which was called by U.S. secretary of state James Blaine in order to reach agreements on various common commercial and juridical problems among the countries of the Americas. In 1948 it was reconstituted as the Organization of American States. |
![]() | ![]() | ANTHOLOGIES. [Brazil]. Parente Cunha, Helena. Woman Between Mirrors. Austin. 1989. University of Texas Press. 0292790457. Translated from the Portuguese by Fred P. Ellison & Naomi Lindstrom. 132 pages. hardcover. Jacket designed by Felipe Taborda. Jacket photograph by Marisa Alvarez Lima. Original title: Mulher no espelho, 1983. Part of a tradition of innovative writing by Brazilian women begun by Clarice Lispector, Helena Parente Cunha's award-winning WOMAN BETWEEN MIRRORS (Mulher no espelho, 1983) explores new directions in feminist thought and novelistic construction. The novel revolves around an unusual image. The protagonist stands before a three-way mirror, considering alternative possible identities just as she views alternative images reflected endlessly in the mirrors. She carries on a dialogue with ‘the woman who writes me,' astonishing her by rejecting the oppressed housewife role that ‘the woman who writes me' has assigned her. Indeed, as the novel progresses, the protagonist moves toward full self-realization, reincorporating all those exotic and erotic elements that both she and ‘the woman who writes me' had denied. Using this innovative narrative technique, Parente Cunha's feminist explorations blossom into a satisfying work of literary art. Celebrating the restoration of all things denied, she also uses African elements as symbols of liberation, thereby embracing Brazil's African heritage. ‘This novel, at the very least a tour de force for the reader, is an exam pie of the very contemporary women's writing in Brazil. . . . The translators have succeeded in maintaining the seductive and often hypnotizing tone achieved quite well by Parente Cunha.' - Carmen C. McClendon, Sandy Beaver Teaching Professor of Romance Languages, University of Georgia . A successful poet and short story writer as well as novelist, Helena Parente Cunha is professor of literary theory at the Universidade Federal in Rio de Janeiro. The translators, Fred P. Ellison and Naomi Lindstrom, are professor and associate professor, respectively, in the department of Spanish and Portuguese at the University of Texas at Austin. |
![]() | ![]() | ANTHOLOGIES. . Partnoy, Alicia (editor). You Can't Drown the Fire: Latin American Women Writing in Exile. San Francisco. 1988. Cleis Press. 0939416174. 259 pages. paperback. Cover design by Pete Ivey. An important anthology of writing by Latin American women. CONTENTS: THEY WON'T DROWN MY FIRE: TESTIMONY - Rigoberta Menchü (GUATEMALA) Things Have Happened to Me as in a Movie; Mercedes Sosa (ARGENTINA) Forced Exile; Ana Guadalupe Martinez (EL SALVADOR) Secret Prisons of El Salvador; Gloria Bonilla (EL SALVADOR) Talking; Domitila Barrios de Chungara (BOLIVIA) Two Deaths; The Russell Tribunal; Then Who Died. . . ?; Maria Tila Uribe (COLOMBIA) Notes from Inside; Women and Prison; America Sosa (EL SALVADOR) A Mothers Testimony; Irene Martinez (ARGENTINA) A Visit to My Mother; II. THE THAT STORY BURNING INSIDE. . . : NARRATIVE - Marjorie Agosin (CHILE) The Blue Teacups; Luisa Valenzuela (ARGENTINA) On the Way to the Ministry; Alicia Dujovrie Ortiz (ARGENTINA) Courage or Cowardice?; Cristina Pen Rossi (URUGUAY) The Influence of Edgar A. Poe in the Poetry of Raimundo Arias; Marta Traba (ARGENTINA) The Day Flora Died; III. THE TORCH THAT SHEDS MY LIGHT: ESSAY - Marta Benavides (EL SALVADOR) El Salvador The Presence Removed; Griselda Gambaro (ARGENTINA) The Talks That Never Took Place; Isabel Morel Letelier (CHILE) Introduction to Chile; Clara Nieto de Ponce de Leon (COLOMBIA) Colombia: Another ‘Dirty War'; Laura Restrepo (COLOMBIA) The Shirtless Man; Olga Behar (COLOMBIA) The Thorns on the Path; Claribel Alegria (EL SALVADOR) The Politics of Exile; IV. SPARKS OF FURY AND SHOOTING STARS: POETRY - Pastora (EL SALVADOR) The People's Teachers; Construction; Alaide Foppa (GUATEMALA) from ‘Words'; Woman; Julia Esquivel (GUATEMALA) They Have Threatened Us With Resurrection; Parable; Dolly Filártiga (PARAGUAY) Guarani Anguish; Always the North; Maria Gravina Telechea (URUGUAY) November 8; Since; The Bird Flew Flew; Cecilia Vicuna (CHILE) Wikuna; Topac Inca Yupanqui; Sachaj La Numac Tiox Mundo; Jacinta Escudos (EL SALVADOR) San Salvador 1983; Caly Domitila Cane'k (GUATEMALA) Birth and Death; Candles; Presa; Papa and Mama; Alenka Bermüdez Mallol (GUATEMALA) I Want to Explain a Few Things; I Take Your Hand and Move On; Reyna Hernández (EL SALVADOR) There Will Be Someone; In Old Man Shoes; Etelvina Astrada (ARGENTINA) The Hordes Came; In My Country; V. SETTING DISTANCE ON FIRE: LETTERS - Veronica de Negri (CHILE) Dear Lilian; Clara Piritz (URUGUAY) Marriage by Pros and Cons; Carmen Batsch (GUATEMALA) Dear Alicia; Selected Bibliography. Alicia Partnoy was born in 1955 in Argentina. As a political activist, she was ‘disappeared' and jailed for a total of three years during the recent military dictatorship. She came to the United States as a refugee in 1979. She translates and performs her poetry, which has been set to music by Sweet Honey in the Rock and other groups. Alicia Partnoy lectures extensively at the invitation of Amnesty International, human rights groups and universities, on human rights and writing under repression. She is a translator and also works at Hispania Books, a Latin American bookstore in Washington, D.C. Alicia Partnoy is the author of The Little School; Tales of Disappearance and Survival in Argentina (Cleis Press, 1986), a Writer's Choice selection of the Pushcart Foundation. She lives with her husband and daughter. |
![]() | ![]() | ANTHOLOGIES. . Paschke, Barbara and Volpendesta, David (editors). Clamor of Innocence: Central American Short Stories. San Francisco. 1988. City Lights Books. 0872862275. 174 pages. paperback. Front cover: 'Night Language.' Wool tapestry woven by Fernando Sanchez Sosa and Crispina Lopez de Sanchez, from an oil painting by Elly Simmons. A COLLECTION OF SHORT FICTION FROM COSTA RICA, GUATEMALA, HONDURAS, PANAMA, NICARAGUA, EL SALVADOR. These stories taken together are an eye on Central America, focusing on the real lives and enduring passions of today's men and women. Here are tales from quiet villages, from the urban vortex, from the field of battle. They have a ring of truth, the sound of having been lived in the heart of the beast, giving us a fresh vision of a crucial part of the Americas. ‘In Central America, there's a challenge: the need to create a literary territory that, as an expression of an authentic culture, can contribute to establishing us as countries with independent identities. . . ‘The most splendid contribution. . . will be to populate our desolate culture and reclaim our estranged national identities; to emerge as bearers of the truth, to be the gospel and the prophecy.' - Sergio Ramirez. CONTENTS: Eduardo Bahr (HONDURAS) - The Fever Heroes; Carmen Naranjo (COSTA RICA) - Walls; Samuel Rovinski (COSTA RICA) - The Grey Phantom; Hugo Lindo (EL SALVADOR) - A Train Ride; Rima Vallbona (COSTA RICA) - Penelope on Her Silver Wedding Anniversary; Alvaro MenEndez Franco (PANAMA) - An Antistory; Julio Escoto (HONDURAS) - High Noon In April; Rogelio Sinán (PANAMA) - Heaven's Surgeon; Lizandro Chavez Alfaro (NICARAGUA) - Clamor of Innocence; Delfina Collado (COSTA RICA) - Katok; SalarruE (Salazar ArruE) (EL SALVADOR) - We Bad; Bertalicia Peralta (PANAMA) - The Guayacan Tree; Juan Aburto (NICARAGUA) - A Surrender of Love; Jorge Luis Oviedo (HONDURAS) - The Last Flight of the Sly Bird; Dante Liano (GUATEMALA) - Democrash; Bessy Reyna (PANAMA) - The Clean Ashtrays; Fernando Gordillo (PANAMA) - Orders; Francisco Gavidia (EL SALVADOR) - The She-Wolf; Arturo Arias (GUATEMALA) - The Woman in the Middle; Miguel Angel Asturias (GUATEMALA) - Johnthe; Ernesto Cardenal (NICARAGUA) - The Swede; David Escobar Galindo (EL SALVADOR) - The Barricade; Mario Roberto Morales (GUATEMALA) - Dead Weight; Horacio Castellanos Moya (HONDURAS) - Setback; Carmen Lyra (COSTA RICA) - Estefania; Manlio Argueta (EL SALVADOR) -Taking Over the Street; Sergio Ramirez (NICARAGUA) - The Center Fielder; Fabian Dobles (COSTA RICA) - The Bridge; Enrique Jaramillo Levi (PANAMA) - While He Lay Sleeping; Roberto Castillo (HONDURAS) - Anita, The Insect Hunter; Augusto Monterroso (GUATEMALA) - Mr. Taylor. . NOTES ON WRITERS - JUAN ABURTO is a Nicaraguan who has published several books of short stories, among them Narraciones and El Convivio. MANLIO ARGUETA, a recipient of the Casa de las Americas prize, is a Salvadorean writer living in exile in Costa Rica. Two of his novels have been translated into English: A Day of Life and Cuzcatlán. ARTURO ARIAS is an exiled Guatemalan, living in Mexico. He has twice been awarded the Casa de las Americas prize. MIGUEL ANGEL ASTURIAS, the internationally renowned Guatemalan writer, received the Nobel Prize for Literature in 1967. EDUARDO BAHR is a Honduran who has published two books of short stories Fotografia del Penasco and El Cuento de la Guerra. ERNESTO CARDENAL is known worldwide as a poet and the Nicaraguan Minister of Culture. HORACIO CASTELLANOS MOYA was born in Honduras and grew up in El Salvador. He's the author of a novella, La Travesia. ROBERTO CASTILLO is a young Honduran whose two books of short stories are Subida Al Cielo (y otros cuentos) and El Corneta. LIZANDRO CHAVEZ ALFARO received the Casa de las Americas prize for Los Monos de San Tel mo. He has translated many North American writers, among them William Faulkner, into Spanish. DELFINA COLLADO is a Costa Rican writer. FABIAN DOBLES, from Costa Rica, was awarded the Premio Nacional de Literatura. He is the author of short stories, and novels. JULIO ESCOTO is a Honduran writer of fiction. Two of his novels are El Arbol de los Pañuelos and Dias de Ventisca, Noches de Huracán. DAVID ESCOBAR GALINDO is a Salvadorean. FRANCISCO GAVIDIA was born in El Salvador in 1863 and is one of the precursors of Central American Modernism. A master of the short story, he was also a dramatist and poet, who translated the French symbolists into Spanish. FERNANDO GORDILLO, a Nicaraguan poet and essayist, died in 1967. He was 26. ENRIQUE JARAMILLO LEVI is a Panamanian dramatist, short story writer, and poet. He's currently at the University of Texas on a Fullbright Scholarship. DANTE LIANO is an exiled Guatemalan, living in Mexico. HUGO LINDO, a Salvadorean poet who died recently, has two poetry books translated into English, Only the Voice and Facile Word. CARMEN LYRA was born in Costa Rica in 1888 and died while exiled in Mexico in 1949, Her most famous book is Los Cuentos de Mi Tia Panchita, ALVARO MENDENDEZ FRANCO is a Panamanian writer, AUGUSTO MONTERROSO, a Guatemalan, is an essayist and translator, His most important books are Obras Cotnpletas y otros cuentos and La Oveja Negra y Demas Fabulas, MARIO ROBERTO MORALES is an exiled Guatemalan writer living in Costa Rica, He received the 1985 EDUCA Prize for his novel El Esplendor del Piramide, CARMEN NARANJO, a Costa Rican novelist and poet, is the editor of EDUCA. Among her many published books are, Diario de Una Multitud (a novel) and Mi Guerrilla, an epic poem. JORGE LUIS OVIEDO is a Honduran poet, who has written short fiction, collected in La Muerte Mas Aplaudida and Cincocuentos, BERTALICIA PERALTA is a Panamanian poet and journalist, Among her books are Barcarola y Otras Fantasias Incorregibles and Muerto en Enero. SERGIO RAMIREZ is the Vice-President of Nicaragua and an internationally-known fiction writer whose works have been translated into many languages. BESSY REYNA is a Panamanian writer and critic who lives in Connecticut, where she edits the bilingual magazine El Taller Literario, SAMUEL ROVINSKI is a Costa Rican essayist, novelist, and playwright. Among his many published works are Ceremonia de Casta (a novel) and Un Modelo para Rosaura (a play). SALARRUE (Salvador Salazar Arrue), the late Salvadorean writer and painter, is one of Central America's most highly respected writers, His selected works have been published by the University of El Salvador, ROGELIO SINAN is a Panamanian writer, professor, and diplomat. Among his books are Dos Aventuras en el Lejano Oriente and Semana Santa en la Niebla, RIMA VALLBONA is a Costa Rican writer residing in Houston, Texas, Noche en Vela and Polvo del Camino are two of her several books of fiction. THE TRANSLATORS - TINA ALVAREZ ROBLES contributed translations to Volcan and Tomorrow Triumphant. Recently, she translated Mario Roberto Morales' novel, El Esplendor del Piramide into English. DAN BELLM is a San Francisco translator and freelance journalist who has written widely on Latin America. LELAND CHAMBERS is a Professor of English and Comparative Literature at the University of Denver, and translator of Ezequiel Martinez Estrada, THOMAS CHRISTENSEN, a former editor at North Point Press, translated Julio Cortazar's Around the Day in Eighty Worlds and is now translating a book of short stories by Carlos Fuentes. ELIZABETH GAMBLE MILLER is an Associate Professor of Foreign Languages and Literature at Southern Methodist University. She translated Hugo Lindo's books of poems into English. STEVE HELLMAN is a San Francisco writer, translator, and freelance journalist. SEAN HIGGINS is an Oakland-based translator. ALBERTO HUERTA, S.J. a poet, essayist, and translator, is an Assistant Professor of Romance Languages at the University of San Francisco. STEPHEN KESSLER has translated books by Nobel Prize-winning poet Vincente Aleixander and exiled Chilean poet Fernando Alegria. SYLVIA MULLALLY AGUIRRE is a KPFA radio host, and a journalist who writes for the weekly Spanish language newspaper El Mensajero. BARBARA PASCHKE co-edited Volcán, Roque Dalton's Poemas Clandestinos, and has contributed translations to many other anthologies and journals. DAVID VOLPENDESTA is a poet and freelance journalist who has written extensively on Latin American culture and politics. He also co-edited Otto Rene Castillo's selected poems, Tomorrow Triumphant and Homeless not Helpless. KATHLEEN WEAVER translated Omar Cabezas's best selling Testimonio, Fire From the Mountain, and is currently translating Julio Cortazar's Nicaragua Tan Violentomente Dulce. Leland Chambers, Thomas Christensen, Stephen Kessler, Elizabeth Gamble Miller, Barbara Paschke, and Kathleen Weaver are members of ALTA, The American Literary Translators Association. BARBARA PASCHKE co-edited Volcán, Roque Dalton's Poemas Clandestinos, and has contributed translations to many other anthologies and journals. DAVID VOLPENDESTA is a poet and freelance journalist who has written extensively on Latin American culture and politics. He also co-edited Otto Rene Castillo's selected poems, Tomorrow Triumphant and Homeless not Helpless. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Patterson, Helen Wohl (compiler and translator). Poetisas de America. Washington, D.C. 1960. Mitchell Press. Prologue by Jesus Flores Aguirre. 219 pages. paperback. Bilingual collection of translations and original poems in Spanish, English, French, and Portuguese. One to four selections by each poet. Poems by American poets are translated into Spanish. The anthology is the most extensive collection of works by women poets of Latin America. Arranged by country. Mostly twentieth century. Argentina: Maria Paseyro, Alfonsina Storni; Bolivia: Yolanda Bedregal, Maria Quiroga Vargas, Lola Taborga de Requena; Brazil: Cecilia Mereiles, Adalgisa Nery; Chile: Lucia Aguirre del Real, Gabriela Mistral; Colombia: Laura Victoria; Costa Rica: Maria Ester Amador, Ninfa Santos; Cuba: Gertrudis Gomez de Avellaneda, Dulce Maria Loynaz; Dominican Republic: Virginia Ortea; Ecuador: Rosa Borja de Ycaza, Dolores Veintemilla de Galindo; El Salvador: Claribel Alegria, Antonia Galindo, Claudia Lars; Guatemala: Romelia Alarcon Folgar, Margarita Carrera de Wever; Haiti: Marie-ThErêse Colimon, Emmeline Carries Lemaire, Virginie Sampeur; Honduras: Fausta Ferrera; Mexico: Guadalupe Amor, Maria Enriqueta Camarillo, Maria del Mar, Margarita Paz Paredes, Sor Juana InEs de la Cruz, Rosario Sansores; Nicaragua: Amanda Aragon Somoza, Aura Rostand, Maria Teresa Sanchez; Panama: Esther Maria Osses, Matilde Real; Paraguay: Ida Talavera de Fracchia; Peru: Teresa Maria Llona, Maria Wiesse; Puerto Rico: Maria Cadilla de Martinez, Amelia Ceide, Providencia Rancho; Uuguay: Delmira Agustini, Juana de Ibarbourou, Maria Eugenia Vaz-Ferreira; Venezuela: Enriqueta Arvelo Larriva, Sor Maria Josefa de los Angeles. Poems by the editor and two other women poets from the United States conclude the collection. Illustrated. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Patterson, Helen Wohl (compiler and translator). Ruben Dario y Nicaragua: Bilingual anthology of poetry. Washington, D.C. 1966. American Literary Accents. 67 pages. paperback. Includes examples of Dario's modernist poems and selections from twentieth-century Nicaraguan poetry. Includes verse translations of the following poets: Ruben Dario (15 poems), Gilberto Barrios, Adolfo Calero-Orozco, Ernesto Cardenal, Alfonso CortEs, Pablo Antonio Cuadra, Julio Linares, Luis Mejia-Gonzalez, Maria Theresa Sanchez, Maria de la Selva (Aura Rostand), Salomon de la Selva. |
![]() | ![]() | ANTHOLOGIES. [Mexico - Poetry]. Paz, Octavio (compiler). An Anthology of Mexican Poetry. Bloomington. 1958. Indiana University Press. Translations by Samuel Beckett. Preface by C. M. Bowra. Title page identifies the Publisher as Thames and Hudson in London, while the spine of both books and dustjacket note Indiana University Press as the publisher. 214 pages. hardcover. An outstanding poet and critic, Octavio Paz has assembled this anthology-the first of its kind in English translation-with a keen sense of what is at once representative and universal in Mexican poetry. His introduction sets the 35 selected poets in their proper literary perspective within the four centuries (1521.1910) covered by the book, Samuel Beckett, famous playwright (WAITING FOR GODOT), is the translator; C.M. Bowra, author of THE GREEK EXPERIENCE, has provided an illuminating foreword. Notable among the artists who appear in this collection are Bernardo de Balbuena (1561-1627), a master of the Baroque period who sang of the exuberant atmosphere and wealth of the New World; Juan Ruiz de Alarcon (1581?-1639), who became one of Spain's great playwrights; and Sor Juana InEs de la Cruz (Juana de Asbaje, 1651-1695), the beautiful nun whose lyric poetry displays piercing psychological insight. Salvador Diaz Miron (1859-1928) and Manuel Gutierrez Nájera (1859-1895) are precursors of the Modernist movement, while Enrique Gonzalez Martinez searched for a more introspective tone. Ramon Lopez Velarde (l888-l921) - perhaps the most genuinely Mexican poet-has exerted a great influence upon recent generations, The only living poet represented is Alfonso Reyes, whose works-deeply rooted in the Spanish classics-have a lyric quality that is personal, mercurial, and atemporal. This anthology will appeal to all who enjoy poetry as a universal manifestation of the human spirit. It will also fill a long-felt need in Spanish language classes and courses on Latin American literature. CONTENTS: Poetry and Tradition, by C. M. Bowra; Introduction to the History of Mexican Poetry, by Octavio Paz; Foreword by Octavio Paz; Francisco de Terrazas (1525?-1600?)/Sonnet; Fernán Gonzalez de Eslava (ca. 1534-ca. 1601)/To the Nativity; Bernardo de Balbuena (1561 or 1562-1627)/Immortal Springtime and Its Tokens; Fernando de Cordova y Bocanegra (1565-1589)/Song to the Most Holy Name of Jesus; Juan Ruiz de Alarcon (1580 or 1581-1639)/Feast by the Manzanares; Miguel de Guevara (1585?-1646?)/'I am not moved to love thee, my Lord God'; ‘Raise me up, Lord'; ‘To crucify the Son; ‘Time and account'; Matias de Bocanegra (1612-1668)/Song on Beholding an Enlightenment; Luis de Sandoval y Zapata (middle of seventeenth century)/To the Admirable Transubstantiation of the Roses; To Primal Matter; To a Dead Actress; White Lily; Beauty on a Western Balcony; Grievous Peril of a Gallant in Moth Metaphor; Carlos de Siguenza y Gongora (1645-1700)/Invocation and Proposition; Juana de Asbaje (1651-1695)/Verses Expressing the Feelings of a Lover; Describes Rationally the Irrational Effects of Love; ‘Tarry, shadow of my scornful treasure'; ‘Diuturnal infirmity of hope'; ‘This evening when I spake with thee, beloved'; ‘This coloured counterfeit that thou beholdest'; ‘Divine rose, that in a pleasant garden'; ‘Crimson lute that comest in the dawn'; ‘Green enravishment of human life'; ‘Amorous of Laura's loveliness'; Christmas Hymn; First Dream; Jose Manuel Martinez de Navarrete (1768-1809)/Morning; Jose Joaquin Pesado (1801-1861)/The Huntress; Ignacio Rodriguez Galván (1816-1842)/Extract from the Prophecy of CuauhtEmoc; Ignacio Ramirez (1818-1879)/For the Dead Gregorians; Vicente Riva Palacio (1832-1896)/To the Wind; Ignacio Manuel Altamirano (1834-1893)/To the Atoyac; Joaquin Arcadio Pagaza (1839-1918)/The Crag; The Chest of Perote; Manuel M. Flores (1840-1885)/Eve; Jose Peon y Contreras (1843-1907)/Echoes; Justo Sierra (1848-1912)/Bucolic Funeral; Manuel Acuna (1849-1873)/Before a Corpse; Salvador Diaz Miron (1853-1928)/Grief; The Corpse; The Example; The Phantom; Nox; To an Araucaria; Within an Emerald; Manuel Jose Othon (1858-1906)/A Steppe in the Nazas Country; Elegy; Wild Idyll; Manuel GutiErrez Najera (1859-1895)/Dead Waters; To Be; Fragment from ‘Pax Anima'; Non Omnis Moriar; When the Day Comes; Francisco A. de Icaza (1863-1925)/Responding Voice; Wayfaring; Golden; For the Poor Blind Man; Luis G. Urbina (1868-1934)/The Ancient Tear; The Centaur's Bath; Dayspring; The Silent Day; Our Lives Are Rivers; Francisco Gonzalez Leon (1868?-1945)/Hours; Amado Nervo (1870-1919)/An Old Burden; Evocation; Entreaty to the Cloud; And Thou, Expectant; Jose Juan Tablada (1871-1945)/Haiku of a Day; Haiku of the Flowerpot; Dawn in the Cockloft; The Idol in the Porch; The Parrot; Alternating Nocturne; Enrique Gonzalez Martinez (1871-1952)/Wring the Swan's Neck; When It Is Given You to Find a Smile; House with Two Doors; Pain; The Condemned; Romance of the Living Corpse; Last Journey; Rafael Lopez (1875?-1943)/Venus Poised; EfrEn Rebolledo (1877-1929)/The Vampire; Manuel de la Parra (1878-1930)/The Well; Ramon Lopez Velarde (1888-1921)/My Cousin Agueda; In the Wet Shadows; Now, as Never; My Heart Atones; Your Teeth; Wet Earth; The Malefic Return; Ants; The Tear; I Honour You in Dread; Humbly; Alfonso Reyes (1889- )/The Menace of the Flower; Tarahumara Herbs; River of Oblivion; To-and-Fro of Saint Theresa; Scarcely; Monterrey Sun; Notes by Octavio Paz. . . Octavio Paz Lozano (March 31, 1914 - April 19, 1998) was a Mexican poet-diplomat and writer. For his body of work, he was awarded the 1981 Miguel de Cervantes Prize, the 1982 Neustadt International Prize for Literature, and the 1990 Nobel Prize in Literature. |
![]() | ![]() | ANTHOLOGIES. . Pietri, Arturo Uslar (preface). Prize Stories From Latin America: The Issues and Concerns of Contemporary Latin America in New and Striking Fiction . Garden City. 1963. Doubleday. 398 pages. hardcover. Includes: Secret Ceremony by Marco Denevi (Argentina); The Aborigines by Carlos Martinez Moreno (Uruguay); Nausicaa by Alfonso Echeverria (Chile); The Harp by Tomas Mojarro (Mexico); A Plum for Coco by Laura del Castillo (Argentina); The Yoke by Faustino Gonzalez-Aller (Cuba); Black Ship by Carlos Rozas Larrain (Chile); The Cause by Haroldo Pedro Conti (Argentina); Jacob and the Other by Juan Carlos Onetti (Uruguay); Dream with No Name by Ramon Ferreira Lopez (Cuba); Sunday for an Architect by Rolando Venturini (Argentina). Arturo Uslar Pietri (16 May 1906 in Caracas - 26 February 2001), was a Venezuelan intellectual, lawyer, journalist, writer, television producer and politician. Born on 16 May 1906 in Caracas, Venezuela, his parents were general Arturo Uslar Santamaría and Helena Pietri de Uslar. The last name Uslar is of German origin and can be traced back to Johann von Uslar, who fought for the rebel cause during Venezuela's independence wars. As a young boy and then teenager he lived in various cities in the comparatively urbanised central northern valleys of the country. He moved back to Caracas in 1924 to read political sciences at the Central University of Venezuela, where he graduated Doctor of Political Sciences in 1929. That same year he obtained a law degree. Uslar led a remarkably fruitful life, influential in Venezuelan politics, historical analysis and literature, and as an educator. His period of activity spanned the last years of Venezuelan Caudillismo, the transition to democracy and most of the democratic era of 1958 - 1999. He held posts such as Secretary for the Venezuelan Delegation at the League of Nations, delegate at the International Labour Organization, minister of education, minister of finance, contributor to the Act of Constitution of the New Democratic Government (1958), ambassador to the United States of America, professor of Latin American literature at Columbia University, professor of political economics at the Central University of Venezuela, chief editor of a main newspaper, candidate for the Presidency and member of the Royal Spanish Academy. Uslar Pietri had a lifetime involvement in the Venezuelan media as a cultural figure. He wrote regionally influential essays and novels, of which The Red Lances, an account of life during the Venezuelan War of Independence from various social perspectives is arguably the most famous. In his works he championed mestizaje, or miscegenation, as a valuable feature of Latin American culture. His literary output was recognised in 1990 with a Prince of Asturias Award. He was several times nominated for the Nobel Prize in Literature. Uslar Pietri died on 26 February 2001 in Caracas. He had announced his retirement as an author in 1998 and last figured prominently in political debate in 1993. |
![]() | ![]() | ANTHOLOGIES. [Brazil]. [Pinto], José Saldanha [da Gama] Coelho, compiled. Contistas brasileiros. New Brazilian short stories. Rio de Janeiro. 1957. Revista Branca. Translated by Rod W. Horton. 238 pages. illustrated The quality of selections by these modern writers is somewhat uneven. Includes stories by Breno Accioly, Jose Maria Moreira Campo, Manuel Eduardo Pinheiro Campo, Jose Conde, Oswaldo Almeida Fischer, Carlos Vasconcelos Maia, Jose Saldanha da Gama Coelho Pinto, Murilo Rubião, Joel Ribeiro Siiveira, Lygia Fagundes Teles. |
![]() | ![]() | ANTHOLOGIES. [Mexico - Poetry]. Polkinhorn, Harry and Weiss, Mark (editors). Across the Line / Al otro lado: The Poetry of Baja California. San Diego. 2002. Junction Press. 1881523136. Paperback Original. 382 pages. paperback. Cover art by Hugo Crosthwaite. ‘If you can't make it across the border, ACROSS THE LINE/AL OTRO LADO is the next best thing to a trip to Mexico's Baja California. The astonishing range of fifty-three poetic voices, traditional native chants and popular corridos which are generously presented in bilingual format is rooted in a time and place that is both timeless and in constant flux. The poems are by turns full of yearning, lyric, exultant, pungent, mournful, fast-paced as the streets of Tijuana or slow as a cactus growing beyond the dunes. Baja Californians are a population on the move, alive to change, living on the edge, and the poetry in this lovingly-translated anthology conveys the feel of gritty towns and cities, burning deserts, lonely mountains, a huge sky still crowded with stars, the wind blowing in off the Pacific or the Sea of Cortes, the nearness of gray whales and pelicans, the uncertainties of isolation, the jittery rhythms of urban life, the United States forever looming on the other side of the border. And I am happy to say that these poets value the beauty and importance of Baja California's unique and fragile ecosystems; in Baja California moonlight still matters.' - Homero Aridjis Harry Polkinhorn is a poet, writer, journalist, literary critic, psychotherapist, publisher, and a professor at San Diego State University. His epic prose poem, The Raven was published by MAG press in 2004. He also published The Manifesto of Negativity with Mutable Press in 2003. Mark Weiss, poet, translator, editor, anthologist and publisher, is the author of six volumes of poetry, most recently As Landscape (Tucson: Chax Press, 2010), translator of three volumes of Mexican and Cuban poetry, notably Stet: Selected Poetry of Jose Kozer (New York: Junction Press, 2006), coeditor of the anthology Across the Line / Al otro lado: The Poetry of Baja California (San Diego: Junction Press, 2002) and of Stories as Equipment for Living: Last Talks and Tales of Barbara Myerhoff (Ann Arbor: University of Michigan Press, 2007), and editor of the bilingual anthology The Whole Island: Six Decades of Cuban Poetry (Berkeley: University of California Press, 2010). His translations have appeared in two collections coedited by Jerome Rothenberg, The Burial of the Count of Orgaz & Other Poems by Pablo Picasso (Exact Change), and Poems for the Millennium, volume 3 (Berkeley: University of California Press, 2009). |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Poor, Agnes Blake (compiler). Pan American Poems: An Anthology. Boston. 1918. The Gorham Press. Translated from the Spanish by Agnes Blake Poor and William Cullen Bryant. 80 pages. Poems from the early nineteenth to the early twentieth century. Spanish American poets are: Francisco Acuña de Figueroa (Uruguay), Juan Cruz Varela (Argentina), Agustin F. Cuenca (Mexico), Ruben Dario (Nicaragua), Jose de Diego (Puerto Rico), Esteban Echeverria (Argentina), Santiago Escuti Orrego (Chile), Arturo Gimenez Pastor (Argentina), Gertrudis Gomez de Avellaneda (Cuba), Jose Maria Heredia (Cuba), Hermogenes Jrisarri (Chile), D. A. Lozano (Venezuela), Manuel Maria Madiedo (Colombia), Diego Maisias y Calle (Peru), Jose Mármol (Argentina), Pedro J. Naon (Argentina), Jose Joaquin de Olmedo (Ecuador), Mariano Ramallo (Bolivia), Jose Rivera Indarte (Argentina), Narciso Tondreau (Chile), Florencio Varela (Argentina), Domingo de Vivero (Peru), Ethelberto Zegarra Ballon (Peru), Juan Zorrilla de San Martin (Uruguay). Brazilian poets included in the anthology are: Antonio Goncalves Dias, Francisco Manuel, and Bruno Seabra. Agnes Blake Poor (November 10, 1842 – February 28, 1922) was an American author and translator. She wrote under her own name and the pen name Dorothy Prescott. She is thought to be the first American to translate Brazilian poetry from Portuguese into English. Agnes Blake Poor was born on November 10, 1842 in Bangor, Maine. She was the daughter of financial analyst Henry Varnum Poor and Mary Wild Pierce, daughter of Reverend John Pierce, minister of the First Church of Brookline, Massachusetts. She lived most of her life in Brookline. She published short fiction in various magazines under the name Dorothy Prescott. One story in The Century called "A Little Fool" (October 1896) caused an uproar because of comments made by the title character directed at South Boston that were thought to be derogatory. Poor compiled and translated a selection of Spanish and Portuguese poems from South America, published as Pan American Poems (1918). It was the only selection of Portuguese translations available in the early 20th century. Poor, who taught Portuguese, included works by Antônio Gonçalves Dias (1823-1864), Bruno Seabra (1837-1876), and Francisco Manuel de Nascimento (1734-1819), though the latter had not been to Brazil. Agnes Blake Poor died on 28 February 1922 in Brookline. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Poor, Agnes Blake (compiler). Pan American Poems: An Anthology. New York. 1977. Gordion Press. Translated by Agnes B. Poor and William Cullen Bryant. Reprint. Originally published 1918. Agnes Blake Poor (November 10, 1842 – February 28, 1922) was an American author and translator. She wrote under her own name and the pen name Dorothy Prescott. She is thought to be the first American to translate Brazilian poetry from Portuguese into English. Agnes Blake Poor was born on November 10, 1842 in Bangor, Maine. She was the daughter of financial analyst Henry Varnum Poor and Mary Wild Pierce, daughter of Reverend John Pierce, minister of the First Church of Brookline, Massachusetts. She lived most of her life in Brookline. She published short fiction in various magazines under the name Dorothy Prescott. One story in The Century called "A Little Fool" (October 1896) caused an uproar because of comments made by the title character directed at South Boston that were thought to be derogatory. Poor compiled and translated a selection of Spanish and Portuguese poems from South America, published as Pan American Poems (1918). It was the only selection of Portuguese translations available in the early 20th century. Poor, who taught Portuguese, included works by Antônio Gonçalves Dias (1823-1864), Bruno Seabra (1837-1876), and Francisco Manuel de Nascimento (1734-1819), though the latter had not been to Brazil. Agnes Blake Poor died on 28 February 1922 in Brookline. |
![]() | ![]() | ANTHOLOGIES. [Bolivia Quechua - Poetry]. Proser, Maria A. and Scully, James (translators). Quechua Peoples Poetry. Willimantic. 1976. Curbstone Press. 0915306093. 68 pages. paperback. Cover Design: Judy Ayer Doyle and James Scully. These poems are songs. They are sung, on communal occasions, by those Quechua people who live in and around Cochabamba, Bolivia. Quechua (Runasimi) was the language of the Incas. It is still spoken by their descendants, the native Andean people who live in Bolivia, Peru, parts of Ecuador, and in the north of Chile. The songs were transcribed, translated into Spanish, and published by Jesás Lara in Poesia Popular Quechua (Editorial Canata, La Paz-Cochabamba, Bolivia, 1956). Lara's anthology is bilingual: his Spanish translations face their Quechua originals. The present English versions are based on the Spanish, though Quechua dictionaries and commentaries have also been consulted. Inside rear flap: Quechua text of ‘Testament: Fragments.' QUECHUA PEOPLES POETRY was printed at Curbstone Press in Aldine Roman on 80-lb. Strathmore Text in an edition of 1000 copies. CONTENTS: WORDS BEFOREHAND; texts - DEDICATED TO JESUS LARA; SONG OF THE SPIRIT; WHAT CLOUD IS THAT CLOUD; CARNIVAL!; NIGHTWATCH SONG; ENVY AND SHAME; LOVE: FRAGMENTS; CHRISTMAS CAROL; BUMP, BUMP, LITTLE BULL; SANTA VERACRUZ CANTOS; TRAVELING MAN; POLITICS; TESTAMENT FRAGMENTS. Maria Proser was an Argentine translator and activist. She and her husband, Matthew, a professor of English at the University of Connecticut, collaborated on a number of Spanish to English translations. Maria died in 2018. She is survived by Matthew, who lives in Eastern Connecticut. Poet, editor, essayist, and translator James Scully was born and raised in New Haven, Connecticut. He is the author of more than ten volumes of poetry, including The Marches (1967), which won the Lamont Poetry Award (now the James Laughlin Award); Santiago Poems (1975), about his experience as a Guggenheim fellow in Chile during Pinochet's coup; and Angel in Flames: Selected Poems and Translations 1967–2011 (2011). Scully is interested in politics, identity, and revolution, and his poetry directly engages and challenges social constructions. He has translated several poetry collections, including Quechua Peoples Poetry (1977, with Maria A. Proser), Aeschylus's Prometheus Bound (1989, with C. John Herrington), and The Complete Plays of Sophocles: A New Translation (2011, with Robert Bagg). He is also the author of the prose collections Line Break: Poetry as Social Practice (1988) and Vagabond Flags: Serbia & Kosovo Journal, Scrapbook & Notes (2009). In the foreword to Line Break, poet Adrienne Rich noted, James Scully's essays, like his poems, refuse to soothe or simplify, to shortchange either poetry or the imperative for social revolution. Scully is the founding editor of the Curbstone Press Art on the Line chapbook series and edited the anthology Modern Poets on Modern Poetry (1966). His honors include fellowships from the Guggenheim Foundation, the Ingram Merrill Foundation, and the National Endowment for the Arts. His translations have won the Jenny Taine Memorial Award and the Islands & Continents Translation Award. Scully has also received the Bookbuilders of Boston Award for book cover design. He is a professor emeritus at the University of Connecticut. |
![]() | ![]() | ANTHOLOGIES. [Cuba - Poetry]. Randall, Margaret (translator and editor). Estos Cantos Habitados/These Living Songs: 15 New Cuban Poets. Fort Collins. 1978. Colorado State Review Press. 143 pages. paperback. What brings these poets together and why present them as a group? Their common vision of the relationship between the craft and their lives - a vision born of their profound identification with the social process they're part of; a vision, on the other hand, which has taken them down a variety of roads in terms of form and even content. The poets included in this sampling - and sampling is really the best description, in this case - exemplify 1) that poetry, in any society, is a social activity, and 2) in a society where a socialist revolution has radically changed the economic and political base, the poetic process begins to change as well. These poets represent this change, this writing out of a totally new and body-shaking experience, this grappling with non-traditional concepts of life and its expression, this living out of Marx's prediction: ‘. . . the time will come when we'll have not writers but men and women who write,' These are very much poets of the Revolution - born in it in most cases, developing with it and out of it, shaped by it. They are not simply poets who are ‘with the Revolution' as if it were some outside event one might or might not adhere to. CONTENTS / SUMARIO: INTRODUCTION; Why This Selection?; Notes for Approaching the Present; People's Culture in a Revolutionary Society; Notes; Other Sources; THE POETS - RAUL RIVERO Amigos/Friends; Rebelde desconocido/Unknown Rebel; Para llevarlos conmigo/To Take Them With Us; ALEX FLUTES - Mujer sentada (en gris y rojo)/Seated Woman (in gray and red); Tiempo del agua/The Wet Season; Rostros/Faces; Calle Ronda, 2: 00 am/Ronda Street, 2 am.; NORBERTO CODINO - Un poema de amor, segun datos demograficos/A Love Poem Based on Demographic Data; De una primera aventura/On An Early Adventure; El lago de la espada perdida/Lake of the Lost Sword; Los peregrinos del Mayflower/The Mayflower Pilgrims; SOLEIDA RIOS - De la sierra/Of the Sierra; Hora dificil/Difficult Hour; Tambien me canto/I also Sing of Myself; ALEX PAUSIDES - XV/XV; Coloradas/Coloradas; Poeta en la isla/Poet on the Island; FRANCISCO GARZON CESPEDES - El rencor no aparece en las radiografias/Resentment Doesn't Show Up on X-Rays; Revolucion/Revolution; VICTOR RODRIGUEZ NUNEZ - Cayama I/Cayama I; Dolor/Pain; Mamino/Mamino; Melchor/Melchor; Cayama II/Cayama II; MILAGROS GONZALEZ - Dialogo primero/First Dialogue; Seras Sur/You Will be South; OSVALDO SANCHEZ CRESPO - Amor/Love; Yo llegue tarde a tu siglo/I arrived Late at your Century; ANGEL PENA - Preocupaciones por un poeta/Concern for a Poet; Como en un Boeing/As in a Boeing; Constancía/Constance; Horas/Hours; FRANCISCO MIR MULET - Guitarra/Guitar; Y decirme monte/And Tell Me Mountain; Hendijas/Cracks; A mi hermanito/To My Little Brother; ‘A esta Isla no llega nadie por naufragio'/'No one comes shipwrecked to this Island'; Voy bien, Camilo'/'How am I doing, Camilo'; OSVALDO NAVARRO - Espejo de conciencia (fragmentos)/Mirror of Consciousness (fragments); WALDO LEYVA - Angola/Angola; Ahora/Now; Cual de todos sera Augusto Gangula?/Who Among Them is Augusto Gangula?; Detras del AK/Behind the AK; Raul/Raul; Agostinho Lamba/Agostinho Lamba; NELSON HERRERA YSLA - Notas sobre una experiencia social inconfundible/Notes on a Unique Social Experience; Estad alertas, companeros. En el promixo avion llegara seguramente/Be Ready, Comrades, he's sure to be landing on the next plane; Torre de la vida/Tower of Life; RAMON FERNANDEZ-LARREA - Elegia familiar/Family Elegy; Cancion bayamesa/Song of Bayamo; Cancion de amor para las manos de mi madre/Love Song for My Mother's Hands. . . Margaret Randall (born December 6, 1936, New York City, USA) is an American-born writer, photographer, activist and academic. Born in New York City, she lived for many years in Spain, Mexico, Cuba, and Nicaragua, and spent time in North Vietnam during the last months of the U.S. war in that country. She has written extensively on her experiences abroad and back in the United States, and has taught at Trinity College in Hartford, Connecticut, and other colleges. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Resnick, Seymour (editor). Spanish-American Poetry: A Bilingual Selection. Irvington-On-Hudson. 1964. Harvey House. Illustrated by Anne Marie Jauss. 96 pages. hardcover. Cover art by Anne Marie Jauss. This volume may serve as a brief introduction to the rich, and often neglected, field of Spanish-American poetry. The forty selections range from the time of the conquest through the first third of the twentieth century. A companion volume to the previous Selections From Spanish Poetry, Spanish-American Poetry should appeal to the general reader, with or without a knowledge of Spanish. Vocabulary and grammatical constructions are facilitated by English translations on facing pages. These translations allow the reader to enjoy the beauty of the poems without the problem of translating. Illustrated with the charming and authentic drawings of Anne Marie Jauss, this book is another well conceived collection by Dr. Resnick. CONTENTS: The Araucaniad/La Araucana-ALONSO DE ERCILLA (TRANSLATED BY C M. LANCASTER AND P. T. MANCHESTER); Foolish Men/Hombres necios-SOR JUANA INES DE LA CRUZ; To Her Portrait/A su retrato-SOR JUANA INES DE LA CRUZ (TRANSLATED BY BEATRICE GILMAN PROSKE); Privileges of the Poor/Privilegios del pobre-JUAN DEL VALLE V CAVIEDES; All My Affection/Todo mi afecto-MARIANO MELGAR; The Victory of Junk/La victoria de Junin-JOSE JOAQUIN OLMEDO; Ode to Niagara/Niagara-JOSE MARIA HEREDIA (TRANSLATED BY WILLIAM CULLEN BRYANT); On Leaving Cuba/Al partir-GERTRUDIS GÔMEZ DE AVELLANEDA (TRANSLATED BY ALICE STONE BLACKWELL); Prayer to God-ANONYMOUS/Plegaria a Dios-PLACIDO; In the Mouth of the Last Inca/En boca del ultima Inca-JOSE EUBESIO CARO (TRANSLATED BY ALFRED COESTER); The Ombu/El ombü-LUIS L. DOMINGUEZ; Martin Fierro/Martin Fierro-JOSE HERNANDEZ (TRANSLATED BY WALTER OWEN); Cry, O Cry, Urutau/Llora, llora, urutau-CARLOS GUIDO Y SPANO; Nocturne to Rosario/Nocturno a Rosario-MANUEL ACUNA; When I Die/Para entonces-MANUEL GUTIERREZ NAJERA (TRANSLATED BY MILDRED E. JOHNSON); Simple Verses/Versos sencillos-JOSE MARTI; The Firewood of St. John/Los maderos de San Juan-JOSE ASUNCIÔN SILVA (TRANSLATED BY MILDRED P. JOHNSON); Nocturne III/Nocturno III-JOSE ASUNCION SILVA (TRANSLATED BY G. DUNDAS CRAIG); Sonatina/Sonatina-RUBEN DARIO; An Autumn Song in Spring/Cancion de otoño en primavera-RUBEN DARI0 (TRANSLATED BY G. DUNDAS CRAIG); Cowardice/Cobardia-AMADO NERVO; Solidarity/Solidaridad-AMADO NERVO (TRANSLATED BY MILDRED E. JOHNSON); If You Are Good/Si eres bueno-AMADO NERVO; The Song by the Way/La cancion del camino-FRANCISCO ICAZA (TRANSLATED BY ALICE STONE BLACKWELL); Triolet I/Los bienes y las glorias de la vida-MANUEL GONZALEZ PRADA (TRANSLATED BY ALICE JANE MCVAN); Triolet II/Algo me dicen tus ojos-MANUEL GONZALEZ PRADA; To Love/Al amor-MANUEL GONZALEZ PRADA; Broken Wings/Alas rotas-FABIO FIALLO (TRANSLATED BY ALICE STONE BLACKWELL); Wring the Neck of the Swan/TuErcele el cuello al cisne- ENRIQUE GONZALEZ MARTINEZ (TRANSLATED BY C. DUNDAS CRAIG); The Ballad of Mad Fortune/Balada de la loca fortuna-ENRIQUE GONZALEZ MARTINEZ (TRANSLATED BY EDNA WORTHLEY UNDERWOOD); Who Knows?/QuiEn sabe!-JOSE SANTOS CHOCANO (TRANSLATED BY MILDRED E. JOHNSON); Song/Tonada-LEOPOLDO LUGONES; Rocking/Meciendo-GABRIELA MISTRAL; Night/La noche-GABRIELA MISTRAL; Ballad of the Star/Balada de la estrella-GABRIELA MISTRAL (TRANSLATED BY ALICE JANE MCVAN); Squares and Angles/Cuadrados y ángulos-ALFONSINA STORNI; Dear Little Man/Hombre pequeñito- ALFONSINA STORNI (TRANSLATED BY MILDRED E. JOHNSON); The Hour/La hora-JUANA DE IBARBOUROU; The Strong Bond/El fuerte lazo-JUANA DE IBARBOUROU; Poem 20/Poema 20-PABLO NERUDA; Index; LITERAL PROSE TRANSLATION BY THE AUTHOR-EDITOR. SEYMOUR RESNICK is a distinguished editor-teacher-writer in the Spanish language and its literature, He has also written numerous textbooks and has edited a two-volume anthology of Spanish literature. Dr, Resnick received his Ph.D. in Spanish from New York University, He has taught at Rutgers University, the City College of New York and New York University, At present, he is teaching at Great Neck North Senior High School, Great Neck, L,I., and at Queens College, New York City. . ANNE MARIE JAUSS studied art in Munich where she was born, After leaving Germany in 1932 she spent fourteen years in Portugal, Miss Jauss has illustrated more than forty books for children, She has also written several books since her arrival in this country in 1946. |
![]() | ![]() | ANTHOLOGIES. [Chile - Poetry]. Reyes, Sandra (editor and translator). One More Stripe To the Tiger: A Selection of Contemporary Chilean Poetry. Fayetteville. 1989. University of Arkansas Press. 1557280347. 311 pages. hardcover. Designed by Chiquita Babb. From the beginning of the Modernist movement, manifested in the works of Ruben Dario, through the generation of Solar, MourE, VelEz, and Huidobro to the present-day influences of Pablo Neruda and Nicanor Parra, the poetry of Chile has undergone a series of evolutionary changes. It bears the strong markings of an art which is decidedly Chilean, yet still universal in its appeal. Traditionally, before Neruda and for some time after, Chilean poetry was formally rigid in structure; it was, as was most American and European poetry, hanging on to older forms and stylistics while at the same time conscientiously striving to grasp the new. The past three decades, however, reveal the emergence of remarkably distinct poetic themes and trends. It is obvious that the Chilean poets of this generation mean to produce, not a narrow national poetry, but a human poetry that is direct, forceful, devoid of ostentation and unnecessary decor, and which presents old themes in fresh ways. A number of poets of the eighties, both older and younger, seem to be striving toward a common goal: the mastery of a poetry which, though brief, is not epigrammatic, not ‘easy', yet clearly executed. The best of these contemporary poets show superb technical control, often producing a poetic cadence which is strong yet so subtle it is not perceived at first reading. Free verse and the prose poem are popular, but many poets, like Enrique Lihn and Oscar Hahn, are equally comfortable writing sonnets and other structured forms including hendecasyllabic verse, both rhymed and unrhymed. At the same time, some writers are seeking to liberate themselves from conventional modes of expression by substituting repetition, anaphora, and heavy enjambment for traditional rhyme and meter, creating tones of bland cynicism, suppressing the intensity of passion which flows throughout their work, Sometimes a light sentimentality is created-nostalgic, but not overly lyrical. Some experimentalists deal heavily with the abstract) using collage poetry, physical poetry, or any poetic innovation as a means of making a statement and breaking with tradition. Their attempts are admirable; the effects are varied, exciting, and challenging to both the critic and the poet. Chilean fiction, like most fiction of this generation, is highly variant. It runs the spectrum from traditional to abstract/experimental with some surrealistic and metaphysical trends falling somewhere in between, Common themes include the search for love, the search for individualism, nostalgia for the past, and contemporary social problems. The styles and types of Chilean fiction today are as numerous as the writers themselves. This richness of subject and diversity of style, together with a gentle irony, is much of what makes Chilean fiction, as well as the poetry, such a pleasure to read. The many manifestations of these elements, more as attitude than technique, account for the great differences among the works included here. CONTENTS: INTRODUCTION - New Chilean Writing; THE POETRY - NICANOR PARRA - A Note About the Reading of Antipoetry; Trading; Let's Loot This Dirty Old Man; The Nobel Prize; Rape; What Good Is It for an Old Man to Work Out in the Gym; The Great Enigma of Philosophy; Poetry Poetry All is Poetry; Under My Bed; GONZALO ROJAS - It Is Written; Heresy; In Opposition to Death; Someone Is Writing on the Wind; Written with L; FERNANDO ALEGRIA - Where Brave Men Weep; The Fall of a Bishop; MIGUEL ARTECHE - ‘I Know That You Are Here'; JOSE DONOSO - ‘Julia Came to Tell Us'; ENRIQUE LIHN - Nothing to See at a Glance; Trash; Lions of the Nineteenth Century; DELIA DOMINGUEZ - Life Is in the Street; CARLOS CORTINEZ - There's Been a Slight Mistake; JORGE TEILLIER - When All Is Said and Done; To Speak with the Dead; Lewis Carroll; ARMANDO URIBE ARCE - Poems; DAVID TURKELTAUB - Death Interrupts Routine; Suddenly I Understood; Newscast; Upturned Card; Poetry Is Good for Anything; ‘Like the Last Block of Concrete Set into the Breakwater'; OSCAR HAHN - In the Middle of the Bedroom; Don Juan; Gladiolas by the Sea; HERNAN LAVIN CERDA - Better the Fire; Now You Hang Like a Broken Necklace; The Skull; Begonias; Unearthing; MANUEL SILVA ACEVEDO - Contrary to Nature; Dream; Off with the Poet's Head; The Rat; NAIN NoMEZ - Water Nymph; GONZALO MILLAN - Mail; Prison; Breaktime; Firing Squad; JUAN CAMERoN - One More Stripe to the Tiger; ANTONIO VIEYRA - ‘Running Down the Same Road'; ‘Useless to Explore the City'; ‘Let Us Take Off Our Masks'; RAUAL ZURITA - Green Areas; MAJORIE AGOSIN - Families; ARMANDO RUBIO - Mirrors; Renunciation; THE FICTION - ENRIQUE CAMPOS MENENDEZ - The Missionary; CECILIA CASANOVA - The Unmarriage; JOSE DONOSO - Santelices; LUIS DOMINGUEZ - Duo; JOSE LUIS ROSASCO - Damelza; POLI DELANO - But Life; MARTA BLANCO - Sweet Companion; CARLOS PASTEN - Law of Escape; JUAN CARLOS GARCIA - The Earth-Eater; The Flood; CARLOS ITURRA - A Drop of Immortality; INDEX. Sandra Reyes received her M.F.A. in literary translation from the University of Arkansas and has taught at North Arkansas Community College, the University of Maryland, and the University of Arkansas. She is currently a professor of Spanish and English at the University of the Ozarks. Her translation of Nicanor Parra's Sermons and Homilies of the Christ of Elqui was awarded the American Literary Translators Association Richard Wilbur Award for Poetry in Translation for 1984. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Rodman, Selden. South America of the Poets. New York. 1970. Hawthorn Books. Illustrated by Bill Negron. 270 pages. hardcover. Jacket photo: The author (right) talking with Brazilian novelist Jorge Amado in Bahia (Photo by Bill Negron). Jacket-cover design by Bill Negron. Though connected to us physically, South America remains the least ‘discovered,' most mysterious of the continents. It has often been described in terms of its natural wonders, and more often for its baffling political and economic flaws, but never for the glorious diversity of its cultures. And yet it is from the great South American poets and novelists of today, and the great South American sculptors and city-builders of yesterday, that our blander, better ‘organized' civilization has most to learn. And it is precisely because we have ignored those cultures that our clumsy attempts to impose our own have failed, and the idealistic image of the Good Neighbor has yielded to the ugly stereotype of the Yanqui Imperialist. No writer is better equipped to help redress this distorted perspective than Selden Rodman. As poet, anthologist, and Mexican diarist, he was among the first to call attention to the young giants of Latin American literature. As art critic, he played a key role in the ‘renaissance' of Haitian art. As political essayist and later as historian, he made friends with statesmen and revolutionaries. In SOUTH AMERICA OF THE POETS he puts these talents together for the first time to give a uniquely informal and revealing portrait of the South America the tourist, traveling salesman, and diplomat rarely see. The ‘poetry' evoked goes beyond the intimate close-ups of the famous literary figures the author visits, beyond the masterpieces of art he communes with; it is in the awesome landscapes, the historical confrontations, the indomitable inhabitants of mountain, jungle, and city slum-all embraced in grateful humility but without sacrificing the pride and prejudice of being an American. Selden Rodman (February 19, 1909 - November 2, 2002) was an American writer and poet. Selden Rodman was born to a wealthy family in Manhattan and attended Yale University. He traveled widely, and published over 40 books in his lifetime. His most frequent subjects were Haitian art, other writers, as well as several poetry anthologies and travelogues. Rodman also co-founded the magazine Common Sense with Alfred Bingham. Bill Negron, who illustrated two of Selden Rodman's earlier books, met the author on a tennis court in Cuernavaca, Mexico, in 1963, and they followed this up by playing on the courts of every country in the hemisphere. After serving in the Navy, receiving his bachelor's degree in journalism from Indiana University, and graduating from Cooper Union Art School, Bill Negron became a free-lance artist and design consultant in New York City. |
![]() | ![]() | ANTHOLOGIES. . Rodriguez Monegal, Emir (editor). The Borzoi Anthology of Latin American Literature, Volume 1. New York. 1977. Knopf. 0394733010. Paperback Original. 493 pages. paperback. Cover: Anita Karl. This is the first volume of The Borzoi Anthology of Latin American Literature: a comprehensive anthology, the only one of its kind, including historical and critical as well as biographical commentary on each writer's work, and essays on each major period in the literature as a whole. This volume covers writings from the fifteenth to the twentieth century, from Columbus and Pero Vaz de Caminha, Bernal Diaz del Castillo, and Sor Juana InEs de la Cruz to Concolorcorvo, Ricardo Palma, and Machado de Assis. It is edited by the distinguished critic of Latin American literature, Emir Rodriguez Monegal, a Professor of the Department of Spanish and Portuguese at Yale. CONTENTS; General Introduction; PART ONE: THE FABULOUS SOURCES - 1. CHRISTOPHER COLUMBUS/The Green and Beautiful Land; 2. PERO VAZ DE CAMINHA/The Almost Noble Savage; 3. AMERIGO VESPUCCI/A New World; 4. BARTOLOME DE LAS CASAS/The Horrors of the Conquest; 5. GONZALO FERNANDEZ DE OVIEDO/The Unique Monkey; 6. ALVAR NUNEZ CABEZA DE VACA/The Naked Spaniards; 7. BERNAL DIAZ DEL CASTILLO/The Entry of Cortes into Mexico; 8. GASPAR DE CARVAJAL/Encounter with the Amazons; 9. ALONSO DE ERCILLA Y ZUNIGA/An Election in Old Araucana; 10. INCA GARCILASO DE LA VEGA/The Royal Commentaries of the Inca; 11. Five Mexican Baroque Poets - I/. BERNARDO DE BALBUENA/Immortal Springtime and Its Tokens; II. JUAN RUIZ DE ALARCON/Feast by the Manzanares; III. MIGUEL DE GUEVARA/Three Sonnets; IV. LUIS SANDOVAL Y ZAPATA/Three Sonnets; V. SOR JUANA INES DE LA CRUZ/Ten Poems; 12. JUAN RODRIGUEZ FREILE/Two Tales from Santa Fe; 13. JUAN DE MELENDEZ/Saint Rose of Lima; 14. FRANCISCO NUNEZ DE PINEDA Y BASCUNAN/The Happy Captivity; 15. JUSTO MANSILLA and SIMON MACETA/Atrocities of the Bandeirantes; 16. ANTONIO VIEIRA/How to Save Both Souls and Bodies; 17. GREGÔRIO DE MATOS/The Satirical and Popular Muse; 18. CARLOS DE SIGUENZA Y GONGORA/Living with English Pirates; 19. JOSE GUMILLA/How the Indians Make Curare; 20. BARTOLOME ARZANS DE ORZUA Y VELA/The Wicked Hermit; 21. CONCOLORCORVO/An Unflattering Glimpse of the Gauchos; 22. Rebellion and Death of Tüpac Amaru; PART TWO: THE REDISCOVERY OF AMERICA - 1. FRAY SERVANDO TERESA DE MIER/The Flight into Revolutionary France; 2. JOSE JOAQUIN FERNANDEZ DE LIZARDI/The Itching Parrot; 3. A Sample of Romantic Poetry - I. JOSE JOAQU1N DE OLMEDO/The Victory at Junin: Song to Bolivar; II. ANDRES BELLO/Ode to the Agriculture of the Torrid Zone; III. JOSE MARIA DE HEREDIA/Ode to Niagara; IV. ANTONIO CASTRO ALVES/Twilight Upcountry; 4. ESTEBAN ECHEVERRIA/The Slaughterhouse; 5. DOMINGO FAUSTINO SARMIENTO/A Portrait of Facundo; 6. ESTANISLAO DEL CAMPO/Doctor Faust in the Pampas; 7. JOSE HERNANDEZ/The Gaucho Martin Fierro; 8. EDUARDO ACEVEDO DIAZ/The Battle of the Ruins; 9. MANUEL DE JESUS GALVAN/Enriquillo, the Indian Rebel; 10. RICARDO PALMA/Three Peruvian Traditions; 11. TOMAS CARRASQUILLA/Simon Magus; 12. JOSE DE ALENCAR/A Marriage of Convenience; 13. MANUEL ANTONIO DE ALMEIDA/Fresh Mischief; 14. JOAQUIM MARIA MACHADO DE Assis/Dom Casmurro; 15. RAUL POMPEIA/The Initiation; 16. EUCLIDES DA CUNHA/Antonio Conselheiro, the ‘Counselor'; PART THREE: THE RETURN OF THE GALLEONS - 1. JOSE MARTI/Simple Lyrics; 2. SALVADOR DIAZ MIRON/Two Poems; 3. JULIAN DEL CASAL/Tropical Countryside; 4. RUBEN DARIO/Eight Poems; 5. LEOPOLDO LUGONES/White Solitude; 6. JULIO HERRERA Y REISSIG/Two Poems; 7. DELMIRA AGUSTINI/My Loves; 8. JOSE ENRIQUE RODO/The Granite Plain; 9. JAVIER DE VIANA/Guri; 10. MARIAN0 AZUELA/The Underdogs; 11. ROMULO GALLEGOS/Doña Barbara; 12. JOSE EUSTASIO RIVERA/The Vortex; 13. RICARDO GUIRALDES/Don Segundo Sombra; 14. MARTIN LUIS GUZMAN/The Eagle and the Serpent; 15. LIMA BARRETO/The Sad End of Policarpo Quaresma; 16. GRACILIANO RAMOS/The Dog; 17. JOSE LINS DO REGO/Dead Fires; 18. JORGE AMADO/Sea of the Dead; 19. Five Spanish American Postmodernist Poets - I. JOSE JUAN TABLADA/Poems; II. MAGEDONIO FERNÁNDEZ/Elena Beauty Death; III. RAMON LOPEZ VELARDE/Poems; IV. GABRIELA MISTRAL/Poems; V. ALFONSO REYES/Poems. . . Emir Rodríguez Monegal (28 July 1921 - 14 November 1985), born in Uruguay, was a scholar, literary critic, and editor of Latin American literature. From 1969 to 1985, Rodríguez Monegal was professor of Latin American contemporary literature at Yale University. He is usually called by his second surname Emir R. Monegal or Monegal, or erroneously Emir Monegal. Described as 'one of the most influential Latin American literary critics of the 20th century' by the Encyclopædia Britannica, Monegal wrote key books about Pablo Neruda and Jorge Luis Borges, and the Britannica Macropædia notice of the later. He was a part in 'The Boom' of 1960s Latin American literature as founder and 1966–1968 editor of his influential magazine Mundo Nuevo. He is remembered as a member of the Generation of 45, a Uruguayan intellectual and literary movement: Carlos Maggi, Manuel Flores Mora, Ángel Rama, Idea Vilariño, Carlos Real de Azúa, Carlos Martínez Moreno, Mario Arregui, Mauricio Muller, Jose Pedro Díaz, Amanda Berenguer, Tola Invernizzi, Mario Benedetti, Ida Vitale, Líber Falco, Juan Cunha, Juan Carlos Onetti, among others. |
![]() | ![]() | ANTHOLOGIES. . Rodriguez Monegal, Emir (editor). The Borzoi Anthology of Latin American Literature, Volume 2. New York. 1977. Knopf. 0394733665. Paperback Original. 487 pages. paperback. Cover: Anita Karl. This is the second volume of The Borzoi Anthology of Latin American Literature: a comprehensive anthology, the only one of its kind, including historical and critical as well as biographical commentary on each writer's work, and essays on each major period in the literature as a whole. Volume Two, like the first volume edited by Professor Rodriguez Monegal, contains selections from the modern era, including all the most important writers of our time, from Borges and Paz to Guimarães Rosa and Jose Donoso. CONTENTS: Preface to the Second Volume; PART FOUR: THE MODERN MASTERS - 1. JORGE LUIS BORGES/The Aleph; 2. MIGUEL ANGEL ASTURIAS/El Señor Presidente; 3. ALEJO CARPENTIER/Journey Back to the Source; 4. ARTURO USLAR PIETRI/The Drum Dance; 5. JUAN CARLOS ONETTI/Jacob and the Other/A Dream Come True; 6. VICENTE HUIDOBRO/Altazor and Other Poems; 7. CESAR VALLEJO/Human Poems; 8. CESAR MORO/A Surrealist Poem; 9. JOSE COROSTIZA/Death Without End; 10. XAVIER VILLAURRUTIA/Nocturnes; 11. NICOLAS GUILLEN/Two Poems; 12. PABLO NERUDA/Six Poems; 13. OLIVERIO GIRONDO/Into the Moremarrow; 14. ENRIQUE MOLINA/Two Surrealist Poems; 15. JOSE LEZAMA LIMA/Texts in Prose and Verse; 16. MANUEL BANDEIRA/Poems; 17. OSWALD DE ANDRADE/Two Texts; 18. MARIO DE ANDRADE/Two Texts; 19. CASSIANO RICARD0/My Father Was the King; 20. JORGE DE LIMA/The Big Mystical Circus; 21. CARLOS DRUMMOND DE ANDRADE/Poems; 22. JOAO GUIMARAES ROSA/Two Texts; PART FIVE: A NEW WRITING - 1. OCTAVIO PAZ/Blanco; 2. NICANOR PARRA/Poems and Antipoems; 3. ADOLFO BI0Y CASARES/The Myth of Orpheus and Eurydice; 4. JULIO CORTAZAR/The Other Heaven; 5. ERNESTO SABATO/Report on the Blind; 6. CARLOS MARTINEZ MORENO/The Pigeon; 7. JUAN RULFO/Luvina; 8. Five Brazilian Poets - I. VINICIUS DE MORAES/Two Poems; II. JOAO CABRAL DE MELO NETO/The Dog Without Feathers; III. LEDO IVO/Didactic Elegy; IV. HAROLDO DE CAMPOS/Two Concrete Poems; V. FRANCISCO ALVIM/Two Poems; 9. CLARICE LISPECTOR/The Passion According to G.H.; 10. NELIDA PINON/House of Passion; 11. Twenty Spanish American Poets - I. ALBERTO GIRRI/Epistle to Hieronymus Bosch; II. ALI CHUMACERO/Two Poems; III. CESAR FERNANDEZ MORENO/Argentine Until Death Do Us Part; IV. IDEA VILARINO/Three Poems; V. CINTIO VITIER/Two Poems; VI. ERNEST0 CARDENAL/Poems; VII. ROBERTO JUARROZ/Four Poems; VIII. BLANCA VARELA/Three Poems; IX. JAIME SABINES/Two Poems; X. CARLOS GERMAN BELLI/O Cybernetic Fairy; XI. ENRIQUE LIHN/Poems; XII. FAYAD JAMIS/Poems; XIII. PABLO ARMANDO FERNANDEZ/Three Poems; XIV. HEBERTO PADILLA/Two Poems; XV. GUILLERMO SUCRE/Poems; XVI. JUAN GELMAN/Theory re Daniela Rocca; XVII. JOSE EMILIO PACHECO/Two Poems; XVIII. HOMERO ARIDJIS/Five Poems; XIX. JAVIER HERAUD/The Rivers; XX. ANTONIO CISNEROS/Poems; 12. JOSE DONOSO/Legitimate Games; 13. CARLOS FUENTES/The Doll Queen; 14. GABRIEL GARCIA MARQUEZ/One Day After Saturday; 15. GUILLERMO CABRERA INFANTE/Three Trapped Tigers; 16. MANUEL PUIG/The Buenos Aires Affair; 17. MARIO VARGAS LLOSA/The Green House; 18. SEVERO SARDUY/The Entry of Christ into Havana; 19. GUSTAVO SAINZ/The Princess of the Iron Palace; 20. REINALDO ARENAS/Concerning Los Toribios Prison and the Chaining of the Friar. . . Emir Rodríguez Monegal (28 July 1921 - 14 November 1985), born in Uruguay, was a scholar, literary critic, and editor of Latin American literature. From 1969 to 1985, Rodríguez Monegal was professor of Latin American contemporary literature at Yale University. He is usually called by his second surname Emir R. Monegal or Monegal, or erroneously Emir Monegal. Described as 'one of the most influential Latin American literary critics of the 20th century' by the Encyclopædia Britannica, Monegal wrote key books about Pablo Neruda and Jorge Luis Borges, and the Britannica Macropædia notice of the later. He was a part in 'The Boom' of 1960s Latin American literature as founder and 1966–1968 editor of his influential magazine Mundo Nuevo. He is remembered as a member of the Generation of 45, a Uruguayan intellectual and literary movement: Carlos Maggi, Manuel Flores Mora, Ángel Rama, Idea Vilariño, Carlos Real de Azúa, Carlos Martínez Moreno, Mario Arregui, Mauricio Muller, Jose Pedro Díaz, Amanda Berenguer, Tola Invernizzi, Mario Benedetti, Ida Vitale, Líber Falco, Juan Cunha, Juan Carlos Onetti, among others. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Rodriguez-Nieto, Catherine (translator). Fireflight: Three Latin American Poets. Berkeley. 1976. Oyez. Featured Poets Are-Elsie Alvarado De Ricord. Lucha Corpi. Concha Michel. 111 pages. paperback. A collection of poetry in translation from three contemporary Latin-American women poets that includes brief biographies of each poet, provided by Rodriguez-Nieto. The poems of ELSIE ALVARADO DE RICORD which appear in this edition were originally published in Entre materia y sueño (Panama, 1966), in the magazine Loteria (Panama, 1972), and in Pasajeros en transito (Panama, 1973). LUCHA CORPI'S poems have not been published previously. Genesis,' by Concha Michel, was translated from a preprint, and the other two poems from a collection entitled Dios nuestra señora (Mexico, 1966). All were reissued in Dios principio en la pareja (Mexico, 1974). Catherine Rodriguez-Nieto is a freelance translator living in the San Francisco Bay area., |
![]() | ![]() | ANTHOLOGIES. . Ross, Kathleen and Miller, Yvette E. (editors). Scents of Wood and Silence: Short Stories By Latin American Women Writers. Pittsburgh. 1991. Latin American Literary Review Press. 0935480552. 219 pages. paperback. Cover photo by Ana Mendieta. Cover design by Ewa Kamienska. SCENTS OF WOOD AND SILENCE: SHORT STORIES BY LATIN AMERICAN WOMEN WRITERS brings together twenty-three excellent stories by a diverse group of authors from Mexico, the Caribbean, Central and South America. Represented in the collection are a variety of styles and themes that reflect a multiplicity of experience and voices. Ranging from issues of social justice to those of personal freedom, from intellectual inquiry to emotional self-exposure, the concerns of the women writers grouped here are as heterogeneous as the authors themselves. The reader also will find many points of convergence between stories, as well as ample bibliographic material for further study. SCENTS OF WOOD AND SILENCE focuses primarily, although not exclusively, on stories published since 1980, with the goal of bringing to an English-reading audience some of the most challenging writing being produced in contemporary Latin America. The collection includes the latest works by internationally-known writers, as well as the stories of many authors recognized in their own countries but less frequently translated into other languages. Several of these writers appear in English for the first time here. A group of outstanding translators, working from the original Spanish and Portuguese, have rendered into English the rich narration of these current short stories. With the publication of this anthology, the important work of bringing modern Latin American women writers to the attention of North American readers-work barely begun a decade ago- is continued and enriched. CONTENTS; Introduction by Kathleen Ross; MARGARITA AGUIRRE-The Black Sheep, Translation by Pamela Carmell; CLARIBEL ALEGRIA-The Awakening, Translation by Darwin J. Flakoll; ISABEL ALLENDE-Tosca, Translation by Margaret Sayers Peden; ALBALUCIA ANGEL-Down the Tropical Path, Translation by Pamela Carrnell; PIA BARROS-Scents of Wood and Silence, Translation by Alice A. Nelson; LYDIA CABRERA-Susundamba Does Not Show Herself By Day, Translation by Jose Piedra; JULIETA CAMPOS-The House, Translation by Kathleen Ross; ANA MARIA DEL RIO-Wash Water, Translation by Pamela Cannell; LYGIA FAGUNDES TELLES-The Structure of the Soap Bubble, Translation by David George; ANGELICA GORODISCHER-Camera Obscura, Translation by Diana L. VElez; MATILDE HERRERA-Eduardito Doesn't Like the Police, Translation by Richard Schaaf; CLARICE LISPECTOR-Beauty and the Beast, or, the Wound Too Great, Translation by Earl E. Fitz; SILVIA MOLINA-Autumn, Translation by Margaret Sayers Peden; SYLVIA MOLLOY-Sometimes in Illyria, Translation by the author; CARMEN NARANJO-A Woman at Dawn, Translation by Linda Britt; OLGA NOLLA-A Tender Heart, Translation by Maria de los Angeles Nevárez; SILVINA OCAMPO- Creation (An Autobiographical Story), Translation by Suzanne Jill Levine; CRISTINA PEN ROSSI-The Art of Loss, Translation by Gregory Rabassa; NELIDA PIÑON-The Heat of Things, Translation by Gregory Rabassa; MARIA LUISA PUGA- Memories on the Oblique, Translation by Leland H. Chambers; MARIELLA SOLA-From Exile, Translation by Richard Schaaf; LUISA VALENZUELA-Tango, Translation by Asa Zatz; ANA LYDIA VEGA-Death's Pure Fire, Translation by Carol Wallace. Bibliography. Kathleen Ross is an editor and the translator of books that include Facundo: Civilization and Barbarism and The Initials of the Earth. Yvette E. Miller is a publisher and the editor of collections that include Isabel Allende Today and Latin American Women Writers: Yesterday and Today. |
![]() | ![]() | ANTHOLOGIES. [Indigenous - Poetry]. Rothenberg, Jerome (compiler). Shaking the pumpkin: Traditioinal poetry of the Indian North Americas. Garden City, NY. 1972. Doubleday. 038501287x. 475 pages. Well-annotated edition. Includes 25 selections from Latin American Indian cultures. Illustrated. Jerome Rothenberg (born December 11, 1931) is an American poet, translator and anthologist, noted for his work in the fields of ethnopoetics and performance poetry. |
![]() | ![]() | ANTHOLOGIES. [Indigenous - Poetry]. Rothenberg, Jerome (editor and compiler). Technicians of the Sacred. Garden City, NY. 1968. Doubleday. 520 pages. Well-annotated study and selection of so-called 'primitive' poetry from Asia, Africa, America, and Oceania. Includes the Aztec poem, 'The flight of Quetzalcoatl' (pp. 92-97), and other Latin American Indian poems and songs. Jerome Rothenberg (born December 11, 1931) is an American poet, translator and anthologist, noted for his work in the fields of ethnopoetics and performance poetry. |
![]() | ![]() | ANTHOLOGIES. {Mayan - Poetry]. Roys, Ralph L. (editor, translator, and introduction). Ritual of the Bacabs: A book of Maya incantations. Norman. 1965. University of Oklahoma Press. 193 pages. |
![]() | ![]() | ANTHOLOGIES. [Indigenous - Poetry]. Roys, Ralph L. (editor, translator, and introduction). The book of Chilam Balam of Chumayel. Norman. 1967. University of Oklahoma Press. Edited, translated and introduction by Ralph L. Roys. Additional introduction by J. Eric S. Thompson. 229 pages. Scholarly edition in Maya and English of this important Mayan work. bibliog. |
![]() | ![]() | ANTHOLOGIES. [Brazil]. Sadlier, Darlene J. (editor). One Hundred Years After Tomorrow: Brazilian Women's Fiction in the 20th Century. Bloomington. 1992. Indiana University Press. 025335045x. 243 pages. hardcover. Contents: Acknowledgments. Introduction. Stories: Carmen Dolores, A Drama in the Countryside (1907); Jália Lopes de Almeida, I From He and She (1910); Rachel de Queiroz, From The Year Fifteen (1930); Clarice Lispector, The Flight (1940); Sm. Leandro DuprE, From We Were Six (1943); Emi Bulhoes Carvalho da Fonseca, In the Silence of the Big House (1944); Lácia Benedetti, My Uncle Ricardo (1950); Dinah Silveira de Queiroz, Jovita (1957); Lia Correia Dutra, A Perfect World (1957); Lygia Fagundes Telles, Just a Saxophone (1969); Adalgisa Nery, Premeditated Coincidence (1972); Hilda Hilst, Agda (1973); NElida Piñon, Near East (1973); Tania Jamardo Faillace, Dorceli (1975); Elisa Lispector, The Fragile Balance (1977); Edla van Steen, The Sleeping Beauty (Script of a Useless Life)(1978); Marina Colasanti, Little Girl in Red, on Her Way to the Moon (1980); Marcia Denser, The Vampire of Whitehouse Lane (1980); Lya Luft, From The Left Wing of the Angel (1981); Sônia Coutinho, Every Lana Turner Has Her Johnny Stompanato (1985). Darlene Sadlier is the Director of the Portuguese Program and a professor in the Department of Spanish and Portuguese at Indiana University. |
![]() | ![]() | ANTHOLOGIES. . Santiago, Esmeralda (editor). Las Mamis: Favorite Latino Authors Remember Their Mothers. New York. 2000. Knopf. 0375408797. 191 pages. hardcover. Cover: Susan Carroll. A marvelous new anthology from the editors of Las Christmas in which our most admired Latino authors share memories of their mothers. The women lovingly portrayed in Las Mamis represent a cross section of Latino life and culture. They come from rich families in the big cities of Latin America, from rural immigrant families, and from the worlds in between-and they share an extraordinary inner strength, often maintained against incredible odds. Pressed by conflicting cultural expectations, circumstance, and religion, they have managed the challenges of motherhood, leaving enduring legacies for their children. Now, in these vivid, poignant, and sometimes hilarious reminiscences-all of them infused with distinct sabor latino-Las Mamis celebrates the universality of family love and the special bond between mothers and children. Contributors include: Esmeralda Santiago, Piri Thomas, Marjorie Agosin, Junot Diaz, Alba Ambert, Liz Balmaseda, Mandalit del Barco, Gioconda Belli, Maria Escandon, Dagoberto Gilb, Francisco Goldman, Jaime Manrique, Gustavo Perez-Firmat, Ilan Stavans. . . Esmeralda Santiago (born May 17, 1948) is a Puerto Rican author and former actress known for her novels and memoirs. |
![]() | ![]() | ANTHOLOGIES. [Puerto Rico]. Santiago, Roberto (editor). Boricuas: Influential Puerto Rican Writings-An Anthology. New York. 1995. One World/Ballantine Books. 0345395026. Paperback Original. 363 pages. paperback. Cover illustration by Frank Diaz Escalet. Cover design by Kristine Mills. ‘Boricua is what Puerto Ricans call one another as a term of endearment, respect, and cultural affirmation; it is a timeless declaration that transcends gender and color. Boricua is a powerful word that tells the origin and history of the Puerto Rican people.' - From the Introduction. CONTENTS: PROLOGUE: CATHARSIS - Sandra Maria Esteves/Here; PART 1: PRIDE - Jose de Diego/To the Persecuted; Martita Morales/The Sounds of Sixth Street; Jose Torres/A Letter to a Child Like Me; PART 2: HISTORY AND POLITICS - Sandra Maria Esteves/It Is Raining Today; Jesus Colon/How to Know the Puerto Ricans; Esmeralda Santiago/Island of Lost Causes; Jose de Diego/Hallelujahs; Pedro Albizu Campos/Puerto Rican Nationalism; Luis Muñoz Marin/On Recent Disturbances in Puerto Rico; Abraham Rodriguez, Jr./The Boy Without a Flag; Julia de Burgos/ Grand River of Loiza; Jose Luis Gonzalez/The ‘Lamento Borincano'; Pablo Guzman/The Party (FROM PALANTE! YOUNG LORDS PARTY); Ronald Fernandez/Los Macheteros; Rosario Morales/Double Allegiance; PART 3: IDENTITY AND SELF-ESTEEM - Aurora Levins Morales/child of the Americas; Julia de Burgos/Ay Ay Ay, of the Kinky Negress; clara F. Rodriguez/Puerto Ricans: Between Black and White; Willie Perdomo/Nigger-Reecan Blues; Roberto Santiago/Black and Latino; Piri Thomas/Babylon for the Babylonians (from DOWN THESE MEAN STREETS); Victor Hernández Cruz/African Things; Judith Ortiz Cofer/The Myth of the Latin Woman: I Just Met a Girl Named Maria; Miguel Algarin/A Mongo Affair; PART 4: ANXIETY AND ASSIMILATION - Pedro Pietri/Puerto Rican Obituary; Piri Thomas/The Konk; Judith Ortiz Cofer/The Story of My Body; Julia de Burgos/To Julia de Burgos; Joseph B. Vasquez/Hangin' (out) with the Homeboys; Martin Espada/Niggerlips; Jesus Colon/Little Things Are Big; Rene Marques/The Docile Puerto Rican-Literature and Psychological Reality; Esmeralds Santiago/The American Invasion of Macun (from WHEN I WAS PUERTO RICAN); PART 5: URBAN REALITY - Pedro Pietri/Monday Morning; Freddie Prinze/'Looking Good'; Edwin Torres/Carlito's Way; Miguel Pinero/Short Eyes; Reinaldo Povod/Poppa Dio!; Pedro Juan Soto/Bayaminina; Felipe Luciano/Roots (FROM PALANTE! YOUNG LORDS PARTY); PART 6: LOVE, FAITH, AND TRANSCENDENCE - Julia de Burgos/I Became My Own Path; Migene Gonzalez-Wippler/Yoruba (from THE SANTERIA EXPERIENCE); Nlcholasa Mohr/Aunt Rosana's Rocker; Asia Lydia Vega/Aerobics for Love; Jack Agüeros/Malig; Malig & Sal; Sal. (from DOMINOES AND OTHER STORIES FROM THE PUERTO RICAN); Ed Morales/My Old Flame; Miguel Algarin/HIV; Julia de Burgos/Poem for My Death; Lucky CienFuegos/Dedicated to Maria Rodriguez Martinez-February 24, 1975; Maria Graniela de Pruetzel/The Freddie Prinze Story; Geraldo Rivera/ A Special Kind of Courage: Bernard Carabello; Victor Hernández Cruz/Loiza Aldea; EPILOGUE: REDEMPTION - Jose de Diego/The Final Act; About the Contributors; Author Index; Permission Acknowledgments. Roberto Santiago is a journalist who lectures around the nation on Latino issues. He received the 1991 Inter American Press Association Award for Commentary and won first prize in the 1990 Hispanic Magazine Short Story Contest. A former reporter for the Cleveland Plain Dealer, Santiago has written for Omni, Rolling Stone, and Essence. He lives in Brooklyn, New York. |
![]() | ![]() | ANTHOLOGIES. . Santos, Rosario (editor). And We Sold the Rain: Contemporary Fiction From Central America. New York. 1988. Four Walls Eight Windows. 0941423166. 215 pages. hardcover. Jacket Design: Martin Moskof. Front Jacket Illustration: Casteneda. Back Jacket Photo: Adam Kufeld. Twenty stories from the leading contemporary writers of Central America, including: Claribel Alegria; Manlio Argueta; Arturo Arias; Floracio Castellanos Moya; Roberto Castillo; Lyzandro Chavez Alfaro; Fabian Dobles; Julio Escoto; Jacinta Escudos; Augusto Monterroso; Mario Roberto Morales; Carmen Naranjo; Mario Payeras; Bertalicia Peralta; Alfonso Quijada Urias; Sergio Ramirez; Rodrigo Rey Rosa; Pedro Rivera; Samuel Rovinski; Leonel Rugama. An invitation to a world of deep sadness and joy, AND WE SOLD THE RAIN joins together the widely divergent styles and subject matter of a diverse group of writers. Some of the stories are firmly rooted in the tradition of ‘magical realism.' Others recall the lyricism of the great Nicaraguan poet Ruben Dario. Several are recognized masterpieces. Together, they point in a new direction, reflecting the peculiar strength and courage it takes to write under extraordinary circumstances. CONTENTS: Preface by Rosario Santos; Introduction by Jo Anne Engelbert; Look at Lislique, See How Pretty It Is/JACINTA ESCUDOS (EL SALVADOR); The Proof/RODRIGO REY ROSA (GUATEMALA); Anita the Insect Catcher/ROBERTO CASTILLO (HONDURAS); Confinement/HORACIO CASTELLANOS MOYA (HONDURAS); Story of the Maestro Who Spent His Whole Life Composing a Piece for the Marimba/MARIO PAYERAS (GUATEMALA); Guatemala 1954-Funeral for a Bird/ARTURO ARIAS (GUATEMALA); I Am RenE Espronceda de la Barca/LEONEL RUGAMA (NICARAGUA); For These Things My Name Is RenE/MARIO ROBERTO MORALES (GUATEMALA); April in the Forenoon/JULIO ESCOTO (HONDURAS); The Perfect Game/SERGIO RAMIREZ (NICARAGUA); In the Shade of a Little Old Lady in Flower/ALFONSO QUIJADA URIAS (EL SALVADOR); Tarantulas of Honey/PEDRO RIVERA (PANAMA); A March Guayacan /BERTALICIA PERALTA (PANAMA); Microbus to San Salvador/MANLIO ARGUETA (EL SALVADOR); Sodom/SAMUEL ROVINSKI (COSTA RICA); And We Sold the Rain/CARMEN NARANJO (COSTA RICA); The Dog/LYZANDRO CHAVEZ ALFARO (NICARAGUA); Boardinghouse/CLARIBEL ALEGRIA (EL SALVADOR); Mr. Taylor/AUGUSTO MONTERROSO (GUATEMALA); Self-Defense/FABIAN DOBLES (COSTA RICA); Authors' Biographies; Translators' Biographies; Acknowledgments. ROSARIO SANTOS directs Fulbright programs for Latin America for the Institute of International Education. She has been the managing editor of the literary journal, REVIEW: LATIN AMERICAN ART AND LITERATURE, and the director of the literature program of the Center for Inter-American Relations. Her most recent book is AND WE SOLD THE RAIN: CONTEMPORARY FICTION FROM CENTRAL AMEIRCA. She lives in New York City. |
![]() | ![]() | ANTHOLOGIES. . Santos, Rosario (editor). The Fat Man From La Paz: Contemporary Fiction From Bolivia. New York. 2000. Seven Stories Press. 1583220305. 315 pages. hardcover. Cover: Raul Lara-'Compi'. The twenty stories collected in this volume - the most far-reaching look at modern Bolivian literature in English - are a passport to a land and a body of literature unlike any other. Bolivia has been blessed with the largest and most diverse indigenous population in South America, but generations of oppression have embroiled it in social and political conflict. This explosive and uniquely fertile cultural soil has made for a magical literary landscape. In Ricardo Ocampo's ‘THE INDIAN PAULINO,' a poor Indian farmer has been rounded up with thousands and taken into the city to march for a government he hardly knew existed. In Edmundo Paz Soldan's ‘Dochera', a crossword puzzle writer is driven to invent a new language in tribute to a woman whose name he cannot forget. And in Cesar Verduguez's ‘To Die In Oblivion', a young migrant from the country dies anonymously in La Paz, and receives a hero's funeral procession from the workers, the homeless, and the down-trodden of the city. Here are stories by trail-blazing young writers like Gonzalo Lema, whose ‘Fat Man From La Paz' transforms detective writing into a gripping analysis of Bolivia's power elite, alongside such luminaries as Augusto Cespedes and Oscar Cerruto. Cespedes's ‘The Well' takes a hard look at Bolivia's brutal, futile Chaco war through a chronicle in diary form of one army regiment's exhausting search for water. Each story in this collection is a song. Some are odes, others dirges or anthems, but each is a song for Bolivia. Born in La Paz, Bolivia, Contents include - INTRODUCTION by Javier SanjinEs; ‘The Day of Atonement' by Giovanna Rivero Santa Cruz; ‘Buttons' by Claudia Adriázola; ‘Dochera' by Edmundo Paz-Soldán; ‘Celebration' by Giancarla de Quiroga; ‘The Pianist' by Ximena Arnal Franck; ‘The Fat Man from La Paz' by Gonzalo Lema; ‘Sisterhood' by Virginia Ayllon; ‘The Creation' by Homero Carvalho; ‘Sacraments by the Hour' by Blanca Elena Paz; ‘The One with the Horse' by Manuel Vargas; ‘Angela from Her Own Darkness' by RenE BascopE; ‘The Window' by Alfonso Gumucio Dragon; ‘Hedge-hopping' by Raul Teixido; ‘To Die in Oblivion' by CEsar Verduguez; ‘Ambush' by Adolfo Cáceres Romero; ‘The Other Gamecock' by Jorge Suárez; ‘The Cannon of Punta Grande' by NEstor Taboada Terán; ‘The Indian Paulino' by Ricardo Ocampo; ‘The Spider' by Oscar Cerruto; and ‘The Well' by Augusto CEspedes. AUTHORS' AND TRANSLATORS' BIOGRAPHIES. ROSARIO SANTOS directs Fulbright programs for Latin America for the Institute of International Education. She has been the managing editor of the literary journal, REVIEW: LATIN AMERICAN ART AND LITERATURE, and the director of the literature program of the Center for Inter-American Relations. Her most recent book is AND WE SOLD THE RAIN: CONTEMPORARY FICTION FROM CENTRAL AMEIRCA. She lives in New York City. |
![]() | ![]() | ANTHOLOGIES. [Cuba]. Sarduy, Pedro Perez and Stubbs, Jean (editors). Afrocuba: An Anthology of Cuban Writing On Race, Politics and Culture. Victoria. 1993. Ocean Press. 1875284419. 309 pages. paperback. Cover design by Robert Williamson and David Spratt. Cover serigraph by Manuel Mendive. What is it like to be black in Cuba? Does racism exist in a revolutionary society which claims to have abolished it? How does the legacy of slavery and segregation live on in today's Cuba? AfroCuba looks at the black experience in Cuba through the eyes of the island's writers, scholars and artists. Most contributors are black, and most contributions written since the 1959 revolution. The collection mixes poetry, fiction, political analysis and anthropology, producing a multi-faceted Insight Into Cuba's rich ethnic and cultural reality. In their introduction, editors Pedro Perez Sarduy and Jean Stubbs draw on their extensive knowledge of Cuba in reassessing the role of race in the island's turbulent history. Their choice of contributions introduce the reader to a wide range of previously unavailable Cuban writing, in which dissenting voices speak alongside established authors. ‘The editors have brought together a rich portrait of ‘AfroCuba', one of the most vibrant and - from an Anglo-Saxon viewpoint - least well documented of the black Caribbean diasporas.' - Stuart Hall, leading Caribbean scholar. CONTENTS: Acknowledgements and note on terminology; Introduction: The rite of social communion by Pedro Perez Sarduy & Jean Stubbs; For a Cuban integration of whites and blacks by Fernando Ortiz; PART 1: THE DIE IS CAST The 19th century black fear by Rafael Duharte Jimenez Mariana and Maceo by Jose Ludáno Franco; People without a history by Pedro Deschamps Chapeaux; Drum ballad by Jesus Cos Causse; Claudio Jose Domingo Brindis de Salas by Odilio Urfe; Back to Africa by Rodolfo Sarracino; Solutions to the black problem by Pedro Serviat; Times I walk with my father by Domingo Alfonso; The 20th century black question by binds Fernández Robaina; PART 2: MYTH AND REALITY - Imaginary dialogue on folklore by Rogelio Martinez Fure; An initiation ceremony in Regla de Palo by Gladys Gonzalez Bueno; The principle of multiple representation by Joel James; Abakuá signs by Argeliers Leon; Sara, one way or another by Tomas Gonzalez; The Orishas in Cuba by Natalia Bolivar; The strokes of magical realism in Manuel Mendive by Gerardo Mosquera; Bembesiana by Marcelino Arozarena; Asere by Eloy Machado; lfa says by Tato Quinones; Ofumelli by Excilia Saldana; Maria Antonia by Eugenio Hernandez; Adire and broken time by Manuel Granados; PART 3: REDRAWING THE LINE - Birth of a national culture by Walterio Carbonell; A white problem: Reinterpreting Cecilia Valdes by Reynaldo Gonzalez; The black and white in the narrative of Alejo Carpentier by Salvador Bueno; Runaway story by Miguel Barnet; Race and nation by Nancy Morejon; Rethinking the plantation by Alberto Pedro; Matilda by Pablo Armando Fernández; The maids by Pedro Perez Sarduy; Questions only she can answer by Georgina Herrera; The true door by Soleida Rios; Images and icons by Sergio Giral; Rey Spencer's swing by Marta Rojas. Notes on contributors. Glossary. Bibliographical note. Index. Pedro Perez Sarduy (born 1943) is an Afro-Cuban writer and broadcaster, who has published poetry and fiction, in addition to journalism. He gives lectures and reads his work at academic institutions internationally and is currently resident in London, UK. Pedro Perez-Sarduy was born in 1943 in Santa Clara, Cuba, where he was raised. He said in a 2016 interview: "When I was young I won a short story competition and in 1962 I went to Havana when the National School of Arts (ENA) was being created. I suddenly found myself on the 6th floor of the Havana Libre hotel training as a literary advisor so that I could show people in the countryside how they could make their story into a story." He studied English, American and French literature and language at the University of Havana. From 1965 until 1979 he was a current affairs journalist for Cuban National Radio, and also worked on television on the first African and Caribbean music show in Cuba. After becoming resident in London, he worked in the Latin American department of the BBC World Service (between 1981 and 1994). His poetry has been published in three collections - Surrealidad (1967), Cumbite (1987) and Melecon Sigloveinte (2005), as well as appearing in The Oxford Book of Caribbean Verse (eds Stewart Brown and Mark McWatt, 2005) and other publications. He is the author of one novel, translated from Spanish as The Maids of Havana, which is based on his mother's memories of life as an Afro-Cuban from 1938 onwards, and was described by poet and critic Nancy Morejon as "a chronicle of an un-chronicled social psychology". He also co-edited with historian Jean Stubbs Afro-Cuba: An Anthology of Cuban Writing on Race, Politics and Culture (1993). Sarduy has read his work internationally and lectured regularly on race, politics and culture at academic institutions. He was a Ford Foundation Writer in Residence at Columbia University, New York (1989), on the CUNY Caribbean Exchange Program at Hunter College (1990), a Rockefeller Visiting Scholar at the University of Florida, Gainesville 1993), in 1997 at the University of Puerto Rico, Rio Piedras, and on the Rockefeller Fellowship Caribbean 2000 Program. He has also been a Charles McGill Fellow Visiting Lecturer at Trinity College, Hartford, Connecticut (Fall 2004), and Associate Fellow of the Caribbean Studies Centre at London Metropolitan University. Awards he has received include (for poetry) the Casa de las Americas (1966) and Julián del Casal (Union Nacional de Escritores y Artistas de Cuba, UNEAC) in 1967; and in 2008 the Prix du Livre Insulaire, Ouessant, for the French translation of his novel, Les bonnes de La Havane. Jean Stubbs is Co-Director of the Commodities of Empire British Academy Research Project (2007-2017), in collaboration with the Open University's Ferguson Centre for African and Asian Studies; Associate Fellow of the Institute of the Americas, University College London, and Bader International Study Centre (BISC-UK), Queen's University, Canada; and Professor Emerita of London Metropolitan University, where she directed the Caribbean Studies Centre (2002-2009). The recipient of Rockefeller, Ford, and McArthur funding as a visiting scholar at the University of Florida, Florida International University, University of Puerto Rico, and City University of New York, she returned to the University of Florida as the Center for Latin American Studies 2011 Bacardi Family Eminent Scholar. She was Fall 2012 Semester Scholar-in-Residence at BISC-UK, convening the special topics course ‘Global Issues of the 21st Century: Commodities, Globalisation and Migration in Comparative Perspective', and returns there in Winter 2014. She was elected member of the Academy of History of Cuba (2012) and awarded the UNESCO Toussaint L'Ouverture Medal (2009) for her services in combating racism and promoting diversity, and she served as president of the Caribbean Studies Association (2002-3) and chair of the U.K. Society for Caribbean Studies (1993-5). She was the founding editor of the International Journal of Cuban Studies (2008-9) and guest-editor with Dr Catherine Krull (Queen's University, Canada) of the themed women and gender issue of Cuban Studies 42 (2011); and has published widely on Cuba, her specialist interests spanning tobacco, labour, gender, race and migration. She is currently completing research on ‘the offshore Havana cigar' and is co-researcher with Dr Krull on The New Cuban Diaspora in Canada and Western Europe (2011-2014), a collaborative project funded by the Canadian Social Sciences and Humanities Research Council. |
![]() | ![]() | ANTHOLOGIES. [Mexico - Poetry]. Scheer, Linda and Ramirez, Miguel Florez (editors). Poetry of Transition: Mexican Poetry of the 1960s & 1970s. Ann Arbor. 1984. Translation Press. 0931556066. 204 pages. paperback. Cover photo - 'Sucking Birds' by Francisco Toledo. The generation of poets presented in this anthology began to receive recognition in Mexico in the 1970s, with the exception of Pacheco and Aridjis, who were already well-known in the previous decade. Conceived to discover an English-language audience for poetry in Mexico, this book was compiled from hundreds of works submitted by poets who were under 40 and had at least one book published at the time the anthology was created. Thus, the anthology's aim is not to highlight a poetic school or schools, but instead to demonstrate the variety of Mexican poetry from the generation born into World War II. The 12 poets are presented by the work of 7 translators, who had opportunity to consult with the majority of the poets as they worked on their translations. Biographical and bibliographical information on each poet is provided by the editor. Includes the Mexican poets from the 1960s and 1970s - BECERRA; PACHECO; HERNANDEZ; ARIDJIS; HUERTA; REYES; SAMPEDRO; RAMIREZ; CERVANTES; CAMPOS; MACIAS; TREJO. CONTENTS: Preface; JOSE CARLOS BECERRA - fragment from: Seated on a Stone; The Rules of the Game; Ragtime; La Venta; The Maltese Falcon; (drawing by Jose Luis Cuevas); (the drowned); (Via Veneto); JOSE EMILIO PACHECO - The Climbing Vine; Gift of Heraclitus; Don't Ask Me How Time Goes By; Footnote to Jorge Manrique; A Lecture on Crabs; Mirror of Enigmas: Monkeys; Scorpions; Three Canadian Poems; Physiology of the Slug; Autumn Afternoon in an Old Country House; Old Forest Hill Road (Toronto); Eyes of the Fish; Galdôs; Jardin de Ninos; Graffiti; FRANCISCO HERNÁNDEZ - The Old Man and the Gunpowder; The Dream and the Vision; Post Card From Madrid; The Poet Who Played the Flute; From the Empty Cage; Music by Mahler; Sunday; Under the Volcano; One; Three; 1/7/9/24; Street; HOMERO ARIDJIS - Before the Kingdom; I'll give you my weapons the northern wine; 74 Night dies over a broken apple; before he dies the old man sees a young man approach; he had a vial where he kept algae; Faster than thought the image moves; In the hand air; Angels feel themselves in light; the song under the mist; Woman goes naked under each glance; Like the earth; DAVID HUERTA - Residence; Garden; III; Details; There is a small prophecy in the air's poorest wall; Today is threshold and immediate possibility, haste and writing; There is no ‘language of the look: ‘it's a stammering; There's something like a strange coating in my mouth, a taste of; Afternoon has arrived like an eye of dust, its matter fallen in; What hasn't been said is millenial-it's in the heart of a; JAIME REYES -The Defeated; Without Memory or Oblivion; JOSE DE JESUS SAMPEDRO - joe & marilyn; the cave of god second printing; total union; to caroline; or volga 1943; after everything; sam's blues; regarding the tactical need for a prior politization; MIGUEL HOSES RANILREZ - Guernica; Short Takes; One eye is missing; Ars Poetica; Brevity Gasps; Ezra Pound; Poet's Death; Earthquake Picture; Vital spaces; Two Images 0f Poets Two; One Day Mirrors Will Have Aged; To Talk a Bit; FRANCISCO CERVANTES - The chronicle was drawn; The Minstrel's Dream; VI; VII; Stained Was the Grass; The Devil Memory; V; XI; Pardonless Autumn; MARCO ANTONIO CAMPOS - Semantics; A Chat With Walt Whitman and the Same Phantom; I Begin; Creation of the Poet or Misinterpretation of Blake; Elegy (1); My Brothers Left Little By Little; Florence in the World's Heart; What Has Become of My Friends?; Early Morning in Athens; That Voice in Pireus; ELVA MACIAS - Image; Today; Adonis; The Rooster on the Balcony; Irreverence; Solicitude; II; X; Cold Spark; Wing of Sun; The Untouchable Love; Absence 0f the Unicorn; ERNESTO TREJO - Your Room; In Short; My Tongue Is the Tongue; It's Your Name and It's Also December; This Is What Happened; The Cloud Unfolding; Cipriana (1881-1975); Tonight This House Speaks; E. Gives a Name; F. at the Zocalo; Notes on Translators; Bibilography. Linda Scheer has translated both Mexican and American prose and poetry. Her translations have appeared in anthologies, magazines, newspapers and literary journals in the United States and Mexico. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Shand, William (editor and translator). Contemporary Argentine poetry. Buenos Aires. 1969. Fundación Argentina para la Poesia. Introduction by Aldo Pellegrini. 275 pages. William Shand (1902–1997) was a Scottish-born Argentine poet, novelist and playwright. Arriving in Argentina in 1938, he worked for La Nacion as a book reviewer, translator and critic. Shand translated the poetry of John Donne and Stephen Spender and was a playwright of multiple works, including the libretto for the opera Beatrix Cenci of Alberto Ginastera. Collaborating with Alberto Girri, they compiled other poets' works into collected editions. Characterized as "a careful observer of contemporary Argentine society" Shand "... often dealt with highly controversial and delicate topics". He split his time between an apartment opposite Plazoleta Carlos Pellegrini and a villa in San Miguel. |
![]() | ![]() | ANTHOLOGIES. [Mystery]. Simpson, Amelia S. (editor and translator). New Tales of Mystery and Crime from Latin America . London . 1992. Fairleigh Dickinson University Press. 0838634532. 161 pages. hardcover. This anthology gives the reader an opportunity to sample some of the latest examples of the mystery genre from Latin America. With this volume, readers can enjoy some of the best mystery and crime fiction from Latin America, as Latin Americans have long been devotees of British whodunits as well as North American hard-boiled tales. Here, translated from the Spanish and Portuguese, are eight stories from those countries where the most significant work in mystery and crime fiction in Latin America originates - Argentina, Mexico, Brazil, and Cuba. A boom in the genre can be observed in the 1970s and 1980s, the period to which these stories belong. In an introductory essay, Amelia S. Simpson explains the background to that boom, and the context that makes Latin American mystery and crime fiction an intriguing and exceptional body of writing within what is often thought of as a formulaic genre with little substance and few literary pretensions. The stories in the present volume cover a range of styles and express a variety of views of what mystery and crime fiction can mean. The elegant and supple voice of Argentine author Ricardo Piglia looks at systems of violence in "The Crazy Woman and the Story of the Crime." With a nod to Raymond Chandler and the hard-boiled school of detective fiction, and a bow to Poe's ratiocinations, Piglia creates one of the most imaginative, intricate in its implications, and original crime stories Latin America has produced. The real horror of Piglia's tale of violence is that it never ends. "Hierarchy," by Piglia's fellow Argentine Eduardo Goligorsky, on the other hand, reaches an explosive conclusion that punctuates another vision of systematic violence. In "Doctor and Doctoring," the Mexican author Luis Arturo Ramos draws on history and memory--a story of haves and have-nots--to bring together two men in a murderous embrace. The next four stories are from Brazil. The first two deal specifically, like Ramos's tale, with the fact of social privilege and authority. Ignacio de Loyola Brandao's "Monday's Heads" shows a deeply rooted social psychosis blossom in the narrow confines of an elevator car. The documentary style of Paulo Celso Rangel's "Deposition" underlines the lack of artifice needed to play this predictable and brutal game of cat and mouse. In "Mandrake," Rubem Fonseca's private eye shows us a deeply disturbed and disturbing side of Rio de Janeiro. Glauco Rodrigues Correa's "The South Bay Crime" provides an amusing look at provincial Brazilians and maintains as well a suspenseful narrative concerning a young boy's mysterious disappearance. Finally, Cuban author Arnaldo Correa's "The Man under the Ceiba Tree" subtly undermines the transparent approach of much socialist detective fiction of the postrevolutionary period. Like all good mystery and crime stories, these can be read simply for pleasure, as well as for the insights they offer into Latin American culture and fiction. Amelia S. Simpson received an M.A. in Latin American studies in 1977 and a Ph.D. in Spanish American literature in 1986, both from the University of Texas at Austin. She has taught in the Department of Romance Languages and Literatures at the University of Florida, Gainesville, since 1987. The author is currently editing and translating an anthology of Argentine, Mexican, Brazilian, and Cuban detective fiction stories from the 1970s and 1980s. Her critical articles and translations - including essays by Gabriel Garcia Márquez, Octavio Paz, and Severo Sarduy - have appeared in various journals. |
![]() | ![]() | ANTHOLOGIES. [Drama]. Stanford University Dramatists' Alliance. Plays of the Southern Americas. Stanford, California. 1942. Stanford University Press. Translated Wilbur E. Bailey. unpaged [82 pages ]. The first of two volumes of translations which were published separately. Includes works by: Antonio Acevedo Hernández (Chile), Cabrerita (Cabrerita), translated Wilbur E. Bailey; Florencio Sanchez (Uruguay), The foreign girl (La gringa, 1904), translated Alfred Coester; Luis Vargas Tejada (Colombia), My poor nerves (Las convulsiones). (reprint Freeport, N.Y.: Books for Libraries Press, 1971). |
![]() | ![]() | ANTHOLOGIES. . Stavans, Ilan (editor). Oy, Caramba!: An Anthology of Jewish Stories from Latin America. Albuquerque. 2016. University of New Mexico Press. 9780826354952. 6 x 9. 336 pages. paperback. Cover design by Felicia Cedillos. 'Writers from Argentina, Brazil, Peru, Venezuela, Guatemala, Mexico, and other countries represent an ethnically diverse culture with roots in eastern Europe as well as Spain. . . . The anthology includes tales by such masters as Alberto Gerchunoff . . . and Germán Rozenmacher, a large number of innovative women writers, and some authors more familiar to English-speaking readers.' - Library Journal. 'Reminds us that society south of the border is just as multicultural as in the US, and that Jews have played an important role in it since the time of the Spanish conquest.' - Publishers Weekly. Jewish identity and magical realism are the themes of the tales of adventure and cultural alienation collected here by the leading authority on Jewish Latin American literature. First published in 1994 as Tropical Synagogues: Short Stories by Jewish-Latin American Writers, Ilan Stavans's classic anthology is expanded and updated in this new edition. Ilan Stavans is the Lewis-Sebring Professor in Latin American and Latino Culture at Amherst College. His books Art and Anger: Essays on Politics and the Imagination and The Riddle of Cantinflas: Essays on Hispanic Popular Culture, Revised and Expanded Edition are also available from UNM Press. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Stavans, Ilan (editor). The FSG Book of Twentieth-Century Latin American Poetry. New York. 2011. Farrar Straus Giroux. 9780374100247. 729 pages. hardcover. Jacket design by Quemadura. Jacket artwork by Raul Pena. A major bilingual anthology of twentieth-century Latin American poetry During a century of extraordinary change, poets became the chroniclers of deep polarizations. From RubEn Darío's quest to renew the Spanish language to CEsar Vallejo's linking of religion and politics, from Jorge Luis Borges's cosmopolitanism to Pablo Neruda's placement of poetry as uncompromising speaker for the downtrodden, and from Alejandra Pizarnik's agonies of the self to Humberto Ak'Abal's examination of all things indigenous, it is through verse that the hemisphere's cantankerous collective soul in an age of overhaul might best be understood. A brilliant, moving, and thought-provoking summation of these forking paths, The FSG Book of Twentieth-Century Latin American Poetry invites us to look at an illustrious literary tradition with fresh eyes. Ilan Stavans, one of the foremost scholars of Hispanic culture and a distinguished translator, goes beyond easy geographical and linguistic categorizations in gathering these works. This bilingual anthology features eighty-four authors from sixteen different countries writing in Spanish, Portuguese, Mapuche, Nahuatl, Quechua, Mazatec, Zapotec, Ladino, and Spanglish. The poems are rendered into English in inspired fashion by first-rate translators such as Elizabeth Bishop, Galway Kinnell, W. S. Merwin, Alastair Reid, Mark Strand, and Richard Wilbur. In these pages the reader will experience the power of poetry to account for a hundred years in the life of a restless continent. Ilan Stavans is Lewis-Sebring Professor of Humanities and Latin American and Latino Culture at Amherst College, publisher of Restless Books, host of NPR's podcast In Contrast, and a columnist for the New York Times en Español. The recipient of numerous international awards and honors, his books have been translated into twenty languages. He is the author, with Marcelo Brodsky, of Once@9:53am: Terror in Buenos Aires and, with Roberto Weil, of Don Quixote of La Mancha, both published by Penn State University Press. |
![]() | ![]() | ANTHOLOGIES. [Essays]. Stavans, Ilan (editor). The Oxford Book of Latin American Essays. New York. 1997. Oxford University Press. 0195092341. 518 pages. hardcover. Jacket design by Leah Lococo. Jacket painting by Frida Kahlo, The Bus (El Camion), 1929. In The Oxford Book of Latin American Essays, Ilan Stavans provides an anthology that is as vast, as varied, and as fascinating as the region it represents. While retaining much of the flavor of Latin American fiction-the dazzling metaphors, richness of language, and sheer imaginative bravado-these essays give us the more intellectual, critical, and self-reflexive side of the dreaming mind that has so thoroughly entranced the literary world. From Baldomero Sanin Cano's lacerating critique of Theodore Roosevelt to Ezequiel Martinez Estrada's reverential reading of Thoreau; from Pablo Neruda's passionate Nobel acceptance speech to Mario Vargas Llosa's penetrating analysis of the destruction of the Incas; from Isabel Allende's and Carlos Fuentes's personal accounts of their writing to Gabriel Garcia Márquez's playful repudiation of the umbrella and Rosario FerrE's complex assessment of the role of the translator, this volume gives us the whole spectrum of concerns that have animated some of the greatest writers of our time. Of course, the political struggles that have afflicted the region for centuries-the ‘endemic dictatorships resembling tropical fevers,' as Augusto Roa Bastos calls them-exert a constant pressure on the writing gathered here. Indeed, it is the attempt to understand the effects of history and politics on personal, cultural, and literary identities that makes these essays so compelling. Enrique Anderson Imbert asserts that ‘the history of the essay does not show us a limbo of indecisive people or apprentices, but an emphatic assembly of spirits who felt confident, ingenious, and aware.' Includes selections by AndrEs Bello, Jorge Amado, Julio Cortázar, Clarice Lispector, Octavio Paz, Ariel Dorfman, Manuel Puig, and many others. Ilan Stavans (born Ilan Stavchansky on April 7, 1961) is a Mexican-American essayist, lexicographer, cultural commentator, translator, short-story author, publisher, TV personality, and teacher known for his insights into American, Hispanic, and Jewish cultures. He is the author of Quixote (2015) and a contributor to the Norton Anthology of Latino Literature (2010). |
![]() | ![]() | ANTHOLOGIES. [Mexico - Poetry]. Strand, Mark (editor). New Poetry of Mexico. New York. 1970. Dutton. 052504020x. Bilingual Edition. Introduction by Octavio Paz. Selected with notes by Octavio Paz, Ali Chumacero, José Emilio Pacheco, and Homero Aridjis. 224 pages. paperback. The expression ‘Mexican poetry' is ambiguous: is it poetry written by Mexicans or poetry that in some manner reveals the spirit, the reality, or the character of Mexico? Our poets write twentieth-century Mexican Spanish but the Mexicanness of their poems as reflecting national character is very doubtful. It is said that Lopez Velarde is the most Mexican of our poets, yet his work is so personal in style that it would be useless to look for someone like him among his contemporaries and descendants. If that is what determines one's Mexicanness, then we would have to conclude that Mexicanness consists in not appearing like any other Mexican. It would not be a general characteristic without personal anomaly. The fact is that the work of Lopez Velarde bears more than a slight resemblance to the work of the Argentine poet Lugones, which, in its time, seemed close to the work of Laforgue. Not national character but the spirit of an epoch unites these three poets. This observation is applicable to other literatures: Manrique seems more like Villon than Garcilaso, and Gongora is closer to Marino than to Berceo. The existence of a French or a German or an English poetry is debatable; but the reality of Baroque, Romantic, or Symbolist poetry is not. Anthologies aim to present the best poems of an author or of the period and, in this way, they imply a more or less static view of literature, But if I admit that tastes change, criticism asserts that almost always works remain; though the vision of one critic be different from that of other critics, the territory they consider is the same. This book is inspired by a distinct idea: the territory also changes. Works are never the same, readers are authors as well. The works that inspire us with passion are those that transform themselves indefinitely; the poems that we love are mechanisms of successive meaning-an architecture that unmakes and remakes itself without stopping, an organism in perpetual revolution, not quiet beauty, but mutations and transmutations. A poem does not mean, but engenders meaning: it is language in its purest form. This book is not an anthology but an experiment. It is this in two senses: because of the idea that inspired it and by being a collective work. This book is divided into four parts. The first is dedicated to the young. It is not, nor could it be, a complete selection, More than a picture of recent poetry, it is a window which opens onto a rapidly changing landscape. The second part confronted us with a diverse group whose truly significant work was done not in their youth but in their maturity. It is a generation marked by the Second World War and by the ideological quarrels that preceded it and followed it. Later than the others, as if to recover lost time, it jumped forward toward its youth. Contents: INTRODUCTION by Octavio Paz; PREFACE by Mark Strand; HOMERO ARIDJIS - A veces uno toca un cuerpo/Sometimes We Touch a Body (translated by W. S. MERWIN); Es tu nombre y es tambiEn octubre/It's Your Name and It's Also October (translated by W. S. MERWIN); Antes del reino/Before the Kingdom (translated by W. S. MERWIN); JOSE EMILIO PACHECO - De algün tiempo a esta parte/From Some Time to This Place (translated by PHILIP LEVINE); La enredadera/The Climbing Vine (translated by PHILIP LEVINE); Las palabras de Buda/The Words of the Buddha (translated by PHILIP LEVINE); OSCAR OLIVA - Mientras tomo una taza de cafE/While Drinking a Cup of Coffee (translated by W. S. MERWIN); FRANCISCO CERVANTES - Mambrü/Mambru (translated by MARK STRAND); JAIME AUGUST0 SHELLEY - Los pájaros/The Birds (translated by W. S. MERWIN); El cerco/The Ring (translated by W. S. MERWIN); SERGIO MONDRAGON - Guru/Guru (translated by W. S. MERWIN); GABRIEL ZAID - Nacimiento de Venus/Birth of Venus (translated by DANIEL HOFFMAN); La ofrenda/The Offering (translated by DANIEL HOFFMAN); - Pastoral/Shepherd's Song (translated by DANIEL HOFFMAN); Resplandor ültimo/Final Splendor (translated by DANIEL HOFFMAN); MARCO ANTONIO MONTES DE OCA - La luz en ristre/The Light in Its Stand (translated by W. S. MERWIN); El jardin que los dioses frecuentaron/The Garden Which the Gods Frequented (translated by W. S. MERWIN); TOMAS SEGOVIA - La que acoge y conforta/What Welcomes and Comforts (translated by MARK STRAND); JAIME SABINES - Yo no lo se de cierto/I Don't Know for Certain; Tarumba/Tarumba (translated by W. S. MERWIN); A la casa del dia/In the House of the Day (translated by PHILIP LEVINE); A caballo/On Horseback (translated by PHILIP LEVINE); Si alguien te dice que no es cierto/If Someone Tells You It's Not for Sure (translated by PHILIP LEVINE); Te puse una cabeza/I Put a Head (translated by PHILIP LEVINE); Vamos a cantar/He aqui que estamos reunidos/So Here We Are (translated by PHILIP LEVINE); Algo sobre la muerte del mayor Sabines/Something on the Death of the Eldest Sabines (translated by PHILIP LEVINE); JAIME GARCIA TERRES - Ipanema/Ipanema (translated by W. S. MERWIN); JUAN JOSE ARREOLA - Elegia/Elegy (translated by W. S. MERWIN); La caverna/The Cave (translated by W. S. MERWIN); Telemaquia/Telemachus (translated by W. S. MERWIN); El sapo/The Toad (translated by W. S. MERWIN); Cevidos/Deer (translated by W. S. MERWIN); Metamorfosis/Metamorphosis (translated by W. S. MERWIN); ALl CHUMACERO - El orbe de la danza/The Sphere of the Dance (translated by DANIEL HOFFMAN); EFRAIN HUERTA - Los hombres del alba/The Men of the Dawn (translated by PHILIP LEVINE); La muchacha ebria/The Drunken Girl (translated by PHILIP LEVINE); OCTAVIO PAZ - Trabajos del poeta/Works of the Poet (translated by ELIOT WEINBERGER); Madrugada/Dawn (translated by ELIOT WEINBERGER); Aqui/Here (translated by ELIOT WEINBERGER); Viento entero/ Wind from All Compass Points (translated by PAUL BLACKBURN); GILBERTO OWEN - Interior/ Interior (translated by MARK STRAND); SALVADOR NOVO - Del pasado remoto (Fragmento)/From the Remote Past (A Fragment) (translated by SUZANNE JILL LEVINE); Roberto el subteniente/Roberto, the Second Lieutenant (translated by SUZANNE JILL LEVINE); XAVIER VILLAURRUTIA - Nocturno de la estatua/Nocturne of the Statue (translated by DONALD JUSTICE); Nocturno eterno/Eternal Nocturne (translated by RACHEL BENSON); Nocturna rosa/Rose Nocturnal (translated by DONALD JUSTICE); Cementerio en la nieve/Cemetery in the Snow (translated by DONALD JUSTICE); JOSE GOROSTIZA - Muerte sin fin (Fragmentos)/from Death Without End (translated by RACHEL BENSON); MANUEL MAPLES ARCE - Urbe (Fragmento)/City (translated by MARK STRAND) CARLOS PELLICER - Estudio/Study (translated by DONALD JUSTICE); Recuerdos de Iza/Memories of Iza (translated by DONALD JUSTICE); Deseos/Wishes (translated by DONALD JUSTICE); Estudios/Studies (translated by DONALD JUSTICE); Poema prodigo/Prodigal Poem (translated by DONALD JUSTICE); JULIO TORRI - A Circe/Circe (translated by MARK STRAND); Mujeres/Women (translated by MARK STRAND); RAMON LOPEZ VELARDE - Mi prima Agueda/My Cousin Agatha (translated by DOUGLAS EICHHORN); Hormigas/Ants (translated by DOUGLAS EICRHORN); El candil/The Chandelier (translated by DOUGLAS EICHHORN); Humildemente/Humbly (translated by DONALD JUSTICE); El sueno de los guantes negros/The Dream of the Black Gloves (translated by DONALD JUSTICE); JOSE JUAN TABLADA - El pavo real/The Peacock (translated by HARDIE ST. MARTIN); Los sapos/The Toads (translated by HARDIE ST. MARTIN); Hojas secas/Dry Leaves (translated by W. S. MERWIN); Mariposa nocturna/Night Moth (translated by HARDIE ST. MARTIN); El mono/The Monkey (translated by HARDIE ST. MARTIN); Panorama/Panorama (translated by W. S. MERWIN); Peces voladores/Flying Fish (translated by W. S. MERWIN); Nocturno alterno/Alternating Nocturne (translated by ELIOT WEINBERGER); La Cruz del Sur/Southern Cross (translated by HARDIE ST. MARTIN); INDEX OF AUTHORS; INDEX OF FIRST LINES-SPANISH; INDEX OF FIRST LINES-ENGLISH. . . Mark Strand was recognized as one of the premier American poets of his generation as well as an accomplished editor, translator, and prose writer. The hallmarks of his style are precise language, surreal imagery, and the recurring theme of absence and negation; later collections investigate ideas of the self with pointed, often urbane wit. Named the US poet laureate in 1990, Strand's career spanned five decades, and he won numerous accolades from critics and a loyal following among readers. In 1999 he was awarded the prestigious Pulitzer Prize for Poetry for his collection Blizzard of One. Born on Prince Edward Island, Canada, Strand grew up in various cities across the United States and in Colombia, Mexico, and Peru. Strand originally expressed interest in painting and hoped to become an artist. He earned a BA from Antioch College in 1957 and a BFA from Yale University in 1959, where he studied with the painter Josef Albers. His interest in painting waned while at Yale, and he then decided to become a poet instead. Following his graduation, he went to Italy on a Fulbright Scholarship and studied 19th-century Italian poetry. I was never much good with language as a child, Strand admitted during an interview with Bill Thomas for the Los Angeles Times Magazine. Believe me, the idea that I would someday become a poet would have come as a complete shock to everyone in my family. Strand earned his MFA from the Iowa Writers' Workshop in 1962 and began teaching at various colleges, including Yale University, Princeton University, and Harvard University. He spent a year in Brazil in 1965 as a Fulbright lecturer. Strand admitted there were some benefits to being a poet during the turbulent 1960s. Groupies were a big part of the scene, he told Thomas. Poets were underground pop stars, and when we made the campus circuit, girls would flock around. It wasn't bad. I rather liked the uncertainties of my life then. Strand's first book, Sleeping with One Eye Open (1964), introduced his distinctive approach to poetry. The volume is characterized by a pervasive sense of anxiety and restless foreboding. Discussing the title poem with the radio program, Weekend America, Strand said the poem speaks to a certain anxiety I experienced back in the early '60s. I was afraid the United States would go to war with Russia or the USSR. I think it's a poem surrounded by a great deal of silence. In the first stanza of the frequently anthologized poem Keeping Things Whole, Strand sets the tone and presents the themes which continue to dominate his later work: In a field / I am the absence / of field. / This is / always the case. / Wherever I am / I am what is missing. Just before his death in 2014, Strand asserted that he wrote this poem in 20 seconds during a card game. The speakers in Strand's early poetry are characterized by an intense concern with self and identity. David Kirby remarked in Mark Strand and the Poet's Place in Contemporary Culture, Many poems in Strand's first book show an uneasy preoccupation with self, and the vehicle used to express that preoccupation is often a dream state in which the speaker is divided between two worlds and can locate himself comfortably in neither. The concern with identity is woven through Strand's later work, as well. The basic themes are treated in the poems with a growing unease that the reader feels more intensely than before - as his skill increases, so does the poet's power to disturb, Kirby explained. Strand's early collections of poetry, including Reasons for Moving (1968), made his reputation as a dark, brooding poet haunted by death, but Strand himself does not find them especially dark, he told Thomas. I find them evenly lit, he continued. Critics, however, discerned a shift with Strand's third book. Harold Bloom, reviewing Darker (1970) found that the irreality of Borges, though still near, is receding in Darker, as Strand opens himself more to his own vision. The New Poetry Handbook, included in that book, illuminates Strand's slight shift in perspective. While many of the poems that follow it express a concern with the apparent meaninglessness of life, The New Poetry Handbook offers a solution: poetry. Strand seriously considers the place of poetry in the universe, concluding that when a man finishes a poem / he shall bathe in the blank wake of his passion / and be kissed by white paper. Kirby viewed the poem as an answer to the problem of self. But while Strand's focus grew to include an affirmation of the positive, he remained a poet of mood, of integrated fragments, of twilit landscape, and of longing, wrote Henri Cole in Poetry. His collections The Story of our Lives (1973) and The Late Hour (1978) also were dark, occupying the Rilkean space between beauty and terror. His ominous, foreboding early poems carry the anxiety of what cannot be communicated because it cannot be known, only anticipated, wrote Dave Lucas in the Virginia Quarterly Review, though they also include more obviously autobiographical poems like Elegy for my Father. In 1980's Selected Poems, Strand relies on an ethereal, cumulative effect to express the idea that the two fixed points of a man's life are the self and God; both are darknesses, one leading to another, Cole continued. In the New York Review of Books, Irvin Ehrenpreis, however, was critical of Strand's solipsistic emphasis on the self: For all his mastery of rhythm and music, Strand does not open the lyric to the world but makes it a self-sustaining enterprise. Strand spent the decade after the publication of Selected Poems not writing poetry. In a profile by Jonathan Aaron, Strand admitted that I gave up [writing poems] that year. I didn't like what I was writing, I didn't believe in my autobiographical poems. He turned to other forms of writing instead, including a foray into children's literature with The Planet of Lost Things (1982). As with his poetry, Strand focused on questions of loss, using the story to address the common childhood worry about where things go when they are lost. Strand's other books for children include The Night Book (1985) and Rembrandt Takes a Walk (1986). A frequent contributor of short stories to periodicals, Strand published a collection of prose narratives in 1985. The resulting volume, Mr. and Mrs. Baby (1985), addressed Strand's recurrent concern with the superficiality of life. Alan Cheuse of the Los Angeles Times Book Review described the book as a mixture of irony and affection. The collection mixes the fantastic with the mundane; describing the stories as odd, surrealistic sketches of alienation and rootlessness, New York Times critic Michiko Kakutani found them so slight, so tentative, that they evaporate into the air. Ellen Lesser of the Village Voice wrote, By far the greatest pleasures of Mr. and Mrs. Baby are not to be found in its mysteries, comic vision, or even its hapless picture of the contemporary male, but rather in the writing. On practically every page, one can be dazzled by Strand's language. Strand also published books of art criticism, including The Art of the Real (1983) and William Bailey (1987). His 1994 volume Hopper was a highly expressive elucidation of the technique and narrative meaning of the American realist painter Edward Hopper's works. Of the many pieces of writing stimulated by Hopper, observed John Updike in The New York Review of Books, none is more coolly and eerily attentive (more Hopperesque, we could say) than Mark Strand's brilliant small book Hopper, showing how we are moved and disquieted by formal elements in the paintings. Strand describes Hopper's human subjects, for example, as ‘characters whose parts have deserted them and now, trapped in the space of their waiting, must keep themselves company with no clear place to go, no future.' Strand published The Continuous Life, his first book of poems in a decade, in 1990. In the New York Times Book Review, Alfred Corn commented that the book doesn't strike me so much as a capstone of Mr. Strand's career as one more turning in his development. Corn pointed to changes in meter, diction and point of view. This is a poetry written, as it were, in the shadow of high mountains, and touched with their grandeur, he concluded. Strand's appointment as US poet laureate the same year brought the book even more attention. Strand's next books received much critical acclaim. Dark Harbor (1993) is a single long poem divided into 55 diverse sections. Reviewers emphasized the poem's motifs of anticipation and tension lacking resolution, as well as the exotic and rarified beauty of Strand's often surrealistic language, though Judith Hall, in the Antioch Review, found that the austerity of the sequence is eased by tone - elegiac and self-mocking; part Cheever, part Brancusi, with the indefiniteness that Poe said was essential to music. In 1999 Strand was awarded the Pulitzer Prize for Poetry for Blizzard of One. The collection returns to the same concerns that have preoccupied Strand throughout his career as a poet. The poems in Mark Strand's latest collection are missing their subjects, wrote Sarah Manguso in the Iowa Review, pointing out the presence of familiar Strand themes of loss, dispersion and absence. For many critics Blizzard of One was an affirmation of Strand's continued appeal. A Publishers Weekly reviewer concluded that it was somehow scandalous that in his gorgeous, unabashed nostalgia or erotic melancholy there remained a tremendous allure and that Strand continued to be one of our most deeply enjoyable poets. In The New York Times, Deborah Garrison named Strand among the luminaries of contemporary poets, calling Blizzard of One a masterly new collection in which even the single snowflake that gives the volume its title ... is a kind of Platonic essence, linked to a continuum of snowflakes out there in the weather and inside, in the reader's consciousness. Garrison also found that in his serious verses there are glimmers of an appealing new lightness; it's as though his gradual adaptation to his own stringency has freed him up. When Strand published a collection of 15 short prose works as Weather of Words (2000), he was commended for his insight into the work of other poets. The essays ranged from commentary on poets, analysis of individual poems, and a discussion of poetic forms. The book was also valued for its relevance to Strand's own poetry. Ian Tromp, writing in the Times Literary Supplement, compared the collection to Blizzard of One and found the poems poised and subtle, imbued with wisdom, while the essays and prose were considered playful and witty. Strand also coedited the anthology The Making of a Poem: A Norton Anthology of Poetic Forms (2000) with Eavan Boland. Strand's collection Man and Camel (2006) contains more playful, witty moments than previous books, though, as Lucas pointed out in his VQR review, its tension, between what is present and what cannot be touched, continues to be the most consistent theme in Strand's work. New Selected Poems (2007) draws on Strand's work from the previous two decades and is full of buffoons whom the poet nevertheless loves, wrote Dan Chiasson in the New Yorker, adding they represent his new empathy for that old absurdity the self. His last book, Collected Poems (2014), was a longlist nominee for the National Book Award. In his later years, Strand stopped writing poetry and began to work again in art, preferring to make collages with paper he made by hand. His work was exhibited at Lori Bookstein Fine Art in Chelsea. Mark Strand's honors include the Bollingen Prize, grants from the National Endowment for the Arts, a National Institute of Arts and Letters Award, a Rockefeller Foundation award, and fellowships from the Academy of American Poets, the MacArthur Foundation, and the Ingram Merrill Foundation. He served as a chancellor of the Academy of American Poets. He taught at Johns Hopkins University, the University of Chicago, and Columbia University. He died in late 2014 at the age of 80. - POETRY FOUNDATION. |
![]() | ![]() | ANTHOLOGIES. [Quechua - Poetry]. Strand, Mark (translator). 18 poems from the Quechua. Cambridge, Mass. 1971. Halty Ferguson. 29 pages. Short, lyric poems which complement those of The singing mountaineers. Mark Strand was recognized as one of the premier American poets of his generation as well as an accomplished editor, translator, and prose writer. The hallmarks of his style are precise language, surreal imagery, and the recurring theme of absence and negation; later collections investigate ideas of the self with pointed, often urbane wit. Named the US poet laureate in 1990, Strand's career spanned five decades, and he won numerous accolades from critics and a loyal following among readers. In 1999 he was awarded the prestigious Pulitzer Prize for Poetry for his collection Blizzard of One. Born on Prince Edward Island, Canada, Strand grew up in various cities across the United States and in Colombia, Mexico, and Peru. Strand originally expressed interest in painting and hoped to become an artist. He earned a BA from Antioch College in 1957 and a BFA from Yale University in 1959, where he studied with the painter Josef Albers. His interest in painting waned while at Yale, and he then decided to become a poet instead. Following his graduation, he went to Italy on a Fulbright Scholarship and studied 19th-century Italian poetry. I was never much good with language as a child, Strand admitted during an interview with Bill Thomas for the Los Angeles Times Magazine. Believe me, the idea that I would someday become a poet would have come as a complete shock to everyone in my family. Strand earned his MFA from the Iowa Writers' Workshop in 1962 and began teaching at various colleges, including Yale University, Princeton University, and Harvard University. He spent a year in Brazil in 1965 as a Fulbright lecturer. Strand admitted there were some benefits to being a poet during the turbulent 1960s. Groupies were a big part of the scene, he told Thomas. Poets were underground pop stars, and when we made the campus circuit, girls would flock around. It wasn't bad. I rather liked the uncertainties of my life then. Strand's first book, Sleeping with One Eye Open (1964), introduced his distinctive approach to poetry. The volume is characterized by a pervasive sense of anxiety and restless foreboding. Discussing the title poem with the radio program, Weekend America, Strand said the poem speaks to a certain anxiety I experienced back in the early '60s. I was afraid the United States would go to war with Russia or the USSR. I think it's a poem surrounded by a great deal of silence. In the first stanza of the frequently anthologized poem Keeping Things Whole, Strand sets the tone and presents the themes which continue to dominate his later work: In a field / I am the absence / of field. / This is / always the case. / Wherever I am / I am what is missing. Just before his death in 2014, Strand asserted that he wrote this poem in 20 seconds during a card game. The speakers in Strand's early poetry are characterized by an intense concern with self and identity. David Kirby remarked in Mark Strand and the Poet's Place in Contemporary Culture, Many poems in Strand's first book show an uneasy preoccupation with self, and the vehicle used to express that preoccupation is often a dream state in which the speaker is divided between two worlds and can locate himself comfortably in neither. The concern with identity is woven through Strand's later work, as well. The basic themes are treated in the poems with a growing unease that the reader feels more intensely than before - as his skill increases, so does the poet's power to disturb, Kirby explained. Strand's early collections of poetry, including Reasons for Moving (1968), made his reputation as a dark, brooding poet haunted by death, but Strand himself does not find them especially dark, he told Thomas. I find them evenly lit, he continued. Critics, however, discerned a shift with Strand's third book. Harold Bloom, reviewing Darker (1970) found that the irreality of Borges, though still near, is receding in Darker, as Strand opens himself more to his own vision. The New Poetry Handbook, included in that book, illuminates Strand's slight shift in perspective. While many of the poems that follow it express a concern with the apparent meaninglessness of life, The New Poetry Handbook offers a solution: poetry. Strand seriously considers the place of poetry in the universe, concluding that when a man finishes a poem / he shall bathe in the blank wake of his passion / and be kissed by white paper. Kirby viewed the poem as an answer to the problem of self. But while Strand's focus grew to include an affirmation of the positive, he remained a poet of mood, of integrated fragments, of twilit landscape, and of longing, wrote Henri Cole in Poetry. His collections The Story of our Lives (1973) and The Late Hour (1978) also were dark, occupying the Rilkean space between beauty and terror. His ominous, foreboding early poems carry the anxiety of what cannot be communicated because it cannot be known, only anticipated, wrote Dave Lucas in the Virginia Quarterly Review, though they also include more obviously autobiographical poems like Elegy for my Father. In 1980's Selected Poems, Strand relies on an ethereal, cumulative effect to express the idea that the two fixed points of a man's life are the self and God; both are darknesses, one leading to another, Cole continued. In the New York Review of Books, Irvin Ehrenpreis, however, was critical of Strand's solipsistic emphasis on the self: For all his mastery of rhythm and music, Strand does not open the lyric to the world but makes it a self-sustaining enterprise. Strand spent the decade after the publication of Selected Poems not writing poetry. In a profile by Jonathan Aaron, Strand admitted that I gave up [writing poems] that year. I didn't like what I was writing, I didn't believe in my autobiographical poems. He turned to other forms of writing instead, including a foray into children's literature with The Planet of Lost Things (1982). As with his poetry, Strand focused on questions of loss, using the story to address the common childhood worry about where things go when they are lost. Strand's other books for children include The Night Book (1985) and Rembrandt Takes a Walk (1986). A frequent contributor of short stories to periodicals, Strand published a collection of prose narratives in 1985. The resulting volume, Mr. and Mrs. Baby (1985), addressed Strand's recurrent concern with the superficiality of life. Alan Cheuse of the Los Angeles Times Book Review described the book as a mixture of irony and affection. The collection mixes the fantastic with the mundane; describing the stories as odd, surrealistic sketches of alienation and rootlessness, New York Times critic Michiko Kakutani found them so slight, so tentative, that they evaporate into the air. Ellen Lesser of the Village Voice wrote, By far the greatest pleasures of Mr. and Mrs. Baby are not to be found in its mysteries, comic vision, or even its hapless picture of the contemporary male, but rather in the writing. On practically every page, one can be dazzled by Strand's language. Strand also published books of art criticism, including The Art of the Real (1983) and William Bailey (1987). His 1994 volume Hopper was a highly expressive elucidation of the technique and narrative meaning of the American realist painter Edward Hopper's works. Of the many pieces of writing stimulated by Hopper, observed John Updike in The New York Review of Books, none is more coolly and eerily attentive (more Hopperesque, we could say) than Mark Strand's brilliant small book Hopper, showing how we are moved and disquieted by formal elements in the paintings. Strand describes Hopper's human subjects, for example, as ‘characters whose parts have deserted them and now, trapped in the space of their waiting, must keep themselves company with no clear place to go, no future.' Strand published The Continuous Life, his first book of poems in a decade, in 1990. In the New York Times Book Review, Alfred Corn commented that the book doesn't strike me so much as a capstone of Mr. Strand's career as one more turning in his development. Corn pointed to changes in meter, diction and point of view. This is a poetry written, as it were, in the shadow of high mountains, and touched with their grandeur, he concluded. Strand's appointment as US poet laureate the same year brought the book even more attention. Strand's next books received much critical acclaim. Dark Harbor (1993) is a single long poem divided into 55 diverse sections. Reviewers emphasized the poem's motifs of anticipation and tension lacking resolution, as well as the exotic and rarified beauty of Strand's often surrealistic language, though Judith Hall, in the Antioch Review, found that the austerity of the sequence is eased by tone - elegiac and self-mocking; part Cheever, part Brancusi, with the indefiniteness that Poe said was essential to music. In 1999 Strand was awarded the Pulitzer Prize for Poetry for Blizzard of One. The collection returns to the same concerns that have preoccupied Strand throughout his career as a poet. The poems in Mark Strand's latest collection are missing their subjects, wrote Sarah Manguso in the Iowa Review, pointing out the presence of familiar Strand themes of loss, dispersion and absence. For many critics Blizzard of One was an affirmation of Strand's continued appeal. A Publishers Weekly reviewer concluded that it was somehow scandalous that in his gorgeous, unabashed nostalgia or erotic melancholy there remained a tremendous allure and that Strand continued to be one of our most deeply enjoyable poets. In The New York Times, Deborah Garrison named Strand among the luminaries of contemporary poets, calling Blizzard of One a masterly new collection in which even the single snowflake that gives the volume its title ... is a kind of Platonic essence, linked to a continuum of snowflakes out there in the weather and inside, in the reader's consciousness. Garrison also found that in his serious verses there are glimmers of an appealing new lightness; it's as though his gradual adaptation to his own stringency has freed him up. When Strand published a collection of 15 short prose works as Weather of Words (2000), he was commended for his insight into the work of other poets. The essays ranged from commentary on poets, analysis of individual poems, and a discussion of poetic forms. The book was also valued for its relevance to Strand's own poetry. Ian Tromp, writing in the Times Literary Supplement, compared the collection to Blizzard of One and found the poems poised and subtle, imbued with wisdom, while the essays and prose were considered playful and witty. Strand also coedited the anthology The Making of a Poem: A Norton Anthology of Poetic Forms (2000) with Eavan Boland. Strand's collection Man and Camel (2006) contains more playful, witty moments than previous books, though, as Lucas pointed out in his VQR review, its tension, between what is present and what cannot be touched, continues to be the most consistent theme in Strand's work. New Selected Poems (2007) draws on Strand's work from the previous two decades and is full of buffoons whom the poet nevertheless loves, wrote Dan Chiasson in the New Yorker, adding they represent his new empathy for that old absurdity the self. His last book, Collected Poems (2014), was a longlist nominee for the National Book Award. In his later years, Strand stopped writing poetry and began to work again in art, preferring to make collages with paper he made by hand. His work was exhibited at Lori Bookstein Fine Art in Chelsea. Mark Strand's honors include the Bollingen Prize, grants from the National Endowment for the Arts, a National Institute of Arts and Letters Award, a Rockefeller Foundation award, and fellowships from the Academy of American Poets, the MacArthur Foundation, and the Ingram Merrill Foundation. He served as a chancellor of the Academy of American Poets. He taught at Johns Hopkins University, the University of Chicago, and Columbia University. He died in late 2014 at the age of 80. - POETRY FOUNDATION. |
![]() | ![]() | ANTHOLOGIES. [Brazil - Drama]. Szoka, Elzbieta and Bratcher III, Joe (editors). 3 Contemporary Brazilian Plays. Austin. 1988. Host Inc. 0924047003. Bilingual. The first book from Host Publications. 528 pages. paperback. Cover: Isabel Morgan, Design and Layout. Rodney Paschall, Technical Assistance. Anne Witte, Cover Illustration. ‘This bilingual and exciting volume of Brazilian theatre encloses three plays written by the most creative dramatists writing in Brazil today. Plinio Marcos in TWO LOST IN THE FILTHY NIGHT, shows language as the only possession of two paupers living in the claustrophobic conditions. The rapid and vigorous dialogue lashes out to the reader enclosing him into the brutal game. Leilah Assunçao in MOIST LIPS, QUIET PASSION, dramatizes the sexual life of a couple trying to achieve their Big Orgasm. They remember their frustrating games by the dates of the military coups. Existence is possible only through games. In WALKING PAPERS by Consuelo de Castro, a man and a woman interact in fragmented situations bordering on insanity. There is no reference to socio-political events but the obsessive language, the exacerbating rituals, the claustrophobic dependent relationship projects the shadow of the repressive system. The authors of this bilingual text have achieved a unity of form and content in their selection of the plays. Their translation is very successful in representing both the power of the original language and the theatrical urgency of the modem Brazilian dramatists. As such, this book will be of interest to scholars and students of literature, the visual arts and of culture in general.' - Miriam Balboa Echeverria, Department of Spanish, Southwest Texas State University in San Marcos. CONTENTS: Introduction; PLINIO MARCOS - Author Critical Commentary; Two Lost In A Filthy Night; Dois Perdidos Numa Note Suja; LEILAH ASSUNCAO - Author Critical Commentary; Moist Lips, Quiet Passion; Boca Molhada De Paixão Calada; CONSUELO DE CASTRO - Author Critical Commentary; Walking Papers; Aviso Previo. . PLINIO MARCOS DE BARROS was born in Santos, near São Paulo. After getting a diploma from primary school he spent his teenage years among shipyard workers and flim flam people hanging around the port area. At the age of fifteen he started his career as a clown. He also tried other jobs: he was a football player, worked at the port, acted in several mini series and wrote articles for various journals. The first stage of Marcos' work, to which TWO LOST IN THE FILTHY NIGHT belongs, tends to be categorized by critics as realistic style-wise, and social as far as the message is concerned. Besides the social concern however, there is a visible attempt on Marcos' side to portray the individuals dealing with extreme situations within the existential perspective. The author's favorite themes are: the search for individual freedom and spiritual knowledge, the inability of communicating between individuals and the rebellion against tied social rules. In some of his later plays, there is a slight feminist accent due to the crucial role of the woman. In ABAJUR LILÁS the three prostitutes represent three different attitudes towards life that are analogous to three possible political approaches: rebellious, moderate and alienated. They have to solve a problem with their pimp who exploits them. None of the attitudes seems efficient enough. If in Marcos' earlier plays women have to be protected by men, in his most recent plays the author presents the man and the woman in the same perspective (MADAME BLAVATSKY) or negates the role of sex by presenting it metaphorically (Balada de urn Palhaco). In TWO LOST IN THE FILTHY NIGHT, claimed to be Marcos' major dramatic achievement, the crucial problem lies in the lack of understanding between two individuals that represent two different social classes: low class and marginals. Besides being unable to communicate with each other on the human and social level, they are also unable to communicate with the outside world. Their intense interaction can be seen as one of victim/oppressor with a surprising switch of roles in the end. The subjacent homosexual motif is very significant as well in this struggle for power. Some plays by the author: Barrela (1957); Reportagem de urn tempo mau (1965); Jornada de um Imbecil ate o Entendimento (1965) - all three still forbidden by censorship; Dois Perdidos numa Noite Suja (1967); Navalha na Carne (1967); Homens de Papel (1968); Abajur Lilás (1969); Balbina de Iansã (1970); Oraçño Para o Pe de Chinelo (1971); Quando as Máquinas Param (1972); Poeta da Vila (1977); Feira Livre (1979); Signo da Discoteca (1979); Jesus Homem (1981); Madame Blavatsky (1985); Balada de um Palhaco (1986); A Mancha Roxa (1988). LEILAH ASSUNCAO was born in lBotucatu in the state of Säo Paulo. Her great-grandmother founded the first school there. Born in a family of teachers, Leilah enrolls in the Department of Education at the University of Campinas in 1960. In 1962, she moves to Sao Paulo and studies literary criticism, as well as acting and fashion design. In 1964, she gets a BA in Education from the University of São Paulo. She also works as a fashion designer for Madame Boriska. Her acting career began in 1964, as she appeared in Vereda da Salvaçao, a play by Jorge Andrade. In 1965, she had a role in the Three Penny Opera by Bertolt Brecht. She also worked as a fashion model for such celebrities as Valentino and Pierre Cardin. Her first play, Fala Baixo Senão Eu Grito , was staged in 1969. Granted a Moliere Prize, she traveled to Europe and Africa in 1970-72. According to the author, her first plays reveal, besides the feminist problems, a strong concern about shocking the audience by the choice of topics and the language. In this ‘Epatez le bourgois' stage that ends in the early eighties, Leilah Assunçäo recalls the influence of Albee, Arrabal and, in Brazil, Plinio Marcos. Her second stage is far more personal and coincides with major changes in the author's private life. Assunçao also changes her style and becomes lyrical rather than violent in order to seduce the audience at this time. Her recent play Lua Nua, successfully performed in São Paulo and Rio de Janeiro in 1988, represents most clearly the direction of those changes. One of the author's favorite concerns is the analogy between sex and politics seen metaphorically, both representing the game of power, or, in other words, a fight between two extremes. Leilah's attitude towards feminism can be characterized as a demand for the possibility of an option for a woman to live in a ‘masculine world' rather than being forced to change her nature. Another phenomenon that the author likes to recall in talking about her plays is the ‘trash language' (linguagem do lixo) that women are supposed to dominate the best. Plays by the author: Vejo urn Vulto na Janela, Me Acudam Que Eu Sou Donzela (1964); Use P6 de Arroz Bijou (1968) - unpublished; Fala Baixo Senão Eu Grito (1969); Amanhã, Amelia de Manha (1973); Roda Cor de Roda (1975); A Kuka de Kamaiorá (1975) - unpublished; Sobrevividos (1977); Sede Pura e Alfinetadas (1980); 0 Segredo da Alma de Ouro (1983), inspired by A Kuka de Kamaiorá; Boca Molhada de Paixiio Calada (1980); Os Jardins de ValEria de Oliveira (1985) - unpublished; Lua Nua(1987); Quatro Mulheres (1988); and several scripts for films and TV. CONSUELO DE CASTRO was born in Araguari in the state Minas Gerais. She studied Anthropology at the University of São Paulo where she experienced the military coup d'etat in 1964. Her first play, A Prova do Fogo (1967) reflects those dramatic moments. After the military take over, Castro's plays being forbidden by censorship, the author made her living undertaking various jobs. She worked as a typist, she advertised products for a company producing fertilizers etc. During those stormy times Castro's plays dealt basically with Brazilian reality and numerous social and political issues. The dominant tones in these works were anger, hate and desperation. The style was realistic. The author portrayed milieus that she knew from her own experience: students and academics in A Prova do Fogo and A Flor da Pele; the behind-the- scenes of show business in Script-tease and Flor da Pele; the world of unemployment in Caminho de Volta. She also wrote about problems of groups to which she could approach only intuitively: A Cidade Jmpossivel do Pedro Santana (architects); Porco Ensanguentado (high society); 0 Grande Amor de Nossas Vidas (lower middle class). Since 1984 Castro's social preoccupation has given way to a profound existential concern. This has been accompanied by a gradual break in form. From then on the author has tried to find a synthetic mode of expression, experimenting with the verbal as well as body language, light, space, sound and other stage devices. She does not construct her characters any more, but deconstructs them looking for the essence of the human condition. While the plays acquire a more and more fragmented structure the action is never neglected, even in the apparently static works. Walking Papers exemplifies these formal changes and thematic preoccupations. Recently in her search for ideas the author returned to antique Greece. She has already successfully incorporated the structure of the Greek tragedy in her first play, A Prova do Fogo. Now she also introduces into her plays elements of the mythological and archetypical situations.The authors and themes Castro likes to recall as the most influential for her artistic formation are: Strindberg and the theme of madness; Artaud and his Theater of Cruelty; Beckett and his world of absurd and nothingness. According to the author, for the characters in her plays, balancing between extremes, the only way out of their fatal situation is madness. There is no other way to from fate. Plays by the author: till 1984: A Prova do Fogo; A Flor da Pele; Crucificado; 0 Porco Ensanguentado; Louco Circo; Grande Amor de Nossas Vidas; A Cidade Impossivel do Pedro Santana; Caminho de Volta; after 1984: Script-tease; Aviso PrEvio; Abelhas; Marcha a Re; and several scripts for film and TV. Elzbieta Szoka is the author of "A Semiotic Approach to Three Plays by Plinio Marcos" and numerous articles on Brazilian literature and theater. She has translated Marcos's "Dois Perdidos Numa Noite Suja" (Two Lost in the Filthy Night) for Host Publications. She teaches at Columbia University. Joe Bratcher III, a Texas native, received his Bachelors degree in philosophy from Tulane University in New Orleans, and a Masters degree in English at the University of Texas at Austin. Upon completing his PhD in English Literature, Joe and his wife Elzbieta Szoka embarked on a new project and founded HOST Publications. Determined to give a voice to great international authors, Joe's commitment to identifying and sharing the best in unique international literature is unparalleled in the field. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Tapscott, Stephen (editor). Twentieth-Century Latin American Poetry: A Bilingual Anthology. Austin. 1996. University of Texas Press. 0292781407. 444 pages. hardcover. Latin Americans have written some of the world's finest poetry in the twentieth century, as the Nobel Prizes awarded to Gabriela Mistral, Pablo Neruda, and Octavio Paz attest. Yet this rich literary production has never been gathered into a single volume that attempts to represent the full range and the most important writers-until now. Here, under one cover, are the major poets and their major works, which appear both in the original language (Spanish or Portuguese) and in excellent English translations. The poems selected include the most famous representative poems of each poetic tradition, accompanied by other poems that represent the best of that tradition and of each poet's work within it. Tapscott's selections cover the full range, from the Modernist generation though the Mexican Revolutionary post-Moderns and the Vanguardist poets to very contemporary younger writers of political and experimental commitments. In all, eighty-five poets, including Pablo Neruda, Nicanor Parra, Octavio Paz, Gabriela Mistral, Nicolás GuillEn, Jorge Luis Borges, Julio Cortazar, Carlos Drummond de Andrade, Carlos Pellicer, CEsar Vallejo, and Cecília Meireles, and over 400 poems are included, often in translations by some of North America's most esteemed poets. Stephen Tapscott is Professor of Literature at MIT. He translated Pablo Neruda's 100 Love Sonnets / Cien sonetos de amor (UT Press, 1986). |
![]() | ![]() | ANTHOLOGIES. [Cuba - Poetry]. Tarn, Nathaniel (editor). Con Cuba: An Anthology of Cuban Poetry of the Last Sixty Years. London. 1969. Cape Goliard Press. 0206615612. 144 pages. paperback. Cover by Barry Hall. AN ANTHOLOGY OF CUBAN POETRY OF THE LAST SIXTY YEARS. In some countries poets appear to enjoy greater esteem than they do in the West. Earlier, in Cuba, poets are as abundant as trees and books as leaves. Then, in 1968 with the events in Prague, everything went dark again and Cuba itself looked as if it might he losing its way. It cannot be said often enough that those who are likely to suffer most under repression are precisely the poets for, despite appearances, it is the poets who are beginning to understand government better than anyone else. Now there are signs that the battle between bureaucrats and poets persists in Cuba. This book grew haphazardly out of a journey to Cuba and the desire to share a number of poems one had discovered and read with pleasure. It begins just after the internationally famous father of modern Cuban verse - Nicolás GuillEn. It is not designed to be fully ‘representative', a number of good writers have been unavoidably omitted and no ranking is implied in the number of poems chosen from any one writer. In part, the selection was determined by the availability of books and of members of the oppressed race of translators. Their choice of poems in the books submitted to them was for the most part their own. CONTENTS: FELIX PITA RODRIGUEZ (b. 1909)-Because We Love Life/Porque Amamos La Vida (translated by Lionel Kearns); JOSE LEZAMA LIMA (b. 1912)-'Tell Me, Ask Me'/'Dime, Preguntame' (translated by Nathaniel Tarn); An Obscure Meadow Lures Me/Una Oscura Pradera Me Convida (translated by Nathaniel Tarn); Summons Of The Desirer/Llamado Del Deseoso (translated by Nathaniel Tarn); SAMUEL FEIJOO (b. 19l4)- On The Death By Fire Of Gladys, The Girl Of The Canaries/En La Muerte Por Fuego De Gladys, La Joven De Los Canarios (translated by Anthony Kerrigan); The Song Of Man At Death/La Cancion Del Hombre En La Muerte (translated by Tom Raworth); ELISEO DIEGO (b. 1920)-The Whole Ingenuous Disguise, The Whole Of Happiness/Todo El Ingenuo Disfraz, Toda La Dicha (translated by Nathaniel Tarn); Fragment/Fragmento (translated by Nathaniel Tarn); On This Single, This One And Only Afternoon/En Esta Sola, En Esta Unica Tarde (translated by Nathaniel Tarn); Difficulties Of An Equilibrist/Riesgos Del Equilibrista (translated by Tim Reynolds); CINTIO VITIER (b. 1921)-The Dispossessed/El Deposeido (translated by Tom Raworth); The Light On Cayo Hueso/La Luz Del Cayo (translated by Nathaniel Tarn); Nicodemus Speaking/Palabras De Nicodemo (translated by Nathaniel Tarn); FINA GARCIA MARRUZ (b. 1923)-Noon/El Mediodia (translated by Tom Raworth); LUIS MARRE (b. 1929)-'I Had In My Hand'/'Tenia En Mi Mano' (translated by Donald Gardner); ‘And There Was Also A Ranch In Hell'/'Y Tambien Hube Una Estancia En El Infierno' (translated by Donald Gardner); PABLO ARMANDO FERNANDEZ (b. 1930)-Birth Of Eggo/Nacimiento De Eggo (translated by Nathaniel Tarn); Surrender Of Eshu/Rendicion De Eshu (translated by Nathaniel Tarn); Islands/Islas (translated by Tim Reynolds); From Man To Death/De Hombre A Muerte (translated by Tim Reynolds); FAYAD JAMIS (b. 1930)-The Milky Way/La Via Lactea (translated by David Ossman & Carl Hagen); Poem In Nanking/Poema En Nankin (translated by David Ossmain & Carl Hagen); Shut Up You Shit/No Hables Mierda (translated by Adrian Mitchell); ROBERTO FERNANDEZ RETAMAR (b. 1930)-How Lucky They Are, The Normal Ones/Felices Los Normales (translated by Tim Reynolds); A Man And A Woman/Un Hombre Y Una Mujer (translated by Tim Reynolds); Being Asked About The Persians/Le Preguintaron Por Los Persas (translated by Nathaniel Tarn); PEDRO DE ORAA (b. 1931)-New Poetics/Nueva Poetica (translated by Donald Gardner); HEBERTO PADILLA (b. 1932)-The Hour/La Hora (translated by Elinor Randall); Like An Animal/Como Un Animal (translated by Tom Raworth); The Old Bards Say/Dicen Los Viejos Bardos (translated by Anthony Kerrigan); RAFAEL ALCIDES (b. 1933)-'This Is Not A Letter To Be Opened'/'Esta No Es Una Carta Para Abrir' (translated by Donald Gardner); ‘All That Winter, All That Spring'/'Hemos Padecia La Mania De Creer' (translated by Donald Gardner); A List Of Things Hands Can Do/Lista De Cosas Que Saben Hacer Las Manos (translated by Anthony Kerrigan); CESAR LOPEZ (b. 1933)-'I Can't Talk About Him'/'No Puedo Hablar De El' (translated by Margaret Randall); ‘When A Man Dies'/'Cuando Alguien Muere' (translated by Donald Gardner); ‘What Happened To Her'/'Que Le Ocurrio' (translated by Anthony Kerrigan); MANUEL DIAZ MARTINEZ (b. 1936)-Ophelia In The Rain/Ofelia En La Lluvia (translated by Donald Gardner); Ancient History/Historia Muy Vieja (translated by Donald Gardner); LUIS SUARDIAZ (b. 1936)-Best Sellers/Best Sellers (translated by Adrian Mitchell); Found/Hallazgos (translated by Adrian Mitchell); Today, The Twelfth Of September, In Cordoba/Hoy Doce De Septiembre En Cordoba (translated by Lionel Kearns); FELIX GUERRA (b. 1939)-This Is The Century I Love/Este Es Mi Querido Siglo (translated by Adrian Mitchell); MIGUEL BARNET (b. 1940)-Epitaph/Epitafio (translated by Lionel Kearns); Errata/Fe De Erratas (translated by Lionel Kearns); DAVID FERNANDEZ (b. 1940)-Inventory/Inventario (translated by Donald Gardner); Camaguey, 30 November 1966/Camaguey, Noviembre 30 Del 66 (translated by Donald Gardner); ISEL RIVERO (b. 1941)-Newspaper Item/Resena (translated by Adrian Mitchell); ORLANDO ALOMA (b. 1942)-The Militant Angel/El Angel Mllitante (translated by Margaret Randall); GERARDO FULLEDA LEON (b.1942)-A Man/Un Hombre (translated by Elinor Randall); BELKIS CUZA MALE (b. 1942)-Deadly Woman/Una Mujer Fatal (translated by Tom Raworth); Thus The Poets In Their Sad Likenesses/Asi Estan Los Poetas En Sus Tr1stes Retratos (translated by Nathaniel Tarn); GUILLERMO RODRIGUEZ RIVERA (b. 1943)-Vita Nuova/Vida Nueva (translated by Nathaniel Tarn); VICTOR CASAUS (b. 1944)-Epitaph For God/Epitafio De Dios (translated by Anthony Kerrigan); A Story/Una Historia (translated by Anthony Kerrigan); Advertisement/Anuncio De Solicitud (translated by Anthony Kerrigan); FROILAN ESCOBAR (b. 1944)-Worries/Murumacas (translated by Tom Raworth); NANCY MOREJON (b. 1944)-'Love Slides Down The Sides'/'El Amor Tambien Se Desliza' (translated by Tim Reynolds); Some People/Central Park/3.O0 P.M./Parque Central, Alguna Gente (translated by 3: 00 P.M.) (translated by Nathaniel Tarn); LUIS ROGELLO NOGUERAS (b. 1944)-The Same As Ever/Es Lo Mismo De Siempre (translated by Donald Gardner); The Brothers/Los Hermanos (translated by Donald Gardner); LINA DE FERIA (b. 1945)-'When My Old Age'/'Cuando Mi Vejez' (translated by Tom Raworth); ‘When My Papers'/'Cuando Mis Papeles' (translated by Anthony Kerrigan); EDUARDO LOLO (b. 1945)-'Anna'/'Ana' (translated by Tim Reynolds); ‘If You Get Up'/'Si Ud. Se Levanta' (translated by Stephen Schwartz). Nathaniel Tarn (born June 30, 1928) is an American poet, essayist, anthropologist, and translator. He was born in Paris to a French mother and a British father. He lived in Paris until age 7, then in Belgium until age 11; when World War II began, the family moved to England. He emigrated to the United States in 1970 and taught at several American universities, primarily Rutgers, where he was a professor from 1972 until 1985. He has lived outside Santa Fe, New Mexico since his retirement from Rutgers. Tarn was educated at LycEe d'Anvers and Clifton College and graduated with degrees in history and English from King's College, Cambridge. He returned to Paris and, after some journalism and radio work, discovered anthropology at the MusEe de l'Homme, the Ecole des Hautes Etudes and the Collège de France. A Smith-Mundt-Fulbright grant took him to the University of Chicago; he did fieldwork for his doctorate in anthropology with the Highlands Maya of Guatemala. In 1958, a grant from the Rockefeller Foundation administered by the Royal Institute of International Affairs sent him to Burma for 18 months, after which he became an instructor at London School of Economics and then lecturer in Southeast Asian Anthropology at the School of Oriental and African Studies of the University of London. Even after moving primarily to literature, he continued to write and publish anthropological work on the Highland Maya and on the sociology of Buddhist institutions, as E. Michael Mendelson. Tarn published his first volume of poetry Old Savage/Young City with Jonathan Cape in 1964 and a translation of Pablo Neruda's The Heights of Macchu Picchu in 1966 (broadcast by the BBC Third Programme 1966), and began building a new poetry program at Cape. He left anthropology in 1967. From 1967-9, he joined Cape as General Editor of the international series Cape Editions and as a Founding Director of the Cape-Goliard Press, specializing in contemporary American Poetry with emphasis on Charles Olson, Robert Duncan, Louis Zukofsky and their peers and successors. He brought a great many French, other European and Latin American titles to Cape and made many visits to the U.S. as a Cape Editor. He taught English at SUNY Buffalo in the summer of 1969. In 1970, with a principal interest in the American literary scene, he immigrated to the U.S. as Visiting Professor of Romance Languages, Princeton University, and eventually became a citizen. Later he moved to Rutgers. Since then he has taught English and American Literature, Epic Poetry, Folklore and other subjects at the Universities of Pennsylvania, Colorado, and New Mexico, as well as reading and lecturing elsewhere. As poet, literary & cultural critic (Views from the Weaving Mountain, University of New Mexico Press, 1991, and "The Embattled Lyric, Stanford University Press, 2007), translator (he was the first to render Victor Segalen's "Stèles" into English, continued work on Neruda, Latin American and French poets) and editor (with many magazines), Tarn has published some thirty books and booklets in his various disciplines. He has been translated into ten foreign languages. In 1985, he took early retirement as Professor Emeritus of Poetry, Comparative Literature & Anthropology from Rutgers University and has since lived near Santa Fe, New Mexico. His interests range from bird watching, gardening, classical music, opera & ballet, and much varied collecting, to aviation and world history. |
![]() | ![]() | ANTHOLOGIES. . Torres-Rioseco, Arturo (editor). Short Stories of Latin America. New York. 1963. Las Americas Publishing Company. 203 pages. hardcover. Jacket design by ZILIA SANCHEZ. With this volume, SHORT STORIES OF LATIN AMERICA, Las Americas Publishing Company introduces a series of anthologies designed to offer the English speaking reader translations of short stories written by Latin American authors and by Spanish writers residing in The Americas. Most of the writers whose work is included in this first volume are very active in the ‘Post Modernista' experimental and radical short story movements. Here for the first time in English translation are stories by men like Jorge Luis Borges, Francisco Ayala, Alejo Carpentier and Agustin Yanez who are contributing to and enriching the development of the young tradition of the short story in Latin America. The themes and styles of these short stories are multifarious and range from the indigenous and almost ‘folk-style' to the most fanciful and macabre flights of a surrealistic imagination. Here too are the fundamental questions of the human situation, love, misery, hunger, the ‘fellow-man,' political existence, treated in a manner which ranges from the most realistic depiction to depiction against the most ‘fictive' world imaginable. Arturo Torres-Rioseco, who selected the stories and edited the volume, is an outstanding literary critic and authority on Latin American literature. Professor Torres-Rioseco is chairman of the Spanish Department at the University of California in Berkeley. CONTENTS: The Short Story in Latin America; About the Authors; TOBIAS, Felix Pita Rodriguez; THAT NIGHT, Lino Novas Calvo; JUSTICE, Horatio Quiroga; THE LAST SUPPER, Francisco Ayala; BIGUU, AndrEs Henestrosa; THE ZAPOTEC PROMETHEUS, Andrês Henestrosa; THE TREE, Maria Luisa Bombal; RETURN TO THE SEED, Alejo Carpentier; THE STONE AND THE CROSS, Ciro Alegria; THE GLASS OF MILK, Manuel Rolas; THE MORIBUND, Guadalupe Dueñas; ALDA OR MUSIC DISCOVERED, Agustin Yanez; GRUBS, Alfredo Pareja Diez-Canseco; THE FUNERAL, Juan Marin; THE ALEPH, Jorge Luis Borges. Dr. Arturo Torres-Rioseco (1897–1971) was a Chilean poet, scholar, translator, historian, and diplomat who taught extensively in the United States and Latin America. He was full professor of Spanish American Literature at UC Berkeley (1936–1969), professor of summer sessions at Columbia University, University of Mexico, University of Guatemala, Stanford University, Duke University, and Mills College. Dr. Torres-Rioseco worked closely with Mills College's Casa Panamericana Program and its School of International Relations in the 1940's. In 1961, he was appointed by John F. Kennedy as a member of the Advisory Committee on Latin American Relations. He also wrote several books of poetry, translated the Rubaiyat of Omar Khayyam, and wrote a book on Gabriela Mistral. After Dr. Torres-Rioseco's death his wife, Rosalie Godt Torres-Rioseco, began to donate books and manuscripts, including letters, non-fiction, poetry, novels, and journals from Arturo Torres-Rioseco's private collection to the Special Collections Department of the F.W. Olin Library, Mills College. This department now houses the Arturo Torres-Rioseco Collection, consisting of over 400 volumes of literature of major 20th century Latin American poets and writers, as well as correspondence from political and literary figures. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Townsend, Francis Edward (editor, translator, and introduction). Quisqueya; a panoramic anthology of Dominican verse. Ciudad Trujillo. 1954. Editora del Caribe. 101 pages. Reprint as Quisqueya; an English-Spanish version of the poetry of Santo Domingo. Bogota: UISLS, 1964. 63 p.). |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Townsend, Francis Edward (editor, translator, and introduction). Quisqueya; a panoramic anthology of Dominican verse. Mexico. 1947. Editores Unidos. 104 pages. The only comprehensive survey of the poetry of the Dominican Republic in English translation. Poems by: Rafael Richiez Acevedo ('Agapito javalera'), Enrique Aguiar, Osvaldo Bazil, Federico Bermudez, Franklin Mieses Burgos, Manuel Cabral, Enrique Cambier, J. Agustin Concepcion, Pedro Rene Contin Aybar, Gaston F. Deligne, Vigil Diaz, Virgilio Diaz Ordoñez, Francisco Dominguez Charro, Alfredo Fernández Simo, Fabio Fiallo, Victor Garrido, Valentia Giro, Clemencia Damiron Gomez P., Ernestina Gomez de Read, Miguel A. Guerrero, Enrique Henriquez, Gustavo Julio Henriquez, Rafael A. Henriquez, Tomás Hernández Franco, Porfirio Herrera, Hector Incháustegui Cabral, Ramon Emilio Jimenez, Martha Lamarche, Julio de Windt Lavandier, Mariano Lebron Savinon, Tomás Morel, Domingo Moreno Jimenez, Amada Nivar de Pitaluga, Armando Oscar Pacheco, Arturo B. Pellerano Castro, Emilio Prudhomme, Rafael Emilio Sanabia, Altagracia Savinon, Ruben Suro, Delia Weber. (Rpt. Ciudad Trujillo: Editora del Caribe, 1954. 101 p.; reprint as Quisqueya; an English-Spanish version of the poetry of Santo Domingo. Bogota: UISLS, 1964. 63 p.). |
![]() | ![]() | ANTHOLOGIES. [Brazil - Poetry]. Trend, John Brande (compiler and translator). Modern Poetry from Brazil. Cambridge. 1955. [Dolphin Book Co.]. 32 pages. A bilingual edition, parallel texts. Poets include: Mario de Andrade, Manuel Bandeira, Ruy Ribeiro Couto, Jorge de Lima, Cecilia Meireles, Augusto Frederico Schmidt. Limited by the selection of only a few poems from the first half of the twentieth century. John Brande Trend, or J.B. Trend (1887–1958), was a British Hispanist and the first Professor of Spanish at the University of Cambridge. Born in Southampton, Trend was educated at Christ's College, Cambridge, where he won an Exhibition to take the Natural Science Tripos. After serving in continental Europe during the First World War, he developed a keen interest in Spanish and the historiography of Spanish music. In 1933 he was appointed to the first Chair in Spanish at Cambridge. His areas of expertise included a wide variety of topics, and he was known for such general works as his The Origins of Modern Spain. He wrote on the composer Manuel de Falla, with whom Trend corresponded regularly, and he was the author of the first critical study of Falla's work in English: Manuel de Falla and Spanish Music (1929). |
![]() | ![]() | ANTHOLOGIES. [Mexico - Poetry]. Underwood, Edna Worthley (editor and translator). Anthology of Mexican Poets. Portland. 1932. Mosher Press. 332 pages. hardcover. CONTENTS: POETS OF TODAY - MANUEL GUTIERREZ NAJARA - The Duchess Job; Shubert's Serenade; To Salvador Diaz Miron; Sometime; Non Omnis Moriar; Calicot; For A Menu; Para El Corpino; Butterflies; Sad Night; SALVADOR DIAZ MIRON - Green Eyes; The Deserter; Men Of Genius; MANUEL JOSE OTHON - Sonnet Sequence II; Sonnet Sequence II; Sonnet Sequence III; ENRIQUE FERNANDEZ GRANADOS - Wine Of Lesbos; ENRIQUE GONZALEZ MARTINEZ - The Grief Of Autumn; The Captive; House With Two Doors; Useless Days; Homesick Memory; My Grief Is A Rosebush Always In Flower; The Voice Of Long Ago; Change; The Ballad Of Mad Fortune; Noli Me Tangere; AMADO NERVO - Los Mysticos; Rondo Vago; The Buddha Of Basalt; The Mountain; Old Song; RAMON LOPEZ VELARDE - Wet Land; The Spell Of Return; My Heart; RICARDO ARENALES - The Lament Of October; Stanzas; Song Of La Vida Profunda; RAFAEL LOPEZ - Manuel De La Parra; JOSE JUAN TABLADA - Alternating Nocturn; A La Watteau; Ballad Of The Eyes; Onyx; Heron; LUIS G. URBINA - Noche Clara; First Romantic Interlude; Alone; Ballad; FRANCISCO A. DE ICAZA - A Village Of Andalusia; Landscape Of The Sun; Eastern Music; Poor Blind Man; Autumn; EFREN REBOLLEDO - Voto; Insomnia; MANUEL DE LA PARRA - A Fable By Grimm; The Cistern; ENRIQUE GONZALEZ ROJO - The Midday Sea; Naked Woman; Stones; JESUS E. VALENZUELA - To Duque Job; MANUEL LARRANAGA PORTUGAL - Sonnet; RUBEN M. CAMPOS - Tropic Nocturns; FRANCISCO M. OLAGUIBEL - Provenzal; MANUEL OLAGUIBEL - Jesus; ROBERTO ARGUELLOS BRINGAS - Will; MARIA ENRIQUETA CAMARILLO - The Forgotten Path; Landscape; To A Shadow; Hail; The Scissor's Grinder; LUIS ROSADO VEGA - Nocturn Of The Rain; EDUARDO COLIN - After The Rain; ALFONSO REYES - La Amenaza De La Flor; Glosa De Mi Tierra; A; I; CARLOS BARRERA - Longing; FRANCISCO MONTERDE - ANTONIO MEDIZ BOLIO - Theatrical Sword; Joaquin Tellez Beside The Sea By Vera Cruz; JOAQUIN D. CASASUS - To An Unknown Woman; JUAN B. DELGADO - La Canada; RAFAEL DELGADO - In The Mountains; GENARO ESTRADA - Back To The Sea; JOSE D. FRIAS - Sonata Of Beethoven; F. GONZALEZ GUERRERO - Apparition; Fountain; LUCIANO JOUBLANC RIVAS - Sadness; CARLOS PELLICER - To Jose Manuel Puig Cassauranc; Desires; Snows Of The Andes; Uxmal; Study; Dawn; The Reaper; MANUEL-MAPLES ARCE - Paroxysm; Parting; 80 H. P.; BERNARDO ORTIZ DE MONTELLANO - Contents; The Five Senses; Sketch; RAFAEL LOZANO, JR. - Tee Aztec Flutist JOSE GOROSTITZA - The Aquarium; Seashore; Autumn; Twilight; JAIME TORRES BODET - Music; The Shadow; Romance; Dream; XAVIER VILLAURRUTIA - Air; Amplifications; Village; Phonographs; Picture; Insomnia; SALVADOR NOVO - Contents; A L1ttle Suite. Brief Romance In Time Of Absence I; Brief Romance In Time Of Absence II; Brief Romance In Time Of Absence III; Brief Romance In Time Of Absence IV; Brief Romance In Time Of Absence V; Shipwreck; The Deluge; RUDOLFO USIGLI - Nocturn; JUAN MANUEL RUIZ ESPARZA - U; I; C; E; FRANZ SAENZ AZCORRA - The Path; By The Dead Cities Of Yucatan; GILBERTO OWEN - Interior; Poem In Which The Word Love Is Often Used; POETS OF YESTERDAY - FRANCISCO DE TERRAZAS - Sonnet; JUAN RULE DE ALARCÔN - To Vesuvius; SOR JUANA INES DE LA CRUZ - To The Vicereine; Cupid; Salutation; Phoenix; FRAY MANUEL NAVARRETE - Love; JOSE JOAQUIN FERNÁNDEZ DE LIZARDI - Epitaph To The Liberty Of America; MANUEL CARPIO - To The River Cosamaloapan; WENCESLAO ALPUCHE - Fame; FERNANDO CALDERON - To A Faded Rose; MIGUEL GERONIMO MARTINEZ - The Pruning Season; GUILLERMO PRIETO - An Old Man's Love; IGNACIO RAMIREZ - My Portrait; JOSE MARIA ROA BARCENA - The Founding Of Mexico City; IGNACIO MARISCAL - The Tomb Of Juarez; PANTALEON TOVAR - To A Girl Weeping For Flowers; VICENTE RIVA PALACIO - Midday On The Coast Of Mexico; Evening In The Valley Of Mexico; Night On The Mountains Of Mexico; Two Swallows; IGNACIO M. ALTAMIRANO - To Atroyac; JUAN DIAZ COVARRUBIAS - Selection; JUAN VALLE - Romance; JOSE ROSAS MORENO - The Zentzontle; JOAQUIN ARCADIO PAGAZA - Evening Prayer; Night On Zempoala; IGNACIO MARTES DE OCA - Farewell My Native City; MANUEL M. FLORES - Jasmine; Ode To The Fatherland; JOSE PEON CONTRERAS - Canticles; JOSE PEON DEL VALLE - Omnia Pulvis!; No Volvio!; RAFAEL ENR1QUE ZAYOS - Spring Song; PEDRO I. PEREZ PINA - JUSTO SIERRA - To A Poet Who Killed Himself; MANUEL ACUNA - Nocturn; Ode; IGNACIO M. LUCHICHI - Verses For An Album; Bluettes; MANUEL DIAL MIRÔN - Orizaba; FRANCISCO G. COSMES - Remember; AUGUSTIN F. CUENCA - On Banks Of The Atroyac; JUAN DE DIOS PEZA - Night Of Winter; Beyond The Seas; LAURA MENDEZ DE CUENCA - The Magdalene; ADELBERTO A. ESTEVA - Tropic Night; The Sea By Vera Cruz; On The Shore; At The Ball; FELIPE T. CONTRERAS - The Middle Age; JOSE PABLO RIVAS - Festival Of Love; BALBINO DAVALOS - Then; JOSE M. BUSTILLOS - The Carpenter; JOSE J. NOVELO - ‘My Muse'; PROSE MINIATURES - RAFAEL LOPEZ - Colonial Puebla; AMADO NERVO - Puebla De Los Angeles; ALFONSO REYES - The Landscape Of Mexico; ALFONSO REYES - Landscape Of Mexico; FRANCISCO MONTERDE - The Road To Taxco; GENARO ESTRADA - The House; XAVIER VILLAURRUTIA - Night And Rain Over The City Of Mexico; FRANZ SAENZ AZCORRA - November In Yucatan; FRANCISCO MONTERDE - Night Over Taxco; E. A. CHAVEZ - Sor Juana Ines De La Cruz; GENARO ESTRADA - The Treasure; PEDRO I. PEREZ PINA - Dawn In Yucatan ; GENARO ESTRADA - The Colonial City; FRANZ SAENZ AZCORRA - March In Yucatan. Edna Worthley Underwood (January 1873 - June 14, 1961) was an American author, poet, and translator. Born in Maine in January 1873, Edna Worthley received little education as a child, attending school occasionally, only when her family moved to Kansas in 1884. She undertook a program of extensive self-instruction, learning Latin and several of the major European languages. She began attendance at Garfield University in Wichita, Kansas, but later transferred to University of Michigan in Ann Arbor, where she received a B.A. in 1892. Returning to Kansas, she taught in a public school for three years before being dismissed because she refused to give up yellow-bound foreign-language books which her superiors believed to be 'wicked', of a possibly pornographic nature. After marrying Earl Underwood in August 1897, Edna moved to Kansas City and then to New York City. She immediately undertook various literary activities including the composition of poetry, plays and filmscripts. Her first published book was a collaborative translation of a work by Nikolai Gogol in 1903. The first published book that bore Underwood's name as author was the collection of short stories, A Book of Dear Dead Women (1911). With the sole exception of 'An Orchid of Asia', Underwood apparently wrote no more short stories. In 1919, she published Letters from a Prairie Garden, a collection of her letters to a famous artist who had visited the mid-West and undertaken a correspondence with her. Underwood had published a book of poetry, The Garden of Desire (1913) but then turned to the writing of, for the most part, historical novels, drawing heavily upon the languages she had learned, the extensive travel she had undertaken, and her thorough grounding in history. The Whirlwind (1918) is about Catherine II of Russia. It was followed by The Penitent (1922), about Alexander I; The Passion Flower (1924), about Nicholas I and Alexander Pushkin. The Pageant-Maker was a novel planned but never completed or published. These novels gained favourable reviews, but by the late 1920s Underwood turned principally to poetry and translation. She had already issued translations from Russian and the Slavic languages (Short Stories from the Balkans, 1919), as well as translations from Persian (Songs of Hafiz, 1917) and Japanese (Moons of Nippon, 1919). She then made several translations from the Chinese, including the eighth-century poet Tu Fu (now rendered as Du Fu); these translations were made in collaboration with Chi-Hwang Chu. By the early 1930s she had turned to translating from the Spanish, including poets of Mexico, Haiti, and South America. By 1940 Underwood appears to have given up her literary endeavours. She entered a sanatorium in 1953 suffering from dementia. She died on June 14, 1961. |
![]() | ![]() | ANTHOLOGIES. [Costa Rica]. Urbano, Victoria (editor). Five Women Writers of Costa Rica: Short Stories by Carmen Naranjo, Eunice Odio, Yolanda Oreamuno, Victoria Urbano, Rima Vallbona. Beaumont, Texas. 1978. Asociacion de Literatura Femenina Hispanica. 131 pages. paperback. An anthology of short stories and critical essays. Various translators. Notes on the collaborators, pp. 128-31. Includes: Carmen Naranjo (3 stories); es- says by Victoria Urbano and Corina Mathieu. Eunice Odio (2 stories); essay by Rima Vallbona. Yolanda Oreamuno (2 stories); essays by Catherine G. Bellver and Victoria Urbano. Victoria Urbano (2 stories); essay by Kathleen Glenn. Rima Vallbona (3 stories); essay by Alicia G. R. Aldaya. Central American feminist author Victoria Eugenia Urbano was born June 4, 1926 in San Jose, Costa Rica to Victor Urbano and Aida PErez Urbano. Urbano began to show a passion for writing at an early age and went on to compose and publish numerous works of poetry, essays, short stories, articles, and plays throughout her lifetime. As a girl at the Escuela República Argentina in San Jose, Urbano won the Premio Jose Arce in 1940 for her composition about Argentine national heroes. Four years later, she started RITMO, the first student newspaper at the Colegio Superior de Señoritas. After graduation from secondary school, Urbano moved to San Francisco, Calif. to work and study. She worked as a secretary at the Connell Bros. Company from 1947 to 1952, and in her free time wrote poetry, prose, and many travel articles for local newspapers. Urbano also presided over the Círculo Hispanoamericano and its series of programs and lectures. It was during this time in San Francisco that she wrote Marfil, cuentos y poesías, published in 1951 by Ediciones Botas of Mexico City. In 1952 Victoria Urbano moved to Madrid to study dramatic writing at Spain's Real Escuela Superior de Arte Dramático. There she wrote several plays that were produced in Madrid and well reviewed, including Agar, la esclava, and La Hija de Charles Green. After she graduated with honors, Urbano went on to study at the University of Madrid where she received her M.A. and Ph.D., Magna Cum Laude. Urbano accepted a teaching position at Lamar University in Beaumont, Tex and returned to the U.S. in 1966. She was a primarily a professor of Spanish language, but also taught Spanish literature and Italian. She was active in numerous campus committees, activities, and professional organizations, including the Lamar Spanish Circle, the Lamar Italian Circle, the American Association of Teachers of Spanish and Portuguese, the American Association of University Professors, the Pan American Round Table, and the South Central Modern Language Association. Urbano was named a lifetime Regents' Professor in 1972 for her outstanding work in research and instruction. She also received several awards from the Lamar Research Center, and with those grants wrote literary criticism on Central American and Spanish theatre, Chaucer's Woman of Bath, Yolanda Oreamuno, and Clarice Lispector. Dr. Urbano remained at Lamar University until her death in 1984. Throughout her career Victoria Urbano received many international prizes and honors for her writing and leadership, including the title of Vice-Consul of Costa Rica in Texas and the Ribbon of Honor of Spain. She was also awarded the Premio Cultura Hispánica on History for her book Juan Vázquez de Coronado, and the international poetry prize Fray Luis de Leon for her book Los Nueve círculos. However, perhaps the most famous and prestigious honor came in 1969 when Dr. Urbano won the Premio Leon Felipe in Mexico. She was awarded this first international prize for literature for her collection of six short stories entitled Y era otra vez hoy, which was later published by Editorial Costa Rica in 1978. The winning of the Premio Leon Felipe took Urbano on an international tour throughout Mexico, Central America, and Europe for numerous speaking engagements, interviews, and readings of her work. In 1974 Dr. Urbano founded the professional organization Asociacion de Literatura Femenina Hispánica (ALFH) and its literary journal Letras Femininas. She envisioned an association where writers, both women and men, could converse and contribute to the genre of Latin American/feminist literature. The ALFH had hundreds of members from numerous countries, including the United States, Mexico, Argentina, Costa Rica, Uruguay, Paraguay, and Venezuela. Besides publishing papers and poetry in Letras Femininas, the group met several times yearly, usually in conjunction with the annual conventions of the Modern Language Association, the South Central Modern Language Association, or the Rocky Mountain Modern Language Association. Dr. Urbano acted as director of the ALFH and the editor if its journal until 1984 when she died in Houston of a renal illness. |
![]() | ![]() | ANTHOLOGIES. [Chile Mapuche - Poetry]. Vicuna, Cecilia (editor). UL: Four Mapuche Poets. Pittsburgh. 1998. Latin American Literary Review Press. 0935480994. Translated by John Bierhorst. 153 pages. paperback. UL: FOUR MAPUCHE POETS is a collection of work by contemporary Chilean poets Elicura Chihuailaf, Leonel Lienlaf, Jaime Luis Huenun, and Graciela Huinao. Written in the poets' native Mapudungun and Spanish, and appearing with English translations, these extraordinary poems celebrate the rich indigenous heritage of Chile and provide rare insight into a culture that remains largely unknown. The mystery of midnight has always stirred me. / It would seem the heavens dropped sharpened knives / to earth, cutting the night in two. / I think of my mother at midnight 14 October / 1956 when my mouth became filled with the South. (Graciela Huinao, Semblance of a Biography). This collection includes a useful introduction by Vicuna, with extensive notes, as well as a glossary. It is co-published with the Americas Society as one of two unprecedented anthologies appearing in trilingual format. Cecilia Vicuña (born July 22, 1948) is a Chilean poet, artist, and filmmaker. Her work is noted for themes of language, memory, decay and exile. Critics also note the relevance of her work to the politics ecological destruction, cultural homogenization, and economic disparity, particularly the way in which such phenomena disenfranchise the already powerless. Vicuña was born and raised in Santiago de Chile in 1948, but went into exile in London in 1973 following the death of President Salvador Allende and the 1973 Chilean coup d'etat led by General Augusto Pinochet. In 1980, Vicuña moved to New York City. Cecilia Vicuña was part of a group of artists and poets, Tribu No, that created art actions in Santiago de Chile from 1967 to 1972. She gave the group its name and authored its "No Manifesto." She performs her poetry internationally, frequently in conjunction with exhibitions or art installations, and documents her performances in videos, the Vicuña audio page at Pennsound, and the 2012 collection Spit Temple: The Selected Performances of Cecilia Vicuna which includes transcriptions, commentary, and audience commentaries. Vicuña has authored and published sixteen books of her visual art installations and poetry books, most of which have been translated into several languages. These include Saboramí (1973), a book made in collaboration with Felipe Ehrenberg that resembles a personal diary, The Precarious/Precario (1983), Cloud Net (2000), Instan (2002) and Spit Temple (2010), a collection of her oral performances. In 2009 she co-edited the Oxford Book of Latin American Poetry with Ernesto Livon Grosman, an anthology of 500 years of Latin American Poetry, which the Washington Post called "magisterial". Vicuña creates "precarious works;" characteristic of Vicuña's work is her use of materials that are often fragile, worn by the elements and/or biodegradable: the return to the environment. She describes her work as a way of "hearing an ancient silence waiting to be heard." In 1966 she began creating sculptural interventions called precarios, combining ritual and assemblage and typically throw-away materials such as yarn, sticks, feathers, leaves, stones and bones. Linked to the sacred wild Andean vicuña animal by name, Cecilia Vicuña utilized the wool of these animals for her Cloud-Net installation series as a metaphoric tool. The visual language of this series resulted in large-scale warp and weft installations within rural and urban environments - weavings - thus linking Vicuña to the Feminist Art Movement's Pattern and Decoration Movement. Museums that have exhibited her work include the Museo Nacional de Bellas Artes de Santiago, the Institute of Contemporary Arts (ICA), Art in General, New York City, the Whitechapel Art Gallery in London, the Whitney Museum of American Art, the University of California, Berkeley Art Museum, and MoMA, the Museum of Modern Art in New York. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Walsh, Thomas (editor). Hispanic Anthology: Poems Translated from the Spanish by English and North American Poets. New York & London. 1920. Putnam's. 779 pages. Translations by 18 translators in this bilingual edition. Included are biographical sketches of the poets. Although the anthology contains selections from the colonial period, most of the poets are from the late nineteenth or early twentieth centuries. The poets are: Olegario Victor Andrade (Argentina), Rafael Arevalo Martinez (Guatemala), Rufino Blanco Fombona (Venezuela), Mariano Brull (Cuba), Jose Eusebio Caro (Colombia), Ricardo Carrasquilla (Colombia), Julián del Casal (Cuba), Jose Santos Chocano (Peru), Luis Felipe Contardo (Chile), Ruben Dario (Nicaragua), Virgilio Dávila (Puerto Rico), Balbino Dávalos (Mexico), Salvador Diaz Miron (Mexico), Alonso de Ercilla y Zuniga (Chile), Fabio Fiallo (Dominican Republic), Julio Flores (Colombia), Gertrudis Gomez de Avellaneda (Cuba), Antonio Gomez Restrepo (Colombia), Enrique Gonzalez Martinez (Mexico), Alfonso Guillen Zelaya (Honduras), Manuel Gutierrez Nájera (Mexico), Jose Maria Heredia (Cuba), Enrique Hernández Miyares (Cuba), Julio Herrera y Reissig (Uruguay), Dimitri Ivanovitch (Colombia), Sor Juana Ines de la Cruz (Mexico), Samuel A. Lillo (Mexico), Muna Lee de Muñoz Mann (Puerto Rico), Luis C. Lopez (Colombia), Rene Lopez (Cuba), Leopoldo Lugones (Argentina), Manuel Magallanes Moure (Chile), Rafael Maria de Mendive (Cuba), Gabriela Mistral (Chile), Ernesto Montenegro (Chile), Luis Muñoz Rivera (Puerto Rico), Amado Nervo (Mexico), Luis G. Ortiz (Mexico), Joaquin Arcadio Pagaza (Mexico), Ricardo Palma (Peru), Felipe Pardo (Peru), Antonio Perez-Pierret (Puerto Rico), Martina Pierra de Poo (Cuba), Ramon Pimentel Coronel (Venezuela), Rafael Pombo (Colombia), Jose Manuel Poveda (Cuba), Pedro Requena Legarreta (Mexico), Lola Rodriguez del Tio (Puerto Rico), Jose Rosas Moreno (Mexico), Antonio Sellen (Cuba), Jose Asuncion Silva (Colombia), Victor Domingo Silva (Chile), Jose Juan Tablada (Mexico), Diego Vicente Tejera (Cuba), Luis G. Urbina (Mexico), Guillermo Valencia (Colombia), Jose E. Valenzuela (Mexico), Daniel de la Vega (Chile), Juan Jose Velgas (Chile). The collection also includes poems by Brazilians BuIho Pato and Faqundes Varella. (reprint Millwood, N.Y.: Kraus, 1969). Thomas Walsh (1875–1928) was a poet, literary critic, translator, and scholar of Latin American and Spanish literature. Walsh was born in Brooklyn, New York, on October 14, 1875, to Michael Kavanagh Walsh and Catherine Farrell Walsh. He lived with his brothers Frank M. Walsh and Edward Maris Walsh, and sisters Lorna Walsh and Lydia Walsh, in the family's Brooklyn home. Walsh was educated at Columbia University, Georgetown, Notre Dame, and Marquette University, from which institutions he received degrees in law, philosophy, and literature. He graduated from Georgetown in 1892, during which year he wrote the class poem, "Columbus." He also composed the Georgetown alumni ode "The Crusaders" in 1901, and read an ode for the dedication of the university's monument to John Carroll in 1912. Walsh was well known in Brooklyn for having composed an ode which he read at the formal unveiling of the Prison Ship Martyrs' Monument in Fort Greene Park on November 14, 1908. He was the occasion's poet laureate. During his lifetime, Walsh published four books of poetry: The Prison Ships and Other Poems (1909), The Pilgrim Kings: Greco, Goya and Other Poems of Spain (1915), Gardens Overseas and Other Poems (1918), and Don Folquet and Other Poems (1920). Walsh was an editor of the Catholic Encyclopedia and an anthology of translated Spanish poetry, the Hispanic Anthology (1920). According to John Bunker, "it is beyond question that his versions of many of the Spanish and Spanish-American poets introduced them to their first North American audience." He also served as an editor of Commonweal magazine from its founding in 1924 until his death in 1928. In addition to editing, Walsh also wrote many short articles and reviews, including several for the New York Times. Walsh died suddenly of heart disease on the morning of October 29, 1928, on the steps of his home. A posthumous collection of his poems, Selected Poems of Thomas Walsh, was published in 1930. The volume "embodies about one-half of his entire poetic product" and includes a memoir of Walsh written by friend and fellow writer John Bunker and "appreciations" of Walsh by his friends Edward L. Keyes and Michael Williams. In his memoir, Bunker writes, "it is no exaggeration to say that he was one of the most noteworthy of our modern American ambassadors of culture." |
![]() | ![]() | ANTHOLOGIES. [Cuba - Poetry]. Whitney, Anita (editor). Somos We Are: Five Comtemporary Cuban Poets. New York. 1970. Times Change Press. 0878100008. Poetry by Nicolas Guillen, Belkis Cusa Male, Guillermo Rodriguez, Nancy Morejon & Victor Casaus. 47 pages. paperback. Cover design by Su Negrin. In these works by five of Cuba's most popular poets, Nicolas Guillen, Belkis Cusa Mael, Guillermo Rodriguez, Nancy Morejon, and Victor Casaus, we get a glimpse into the emotional reality of life in the New Cuba. The poems appear here in both English and the original Spanish, with illustrations by the Cuban artist, Nuez. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Wieser, Nora Jacquez (editor). Open To the Sun: A Bilingual Anthology of Latin American Women Poets. Van Nuys. 1979. Perivale Press. 0912288167. 279 pages. paperback. cover by Daniel Hayes. This anthology spans the 20th century with an emphasis on poetry written after 1950. Eleven of the poets are deceased; nine are living. Poets are included from Colombia, Peru, Chile, Brazil, Uruguay, Argentina, Costa Rica, Nicaragua, El Salvador, Cuba and Mexico. The book does not pretend to be exhaustive. There are many more fine poets who have not been included. In the case of some, such as Claribel Alegria from El Salvador or Nancy Morejon from Cuba, we were not able to see enough of their published poetry to make an adequate selection. There are many factors which perpetuate the ‘out of print' or ‘not available' situation. The high cost of publishing results in limited copies. When the book is out of print, with rare exceptions, it remains so. Also, book distribution from one country to another in Latin America is such that only the relatively few established writers are known outside their own country. Often poets had heard of a poet from another country but they had never had access to the published work. Publishing cooperatives such as EDUCA in San Jose, Costa Rica, which serves six Central American Republics, can help in giving recognition to writers outside their country. But distribution of books is still a problem, basically an economic one. Another factor detrimental to writers in many countries is direct or indirect censorship by the regime in power. Many Latin American regimes overtly ban particular books they deem offensive. These governments can exercise indirect censorship by creating obstacles or conditions which make writing impossible. In some countries the political situation is such that writers must direct all their energies to mere survival. This situation can make creative expression a somewhat superfluous luxury. There were instances where we felt almost apolegetic trying to seek out women poets when the country itself teetered on the brink of social and economic disaster. CONTENTS: MARIA EUGENIA VAZ FERREIA - La voz del retorno/The Voice of Return; Historia postuma/Posthumous Story; Al atadd flotante/The Floating Casket; Vaso furtivo/A Furtive Glass; La nina vacua/The Vacuous Rime; DELMIRA AUGUSTINI - Otra estirpe/Another Race; Vision/Vision; Lo inefable/Unspeakable; ALFONSINA STORNI - Peso ancestral/Ancestral Weight; La caricia perdida/The Lost Caress; Han venido/They've Come; Plaza in invierno/The Park in Winter; Voy a dormir/I'm Going to Sleep; JUANA DE IBARBOUROU - Vida-garfio/Life Hook; Cronica/ Chronicle; GABRIELA MISTRAL - Los sonetos de la muerte I/Death Sonnets I; Los sonetos de la muerte II/Death Sonnets II; Los sonetos de la muerte III/Death Sonnets III; Pan/Bread; CLAUDIA LARS - Cartas escritas cuando la noche - I; III; VI; VIII; X; XI; XIV; XV; Letters Written when Night Grows - I; III; VI; VIII; X; XI; XIV: XV; Evocacion de Gabriela Mistral/Evocation of Gabriela Mistral; CECILIA MEIRELES - Mar absoluto/Absolute Sea; OLGA OROZCO - Olga Orozco/Olga Orozco; Noica/Noica; Lamento de Jonas/Jonah's Lament; Esfinges suelen ser/Sphinxes Inclined to be; THE NICARAGUAN GROUP - MARIANA SANSON - ‘No he oido el golpe'/'I didn't hear the door'; ‘Cuando Dios estaba'/'When God was'; LYGIA GUILLEN - ‘una tristeza que me conocia'/'A sadness which already knew me'; VIDALUZ MENESES - Cuando yo me case/When I Marry; Advertencias/Warning; ANA ILCA - Mesa/Table; GIOCONDA BELLI - Cotidiano/The Mundane; ROSARIO MURILLO - Por culpa del retrato/On Account of the Picture; YOLANDA BLANCO - Llueve/It's Raining; ROSARIO CASTELLANOS - Elegia/Elegy; El otro/Someone Else; Amanecer/Dawn; Ajedrez/Chess; Se habla de Gabriel/Speaking of Gabriel; Meditacion en el umbral/Meditation on the Brink; Lecciones de cosas/Learning about Things; EUNICE ODIO - ‘Escucha ese silencio'/'Listen to that silence'; Retratos del corazon/Portraits of the heart; AMANDA BERENGUER - Communicaciones/ Communications; Tarea domEstica/Housework; Tabla del dos/The Two Times Table; Inventario solemne/Solemn Inventory; Poniente sobre el mar del sábado 4 de marzo 1972/The Sunset on the Sea, Saturday the 4th of March 1972; ‘el incendio se propaga'/'The fire advances'; (Poema cinEtico); BLANCA VARELA - Madonna/Madonna; ‘Tal vez en primavera'/'Perhaps in the spring'; Vals del Angelus I/The Waltz of the Angelus I; Vals del Angelus II/The Waltz of the Angelus II; FRANCISCA OSSANDON - V/V; ‘Despliegue de cortezas'/'The unfurling of bark'; Juegos de la tierra y de la luz/Games of Earth and Light; OLGA ELENA MATTEL - ‘Yo soy una señora burguesa'/'I am a bourgeois wife'; ‘Recuerdas'/'Do you remember'; ‘Diciembre treinta y uno'/'December thirty first'; ‘Las galletas de soda'; ‘Pairs'; ‘Yo soy aqui'/'I am here'; NANCY BACELO - ‘No me interesan los datos'/'I'm not interested in dates'; Muy bajito/In a very, very quiet voice; ‘De vos de mi tenidos habitantes'/'From you from me painted dwellers'; ‘Me sorprendo en lugares'/'I surprise myself in places'; Todavia es temprano/It's Still Early; BELKIS CUZA MALIE - Los FotogEnicos/The Photogenic Ones; Las Cenicientas/The Stepsisters; Oh, Mi Rimbaud/Oh, My Rimbaud; Mujer Brava Que se Caso Con Dios/The Shrew Who Married God; Fausto/Faust; Están Haciendo Una Muchacha Para la Epoca/They're Making a Girl for the Age; ALEJANDRA PIZARNIK - Pido el silencio/I ask silence; Antes/Before; Moradas/Abodes; Amantes/Lovers; Verde paraiso/Green Paradise; Crepüsclo/Dusk; Nombrarte/To Name You; Las Grandes Palabras/The Great Words; Fronteras inütiles/Useless Frontiers; Reloj/Clock; Fiesta/Party; Sortilegios/Sorceries; CRISTINA MENEGHETTI - ‘La forma de dar forma al pensamiento'/'The utter form of giving form to thought'; ‘eran borrosos visitantes'/'They were nebulous visitors'; ‘la forma pequeña forma'/'the form small form'; ‘ültimo capitulo de una madurez'/'the last chapter of maturity'; ‘te necesito'/'I need you'; BIBLIOGRAPHY. Nora Jacquez Wieser was a professor at Oberlin College. |
![]() | ![]() | ANTHOLOGIES. [Chile]. Williams, Miller (editor). Chile: An Anthology of New Writing. Ohio. 1968. Kent State University Press. Includes facsimile signatures of the authors and poets. unpaginated. paperback. COVER: Cecilia Bruna is an exciting young artist whose deceptively simple drawings of curiously awry hands and haunted faces are thumb-tacked to walls all about Santiago. She works quietly and exhibits little, and is consequently one of Chile's least-know. Poems by Miguel Arteche appeared in Deutierro y Tinieblas (Zig-Zag, Stgo., 1963). Efrain Barquero: 'Te Andan Sue±os' and 'Mi Amada Esta Tejiendo' appeared in La Compa±era (Nascimento, Stgo., 1956), and 'La Miel Heredada' appeared in his book Enjambre. The CONTENTS: Introduction by Miller Williams; MIGUEL ARTECHE - poems - Epitalamio/Epitualamium; Girando/Spinning; Golf/Golf; Elegia Por Un Nino Muerto/Elegy For A Dead Boy; El Nino Idiota/Tue Idiot Child; EFRAIN BARQUERO - poems - Mi Amada Esta Tejiendo/My Beloved Is Knitting; La Miel Heredada/The Inheritance; Te Andan Suenos En Los Ojos/Dreams Run In Your Eyes; ROLANDO CARDENAS - poems - TIERRA DEL FUEGO/TIERRA DEL FUEGO; MUELLES/WHARVES; LUISA JOHNSON - poems - Noticia/Notice; Horas/Devotional; ENRIQUE LIHN - poems - Monologo Del Viego Con La Muerte/Monologue Of The Old Man With Death; Gallo/Rooster; Cementario De Punto Arenas/Graveyard At Punta Arenas; PABLO NERUDA - poems - Al Pie Desde Su Nino/To The Foot From His Child; Donde Estrara La Guillermina?/Where Is Guillermina?; Bestiario/Bestiary; Cierto Cansancio/A Certain Weariness; Laringe/Larynx; Fabula De La Sirena Y Los Borrachos; NICANOR PARRA - poems - El Pequeno Burgues/The Little Man; Momias/Zombies; Pido Que Se Levante La Sesion/I Move The Meeting Be Adtourned; En El Cementerio/In The Graveyard; El Galan Imperfecto/The Imperfect Lover ALBERTO RUBIO - poems - La Abuela/The Grandmother; Retrato De Una Nina/Portrait Of A Girl; JORGE TEILLIER - poems - Fin Del Mundo/End Of The World; A Un Nino En Un Arbol/To A Boy In A Tree; Cuando Todos Se Vayan/When Everyone Goes; Senales/Signals; Despedida/Renunciation; Un Arbol Me Despierta/A Tree Wakes Me Up; ARMANDO URIBE ARCE - poems - Poemas/Poems; POLI DELANO - story - The Boarding House; ANTONIO SKARMETA - story - First Comes The Sea; RAUL RUIZ - play - The Cheater. Illustrations by Nemesio Antunez & Cecilia Bruna. Poems by Miguel Arteche appeared in Deutierro y Tinieblas (Zig-Zag, Stgo., 1963). Efrain Barquero: ‘Te Andan Sueños' and ‘Mi Amada Esta Tejiendo' appeared in La Compañera (Nascimento, Stgo., 1956), and ‘La Miel Heredada' appeared in his book Enjambre. The poems by Rolando Cârdenas appeared in El Invierno de la Provincia (Sociedad de Escritores de Chile, Editorial Universitaria, Stgo., R. C, 1963). ‘El Final' by Poli Delano appeared in Gente Solitaria (Ediciones Mazorca, Imprenta Alfa, Stgo., 1960). The poems by Luisa Johnson appeared in Horario de un Caracol (Armando Mendin, Stgo., 1964), The poems of Enrique Lihn appeared in La Pieza Oscura (Editorial Universitaria, Stgo., F. L. 1963) The poems by Nicanor Parra are from Versos de Salon (Nascimento, Stgo., 1962). The poems of Alberto Rubio appeared in La Greda Vasija (Stgo., 1952) A. R.). ‘First Comes The Sea' by Antonio Skarmeta appeared in El Boletin del Instituto Nacional de Chile. ‘Fin del Mundo' and ‘To A Boy in A Tree' by Jorge Teillier appeared in Poemas del Pals de Nunca Jamás (Menedin, Stgo., 1963); the other poems by Sr. Teillier are from El Arbol de la Memoria (Imprenta Alfa, Stgo., 1960). The poems of Armando Uribe Arce: ‘La Lengua Habla' and ‘No Se Mi Nombre' appeared in his book Los Obstáculos, Coleccion Adonis (Madrid, 1961); ‘Quien Eres Tu,' ‘No Te Amo' and ‘Es Como Una Enfermedad' appeared in El Enganoso Land (Ediciones del Joven Laurel, Editorial Universitaria, Stgo., 1956). Some of the poems by Barquero, Parra, Rubio, nd Teillier have appeared in Chicago Review; by Arteche, Barquero, Lihn, Parra, Teillier, and Uribe in Al olive; by Arteche, Barquero, Lihn, and Teillier in Prairie Schooner; the interview the Nicanor Parra is reprinted from Shenandoah, The Washington and Lee University Review, Volume 18, Number 1, by permission of the editor. The poems by Pablo Neruda are reprinted by per. mission of the author and appeared in Estravagria (Editorial Lozada, Buenos Aires, 1958). . Poet, editor, critic, and translator Miller Williams (April 8, 1930, Hoxie, AR - January 1, 2015, Fayetteville, AR) was born in Hoxie, Arkansas in 1930, the son of a Methodist clergyman and civil rights activist. Miller's work is known for its gritty realism as much as for its musicality. Equally comfortable in formal and free verse, Williams wrote poems grounded in the material of American life, frequently using dialogue and dramatic monologue to capture the pitch and tone of American voices. In 1997 Williams was honored as the country's third inaugural poet, reading his poem Of History and Hope at the start of former President Bill Clinton's second term. He was the father of the singer-songwriter Lucinda Williams. As a child, Miller Williams exhibited more ability in science than in writing. Though he entered college as double major in English and foreign languages, an aptitude test revealed absolutely no aptitude in the handling of words, Miller has said in interviews. He changed his major to hard sciences to avoid embarrassing my parents. Williams earned a BS in biology from Arkansas State University and an MS in zoology from the University of Arkansas. He taught science at the college-level for many years before securing a job in the English department at LSU, partly with the help of his friend Flannery O'Connor. In an interview, Miller told the story: We became dear friends and in 1961, LSU advertised for a poet to teach in their writing program. Though I had only had three hours of freshman English formally, she saw the ad and, without mentioning it to me, wrote them and said the person you want teaches biology at Wesleyan College. They couldn't believe that, of course, but they couldn't ignore Flannery O'Connor. So they sent me word that said, ‘Would you send us some of your work?' And I did. Williams's appointment began a long career in academia: as a professor at Loyola University, he founded the New Orleans Review; while at the University of Arkansas, where he taught until his retirement in 2003, he founded the University of Arkansas Press, serving as director for 20 years. He also founded the MFA in Translation at the University of Arkansas. Williams has written, translated, or edited over 30 books, including a dozen poetry collections, such as Halfway from Hoxie: New and Selected Poems (1973); Living on the Surface: New and Selected Poems (1989), which received the Poets' Prize; Some Jazz a While: Collected Poems (1999); and Time and the Tilting Earth (2008). In a review of his collected poems, Some Jazz a While (1999), critic Lee Oser called Williams a poet of eloquent sanity and distinguished formal competence … a fine observer of the emotional and imaginative lives of his fellow citizens. In an interview with Elizabeth Farnsworth for PBS, Williams noted, I like to think that the best poetry is or involves a contest between ordinary conversation and ritual. There is something about the best poem that wants to set it in a pattern like a Gregorian chant. And there is something about the best poetry that makes it want to seem like a cocktail party conversation. It's partly in the tension between these two tendencies that a poem gets its energy and its life. Williams is also the author of Making a Poem: Some Thoughts about Poetry and the People Who Write It (2006). He edited Contemporary Poetry in America (1973) and Patterns of Poetry: An Encyclopedia of Forms (1986), and coedited How Does a Poem Mean? (1975) with with John Ciardi and later selected and arranged the poems in Ciardi's Stations of the Air: Thirty-Three Poems (1993). Williams also translated poetry by Nicanor Parra, Giuseppe Belli, and Pablo Neruda. His many honors include the Henry Bellman Award, the Amy Lowell Traveling Poetry Fellowship, a Fulbright professorship at the National University of Mexico, the Prix de Rome for Literature, the Charity Randall Citation for Contribution to Poetry as a Spoken Art, the John William Corrington Award for Literary Excellence, and the National Arts Award. His daughter is the singer-songwriter Lucinda Williams, and Williams himself has been compared to another great country musician. According to Williams: One of the best things that has ever been said about my work was said by a critic who wrote that ‘Miller Williams is the Hank Williams of American poetry. While his poetry is taught at Princeton and Harvard, it's read and understood by squirrel hunters and taxi drivers.' Williams died on January 1st, 2015, the same day Hank Williams had died on in 1953. A selection of his papers is archived in the Special Collections at the University of Arkansas library. |
![]() | ![]() | ANTHOLOGIES. [Drama]. Woodyard, George (editor). The Modern Stage in Latin America: Six Plays. New York. 1971. Dutton. 0525472967. Paperback Original. Includes Works by Rene Marques, Alfredo Dias Gomes, Osvaldo Dragun, Jorge Diaz, Jose Triana, & Emilio Carballido. 331 pages. paperback. Cover design by Tim Lewis. The purpose of this anthology of plays in translation is to draw attention to the very vital and important theatre in Latin America, for less attention has been devoted to its study or performance outside Latin America than the rich- ness of the material merits. It is a theatre of serious purpose devoted to commentary on contemporary values and problems. The playwrights, in their correlation of structure, character, and dialogue with the thematic importance of the work, exhibit a far better control of technique than at any previous period in the history of their craft. The six plays published in this volume have been selected as the best and most representative examples of current themes and techniques, and they admirably reveal the refinement and sophistication of the modern theatre In Latin America. Contents: RenE MarquEs: The Fanlights (1958, Puerto Rico); Alfredo Dias Gomes: Payment as Pledged (1960, Brazil); Osvaldo Dragün: And They Told Us We Were Immortal (1963, Argentina) ; Jorge Diaz: The Place Where the Mammals Die (1963, Chile); Jose Triana: The Criminals (1964, Cuba) ; Emilio Carballido: I Too Speak of the Rose ( 1966, Mexico). George Woodyard (November 18, 1934 - November 7, 2010) was born in Charleston, Illinois, as the youngest of nine children. Woodyard received his bachelor's degree in education from Eastern Illinois University in 1954 and his master's degree in Spanish from New Mexico State University the following year. He received a Ph.D. in Spanish from the University of Illinois in 1966. Woodyard was a professor in the Department of Spanish and Portuguese at the University of Kansas from 1966 to 2005 and became the first dean of international studies in 1989. He founded an academic journal called the Latin American Theatre Review in 1967 and was its editor for more than 40 years. He won numerous awards, including the Ollantay Prize for Theatre in Venezuela and the Miami Teatro Avante lifetime achievement award. |
![]() | ![]() | ANTHOLOGIES. [El Salvador]. Yanes, Gabriela / Sorto, Manuel / Castellanos Moya, Horacio / Sorto, Lyn (editors). Mirrors of War: Literature and Revolution in El Salvador. New York. 1985. Monthly Review Press. 0853456879. Translated from the Spanish and with an introduction by Keith Ellis. 151 pages. paperback. cover design: Goodness Graphics. MIRRORS OF WAR is a collection of prose and poetry that springs directly out of the movement for revolution in El Salvador, where a civil war has been raging since the 1970s. The literature vibrates with a sense of anger and irony, urgency and hope, against a backdrop of political oppression and inescapable brutality. The writers' themes - historical roots and conquest, the nature of war, social commitment, and the role of the writer - are a measure of the deep involvement of literature in the political arena. The editors are Salvadorean writers and activists living in exile. They have come of age during the war, and the collection mirrors that experience; the war - and not a variety of high points of Salvadorean literature - defines this volume. ‘When a people make a revolution, their entire culture becomes revolutionary This has been true of Nicaragua. It is also proving true in the case of El Salvador where a whole new literature (poetry and prose) is erupting directly out of the heroism of the people. This is what this book brings together And this, in my view is the historical importance of this book.' - Ernesto Cardenal . . . An extensive introduction by translator Keith Ellis locates this volume and its writers within the literature of revolutionary movements in Central America. Mirrors of War will thus be welcomed by people interested in the literature of Latin America and revolutionary movements, as well as those concerned about the war in Central America. CONTENTS: INTRODUCTION by Keith Ellis; FOREWORD TO THE SPANISH EDITION; Tamales from Cambray by Claribel Alegria; The Battle of Acaxual by Roberto Quesada; from A Play Without a Name by Dimas Castellon-Mariano Espinoza; First Parcel by Jose Roberto Cea; from Ereguayquin by Roberto Torres; from Concerning Anastasio Martyr by Manuel Sorto; from Rebel Song for Anastasia Martyr by Jaime Suárez Quemain; from Organized Poetry by Roger Lindo; from A Play Without a Name by Dimas Castellon-Mariano Espinoza; from Izalco Ashes by Claribel Alegria; from Crumbs by Claudia Lars; from Anecdotes, Chronology and Obituary of Boots by Mercedes Durand; The Republic of Power by Alfonso Hernández; from Mythology of Cuzcatlán by Miguel Angel Espino; from Childhood Stories by Jose Maria Cuellar; from Riding Hood in the Red Zone by Manlio Argueta; from One Day of Life by Manlio Argueta; from Crumbs by Claudia Lars; from Casianga by Roberto Monterroza; from The Murder of the Polo Champion by Alfonso Quijada Urias; My Friends by Carlos Aragon; from Sniping by Jose Maria Mendez; A Song by Paco Barrios; In Memory of Comrade Juan Castro by Sonia Civallero; from Crumbs by Claudia Lars; from Organized Poetry by Roger Lindo; Testimony by Alfonso Hernández; The Highways That Led South by Gabriela Vanes; from Our Father by Alfonso Quijada Urias; from The Night of the Pursued by Salomon Rivera; Reasons for Surprise by Jose Lois Valle; From A way of Dying by Reyes Gilberto Arevalo; from Without Ceremony by Roberto Quesada; from The Infinite Heads by Eduardo Sancho Castaneda; from Making my Song by Miguel Huezo Mixco; from The Poet and his Wife by Julio Iraheta Santos; from Now That You Are Naked by Nelson Brizuela; from Life, Passion, and Death of the Anti-man by Pedro Geoffroy Bivas; Theory for Dying in Silence by Ricardo Castrorrivas; from I Stand Firm Here by Jaime Suârez Quemain; from Now That You Are Naked by Nelson Brizuela; from The Infinite Heads by Eduardo Sancho Castaneda; from As a Declaration of Principles by Roque Dalton; A Note from a Salvadorean Newspaper by La Prensa Grafica; from Concerning our Poetic Ethics by Roque Dalton; from The War We Are Going to Win by Manuel Sorto; from One Day of Life by Manlio Argueta; from Pulse by Ricardo Humano; from Some Sayings and Deeds by Nachin; from Epitaph by Rolando Costa; The Police and the Guards by Roque Dalton; from The Infinite Heads by Roberto Monterroza; Mamma Tina's Hands by Gabriela Yanes; from Hallelujah Floating Head by Roberto Monterroza; from Organized Poetry by Roger Lindo; from Crumbs by Claudia Lars; from Later Poems by Eduardo Sancho Castaneda; Get Up Juana Spirits by Alfonso Quijada Urias; Adviser by Horacio Castellanos Moya; The Day by Miguel Huezo Mixco; from Concerning Love by Lil Milagro Ramirez; from Song to Liberty and Happiness by Luiz Diaz; from For a Better Love by Roque Dalton; Well, Yes, Of Course! By Mauricio Marquina; from a novel in preparation by Manuel Sorto; from Fever by Miguel Huezo Mixco; from The War Chews Up the Days by Horacio Castellanos Moya; from an interview with Carlos Antonio Gomez; Litanies of the Holy Women by Rafael Mendoza; from The People Wash Their Faces by Paco Barrios; serenade for Refugee Children by Rafael Mendoza; from Los Torogoces by Los Torogoces de Morazán; Testimony of Comandante Sebastian by Carlos Aragon; Because I Want Peace by Claribel Alegria; from The War We Are Going to Win by Manuel Sorto; NOTES FOR THE INTRODUCTION; NOTES ON THE TEXT; BIOGRAPHICAL NOTES. Keith Ellis is author of CUBA'S NICOLAS GUILLEN: POETRY AND IDEOLOGY, and a professor of Spanish at the University of Toronto. |
![]() | ![]() | ANTHOLOGIES. . Yates, Donald (editor). Latin Blood: The Best of Crime and Detective Stories of South America. New York. 1972. Herder & Herder. 0665000219. 224 pages. hardcover. Here for the first time in one volume are the very best of the crime and detective stories of Latin America. Donald A. Yates, who was the first to present Jorge Luis Borges to American readers in the early 1960's, has here assembled a highly readable and wide-ranging collection of tales that date from the turn of the century till recently, and represent the cream of Argentinian, Chilean, Mexican, and other Latin writers. Prominent among the contributors are Borges himself, and two of his lifelong associates, Adolfo Bioy Casares and Manuel Peyrou. Each story is prefaced by a brief biblio-biographical note on the author, and the introduction by the editor outlines in full detail the emergence of the Latin detective story from its Anglophile origins to its present high literary distinctiveness and originality. Donald A. Yates (1930–2017) was professor emeritus of Spanish American literature at Michigan State University (East Lansing). He is the translator of both novels and short stories by many Spanish American authors, including Labyrinths: Selected Writings of Jorge Luis Borges, edited and translated with James Irby (New Directions, 1962), and Adolfo Bioy Casares's celebrated novel Diary of the War of the Pig (McGraw-Hill, 1972). Labyrinths was the first collection of Borges's work to appear in English. Yates published his own fiction, poetry, articles, and book reviews, as well as translations, in many periodicals, including the Atlantic, Holiday, the New Yorker, the New York Times Book Review, the San Francisco Chronicle, and the Washington Post. He was a Fulbright Scholar and visiting lecturer in Argentina in 1962–63, 1964–65, 1967–68, and 1970, and, with the support of a John Simon Guggenheim fellowship. |
![]() | ![]() | ANTHOLOGIES. [Poetry]. Zurita, Raul (selector). Pinholes in the Night: Essential Poems from Latin America. Port Townsend. 2013. Copper Canyon Press. 9781556594502. Edited by Forrest Gander. 281 pages. paperback. Cover art: Juan Dollhare. "[A] well-defined, important primer on Latin American poetics." - Booklist. "When we read a book we put it in front of our eyes, not behind them, which is to say, more or less, that we open ourselves to a dimension of our future." - Raúl Zurita, from the introduction. This intensely focused bilingual anthology pinpoints the heart of Latin American self-identification. In selecting these fifteen essential poems, Chilean poet Raúl Zurita was guided by the question, "What poem, had it not been written, would have rendered the author another author and Latin American poetry something else?" This extraordinary gathering of talent - from Jorge Luis Borges and Pablo Neruda to Ernesto Cardenal and CEsar Vallejo - spans the twentieth century. Raúl Zurita, winner of the Chilean National Prize for Literature, survived arrest and torture during Augusto Pinochet's dictatorship. He co-founded CADA (Colectivo de accion de arte), and has created huge poetic art pieces, including poems carved into cliffs that can only be read from the sky. Forrest Gander is a poet, translator, and professor at Brown University. His books have been named finalists for the Pulitzer Prize and the National Book Critics Award. |
![]() | ![]() | LITERATURE. [Colombia]. Abad, Hector. Oblivion: A Memoir. New York. 2012. Farrar Straus Giroux. 9780374223977. Translated from the Spanish by Anne McLean and Rosalind Harvey. 263 pages. hardcover. Jacket design by Nayon Cho. Oblivion is a heartbreaking, exquisitely written memorial to the author's father, HEctor Abad Gomez, whose criticism of the Colombian regime led to his murder by paramilitaries in 1987. Twenty years in the writing, it paints an unforgettable picture of a man who followed his conscience and paid for it with his life during one of the darkest periods in Latin America's recent history. PRAISE FOR OBLIVION: A MEMOIR… It is very difficult to summarize Oblivion without betraying it, because, like all great works, it is many things at once. To say that it is a heartrending memoir of the author's family and father - who was murdered by a hired assassin - is true, but paltry and infinitesimal, because the book is also a moving immersion into the inferno of Colombian political violence, into the life and soul of the city of Medellín, into the private life and public courage of a family, a true story that is also a superb fiction due to the way it is written and constructed, and one of the most eloquent arguments written in our time or any time against terror as an instrument of political action. - Mario Vargas Llosa. [Oblivion] emits a primal yet articulate howl . . . Mr. Abad's prose, in this translation by Anne McLean and Rosalind Harvey, is elastic and alive . . . In Spanish the verb ‘to remember' is ‘recordar,' the author reminds us, a word that derives from ‘cor,' the Latin for heart. This memoir is extravagantly big-hearted. It will be stocked, in good bookstores, in the nonfiction or belles-lettres sections. A wise owner might also place a copy under the sign that more simply reads: Parenting. - Dwight Garner, The New York Times. [An] admirable effort at speaking the unspeakable, at verbalizing the pain accumulated over decades, is HEctor Abad's extraordinary memoir Oblivion. It's been years since I read such a powerful meditation on loss . . . I confess not to have known of [Abad] before, even though this is his second book translated into English. This ignorance was actually beneficial, for it allowed me to submerge myself in the narrative without preconception. I emerged from that submersion hypnotized. Oblivion will remind you in equal measure of Vittorio de Sica's Italian neo-Realist movie The Bicycle Thief and Elie Wiesel's Holocaust novel Night . . . [Abad's] desire to explore the echoes of memory with meticulous care, to touch the wound of the past through lucid prose, is an act of valor. - Ilan Stavans, San Francisco Chronicle. A family memoir that deserves classic status . . . [Abad] not only pays radiant homage to a hero but champions the path of peaceful change he so steadfastly took. - Boyd Tonkin, The Independent. A tremendous and necessary book, devastatingly courageous and honest. At times I wondered how [Abad] was brave enough to write it. - Javier Cercas. A beautiful and profoundly moving work. - El País. [Oblivion] is a shattering chronicle of Colombia's violence. But it is also an inspiring tribute to tolerance and paternal love. - Giles Tremlett, The Guardian. A beautiful, authentic, and moving book. - Rosa Montero. [A] great and deeply moving testament. - Kate Saunders , The Times (London). An unbearably moving, eloquent tribute to the author's father - who was murdered by Colombian paramilitaries in 1987 - that is fit to burst with love and pride." - Holly Kyte, The Telegraph. I store up what I have read by Hector Abad like spherical, polished, luminous little balls of bread, ready for when I have to walk through a vast forest in the nighttime. - Manuel Rivas. "Colombian author Abad dedicates this loving and sentimental memoir to his father, Hector Abad Gomez, a professor and doctor devoted to his family, "moved to tears…by poetry and music," and committed to a better Colombia. The latter aspiration cost him his life when he was assassinated in 1987, and his son began writing this book five years later. Abad spends much of the book expressing his love for his father, but it is his discussion of Gomez's public health and human rights projects - such as founding "the Colombian Institute of Family Wellbeing, which built aqueducts and sewer systems in villages, rural districts, and cities" - that reveals what a remarkable educator, reformer, and activist the senior Abad was, and how his assassination was a tragedy for a family and a nation." - Publishers Weekly. Hector Abad was born in Medellín, Colombia, in 1958. He was twelve when he wrote his first stories, going on to win the 1980 Colombian National Short Story Prize at just twenty-one. In 1987 his father was murdered by paramilitaries, and Abad was forced to flee to Italy. While in exile he published his first book, Malos Pensamientos (1991) but it was only upon returning to Colombia in 1993 that he became a fulltime writer. His autobiographical Oblivion: A Memoir has recently become available in English. |
![]() | ![]() | LITERATURE. [Colombia]. Abad, Hector. Recipes for Sad Women. London. 2012. Pushkin Press. 9781906548636. Translated from the Spanish by Anne McLean. 156 pages. paperback. Cover illustration: Still Life of Grapes by Gino Severini. An idiosyncratic cookbook for the culinary enlightenment of mind and heart, combining perceptiveness with compassion and wisdom with sensuousness-for whenever we feel overwhelmed by our humanity. A book of ambiguous genre and delicate, playful wisdom, Recipes for Sad Women is not a novel and not a cookbook. But should you wish to know what food to prepare in the case of sobbing or of nervousness, what the closest thing to dinosaur meat is (and therefore the best remedy for guilt), or what to eat when you are perfectly healthy and enjoying reciprocated love, you will find no better collection of recipes on the market. An acclaimed novelist, essayist, journalist and translator, Abad's eccentric, sensual and wry guide is neither unserious, nor entirely plausible in its advice. Elegant, melancholic, funny and full of morsels of insight, it is deftly and movingly instructional on the proper appreciation of sadness. ‘I store up what I have read by Hector Abad like spherical, polished, luminous little balls of bread, ready for when I have to walk through a vast forest in the night-time.' –Manuel Rivas. ‘This is a book that quietly knows what it is to be human, and to bridge, or reconcile, the gap between body and mind.'–Nick Lezard, Guardian. ‘A passion for romantic Borgesianism will be satisfied by Hector Abad's Recipes for Sad Women, cute vignettes which address a darker sadness' –Nick Lezard, Guardian Books of the Year 2012. Hector Abad was born in Medellín, Colombia, in 1958. He was twelve when he wrote his first stories, going on to win the 1980 Colombian National Short Story Prize at just twenty-one. In 1987 his father was murdered by paramilitaries, and Abad was forced to flee to Italy. While in exile he published his first book, Malos Pensamientos (1991) but it was only upon returning to Colombia in 1993 that he became a fulltime writer. His autobiographical Oblivion: A Memoir has recently become available in English. |
![]() | ![]() | LITERATURE. [Colombia]. Abad, Hector. The Farm. Brooklyn. 2018. Archipelago Press. 9780914671923. Translated from the Spanish by Anne McLean. 471 pages. paperback. Cover art: Simon Abad. Cover design Megan Mangum. Pilar, Eva, and Antonio Ángel are the last heirs of La Oculta, a farm hidden in the mountains of Colombia. The land provides the setting for the siblings' happiest memories, but it also reminds them of their struggle against the siege of violence and terror, restlessness and flight. In The Farm, Hector Abad illuminates the vicissitudes of a family and a people, as well as the voices of these three siblings, recounting their loves, fears, desires, and hopes, all against a dazzling backdrop. We enter their lives at the moment they are about to lose the paradise on which they built their dreams and reality. Hector Abad was born in Medellín, Colombia, in 1958. He was twelve when he wrote his first stories, going on to win the 1980 Colombian National Short Story Prize at just twenty-one. In 1987 his father was murdered by paramilitaries, and Abad was forced to flee to Italy. While in exile he published his first book, Malos Pensamientos (1991) but it was only upon returning to Colombia in 1993 that he became a fulltime writer. His autobiographical Oblivion: A Memoir has recently become available in English. |
![]() | ![]() | LITERATURE. [Brazil]. Abreu, Caio Fernando. Whatever Happened To Dulce Veiga?. Austin. 2000. University of Texas Press. 029270500x. Translated from the Portuguese & With An Afterword & Glossary by Adria Frizzi. 200 pages. hardcover. A forty-year-old Brazilian journalist reduced to living in a dilapidated building inhabited by a bizarre human fauna-fortune-tellers, transvestites, tango-loving Argentinean hustlers-is called upon to track down and write the story of Dulce Veiga, a famous singer who disappeared twenty years earlier on the eve of her first big show. Thus begins a mad race through an underground, nocturnal São Paulo among rock bands with eccentric names, feline reincarnations of Vita Sackville-West, ex-revolutionaries turned junkies, gay Pietas, echoes of Afro-Brazilian religions, and intimations of AIDS. Constructed like a mystery, the novel unravels over a week, evoking a decadent and contaminated atmosphere in which the journalist's own search for meaning finds its expression in the elusive Dulce Veiga, who constantly appears to him as if in a dream, her arm pointing heavenward. Whatever Happened to Dulce Veiga? is a descent into the underworld of contemporary megalopolises where, like the inside of a huge TV, life intermingles with bits of music, film clips, and soap opera characters in a crazy and macabre dance, moving toward a possible catharsis. Caio Fernando Abreu (September 12, 1948, Santiago, Rio Grande do Sul, Brazil - February 25, 1996, Porto Alegre, Rio Grande do Sul, Brazil) was an award-winning journalist, novelist, short-story writer, and playwright who portrayed, as no other contemporary writer, the myriad contradictions of urban Brazil. His untimely death, as well as his courageous stand on AIDS and the growing popular interest in gay literature, will likely result in renewed attention to his playful yet urgent brand of postmodern writing. Adria Frizzi is a translator and critic who teaches in the Department of French and Italian at the University of Texas at Austin. |
![]() | ![]() | LITERATURE. [Mexico]. Acosta, Juvenal. The Tattoo Hunter. Berkeley. 2002. Creative Arts Book Company. 0887394965. 181 pages. paperback. Cover photograph by Eric Mertens. From the date of its original publication in Spanish, The Tattoo Hunter established itself as a new classic of the city by the Bay. Now in translation, this neo-noir novel is finally available to the English language reader. The Tattoo Hunter is a powerful account of the dark side of sexuality and its effects on human consciousness. Written in an enticing poetic style, this story of curiosity and seduction takes us from the very origins of the Cretan labyrinth to the labyrinth drawn on the soft skin of its most intriguing character, the Countess, in a desperate hunt for meaning. The elegant prose and provocative atmosphere immerse us in a world of velvet, Goth women, and red wine spilled on naked bodies, as we follow the steps of this unique, intellectual hunter. Juvenal Acosta is a fiction writer, poet, and journalist born in Mexico in 1961. He has edited two anthologies of contemporary Mexican poetry published by City Lights Books. The original version of The Tattoo Hunter (El Cazador de Tatuajes), his first novel, was published in Mexico City to wide critical acclaim. This Fall, The Violence of Velvet (Terciopelo Violento), his second novel, will be released by Planeta Press. His essay on bullfighting, ‘The Gaze and the Blood,' was translated into English by Gregory Rabassa and published by Periplus Books in London as an introduction to Tauromachia, a book of photography. Acosta writes for Cambio, a weekly magazine published by Gabriel García Márquez in Mexico City, directs the M.F.A. in Writing and Consciousness at the New College of California, and teaches creative writing at the California College of Arts and Crafts in San Francisco. |
![]() | ![]() | LITERATURE. [Literary Criticism]. Adams, M. Ian. Three Authors of Alienation: Bombal, Onetti, Carpentier. Austin. 1975. University of Texas Press. 0292780095. 128 pages. hardcover. Cover illustration by Jim Harter. As a philosophical and social concept, alienation covers a broad range of mental states, both normal and abnormal. Correspondingly, a wide range of literary forms has been employed to deal with this important theme. In THREE AUTHORS OF ALIENATION, an exploration of the literary expression of alienation, M. Ian Adams discusses the works of three contemporary Latin American authors. The fiction of Maria Luisa Bombal, Juan Carlos Onetti, and Alejo Carpentier reflects alienation, disgust with life, and a feeling of nothingness arising from the conditions of modern society. However, each author treats the theme differently. In La Oltima niebla, Maria Luisa Bombal uses poetic imagery to create the emotional life of the protagonist. Juan Carlos Onetti portrays the schizoid extreme of alienation with a complex of symbols based on changes of vision caused by the mental states of his characters. In Los pasos perdidos, Alejo Carpentier presents the problem of the modern alienated artist who attempts to rid himself of his social alienation by changing times and cultures. In his close analysis of the works discussed, Adams considers each literary element in its context and also in terms of its relation to the larger artistic vision of the author. In addition, he places the works of the three authors in the greater perspective of modern social problems by discussing the concepts of social alienation proposed by Erich Fromm and Erich Kahler. His conclusion is that, although disgust with life and feelings of meaninglessness are at the heart of the experiences of the characters of all three authors, only in Alejo Carpentier's Los pasos perdidos are social conditions the major cause of alienation. In the works of Bombal and Onetti, alienation is a result not of social conditions, but of factors unique to the characters' personalities and circumstances. THREE AUTHORS OF ALIENATION is a solid contribution to criticism of contemporary Latin American narrative. Adams's projection of a social problem into the realm of aesthetic experience yields new interpretations of both the problem and the literature. Latin American Monographs, No.36. M. Ian Adams received his doctorate from the University of Texas at Austin in 1972. He is now a professor of Spanish at the University of Wyoming. |
![]() | ![]() | LITERATURE. [Peru]. Adan, Martin. The Cardboard House. Saint Paul. 1990. Graywolf Press. 1555971296. Translated from the Spanish by Katherine Silver. 105 pages. hardcover. Cover art - 'Mistico' by Xul Solar. Cover design by Tree Swenson. Originally published in Spanish as La casa de carton. When Adán began composing THE CARDBOARD HOUSE at the age of eighteen, the neighborhood of Barranco for him was also fragments of memory, imagination, sensations, nostalgic yearnings. The resort, as he had known it, and his place in it, had ceased to exist. His family, aristocratic but in full economic decadence, had sold their Barranco chalet some years before to pay off debts. With the money that was left over, they purchased a Ford automobile so that Rafael's mother and aunts could ‘go to church in style'. Biographical information about Martin Adán is sparse and anecdotal. He was born in Lima in 1908. By the time he was a young adult, he had lost every member of his immediate family: his younger brother died when they were children, then his father, his mother, and finally the aunt and uncle under whose care he had been placed. He attended the German High School, where many of his classmates and teachers were or would become leading figures in Peru's artistic and intellectual life. When THE CARDBOARD HOUSE was published in 1928, it was received with high critical acclaim. Adán was hailed as a great innovator of Peruvian literature and the most promising young writer of his generation. For a while he moved in Lima's literary circles and marginally participated in the political and cultural debates that raged at that time. Soon thereafter, the traces of his life fade into an alcoholic haze. There are anecdotes about the coffee houses he visited, the odd scrapes of napkins on which he wrote his poetry, and his increasing isolation, an isolation that became absolute when he committed himself to a ‘house of rest,' less euphemistically called a psychiatric hospital. There he remained until 1985, when his physical condition necessitated his removal to a different kind of hospital. He died that same year. During his almost forty years of self-imposed confinement, he jealously guarded his solitude, shunning all public attention and only allowing visits from his editor, Juan Mejia Baca, and a few close friends. During one of the only interviews he ever granted - and this after the interviewer had spent years soliciting a meeting that Adán cut short after a few questions - he said he wrote THE CARDBOARD HOUSE to practice the rules his grammar professor, Emilio Huidobro, had given him. THE CARDBOARD HOUSE is the only piece of prose Martin Adán ever completed. Some six or seven volumes of poetry were published during his lifetime and this due largely to the painstaking and devoted labor of Mejia Baca, who collected the bits and pieces of paper Adán left strewn along his path. Though he never quite lived up to the expectations created by the brilliance of THE CARDBOARD HOUSE he is still commonly referred to as one of the greatest Latin American poets of all time. . Originally published in Spanish as La casa de carton. Martín Adán (October 27, 1908, Lima, Peru - January 29, 1985, Lima), pseudonym of Rafael de la Fuente Benavides, was a Peruvian poet whose body of work is notable for its hermeticism and metaphysical depth. From a very young age Adán demonstrated great literary talent (talent he shared with classmates Emilio Adolfo Westphalen and Estuardo Núñez). As time passed, he lived with increasing economic difficulty and suffered from serious alcoholism. A good part of his final years were spent in sanitariums, until his death in 1985. |
![]() | ![]() | LITERATURE. [Chile]. Agosin, Marjorie. Happiness. Fredonia. 1993. White Pine Press. 1877727342. Translated from the Spanish by Elizabeth Horan. 237 pages. paperback. Cover Art (c) 1993 by Heteo Perez. Book design by Watershed Design. This book was published in the original Spanish by Editorial Cuarto Propio, Santiago. Chile (1991). A collection of disturbing and beautiful stories from the noted Chilean poet and human rights activist. This is the first collections of her fiction to be published in English. ‘Pork Sausages' first appeared in Americas Magazine, ‘An Immense Black umbrella' first appeared in WHEN ANGELS GLIDE AT DAWN (Harper Collins, 1991), and ‘Prairies' and ‘The Gold Bracelet' first appeared in the Agni Review. CONTENTS: INTRODUCTION; Prelude to a Literary Alliance - Elizabeth Horan; HAPPINESS - Slaves; Happiness; Fat; Braids; An Immense Black Umbrella; Adelina; Nana; Monserrat Ordonez; Emma; Wax Candles; THE FIESTA - Gypsy Women; North; Photographs; The Gold Bracelet; The Fiesta; Orphanages; The Seamstress from Saint Petersberg; The Eiderdown; Pisagua; The Hen; Pork Sausages; Itinerants; Water; Signs of Love; SIGNS OF LOVE - Love Letters; First Time to the Sea; Mirrors; Meditation on the Dead; Rio de la Plata; FORESTS - Blood; journey to the End of Coasts; Forests; Beds; Cartographies; The Dead; The Rubber Tree; LONG LIVE LIFE - Long Live Life; Prairies; Sargasso; Rivers; Distant Root of Autumn Loves; Naked; Houses by the Sea; The Dreams of Van Gogh. Marjorie Agosín (born June 15, 1955) is an award-winning poet, essayist, fiction writer, activist, and professor. She is a prolific author: her published books, including those she has written as well as those she has edited, number over eighty. Two of her recent books are both poetry collections, The Light of Desire / La Luz del Deseo, translated by Lori Marie Carlson (Swan Isle Press, 2009), and Secrets in the Sand: The Young Women of Juárez, translated by Celeste Kostopulos-Cooperman (White Pine Press, 2006), about the female homicides in Ciudad Juárez. She teaches Spanish language and Latin American literature at Wellesley College. She has won notability for her outspokenness for women's rights in Chile. The United Nations has honored her for her work on human rights. She also won many important literary awards. The Chilean government awarded her with the Gabriela Mistral Medal of Honor for Life Achievement in 2002. Agosín was born in 1955 to Moises and Frida Agosín in Chile, where she lived her childhood in a German community. |
![]() | ![]() | LITERATURE. [Puerto Rico]. Agueros, Jack. Dominoes and Other Stories From the Puerto Rican. Willimantic. 1993. Curbstone Press. 188068411x. 149 pages. hardcover. ‘A wonderful collection of stories - full of the particulars of a people's encounter with America, told with persuasive grace, charm, [and] honesty. . .' - Robert Coles. DOMINOES & OTHER STORIES FROM THE PUERTO RICAN, the long-awaited debut collection of the fiction of playright and poet Jack Agueros, is a unique window on the untold stories of the lives of Puerto Rican-Americans. With a phenomenal richness of detail, Jack Agueros brings the reality of Puerto Rican experience in New York fully to life. In stories that span the decades of the 1940s through 1990s he recreates the barrio in all its multi-faceted immensity, with its candy stores, plaster saints, numbers collectors, tropical fruit vendors and sidewalk games of dominoes, its knife fights and junkies' raps and its successful stories of craftsmen and entrepeneurs. These stories convey hard, sometimes brutal, often bittersweet experiences, but throughout, Jack Agueros writes with artistry and unyielding compassion that gloriously affirm quiet moments of grace and triumph in common and ordinary struggles - the real stuff of literature. ‘I don't like the way Latinos often get portrayed. The lives of working people are unheard from because it's hard to write about them. But those lives are frequently heroic and have their drama, too. I'm also interested in what happens to them.' - Jack Agueros. Jack Agueros was born in New York City in 1934. Recipient of numerous awards, he has published poetry, plays and children's stories, and has written works broadcast on television, notably for Sesame Street and WNBC-TV Channel 4. For almost ten years he was director of the Museo del Barrio in East Harlem, the only Puerto Rican Museum in the U.S. . Jack Agüeros (September 2, 1934 - May 4, 2014) was an American community activist, poet, writer, and translator, and the former director of El Museo del Barrio. |
![]() | ![]() | LITERATURE. [Colombia]. Aguilar Garcia, Eduardo. Boulevard of Heroes. Pittsburgh. 1993. Latin American Literary Review Press. 0935480625. Translated from the Spanish by Jay Anthony Miskowiec. 192 pages. paperback. Cover illustration - 'Las Flores del Golgota' by Marco Tulio Lamoyi. Originally published in Spanish as Bulevar de los heroes. Petronio Rincon is the son of an assassinated politician and the follower of a revolutionary priest. As a youth, he organizes the masses to incite the residents of a poor neighborhood. A decade later, the untamed and ritualistic jungle becomes Petronio's habitat. Overthrown by his avaricious troops and exiled by the government, Petronio then lands in Paris, where he is forcibly interned in a hospital and suffers from insomnia and nightmares. One evening, he chances upon a stone staircase that spirals him into the bowels of the city, beginning a Dantesque experience plagued with nameless tortures and horrors. Near the end of the novel, Petronio encounters-in a cabaret-the withered figure of Simon Bolivar in a twist of fate that changes the novel's infernal mood. In the tradition of magic realism, Boulevard of Heroes blends the fantastic and the logical to create a lucid commentary of utopian failure, expertly translated by Jay Anthony Miskowiec and with an introduction by internationally renowned translator Gregory Rabassa. EDUARDO GARCIA AGUILAR was born in the Andean city of Manizales, Colombia, in 1953. He has published three novels, three collections of short stories and two books of poetry. Mr. Aguilar has been Central American correspondent for Excelsior, Unomasuno and El Periodico de Mexico. Since 1980 he has been pursuing his writing career in Mexico City, where he is at present Associate Director of Agence France Press. JAY ANTHONY MISKOWIEC received his M.A. and Ph.D. in Comparative Literature from the City University of New York. He is currently an Assistant Professor of English at Hamline University in Saint Paul. |
![]() | ![]() | LITERATURE. [Ecuador]. Aguilera-Malta, Demetrio. Babelandia. Clifton. 1985. Humana Press. 0896030652. Illustrated by George Bartko. Translated from the Spanish by Peter Earle. 375 pages. hardcover. Cover art by George Bartko. Originally published in Spanish as Babelandia in 1973. BABELANDIA is Demetrio Aguilera-Malta's wildly surreal, extravagantly comical story of the kidnapping of the corrupt and brutal General Jonas Pithecanthropus, chief military officer of an archetypal Latin-American dictatorship as monstrously deformed by its political and military authoritarianisms as any Orwell or Swift might imagine. Pithecanthropus, the General in question, is here truly an ape-man-murderously barbaric as an officer, savagely macho as a lover, but helplessly simian when confronting the ape-ambrosia of a banana. His kidnapping by a nonviolent but revolutionary band of guerrillas precipitates a terrible crisis among the leaders of Babelandia, who are opposed by: Captain Gleam, the equally archetypal embodiment of all good, a superman among the insurrectionists; The Amautas, the rebels who have taken their name from a mysterious tribe of ancient Incan sages, and who hold Pithy prisoner in the caldera of an extinct volcano; Theophilus Bright, a magic volcano-priest who reconciles nature, holiness, and prime causality in his cheshire-like manifestations and dematerializations; and of course the Party of Perpetual Opposition. As the tale unravels, we meet: Holofernes Verbophile, Babelandia's skeleton-dictator who disperses his bones at will, and harangues the people only via cassette; Wiley Warhorse, the Secretary of Defense who is often transmogrified directly into General Pithecanthropus' cavalry mount; Bacchus the Groveler, the obsequious Secretary of State, who hosts Lucullan feasts at the Embassy of Great Entanglements; Maria, Captain Gleam's unreachable love, who is as pure and virtuous (almost) as her Biblical namesake; Harpitune, Holofernes' wife, who lives in coiling, sinister embrace with the boa constrictor, Melopea, and searches fruitlessly for her lost son, the poet Sinbad; Father Polygamo, whose unholy sexual organ grows continually-wreaking havoc among all the women of Labyinthia - eventually to be buried in a coffin beside Polygamo's own, from whence it soon rises-transformed and beatific; Ludivina, a young woman tormented and defiled by Polygamo's unholy tendril, who eventually dies giving birth to a sulfurous green offspring, perhaps the devil himself; Doña Prudencia, Ludivina's vulturous dueña, who cannot in the end save her; Eneas Pioneer, Gleam's close friend, tipsy organist, and failed suitor of Ludivina; Piggy Rigoletto, the Secretary of the Interior, who plunders Babelandia's resources and commands 50,000 serpents in the search for the kidnapped Pithy; Voracia, Piggy's wife, who literally gobbles money while fantasizing the goods it could purchase; Narcissus Vaselino, the Chief of Protocol who behaves as slimily as his name suggests with; Disgusteaux, the imported Parisian chef; Pepita San Toro, who wears men down to the nub of widowhood several times over; Spongy Sumptuoso, owner of Babelandia's ‘elitiest' nightclub, where Pithecanthropus was to have been feted by ambassadors from around the world; Rory Notorioso, the investigative reporter who discovers and reveals Pithy's shameful family secrets; And many others whose painful but mordantly comic exertions continually enrich the tale. In this harsh but often hilarious grotesquerie, Demetrio Aguilera-Malta has created a timeless satire of a nightmarish world-a confused and horrifying Babel reincarnate-where all power gives way to brutal authoritarianism, where every coarse desire is monstrously realized, where the ultimate triumph of the forces of good emerges all too slowly. No one will soon forget the enduring gallery of felons and degenerates, of pure and virtuous revolutionary paladins, of follies and corruptions and deliverances that is so entertainingly portrayed here, in BABELANDIA - this hell driven, Rabelaision, but ultimately redeemable universe that overwhelmingly mirrors our own hearts and lives. . Widely acknowledged to be one of the brilliant pioneers of magic realism-the phantasmagorical style that uniquely characterizes so much of contemporary Latin American literature-Demetrio Aguilera-Malta, the legendary Ecuadorean writer, has in recent years begun to receive the long overdue attention and enthusiastic readership in the English-speaking world that his work so greatly deserves. The highly regarded translator, Gregory Rabassa, not long ago published a distinguished version of the author's fantastic novel from the 1960s, SEVEN MOONS AND SEVEN SERPENTS, and John and Carolyn Brushwood have also produced an equally striking version of DON GOYO (Humana Press), the author's classic and timeless first novel from the 1930s. In his rich and varied career as a writer, Demetrio Aguilera-Malta (May 24, 1909, Guayaquil, Ecuador - December 28, 1981, Mexico City, Mexico) was a poet, essayist, and foreign correspondent; he wrote and directed films; he taught in several universities in the United States and elsewhere; he painted vigorously; and always he wrote novels of astonishing power, moral and social consciousness, and radical inventiveness. He died in 1981 while living in Mexico City, where he was serving as his country's Ambassador to Mexico. BABELANDIA was first published in 1973, and is here given an especially rich and inventive translation by the accomplished editor, scholar, and translator, Peter Earle. Once again, as in DON GOYO, the powerful wash drawings of George Bartko bring to life the book's many fantastic and intriguing characters. |
![]() | ![]() | LITERATURE. [Ecuador]. Aguilera-Malta, Demetrio. Don Goyo. Clifton. 1980. Humana Press. 0896030199. Illustrated by George Bartko. Translated from the Spanish by John & Carolyn Brushwood. 200 pages. hardcover. Cover art by George Bartko. Originally published in Spanish as Don Goyo. DON GOYO is the magnificently sensual and vital first novel of the legendary Ecuadorean writer, Demetrio Aguilera-Malta. Its setting is an island community of cholo fisherfolk and mangrove cutters near Guayaquil, Ecuador. The book opens by relating the adventures of Cusumbo, a young cholo who journeys from the primitive freedom and easy dignity of his youth on a hacienda into knowledge of his father's broken rage at perpetual debt and peonage, a rage that soon leads to the murder of Cusumbo's mother. The story follows the neophyte's amusing sexual explorations, his increasing despair and bondage at the hacienda, where he has inherited his father's debts, his cuckolding by the white owner and subsequent revenge murder of his wife, his new life as a fisherman, his absurd and painful encounters with the whores of the big city, and his eventual learning to be a mangrove cutter because that alone will win him a new wife. Although Cusumbo leads a primal and sensuous life, Don Goyo, the 150-year-old patriarch whose enormous vigor and wisdom is fabled among the islanders now lives in a world of hallucinatory communion with the waters, the creatures of the sea, and above all the ancient mangroves. In a powerful vision, the trees speak to him of their brotherhood with the island people, and ask that Don Goyo prevent their destruction. Don Goyo's moral authority leads his people for a time away from the culling of the mangroves - and the obliteration of their way of life that this will inevitably bring. But they soon discover they can no longer survive from fishing alone, and when they seek out Don Goyo to tell him of their decision to return to cutting, he has already journeyed deep among the mangroves, to die transcendently even as the oldest and greatest of the trees falls nearby. Beautifully translated by John and Carolyn Brushwood and powerfully illustrated by George Bartko, Don Goyo proclaims itself clearly as a great early classic of the magic realism that has flowered so richly in modern Latin-American literature. DON GOYO is an archetypal work steeped in the anguish, joy, brutality, and wanton passion of life in a world beginning to be devoured into modern civilization, illuminating with its prodigal and harsh lyricism a process that confronts our humanity with its heartbreaking social convulsions everywhere today. DEMETRIO AGUILERA-MALTA ((May 24, 1909, Guayaquil, Ecuador - December 28, 1981, Mexico City, Mexico), born in turn-of-the-century Ecuador, is a poet, playwright, essayist and novelist. Now recognized as one of the major literary influences in Latin America. Aguilera-Malta made a vital contribution to the development of ‘magical realism', a creative blend of fantasy and myth, imbued with the vision of social and political turmoil. In the 1930s, he was one of the Ecuadorian writers who formed the Grupo de Guayaquil to further social change. His early works were judged crude and violent, but they were a turning point in Ecuadorian literature and have had an obvious impact on younger Latin American writers such as Gabriel Garcia Marquez. SEVEN SERPENTS AND SEVEN MOONS was first published in Mexico in 1970 and later in Spain and Italy. His other novels translated into English include MARCIELA (1967) and DON GOYO (1979). |
![]() | ![]() | LITERATURE. [Ecuador]. Aguilera-Malta, Demetrio. Manuela. Carbondale. 1967. Southern Illinois University Press. Translated from the Spanish by Willis Knapp Jones. 304 pages. hardcover. JACKET DESIGN BY H. LAWRENCE HOFFMAN. Original title: MANUELA la caballeresa del sol. Simon Bolivar (1783-1830), liberator of the countries now known as Peru, Ecuador, Boliva, Columbia, and Venezuela, inspired the present work, which is the first of a series of historical novels, Episodios Americanos, by the Ecuadorian author Demetrio Aguilera Malta. Now the story of Bolivar, the mighty warrior and eloquent statesman, and the woman who inspired him is made available to North American readers in Willis Knapp Jones's sensitive translation of Manuela (La caballeresa del sol). 'Caballeresa' in the novel's Spanish title refers to Manuela Sáenz, the beautiful woman who fell in love with Bolivar and helped him accomplish his dream of independence for the Spanish American colonies. Even before she met Bolivar, Manuela had received the Peruvian decoration of a 'caballeresa del sol' (the feminine counterpart of the masculine 'caballero del sol') for her efforts in lower Peru's struggle for independence, and she was thereafter known by the epithet 'Lady of the Sun.' Indeed, as she worked among all classes of society to win financial and political backing for Bolivar, she proved to be a fiery lady. Sustained and fortified by the devotion of Manuela Sáenz, Bolivar had the ability to inspire his followers, not only with his presence but with his ideals. An historical novel seldom displays the emotional verve that Manuela does, nor follows actual events as accurately as does this story of Simon Bolivar and Manuela Sáenz, lovers caught in the fortunes and misfortunes of South American war and political upheaval. Students of Spanish American history and literature will enjoy the factual development in the story; students of the drama and the novel will appreciate the dramatic and poetic presentation. DEMETRIO AGUILERA-MALTA (May 24, 1909, Guayaquil, Ecuador - December 28, 1981, Mexico City, Mexico), born in turn-of-the-century Ecuador, was a poet, playwright, essayist and novelist. Now recognized as one of the major literary influences in Latin America. Aguilera-Malta made a vital contribution to the development of ‘magical realism', a creative blend of fantasy and myth, imbued with the vision of social and political turmoil. In the 1930s, he was one of the Ecuadorian writers who formed the Grupo de Guayaquil to further social change. His early works were judged crude and violent, but they were a turning point in Ecuadorian literature and have had an obvious impact on younger Latin American writers such as Gabriel Garcia Marquez. SEVEN SERPENTS AND SEVEN MOONS was first published in Mexico in 1970 and later in Spain and Italy. His other novels translated into English include MARCIELA (1967) and DON GOYO (1979). WILLIS KNAPP JONES, professor emeritus of Spanish at Miami University, Oxford, Ohio, had special insight in translating this novel because of a long friendship with Demetrio Aguilera Malta. He is a noted author in his own right and a student of Spanish and Spanish American theatre. J. CARY DAVIS is Professor and Chairman of the Department of Foreign Languages at Southern Illinois University. He is widely recognized for his research and publications in Latin American and Spanish studies. |
![]() | ![]() | LITERATURE. [Ecuador]. Aguilera-Malta, Demetrio. Seven Serpents and Seven Moons. Austin. 1979. University of Texas Press. 0292775520. Translated from the Spanish by Gregory Rabassa. 305 pages. hardcover. Cover: Ed Lindlof. Original title: Siete lunas y siete serpientes, 1970 - Fondo de Cultura Economica, Mexico City. Jesus Christ is alive and well and militant in South America, albeit a bit careworn and singed upon his cross. So is the epic spirit that reveals a people's tribulations and persistent survival. Demetrio Aguilera-Malta has combined these two age-old elements in his novel SEVEN SERPENTS AND SEVEN MOONS, set on the shores of Santoronton. This tropical village is inhabited by some exceptional beings: the vigorous, rough-hewn Father Cándido and his wry talking Jesus - a crucifix presented to him by pirates from out of the past; Colonel Candelario Mariscal, the despoiler who is said to be the son of the Devil and is seeking salvation through the honest love of the daughter of the witch doctor Bulu-Bulu; and Crisostomo Chalena, the outsider who gains control of the town s roofs and rainwater and eventually the entire village. These and many other equally protean figures cross paths and swords as Santoronton is torn between the Evil One and the Crucified One. The story is invested with a pervading sense of magic and with political meaning as well. The fantastic microcosm of Santoronton illustrates both symbolically and literally many of the essential problems that bedevil Latin America. DEMETRIO AGUILERA-MALTA ((May 24, 1909, Guayaquil, Ecuador - December 28, 1981, Mexico City, Mexico), born in turn-of-the-century Ecuador, is a poet, playwright, essayist and novelist. Now recognized as one of the major literary influences in Latin America. Aguilera-Malta made a vital contribution to the development of ‘magical realism', a creative blend of fantasy and myth, imbued with the vision of social and political turmoil. In the 1930s, he was one of the Ecuadorian writers who formed the Grupo de Guayaquil to further social change. His early works were judged crude and violent, but they were a turning point in Ecuadorian literature and have had an obvious impact on younger Latin American writers such as Gabriel Garcia Marquez. SEVEN SERPENTS AND SEVEN MOONS was first published in Mexico in 1970 and later in Spain and Italy. His other novels translated into English include MARCIELA (1967) and DON GOYO (1979). GREGORY RABASSA is internationally known as a master translator. He has won both the National Book Award for Translation and the American P.E.N. Translation Prize. He is the translator of Márquez' One Hundred Years of Solitude and Autumn of the Patriarch. |
![]() | ![]() | LITERATURE. [Ecuador]. Aguilera-Malta, Demetrio. Seven Serpents and Seven Moons. New York. 1981. Avon/Bard. 0380547678. Translated from the Spanish by Gregory Rabassa. 305 pages. paperback. Original title: Siete lunas y siete serpientes, 1970 - Fondo de Cultura Economica, Mexico City. 'A PRODIGAL TALE OF SURREALISTIC INTRIGUE' - Chicago Tribune Book World . . . In the coastal village of Santoronton, the battle between good and evil veers naturally into the unreal. Serving the power of good is Father Cándido, whose wooden Jesus is alive and ready to help. Evil is personified by the Colonel, a compulsive rapist, plunderer and murderer, who enacts his vilest deeds in the guise of a crocodile. Bedevilled by the lust of a woman unfortunately dead, he turns for salvation to the witch doctor's daughter. Another seductress of Santoronton entices and castrates in the cause of womankind. And, adding to the villainy afoot, a despotic don has traded his soul for control of the water supply. Within this deftly devised entertainment of myth and fantasy, poetic metaphor and comic parody, there is the outraged social consciousness of a celebrated Ecuadorian 'who deserves a rank;' says the Houston Chronicle, 'with the best of the older generation of South American writers'. 'Aguilera-Malta is an important writer. Some of the hallucinatory scenes in SEVEN SERPENTS AND SEVEN MOONS haunt us as powerfully as those in Cortazar and Garcia Márquez!' - Times (London) Literary Supplement. DEMETRIO AGUILERA-MALTA, born in turn-of-the-century Ecuador,was a poet, playwright, essayist and novelist. Now recognized as one of the major literary influences in Latin America. Aguilera-Malta made a vital contribution to the development of ‘magical realism', a creative blend of fantasy and myth, imbued with the vision of social and political turmoil. In the 1930s, he was one of the Ecuadorian writers who formed the Grupo de Guayaquil to further social change. His early works were judged crude and violent, but they were a turning point in Ecuadorian literature and have had an obvious impact on younger Latin American writers such as Gabriel Garcia Marquez. SEVEN SERPENTS AND SEVEN MOONS was first published in Mexico in 1970 and later in Spain and Italy. His other novels translated into English include MARCIELA (1967) and DON GOYO (1979). |
![]() | ![]() | LITERATURE. [Bolivia]. Aguirre, Nataniel. Juan de las Rosa: Memoirs of the Last Soldier of the Independence Movement. New York. 1998. Oxford University Press. 0195113276. Translated from the Spanish by Sergio Gabriel Waisman. Edited & With A Foreword by Alba Maria Paz-Soldan. Library of Latin America series. 329 pages. hardcover. Jacket design by Kathleen M. Lynch. Once considered a classic in Bolivia, Juan de la Rosa tells the story of a boy's coming of age during the violent and tumultuous years of Bolivia's struggle for independence. Indeed, in this remarkable novel, Juan's search for his personal identity functions as an allegory of Bolivia's search for its identity as a nation. Set in the early 1800s, this remarkable novel is narrated by one of the last surviving Bolivian rebels, octogenarian Juan de la Rosa. He commits his memories to paper in order to pass on that uniquely personal understanding of the past ‘with which serious historians never busy themselves.' Juan recreates his childhood in the rebellious town of Cochabamba, and with it a large cast of full-bodied, Dickensian characters both heroic and malevolent, from Juan's wise and self-sacrificing tutor, Brother Justo, to the ruthless colonial general Goyeneche. The larger cultural dislocations brought about by Bolivia's political upheaval are echoed in those experienced by Juan, whose mother's untimely death sets off a chain of unpredictable events that propel him into the fiery crucible of the South American Independence Movement. Outraged by Juan's outspokenness against Spanish rule and his awakening political consciousness, his loyalist guardians banish him to the countryside, where he witnesses firsthand the Spaniards' violent repression and rebels' valiant resistance that crystallize both his personal destiny and that of his country. Few novels combine historical scholarship, operatic drama, comic detail, and political fervor so seamlessly. In Sergio Gabriel Waisman's fluid translation, English readers have access to Juan de la Rosa for the very first time. Nataniel Aguirre (1843-1888) was a Bolivian statesman who actively participated in events that shaped his country's character. Sergio Gabriel Waisman is completing his Ph.D. in the Department of Spanish and Portuguese at the University of California, Berkeley. His translation of Ricardo Piglia's Nombre Falso won the Meritorious Achievement Award in the 1995 Eugene M. Kayden National Translation Contest. Alba Maria de la Paz Soldán is Professor of Latin American Literature, University of Buenos Aires. |
![]() | ![]() | LITERATURE. [Argentina]. Aira, Cesar. An Episode in the Life of a Landscape Painter. New York. 2006. New Directions. 9780811216302. Translated from the Spanish by Chris Andrews. Preface by Roberto Bolano. 87 pages. paperback. NDP1035. Cover art - ‘Drawing and oil painting of the road from Orizaba to Acultzingo’, 1831 b J. M. Rugendas. An astounding novel from Argentina that is a meditation on the beautiful and the grotesque in nature, on the art of landscape painting, and on one experience in a man's life that became a lightning rod for inspiration. ‘If there is one contemporary writer who defies classification, it is CEsar Aira.' - Roberto Bolaño. ‘The author who nowadays is perhaps the most original and shocking, the most exciting and subversive Spanish narrative writer: CEsar Aira.' - Ignacio Echeverri. AN EPISODE IN THE LIFE OF A LANDSCAPE PAINTER is the story of a moment in the life of the German artist Johann Moritz Rugendas (1802-1858). Greatly admired as a master landscape painter, he was advised by Alexander von Humboldt to record the spectacular landscapes of Chile, Argentina, and Mexico. Rugendas did in fact become one of the best of the nineteenth-century European painters to venture into Latin America. However this is not a biography of Rugendas. This work of fiction weaves an almost surreal history around Rugendas' trips to Argentina where he strived to achieve in art the ‘physiognomic totality' of Humboldt's scientific vision of the whole. A brief and dramatic visit to the pampas gives him the chance to fulfill his ambition but a strange episode that he cannot avoid absorbing savagely into his own body interrupts the trip and irreversibly marks him for life. Cesar Aira (born 23 February 1949 in Coronel Pringles, Buenos Aires Province) is an Argentine writer and translator, and an exponent of Argentine contemporary literature. Aira has published over eighty short books of stories, novels and essays. In fact, at least since 1993 a hallmark of his work is an almost frenetic level of writing and publication - two to four novella-length books each year. He has lectured at the University of Buenos Aires, on Copi and Arthur Rimbaud, and at the University of Rosario on Constructivism and Stephane Mallarme, and has translated and edited books from France, England, Italy, Brazil, Spain, Mexico, and Venezuela. Besides his fiction, and the translation work he does for a living, Aira also writes literary criticism, including monographic studies of Copi, the poet Alejandra Pizarnik, and the nineteenth-century British limerick and nonsense writer Edward Lear. He wrote a short book, Las tres fechas (The Three Dates), arguing for the central importance, when approaching some minor eccentric writers, of examining the moment of their lives about which they are writing, the date of completion of the work, and the date of publication of the work. Aira also was the literary executor of the complete works of his friend the poet and novelist Osvaldo Lamborghini (1940–1985). Aira has often spoken in interviews of elaborating an avant-garde aesthetic in which, rather than editing what he has written, he engages in a "flight forward" (fuga hacia adelante) to improvise a way out of the corners he writes himself into. Aira also seeks in his own work, and praises in the work of others (such as the Argentine-Parisian cartoonist and comic novelist Copi), the "continuum" (el continuo) of a constant momentum in the fictional narrative. As a result, his fictions can jump radically from one genre to another, and often deploy narrative strategies from popular culture and "subliterary" genres like pulp science fiction and television soap operas. He frequently refuses to conform to generic expectations for how a novel ought to end, leaving many of his fictions quite open-ended. While his subject matter ranges from Surrealist or Dadaist quasi-nonsense to fantastic tales set in his Buenos Aires neighborhood of Flores, Aira also returns frequently to Argentina's nineteenth century (two books translated into English, The Hare and An Episode in the Life of a Landscape Painter, are examples of this; so is the best-known novel of his early years, Ema la cautiva (Emma, the Captive)). He also returns regularly to play with stereotypes of an exotic East, such as in Una novela china, (A Chinese Novel); El volante (The Flyer), and El pequeño monje budista (The Little Buddhist Monk). Aira also enjoys mocking himself and his childhood home town, Coronel Pringles, in fictions such as Como me hice monja (How I Became a Nun), Como me reí (How I Laughed), El cerebro musical (The Musical Brain) and Las curas milagrosas del doctor Aira (The Miraculous Cures of Dr. Aira). His novella La prueba (1992) served as the basis - or point of departure, as only the first half-hour follows the novella - of Diego Lerman's film Tan de repente (Suddenly) (2002). His novel Como me hice monja (How I Became a Nun) was selected as one of the ten best publications in Spain in the year 1998. |
![]() | ![]() | LITERATURE. [Argentina]. Aira, Cesar. Ghosts. New York. 2008. New Directions. 9780811217422. Translated from the Spanish by Chris Andrews. 139 pages. paperback. Cover design by Rodrigo Corral. GHOSTS revolves around an immigrant worker's family squatting on the haunted construction site of a luxury condominium building. All of the workmen and their wives and children see the ghosts, who literally hang around the place, but one teenage girl becomes the most curious. Her questions about the ghosts get so intense that her mother - in a chilling split-second - realizes her daughter's life hangs in the balance. Once you have started reading Aira, you don't want-to stop.' - Roberto Bolano. ‘Aira is firmly in the tradition of Jorge Luis Borges and W. G. Sebald' - Mark Doty, Los Angeles Times. Cesar Aira (born 23 February 1949 in Coronel Pringles, Buenos Aires Province) is an Argentine writer and translator, and an exponent of Argentine contemporary literature. Aira has published over eighty short books of stories, novels and essays. In fact, at least since 1993 a hallmark of his work is an almost frenetic level of writing and publication - two to four novella-length books each year. He has lectured at the University of Buenos Aires, on Copi and Arthur Rimbaud, and at the University of Rosario on Constructivism and Stephane Mallarme, and has translated and edited books from France, England, Italy, Brazil, Spain, Mexico, and Venezuela. Besides his fiction, and the translation work he does for a living, Aira also writes literary criticism, including monographic studies of Copi, the poet Alejandra Pizarnik, and the nineteenth-century British limerick and nonsense writer Edward Lear. He wrote a short book, Las tres fechas (The Three Dates), arguing for the central importance, when approaching some minor eccentric writers, of examining the moment of their lives about which they are writing, the date of completion of the work, and the date of publication of the work. Aira also was the literary executor of the complete works of his friend the poet and novelist Osvaldo Lamborghini (1940–1985). Aira has often spoken in interviews of elaborating an avant-garde aesthetic in which, rather than editing what he has written, he engages in a "flight forward" (fuga hacia adelante) to improvise a way out of the corners he writes himself into. Aira also seeks in his own work, and praises in the work of others (such as the Argentine-Parisian cartoonist and comic novelist Copi), the "continuum" (el continuo) of a constant momentum in the fictional narrative. As a result, his fictions can jump radically from one genre to another, and often deploy narrative strategies from popular culture and "subliterary" genres like pulp science fiction and television soap operas. He frequently refuses to conform to generic expectations for how a novel ought to end, leaving many of his fictions quite open-ended. While his subject matter ranges from Surrealist or Dadaist quasi-nonsense to fantastic tales set in his Buenos Aires neighborhood of Flores, Aira also returns frequently to Argentina's nineteenth century (two books translated into English, The Hare and An Episode in the Life of a Landscape Painter, are examples of this; so is the best-known novel of his early years, Ema la cautiva (Emma, the Captive)). He also returns regularly to play with stereotypes of an exotic East, such as in Una novela china, (A Chinese Novel); El volante (The Flyer), and El pequeño monje budista (The Little Buddhist Monk). Aira also enjoys mocking himself and his childhood home town, Coronel Pringles, in fictions such as Como me hice monja (How I Became a Nun), Como me reí (How I Laughed), El cerebro musical (The Musical Brain) and Las curas milagrosas del doctor Aira (The Miraculous Cures of Dr. Aira). His novella La prueba (1992) served as the basis - or point of departure, as only the first half-hour follows the novella - of Diego Lerman's film Tan de repente (Suddenly) (2002). His novel Como me hice monja (How I Became a Nun) was selected as one of the ten best publications in Spain in the year 1998. |
![]() | ![]() | LITERATURE. [Argentina]. Aira, Cesar. The Divorce. New York. 2006. New Directions. 9780811230933. Translated from the Spanish by Chris Andrews. Introduction by Patti Smith. 103 pages. paperback. NDP1501. Cover by Rodrigo Corral. With a preface by the irrepressible Patti Smith, The Divorce is a delightful book of several short amazing stories of chance meetings, bizarre circumstances, and even stranger visions of alternate realities written as only Cesar Aira can. The Divorce tells about a man who takes a vacation from Providence, R.I. in early December to avoid conflicts with his newly divorced wife and small daughter. He travels to Buenos Aires and there, one afternoon, he encounters a series of the most magical coincidences. While sitting at an outdoor cafe, absorbed in conversation with a talented video artist, a young man with a bicycle is thoroughly drenched by a downpour of water seemingly from rain caught the night before in the overhead awning. The video artist knows the cyclist, who knew a mad hermetic sculptor, whose family used to take the Hindu God Krishna for walks in the neighborhood. More meetings, more whimsical and clever stories continue to weave reality with the absurd until the final, brilliant, wonderful, cataclysmic ending. Cesar Aira (born 23 February 1949 in Coronel Pringles, Buenos Aires Province) is an Argentine writer and translator, and an exponent of Argentine contemporary literature. Aira has published over eighty short books of stories, novels and essays. In fact, at least since 1993 a hallmark of his work is an almost frenetic level of writing and publication - two to four novella-length books each year. He has lectured at the University of Buenos Aires, on Copi and Arthur Rimbaud, and at the University of Rosario on Constructivism and Stephane Mallarme, and has translated and edited books from France, England, Italy, Brazil, Spain, Mexico, and Venezuela. Besides his fiction, and the translation work he does for a living, Aira also writes literary criticism, including monographic studies of Copi, the poet Alejandra Pizarnik, and the nineteenth-century British limerick and nonsense writer Edward Lear. He wrote a short book, Las tres fechas (The Three Dates), arguing for the central importance, when approaching some minor eccentric writers, of examining the moment of their lives about which they are writing, the date of completion of the work, and the date of publication of the work. Aira also was the literary executor of the complete works of his friend the poet and novelist Osvaldo Lamborghini (1940–1985). Aira has often spoken in interviews of elaborating an avant-garde aesthetic in which, rather than editing what he has written, he engages in a "flight forward" (fuga hacia adelante) to improvise a way out of the corners he writes himself into. Aira also seeks in his own work, and praises in the work of others (such as the Argentine-Parisian cartoonist and comic novelist Copi), the "continuum" (el continuo) of a constant momentum in the fictional narrative. As a result, his fictions can jump radically from one genre to another, and often deploy narrative strategies from popular culture and "subliterary" genres like pulp science fiction and television soap operas. He frequently refuses to conform to generic expectations for how a novel ought to end, leaving many of his fictions quite open-ended. While his subject matter ranges from Surrealist or Dadaist quasi-nonsense to fantastic tales set in his Buenos Aires neighborhood of Flores, Aira also returns frequently to Argentina's nineteenth century (two books translated into English, The Hare and An Episode in the Life of a Landscape Painter, are examples of this; so is the best-known novel of his early years, Ema la cautiva (Emma, the Captive)). He also returns regularly to play with stereotypes of an exotic East, such as in Una novela china, (A Chinese Novel); El volante (The Flyer), and El pequeño monje budista (The Little Buddhist Monk). Aira also enjoys mocking himself and his childhood home town, Coronel Pringles, in fictions such as Como me hice monja (How I Became a Nun), Como me reí (How I Laughed), El cerebro musical (The Musical Brain) and Las curas milagrosas del doctor Aira (The Miraculous Cures of Dr. Aira). His novella La prueba (1992) served as the basis - or point of departure, as only the first half-hour follows the novella - of Diego Lerman's film Tan de repente (Suddenly) (2002). His novel Como me hice monja (How I Became a Nun) was selected as one of the ten best publications in Spain in the year 1998. |
![]() | ![]() | LITERATURE. [Argentina]. Aira, Cesar. The Hare. London. 1998. Serpent's Tail. 1852422912. Translated from the Spanish by Nick Caistor. 248 pages. paperback. Cover design & illustration by Oscar Zarate. The Indians he meets report recent sightings of the hare, but on further investigation, Clark finds in these sightings more than meets the eye. The Hare, the first novel by Cesar Aira to be translated into English, is a subtle reflection on love, language, and colonial dependency. CEsar Aira (born on February 23, 1949 in Coronel Pringles, Buenos Aires Province) is an Argentine writer and translator, considered by many as one of the leading exponents of Argentine contemporary literature, in spite of his limited public recognition. He has published over fifty books of stories, novels and essays. Indeed, at least since 1993 a hallmark of his work is an almost frenetic level of writing and publication –two to four novella-length books each year. Aira has often spoken in interviews of elaborating an avant-garde aesthetic in which, rather than editing what he has written, he engages in a ‘flight forward' (fuga hacia adelante) to improvise a way out of the corners he writes himself into. Aira also seeks in his own work, and praises in the work of others (such as the Argentine-Parisian cartoonist and comic novelist Copi), the ‘continuum' (el continuo) of a constant movement forward in the fictional narrative. As a result his fictions can jump radically from one genre to another, and often deploy narrative strategies from popular culture and ‘subliterary' genres like pulp science fiction and television soap operas; on the other hand, he frequently deliberately refuses to conform to generic expectations for how a novel ought to end, leaving many of his fictions quite open-ended. While his subject matter ranges from Surrealist or Dadaist quasi-nonsense to fantastic tales set in his Buenos Aires neighborhood in Flores, Aira also returns frequently to Argentina's nineteenth century (the two books translated into English, The Hare and An Episode in the Life of a Landscape Painter, are examples of this; so is the best-known novel of his early years, ‘Ema la cautiva' (Emma, the Captive)). He also returns regularly to play with stereotypes of an exotic East (‘Una novela china', A Chinese Novel); ‘El volante' (The Flyer), and ‘El pequeño monje budista' (The Little Buddhist Monk)). Aira also enjoys mocking himself and his childhood home town Coronel Pringles in fictions such as ‘Como me hice monja' (How I Became a Nun), ‘Como me reí' (How I Laughed), ‘El cerebro musical' (The Musical Brain) and ‘Las curas milagrosas del doctor Aira' (The Miraculous Cures of Dr. Aira). His novel ‘Como me hice monja' (How I Became a Nun) was selected as one of the best 10 publications in Spain in the year 1998. Besides his fiction, and the translation work he does for a living, Aira also writes literary criticism, including monographic studies of Copi, the poet Alejandra Pizarnik, and the nineteenth-century British limerick and nonsense writer Edward Lear. He wrote a short book, Las tres fechas [The Three Dates], arguing for the central importance, when approaching some minor eccentric writers, of examining the moment of their lives about which they are writing , the date of completion of the work, and the date of publication of the work. Since publishing this theory Aira no longer includes the date of completion of his own works. Aira also was the literary executor of the complete works of his friend the scabrous poet-novelist Osvaldo Lamborghini (1940-1985). . Cesar Aira (born 23 February 1949 in Coronel Pringles, Buenos Aires Province) is an Argentine writer and translator, and an exponent of Argentine contemporary literature. Aira has published over eighty short books of stories, novels and essays. In fact, at least since 1993 a hallmark of his work is an almost frenetic level of writing and publication - two to four novella-length books each year. He has lectured at the University of Buenos Aires, on Copi and Arthur Rimbaud, and at the University of Rosario on Constructivism and Stephane Mallarme, and has translated and edited books from France, England, Italy, Brazil, Spain, Mexico, and Venezuela. Besides his fiction, and the translation work he does for a living, Aira also writes literary criticism, including monographic studies of Copi, the poet Alejandra Pizarnik, and the nineteenth-century British limerick and nonsense writer Edward Lear. He wrote a short book, Las tres fechas (The Three Dates), arguing for the central importance, when approaching some minor eccentric writers, of examining the moment of their lives about which they are writing, the date of completion of the work, and the date of publication of the work. Aira also was the literary executor of the complete works of his friend the poet and novelist Osvaldo Lamborghini (1940–1985). Aira has often spoken in interviews of elaborating an avant-garde aesthetic in which, rather than editing what he has written, he engages in a "flight forward" (fuga hacia adelante) to improvise a way out of the corners he writes himself into. Aira also seeks in his own work, and praises in the work of others (such as the Argentine-Parisian cartoonist and comic novelist Copi), the "continuum" (el continuo) of a constant momentum in the fictional narrative. As a result, his fictions can jump radically from one genre to another, and often deploy narrative strategies from popular culture and "subliterary" genres like pulp science fiction and television soap operas. He frequently refuses to conform to generic expectations for how a novel ought to end, leaving many of his fictions quite open-ended. While his subject matter ranges from Surrealist or Dadaist quasi-nonsense to fantastic tales set in his Buenos Aires neighborhood of Flores, Aira also returns frequently to Argentina's nineteenth century (two books translated into English, The Hare and An Episode in the Life of a Landscape Painter, are examples of this; so is the best-known novel of his early years, Ema la cautiva (Emma, the Captive)). He also returns regularly to play with stereotypes of an exotic East, such as in Una novela china, (A Chinese Novel); El volante (The Flyer), and El pequeño monje budista (The Little Buddhist Monk). Aira also enjoys mocking himself and his childhood home town, Coronel Pringles, in fictions such as Como me hice monja (How I Became a Nun), Como me reí (How I Laughed), El cerebro musical (The Musical Brain) and Las curas milagrosas del doctor Aira (The Miraculous Cures of Dr. Aira). His novella La prueba (1992) served as the basis - or point of departure, as only the first half-hour follows the novella - of Diego Lerman's film Tan de repente (Suddenly) (2002). His novel Como me hice monja (How I Became a Nun) was selected as one of the ten best publications in Spain in the year 1998. |
![]() | ![]() | LITERATURE. [Argentina]. Aira, Cesar. The Musical Brain and Other Stories. New York. 2015. New Directions. 9780811220293. Translated from the Spanish by Chris Andrews. 353 pages. hardcover. The Musical Brain & Other Stories consists of twenty stories about oddballs, freaks, and crazy people from the writer The New York Review of Books calls the novelist who can't be stopped. The author of at least eighty novels, most of them barely 96 pages each, with just nine of them so far published into English, Aira's work, and his fuga hacia adelante or flight forward into the unknown has already given us imponderables to ponder, bizarre and seemingly out of context plotlines to consider, thoughtful, and almost religious, certainly passionate takes on everyday reality. The Musical Brain is the best sampling of Aira's creativity so far, and a most exhilarating collection of characters, places, and ideas. Cesar Aira (born 23 February 1949 in Coronel Pringles, Buenos Aires Province) is an Argentine writer and translator, and an exponent of Argentine contemporary literature. Aira has published over eighty short books of stories, novels and essays. In fact, at least since 1993 a hallmark of his work is an almost frenetic level of writing and publication - two to four novella-length books each year. He has lectured at the University of Buenos Aires, on Copi and Arthur Rimbaud, and at the University of Rosario on Constructivism and Stephane Mallarme, and has translated and edited books from France, England, Italy, Brazil, Spain, Mexico, and Venezuela. Besides his fiction, and the translation work he does for a living, Aira also writes literary criticism, including monographic studies of Copi, the poet Alejandra Pizarnik, and the nineteenth-century British limerick and nonsense writer Edward Lear. He wrote a short book, Las tres fechas (The Three Dates), arguing for the central importance, when approaching some minor eccentric writers, of examining the moment of their lives about which they are writing, the date of completion of the work, and the date of publication of the work. Aira also was the literary executor of the complete works of his friend the poet and novelist Osvaldo Lamborghini (1940–1985). Aira has often spoken in interviews of elaborating an avant-garde aesthetic in which, rather than editing what he has written, he engages in a "flight forward" (fuga hacia adelante) to improvise a way out of the corners he writes himself into. Aira also seeks in his own work, and praises in the work of others (such as the Argentine-Parisian cartoonist and comic novelist Copi), the "continuum" (el continuo) of a constant momentum in the fictional narrative. As a result, his fictions can jump radically from one genre to another, and often deploy narrative strategies from popular culture and "subliterary" genres like pulp science fiction and television soap operas. He frequently refuses to conform to generic expectations for how a novel ought to end, leaving many of his fictions quite open-ended. While his subject matter ranges from Surrealist or Dadaist quasi-nonsense to fantastic tales set in his Buenos Aires neighborhood of Flores, Aira also returns frequently to Argentina's nineteenth century (two books translated into English, The Hare and An Episode in the Life of a Landscape Painter, are examples of this; so is the best-known novel of his early years, Ema la cautiva (Emma, the Captive)). He also returns regularly to play with stereotypes of an exotic East, such as in Una novela china, (A Chinese Novel); El volante (The Flyer), and El pequeño monje budista (The Little Buddhist Monk). Aira also enjoys mocking himself and his childhood home town, Coronel Pringles, in fictions such as Como me hice monja (How I Became a Nun), Como me reí (How I Laughed), El cerebro musical (The Musical Brain) and Las curas milagrosas del doctor Aira (The Miraculous Cures of Dr. Aira). His novella La prueba (1992) served as the basis - or point of departure, as only the first half-hour follows the novella - of Diego Lerman's film Tan de repente (Suddenly) (2002). His novel Como me hice monja (How I Became a Nun) was selected as one of the ten best publications in Spain in the year 1998. |
![]() | ![]() | LITERATURE. [Argentina - Literary Criticism]. Aizenberg, Edna (editor). Borges and His Successors: The Borgesian Impact On Literature and the Arts. Columbia. 1990. University of Missouri Press. 082620712x. 296 pages. hardcover. Jacket photograph by Julie Mendez Ezcurra. The centrality of Jorge Luis Borges to the contemporary aesthetic imagination has been widely recognized, but no comprehensive study of his impact on the arts of our time has appeared. In the first book devoted to that topic, Edna Aizenberg brings together specially commissioned and translated essays from a variety of disciplines to provide a wide-ranging assessment of Borges's influence. Presenting the insights of critics from South America, France, and Germany as well as those from the United States, this collection views Borges as a redefiner of national literatures a forerunner of a new critical idiom, a dialogist with other writers, and a source of inspiration in the visual arts, particularly Latin American cinema and North American painting. Readers interested in contemporary literary theory will welcome the discussion of Borges's commonalities with major theorists such as Foucault, Derrida, De Man, and Eco, as well as the examination of Borgess impact on the fictions of Calvino, Barth, Coover, the Australian Carey, and the Latin Americans Elizondo and Sarduy. And many readers will find valuable the final section of the book, which contains two little-known lectures by Borges, translated into English for the first time; in them, Borges analyzes the Book of Job and the ideas of Baruch Spinoza, both of them fundamental to an appreciation of his literature. By offering a broad view of Borges's influence on postmodernism, deconstruction, and other contemporary intellectual currents, this collection goes far in explaining Borgess major role in contemporary culture. CONTENTS: Acknowledgments; Abbreviations; Introduction by Edna Aizenberg; I. REDEFINING NATIONAL LITERATURES - Ana Maria Barrenechea/On the Diverse (South American) Intonation of Some (Universal) Metaphors; Marta Morello-Frosch/Borges and Contemporary Argentine Writers: Continuity and Change; Robert Ross/'It Cannot Not Be There': Borges and Australia's Peter Carey; Rafael Gutierrez Girardot/Borges in Germany: A Difficult and Contradictory Fascination; Francoise Collin/The Third Tiger; or, From Blanchot to Borges; II. A NEW CRITICAL IDIOM - Jaime Alazraki/Borges's Modernism and the New Critical Idiom; Gerry O'Sullivan/The Library Is on Fire: Intertextuality in Borges and Foucault; Suzanne Jill Levine/Borges and Emir: The Writer and His Reader; Emir Rodriguez Monegal/Borges and Derrida: Apothecaries; Herman Rapaport/Borges, De Man, and the Deconstruction of Reading; Christine de Lailhacar/The Mirror and the Encyclopedia: Borgesian Codes in Umberto Eco's THE NAME OF THE ROSE; III. IN DIALOGUE WITH OTHER WRITERS - Jerry Varsava/The Last Fictions: Calvino's Borgesian Odysseys; Geoffrey Green/Postmodern Precursor: The Borgesian Image in Innovative American Fiction; Malva F. Filer/Salvador Elizondo and Severo Sarduy: Two Borgesian Writers; IV. THE VISUAL ARTS - Richard Peña/ Borges and the New Latin American Cinema; Jules Kirschenbaum/Dream of a Golem; V. HEBRAISM AND POETIC INFLUENCE - Edna Aizenberg/Borges and the Hebraism of Contemporary Literary Theory; Edna Aizenberg/Introduction to Two Lectures by Borges; Jorge Luis Borges/The Book of Job; Jorge Luis Borges/Baruch Spinoza; About the Contributors; Index; Index to Works by forges Cited in Text. Edna Aizenberg is Associate Professor of Spanish at Marymount Manhattan College. She is the author of THE ALEPH, WEAVER: BIBLICAL, KABBALISTIC AND JUDAIC ELEMENTS IN BORGES, which was published in Spanish translation in 1986, and of numerous articles on Latin American and comparative literature. |
![]() | ![]() | LITERATURE. [Argentina]. Alazraki, Jaime and Ivask, Ivan (editors). The Final Island: The Fiction of Julio Cortazar. Norman. 1978. University of Oklahoma Press. 0806114363. 199 pages. hardcover. The Argentine fiction writer Julio Cortázar is one of the most universal of a generation of Spanish American writers who have changed the status of Spanish American literature in the world of letters, but he has received very little critical treatment in English. Students of contemporary Spanish literature at all levels need this collection of essays and texts by him and about his work. The original texts, unpublished before in book form, include a short story, ‘Second Time Around,' and essays on ‘The Present State of Fiction in Latin America' and ‘Politics and the Intellectual in Latin America.' Professor Alazraki's introduction provides an overview of Cortázar's work for new readers and initiates. The essays following by leading Cortázar specialists relate Cortázar to the other giants of contemporary Spanish American literature, Borges and Paz, and interpret his work in the light of such important contemporary movements as Laingian psychoanalysis, surrealism, and phenomenology. All of the important novels and major short stories are treated. The writer's position in European letters - he lived in Belgium till age four and took up residence in France during his middle years - is fully explored. A bibliography of works by and about Cortázar in all the major languages completes this exhaustive collection of critical material. A selection of photographs from Cortázar's personal files is an added ornament to the book. Contributors include: Jaime Alazraki, Lida Aronne Amestoy, Sara Castro-Klaren, Julio Cortázar, Roberto Gonzalez Echevarria, Malva E. Filer, Martha Paley Francescato, Evelyn Picon Garfield, Ana Maria Hernández, Gregory Rabassa, Margery A. Safir, Saul Sosnowski, & Saul Yurkievich. JAIME ALAZRAKI (January 26, 1934, Argentina - February 9, 2014, Barcelona, Spain) was Professor of Romance Languages and Literature at Harvard University. IVAR IVASK is Professor of Modern Languages at the University of Oklahoma and Editor of World Literature Today. He is the editor of two other critical collections published by the University of Oklahoma Press, The Perpetual Present: The Poetry and Prose of Octavio Paz and The Cardinal Points of Borges (coedited with Lowell Dunham). |
![]() | ![]() | LITERATURE. [Cuba]. Alberto, Eliseo. Caracol Beach. New York. 2000. Knopf. 0375405402. Winner Of Spain's Prestigious Alfaguara Prize in Fiction. Translated from the Spanish by Edith Grossman. 289 pages. hardcover. Cover: Walton Ford-'Thanh Hoang'. Original title: Caracol Beach, 1998 - Grupo Santillana de Ediciones, S.A., Madrid. WINNER of Spain's prestigious Alfaguara Prize in Fiction, CARACOL BEACH is a gripping, kaleidoscopic novel about isolation, love, fear, and the collision of strangers' lives on one fateful night in a Florida town. On the outskirts of the quiet resort community of Caracol Beach, its unlikeliest-and perhaps most dangerous-resident plots his own demise. A Cuban veteran of the war in Angola, the sole survivor of an ambush that killed off the rest of his platoon, Beto MilanEs has for eighteen years been racked with guilt and grief and tormented by terrible visions. Determined to end his suffering but unable to take his own life, he sets out to find someone who will do it for him. So begins a night of madness, violence, and, ultimately, redemption. Drawn into the soldier's nightmare world are an improbable group of men and women, whose lives will never again be the same: an aging police chief with a penchant for pizza; a foulmouthed prostitute; a transvestite with a killer judo chop; a beautiful student haunted by her own ghosts; and two ill-fated would-be heroes. With audacity, humor, and deep insight into the human condition, Eliseo Alberto explores the horror of war, the pain of exile, the power of forgiveness, and the inescapable, sometimes cruel toll of destiny. The story that unfolds is at once shocking and comic, surprising and poignant, evoking classic tragedy and the absurdity of modern life. Combining the narrative power of a master storyteller with the phantasmagoric vision of a filmmaker, Eliseo Alberto has created a literary tour de force. ELISEO ALBERTO, winner of the first International Alfaguara Prize in Fiction (1998), was born in Arroyo Naranjo, Cuba. He received a degree in journalism from the University of Havana, and was editor in chief of the literary gazette El Caiman Barbudo and assistant director of the magazine Cine Cubano. He has published three books of poems, Importard el trueno, Las cosas que yo amo, and Un instante en cada cosa, and he is the author of La fogata roja, a book for young adults that won the Cuban National Critics Prize; a novel, La eternidad por fin comienza un lunes; and a memoir, Informe contra ml mismo, winner of the Gabino Palma Prize in Spain. He has written screenplays for film and television, and has taught at the International Film School in San Antonio de los Baños in Cuba, the Center for Cinematographic Training of Mexico, and the Sundance Institute. He lives in Mexico City. EDITH GROSSMAN is the award-winning translator of major works by many of Latin America's most important writers, including Gabriel Garcia Márquez, Mario Vargas Llosa, and Alvaro Mutis. Born in Philadelphia, she attended the University of Pennsylvania and the University of California at Berkeley before receiving her Ph.D. from New York University. Ms. Grossman is the author of The Antipoetry of Nicanor Parra and of many articles and book reviews. She lives in New York City. |
![]() | ![]() | LITERATURE. [Peru - Literary Criticism]. Aldrich Jr. , Earl M. The Modern Short Story in Peru. Madison. 1966. University of Wisconsin Press. 212 pages. hardcover. In 1904 the first published collection of full-fledged short stories by a Peruvian author appeared, and in the following sixty years this form evolved into the most cultivated and significant type of fiction in Peru, Its steady growth stands out in sharp contrast to the relatively slow and irregular development of the novel, a discrepancy that has been explained in both psychological and economic terms. But the important fact is that the modern short story form clearly dominates contemporary Peruvian fiction, and it is through this form that one is able to trace Peru's major aesthetic and social currents. To provide a chronological view of this literary development, Professor Aldrich devotes each of five chapters to a significant phase in the maturation of this art form, He examines the short story in Peru as it evolves from a production studiedly cosmopolitan in nature, through one oriented along national lines, with the distinctive rural areas of Peru providing the settings for the action, and finally to its most recent stage in which emphasis is placed on the urban scene and on the more universal problems of modern man, Working from primary sources-published and unpublished stories by the writers discussed and biographical and historical material gained from Peruvian newspapers, journals, and magazines, as well as personal interviews with a number of the authors-Professor Aldrich brings to this subject a wealth of firsthand information, and he includes poignant biographical data as it relates to the specific works under consideration. Abundant quotations from the works discussed verify his observations and add life and pungency to the narrative. English translations appear in the text, but for readers of Spanish the original excerpts are given in a section at the end. Earl M. Aldrich, Jr., Associate Professor of Spanish at the University of Wisconsin is a contributing editor to the literary section of the Handbook of Latin American Studies, As Field Director of the Indiana University Junior Year Program to Peru in 1959-60, he did intensive research and was able to interview some of the authors in Peru. Two of the most prominent men, Ciro Alegria and Enrique Lopez Albujar, provided him with their manuscripts of unpublished stories and of ones difficult to find, The result of his scholarship is the first full-scale study of the modern short story in Peru, of value both to the literary world and to the field of Latin American studies. |
![]() | ![]() | LITERATURE. [Peru]. Alegria, Ciro. Broad and Alien is the World. London/Philadelphia. 1962. Merlin/Dufour. Translated from the Spanish by Harriet De Onis. 434 pages. hardcover. Original title: El mundo es ancho y ajeno. This is the story of the people of Rumi, men of the Andes, whose community has followed its peaceful course time out of mind, bound to the fruitful soil and to the rhythm of life that the earth imposes. Under the cloak of the Law their way of life is overturned, they are dispossessed and withdraw to the barren uplands. Here they are still threatened by the ranchers and by the slavery of the mines. The younger members of the community go to seek a new life on the rubber plantations in the jungle or on the malaria-ridden plains where coca is grown; some go to join the bandits in the hills. Betrayed by the Law, where should men turn for Justice? This is the question that hangs over Ciro Alegria' s moving and evocative novel. Ciro Alegría Bazán (November 4, 1909 - February 17, 1967) was a Peruvian journalist, politician, and novelist. Born in Huamachuco District, he exposed the problems of the native Peruvians while learning about their way of life. This understanding of how they were oppressed was the focus for his novels. He attended classes at the University of Trujillo, and worked briefly as a journalist for the newspaper El Norte. In 1930 Alegría joined the Aprista movement, dedicated to social reform as well as improving the welfare of native Peruvians. He was imprisoned several times for his political activities before finally being exiled to Chile in 1934. He remained in exile in both Chile and later the United States up until 1948. Later, he taught at the University of Puerto Rico, and wrote about the Cuban revolution while in Cuba. His most well known novel, Broad and Alien is the World (1941) or El mundo es ancho y ajeno, won the Latin American Novel Prize in 1941, and brought him international attention. It depicts an Andean community, living in the Peruvian highlands. The book was later published in the United States and has been reprinted many times, in multiple languages. Alegría returned to Peru in 1957. He joined President Fernando Belaúnde Terry's party (Accion Popular) and was elected to the Chamber of Deputies in 1963. He died unexpectedly in Lima, Peru on February 17, 1967. After his death, his widow published many of his essays and reports he had written for various newspapers. He was 58 years old. |
![]() | ![]() | LITERATURE. [Peru]. Alegria, Ciro. Broad and Alien is the World. New York. 1941. Farrar & Rinehart. Translated from the Spanish by Harriet De Onis. 424 pages. hardcover. Cover art by Hallock. Original title: El mundo es ancho y ajeno. BROAD AND ALIEN IS THE WORLD one of the most impressive novels I've ever read in Spanish.'-JOHN DOS PASSOS . . . Ciro Alegria writes with passion and inspiration of things which he has seen and known. His language is simple and direct, his story is touched with the universality and human wisdom that make enduring literature in any country and in any language. High up in the mountains of Peru lay the small village of Rumi. It was a happy and industrious village where everyone had his job to do, both for himself and his community. The wants of the villagers were simple, their pleasures few, and their work hard but satisfying. There were few problems of government, but for those that did arise they had a mayor and four selectmen to speak for them. Rosendo Maqui was the mayor: a man of deep wisdom and understanding for his people. But one day Don Alvaro Amenabar, the rich and predatory ranch owner of the town in the valley, instituted a suit against the community, charging that the land it had occupied for so many generations rightfully belonged to him. The villagers of Rumi were panic-stricken. They had always lived in Rumi! So had their fathers and their fathers before them. It was Rosendo Maqui's respon- sibility to fight Don Alvaro in the courts and to save the village of Rumi from such despotism. Rosendo Maqui and his people, being good people, tried to fight the evil of Don Alvaro the way they had always fought everything, with hard work, perseverance, and honesty. In the life and death struggle of this small South American village to maintain its integrity, its dignity, its very existence against the lust for power, the reader cannot help but see the parallel to the bitter and total wars of today which are raging over the whole earth. The simple story of BROAD AND ALIEN IS THE WORLD can be the story of any community anywhere trying to conduct itself along the paths of truth, vision, and mutual well-being, and forced to fight for its life against the malignant forces of evil oppression and greed which suddenly seem to be loosed in such overwhelming numbers. And the outcome of the struggle, the final peace, lies only in the hand of God. Ciro Alegría Bazán (November 4, 1909 - February 17, 1967) was a Peruvian journalist, politician, and novelist. Born in Huamachuco District, he exposed the problems of the native Peruvians while learning about their way of life. This understanding of how they were oppressed was the focus for his novels. He attended classes at the University of Trujillo, and worked briefly as a journalist for the newspaper El Norte. In 1930 Alegría joined the Aprista movement, dedicated to social reform as well as improving the welfare of native Peruvians. He was imprisoned several times for his political activities before finally being exiled to Chile in 1934. He remained in exile in both Chile and later the United States up until 1948. Later, he taught at the University of Puerto Rico, and wrote about the Cuban revolution while in Cuba. His most well known novel, Broad and Alien is the World (1941) or El mundo es ancho y ajeno, won the Latin American Novel Prize in 1941, and brought him international attention. It depicts an Andean community, living in the Peruvian highlands. The book was later published in the United States and has been reprinted many times, in multiple languages. Alegría returned to Peru in 1957. He joined President Fernando Belaúnde Terry's party (Accion Popular) and was elected to the Chamber of Deputies in 1963. He died unexpectedly in Lima, Peru on February 17, 1967. After his death, his widow published many of his essays and reports he had written for various newspapers. He was 58 years old. |
![]() | ![]() | LITERATURE. [Peru]. Alegria, Ciro. The Golden Serpent. New York. 1943. Farrar & Rinehart. Translated from the Spanish by Harriet De Onis. 242 pages. hardcover. Jacket design by Jose Sabogal. Original title: La serpiente de oro Ciro Alegria, the prizewinner of the Farrar & Rinehart 1941 Latin American Novel Contest, has given us a short and very human novel about the various and simple people who live along the banks of the Maranon River in Peru. THE GOLDEN SERPENT is the story of the natives who live and work and die along the banks of the tricky and unpredictable river that flows through their land; a river that is dishonest, strange, but nevertheless the lifeblood of the people to whom it belongs, something which they all love and worship with the same irresistible fascination of the sailor for the sea. There is the episode of the two river men who try to shoot the rapids during the flood stage and become caught in the treacherous swirls and eddies so fly their raft becomes on a projecting rock, They move. They have provisions a few days. The water is so full of floating debris, hidden whirlpools other dangers that it would be folly to try to swim to land, Even if they did this, there would be no place for them to go, for the river at this point is lined by nothing but steep canyon walls, The days pass. Their supply of the sweet intoxicant-coca-is almost gone; there is little food and rum left. Finally one of them decides to make a dash for it. These two men on the raft are brothers and they love each other very much - the one does not want his brother to try to swim for help, but cannot prevent it, And what happens is an exciting and breath-taking story. Then there is the episode of the man who falls in love with the village belle and of how he eventually marries her. This is a very short tale, very charming, graceful, and with intriguing descriptions of how fascinating a young Peruvian beauty of 18 is when she bathes in the river in the nude. . . ! THE GOLDEN SERPENT is a rich, warm, and human book that anyone will enjoy reading. It is authentic, lively, and with a very special quality that many South American books don't have, You will discover this when you begin reading. Ciro Alegría Bazán (November 4, 1909 - February 17, 1967) was a Peruvian journalist, politician, and novelist. Born in Huamachuco District, he exposed the problems of the native Peruvians while learning about their way of life. This understanding of how they were oppressed was the focus for his novels. He attended classes at the University of Trujillo, and worked briefly as a journalist for the newspaper El Norte. In 1930 Alegría joined the Aprista movement, dedicated to social reform as well as improving the welfare of native Peruvians. He was imprisoned several times for his political activities before finally being exiled to Chile in 1934. He remained in exile in both Chile and later the United States up until 1948. Later, he taught at the University of Puerto Rico, and wrote about the Cuban revolution while in Cuba. His most well known novel, Broad and Alien is the World (1941) or El mundo es ancho y ajeno, won the Latin American Novel Prize in 1941, and brought him international attention. It depicts an Andean community, living in the Peruvian highlands. The book was later published in the United States and has been reprinted many times, in multiple languages. Alegría returned to Peru in 1957. He joined President Fernando Belaúnde Terry's party (Accion Popular) and was elected to the Chamber of Deputies in 1963. He died unexpectedly in Lima, Peru on February 17, 1967. After his death, his widow published many of his essays and reports he had written for various newspapers. He was 58 years old. |
![]() | ![]() | LITERATURE. [Peru]. Alegria, Ciro. The Golden Serpent. New York. 1963. Signet/New American Library. Translated From The Spanish & With An Afterword By Harriet de Onis. 190 pages. paperback. CP114. Cover: Kossin. Original title: La serpiente de oro Unpredictably swift and menacing, unfathomable in its nature, the 'Golden Serpent' inspires reverence and terror in the tiny, scattered communities that border its banks - villages of peons pitched between pagan recklessness and Christian despair. Hardy agrarians, these people are prone to supernatural fears that arise from total dependence upon a river that bestows great gifts and, at times, destroys all that it has given. Here are the Andean peaks, surging rapids, river men, flower girls, fiestas, and mournful pipes. Here are the victims of avalanche and flood, witch hunts and plagues that corrode the mind and body. Ciro Alegria's lyric eloquence has produced a hypnotic vision of the remorseless Marañon country of Peru. In the words of Harriet de Onis, 'He has created a world peopled by beings teeming with life, with their sorrows and joys, their aspirations and defeats, and all suffused with that poetry which comes from emotion recalled in tranquillity. And when progress has spanned the turbulent Maranon with bridges, has dammed and channeled its treacherous waters, and the boatmen of Calemar have disappeared, their work done, The Golden Serpent will remain as a monument to the days when it ran free and bold, tamed only by brave men.' Ciro Alegría Bazán (November 4, 1909 - February 17, 1967) was a Peruvian journalist, politician, and novelist. Born in Huamachuco District, he exposed the problems of the native Peruvians while learning about their way of life. This understanding of how they were oppressed was the focus for his novels. He attended classes at the University of Trujillo, and worked briefly as a journalist for the newspaper El Norte. In 1930 Alegría joined the Aprista movement, dedicated to social reform as well as improving the welfare of native Peruvians. He was imprisoned several times for his political activities before finally being exiled to Chile in 1934. He remained in exile in both Chile and later the United States up until 1948. Later, he taught at the University of Puerto Rico, and wrote about the Cuban revolution while in Cuba. His most well known novel, Broad and Alien is the World (1941) or El mundo es ancho y ajeno, won the Latin American Novel Prize in 1941, and brought him international attention. It depicts an Andean community, living in the Peruvian highlands. The book was later published in the United States and has been reprinted many times, in multiple languages. Alegría returned to Peru in 1957. He joined President Fernando Belaúnde Terry's party (Accion Popular) and was elected to the Chamber of Deputies in 1963. He died unexpectedly in Lima, Peru on February 17, 1967. After his death, his widow published many of his essays and reports he had written for various newspapers. He was 58 years old. |
![]() | ![]() | LITERATURE. [El Salvador]. Alegria, Claribel & Flakoll, Darwin J. Ashes of Izalco. Willimantic. 1989. Curbstone Press. 0915306832. Translated from the Spanish by Darwin J. Flakoll. 173 pages. hardcover. Cover design by Bob Baldock. Written in two voices, ASHES OF IZALCO is the collaborative novel of Claribel Alegria and Darwin J. Flakoll based on the events of 1932 when thirty thousand Indians and peasants were massacred in Izalco, El Salvador. ASHES OF IZALCO brings together a Salvadoran woman and an American man who together struggle over issues of love, loyalty and socio-political injustices. About this book Claribel Alegria said in an interview: ‘ASHES OF IZALCO is a historical novel that my husband and I wrote together. It was based on what happened in 1932. I was a small child when it happened, but I still remember very well so many of these things. Thirty thousand campesinos were massacred in El Salvador in the name of anti-communism and it was a terrible thing. It was a thing that marred me as a child. The National Guard was right in front of my house and I saw when some of these peasants were brought in. And I heard when they were killed. I saw them go by with their thumbs tied behind their backs and then a little later I heard the shots. I started learning at a tender age about these terrible injustices. That was in 1932, but the sad thing is that right now the economic and the social injustices are just the same. The only difference now is that the people know better how to organize themselves. And so there is more hope for them. But this is why I think the novel is still very much alive.' Clara Isabel Alegría Vides (born May 12, 1924) is a Nicaraguan poet, essayist, novelist, and journalist who is a major voice in the literature of contemporary Central America. She writes under the pseudonym Claribel Alegría. She was awarded the 2006 Neustadt International Prize for Literature. Alegría was born in Estelí, Nicaragua and grew up in the Santa Ana area in western El Salvador. In 1943, she moved to the United States and in 1948 received a B.A. in Philosophy and Letters from George Washington University. Alegría was committed to nonviolent resistance. She had a close association with the Sandinista National Liberation Front (FSLN), which overthrew Anastasio Somoza Debayle and took control of the Nicaraguan government in 1979. Alegría returned to Nicaragua in 1985 to aid in the reconstruction of Nicaragua. Alegría now lives in Managua, Nicaragua. Alegría's works of literature reflect the style of the popular literary current in Central America during the 1950s and 1960s, ‘la generacion comprometida' (the committed generation). Her works follow the practice of several poets of her generation who are critical of their societies and make claims for rights using a language which is often counter-literary. Alegría has published many books of poetry: Casting Off (2003), Sorrow (1999), Umbrales (1996), Fuga de Canto Grande (1992) and La Mujer del Río (1989). Alegría has published novels and children's stories. |
![]() | ![]() | LITERATURE. [El Salvador]. Alegria, Claribel and Flakoll, Darwin. Death of Somoza. Willimantic. 1996. Curbstone Press. 1880684268. 161 pages. paperback. Cover design by Les Kanturek. DEATH OF SOMOZA reveals the inside story of the assassination of Somoza in Asuncion, Paraguay in 1980. Alegria and Flakoll, on the recommendation of Julio Cortázar, met ‘Ramon,' a leader in the Argentinian Revolutionary Workers' Party (PRT) and with his help were able to interview all the survivors of the commando team that carried out the ‘bringing to justice' of Somoza. Alegria and Flakoll then rewove these testimonies into a narrative that reads like an thriller, as well as giving a vivid picture of the political and social climate of the time. Enlivened by its colorful cast of characters, Death of Somoza is the definitive account of how Anastasio Somoza Debayle was brought to justice. This story is not an apology for terrorism, but rather the chronicle of a tyrannicide. Clara Isabel Alegría Vides (born May 12, 1924) is a Nicaraguan poet, essayist, novelist, and journalist who is a major voice in the literature of contemporary Central America. She writes under the pseudonym Claribel Alegría. She was awarded the 2006 Neustadt International Prize for Literature. Alegría was born in Estelí, Nicaragua and grew up in the Santa Ana area in western El Salvador. In 1943, she moved to the United States and in 1948 received a B.A. in Philosophy and Letters from George Washington University. Alegría was committed to nonviolent resistance. She had a close association with the Sandinista National Liberation Front (FSLN), which overthrew Anastasio Somoza Debayle and took control of the Nicaraguan government in 1979. Alegría returned to Nicaragua in 1985 to aid in the reconstruction of Nicaragua. Alegría now lives in Managua, Nicaragua. Alegría's works of literature reflect the style of the popular literary current in Central America during the 1950s and 1960s, ‘la generacion comprometida' (the committed generation). Her works follow the practice of several poets of her generation who are critical of their societies and make claims for rights using a language which is often counter-literary. Alegría has published many books of poetry: Casting Off (2003), Sorrow (1999), Umbrales (1996), Fuga de Canto Grande (1992) and La Mujer del Río (1989). Alegría has published novels and children's stories. |
![]() | ![]() | LITERATURE. [El Salvador]. Alegria, Claribel. Luisa in Realityland. Willimantic. 1987. Curbstone Press. 0915306700. Translated from the Spanish by Darwin J. Flakoll. 159 pages. hardcover. Cover design by Stone Graphics. LUISA IN REALITYLAND, an autobiographical prose/versenovel by Claribel Alegria, one of Central America's most highly acclaimed authors, is a retrospect of the real, surreal and magical memories of childhood in El Salvador, into which the ugly realities of war gradually intrude. LUISA IN REALITYLAND is printed on acid-free paper in an edition of 2500 copies by Curbstone Press of which 100 numbered copies are signed by the author and the translator. Clara Isabel Alegría Vides (born May 12, 1924) is a Nicaraguan poet, essayist, novelist, and journalist who is a major voice in the literature of contemporary Central America. She writes under the pseudonym Claribel Alegría. She was awarded the 2006 Neustadt International Prize for Literature. Alegría was born in Estelí, Nicaragua and grew up in the Santa Ana area in western El Salvador. In 1943, she moved to the United States and in 1948 received a B.A. in Philosophy and Letters from George Washington University. Alegría was committed to nonviolent resistance. She had a close association with the Sandinista National Liberation Front (FSLN), which overthrew Anastasio Somoza Debayle and took control of the Nicaraguan government in 1979. Alegría returned to Nicaragua in 1985 to aid in the reconstruction of Nicaragua. Alegría now lives in Managua, Nicaragua. Alegría's works of literature reflect the style of the popular literary current in Central America during the 1950s and 1960s, ‘la generacion comprometida' (the committed generation). Her works follow the practice of several poets of her generation who are critical of their societies and make claims for rights using a language which is often counter-literary. Alegría has published many books of poetry: Casting Off (2003), Sorrow (1999), Umbrales (1996), Fuga de Canto Grande (1992) and La Mujer del Río (1989). Alegría has published novels and children's stories. |
![]() | ![]() | LITERATURE. [El Salvador]. Alegria, Claribel. They Won't Take Me Alive. London. 1987. The Women's Press. 0704340283. Translated from the Spanish by Amanda Hopkinson. 145 pages. paperback. Cover illustration by Victoria Ortiz. First published as No Me Agarran Viva, 1983 - Ediciones Era, S.A. This is the triumphant story of the life and death of Commander Eugenia of the Salvadorean guerilla forces, as seen through the eyes of her comrades, and told by one of El Salvador's foremost writers. Clara Isabel Alegría Vides (born May 12, 1924) is a Nicaraguan poet, essayist, novelist, and journalist who is a major voice in the literature of contemporary Central America. She writes under the pseudonym Claribel Alegría. She was awarded the 2006 Neustadt International Prize for Literature. Alegría was born in Estelí, Nicaragua and grew up in the Santa Ana area in western El Salvador. In 1943, she moved to the United States and in 1948 received a B.A. in Philosophy and Letters from George Washington University. Alegría was committed to nonviolent resistance. She had a close association with the Sandinista National Liberation Front (FSLN), which overthrew Anastasio Somoza Debayle and took control of the Nicaraguan government in 1979. Alegría returned to Nicaragua in 1985 to aid in the reconstruction of Nicaragua. Alegría now lives in Managua, Nicaragua. Alegría's works of literature reflect the style of the popular literary current in Central America during the 1950s and 1960s, ‘la generacion comprometida' (the committed generation). Her works follow the practice of several poets of her generation who are critical of their societies and make claims for rights using a language which is often counter-literary. Alegría has published many books of poetry: Casting Off (2003), Sorrow (1999), Umbrales (1996), Fuga de Canto Grande (1992) and La Mujer del Río (1989). Alegría has published novels and children's stories. |
![]() | ![]() | LITERATURE. [Chile]. Alegria, Fernando. Caballo de copas (Spanish language edition). Barcelona. 1972. Editorial Planeta. 232 pages. paperback. (original title: Cabalio de Copa) IN SPANISH - This is such a horsy book that it is hard to believe the author has ever done anything in his life except hang around racing stables. However, in his native Chile - and in France and Italy where this and other works by Alegria have appeared in translation - he is known and respected as an essayist, critic, novelist, short story writer, and poet. But indeed, he shows himself to be a poet in this very book, for surely few authors have ever described horses and horse races with more poetic feeling; and San Francisco owes Alegria a laurel crown, at least, for the many poetic descriptions of that Queen city of the West, whether glimpsed in early morning or late at night, in fog or sunshine. As one critic said, reviewing the novel when it first appeared in the original Spanish, ‘The uneasy fascination of this ‘town without a map,' poised at the dock's edge as if at any moment it might move on and leave one behind, is so potent that the narrator - a young Chilean who made his way to the States to study and instead finds himself washing dishes in a dreary restaurant - is driven to exclaim: ‘Why, you can be living in San Francisco and still feel homesick for it!'' (Dorothy Hayes de Huneeus, in Americas, September, 1958). Whether or not you have already fallen under the spell of horses and horse racing, you can read this novel with pleasure for the story of young romance that is a part of it, for the odd assortment of human beings that swarm in its pages, and for the wry humor, compassion, and poetic feeling brought to the telling of the tale, Alegria here gives us an unusual point of vantage from which to view the human comedy. And the translator has skillfully leapt the language barrier; this English version can be read with undiluted enjoyment. This is a story of a horse with an eccentric personality. You may not be crazy about horses; but you will be, about that crazy horse, Gonzalez. . FERNANDO ALEGRIA, who writes with such affection of San Francisco in the present novel, is no newcomer to the North American scene. In 1938, at the age of twenty, he was a delegate from his native Chile to the World Youth Congress held at Vassar College. A few years later, after completing his studies at the University of Chile, he returned to the States, to do post-graduate work at the University of California, from which he received his Ph.D. In 1943, his historical novel for juveniles, Lautaro, received first prize in the Second Latin-American Literary Contest (Segundo Concurso Literario Latinoamericano) sponsored jointly by Farrar & Rinehart and the Pan-American Union; this first book has been translated into English, Portuguese, Czech, and other European languages and is regarded as a classic. In 1947, on a Guggenheim scholarship, he wrote Watt Whitman en Hispano America, He is known and esteemed throughout Latin America as the author of several published collections of poems and literary essays, five novels, contributions to many magazines, and as one of the editors of Revista Iberoamericana, His writing career reached a peak with the publication of Cabalio de Copa, which we now present in English translation as My Horse, Gonzalez, for it was immediately awarded the most important prize any novel can receive in Chile (the Premio Municipal, conferred by the Academia Chilena de Ia Lenqua), and was a bestseller not only throughout Latin America but in France (where it was called tout Cheval), We confidently predict that this novel about horses and women, an often hilarious and always absorbing tale, will bring him the fame he deserves in his adopted land, the U.S.A. (original title: Cabalio de Copa). Fernando Alegría (Santiago de Chile, 26 September, 1918 - Walnut Creek, California, October 29, 2005) was a Chilean poet, writer, literary critic and scholar. Alegría grew up in the Independencia barrio of the city. Poets from this barrio include Pablo Neruda, Violeta Parra and Volodia Teitelboim. He received an M.A. from Bowling Green State University in 1941 and a Ph.D. from University of California, Berkeley, in 1947. From 1964-1967, Alegría was a professor at the University of California in Berkeley. From 1967 to 1998 he was a professor at Stanford University and for many years he was Chair of the Spanish and Portuguese Language Departments there. He sat on the Board of Trustees at the Western Institute for Social Research (WISR) for about twenty years beginning with its inception in 1975. Alegría served as cultural attachE from the government of Salvador Allende to the United States from 1970 to 1973. He was the representative of the Royal Academy of the Spanish Language in the United States for many years. Among the many awards he received is the Latin American Prize of Literature. A documentary film about the life of Chile's revolutionary poet Alegría, ¡Viva Chile Mierda!, was produced in 2004. The documentary is a humanistic portrayal of one of the most influential figures from Chile and a key figure in the advancement of Latino culture in the United States of America. Alegría's ‘Viva Chile Mierda', the most recited poem of the Allende era, was written in the 1960s. |
![]() | ![]() | LITERATURE. [Chile]. Alegria, Fernando. Lautaro. New York. 1944. Farrar & Rinehart. Illustrated by Juan Oliver. This Novel Was The Juvenile Prize Winner In The Second Latin American Literary Prize Competition. Translated from the Spanish by Delia Goetz. 176 pages. hardcover. Original title: Lautaro, joven libertador de Arauco. Set in 16th century Chile, this is the epic of Lautaro, an Araucanian Indian who fought bravely for the liberation of his people. LAUTARO was the juvenile prize winner in the Second Latin American Literary Prize Competition. Other winners have been CANAPE-VERT by Philippe Thoby-Marcelin & Pierre Marcelin, a novel of Haiti, and ENRIQUETA AND I, an autobiography by Argentina Diaz Lozano, from Honduras. Fernando Alegría (Santiago de Chile, 26 September, 1918 - Walnut Creek, California, October 29, 2005) was a Chilean poet, writer, literary critic and scholar. Alegría grew up in the Independencia barrio of the city. Poets from this barrio include Pablo Neruda, Violeta Parra and Volodia Teitelboim. He received an M.A. from Bowling Green State University in 1941 and a Ph.D. from University of California, Berkeley, in 1947. From 1964-1967, Alegría was a professor at the University of California in Berkeley. From 1967 to 1998 he was a professor at Stanford University and for many years he was Chair of the Spanish and Portuguese Language Departments there. He sat on the Board of Trustees at the Western Institute for Social Research (WISR) for about twenty years beginning with its inception in 1975. Alegría served as cultural attachE from the government of Salvador Allende to the United States from 1970 to 1973. He was the representative of the Royal Academy of the Spanish Language in the United States for many years. Among the many awards he received is the Latin American Prize of Literature. A documentary film about the life of Chile's revolutionary poet Alegría, ¡Viva Chile Mierda!, was produced in 2004. The documentary is a humanistic portrayal of one of the most influential figures from Chile and a key figure in the advancement of Latino culture in the United States of America. Alegría's ‘Viva Chile Mierda', the most recited poem of the Allende era, was written in the 1960s. |
![]() | ![]() | LITERATURE. [Chile]. Alegria, Fernando. My Horse Gonzalez. New York. 1964. Las Americas Publishing Company. Translated from the Spanish by Carlos Lozano. 187 pages. hardcover. Original title: Cabalio de copas. This is such a horsy book that it is hard to believe the author has ever done anything in his life except hang around racing stables. However, in his native Chile - and in France and Italy where this and other works by Alegria have appeared in translation - he is known and respected as an essayist, critic, novelist, short story writer, and poet. But indeed, he shows himself to be a poet in this very book, for surely few authors have ever described horses and horse races with more poetic feeling; and San Francisco owes Alegria a laurel crown, at least, for the many poetic descriptions of that Queen city of the West, whether glimpsed in early morning or late at night, in fog or sunshine. As one critic said, reviewing the novel when it first appeared in the original Spanish, ‘The uneasy fascination of this ‘town without a map,' poised at the dock's edge as if at any moment it might move on and leave one behind, is so potent that the narrator - a young Chilean who made his way to the States to study and instead finds himself washing dishes in a dreary restaurant - is driven to exclaim: ‘Why, you can be living in San Francisco and still feel homesick for it!'' (Dorothy Hayes de Huneeus, in Americas, September, 1958). Whether or not you have already fallen under the spell of horses and horse racing, you can read this novel with pleasure for the story of young romance that is a part of it, for the odd assortment of human beings that swarm in its pages, and for the wry humor, compassion, and poetic feeling brought to the telling of the tale, Alegria here gives us an unusual point of vantage from which to view the human comedy. And the translator has skillfully leapt the language barrier; this English version can be read with undiluted enjoyment. This is a story of a horse with an eccentric personality. You may not be crazy about horses; but you will be, about that crazy horse, Gonzalez. FERNANDO ALEGRIA, who writes with such affection of San Francisco in the present novel, is no newcomer to the North American scene. In 1938, at the age of twenty, he was a delegate from his native Chile to the World Youth Congress held at Vassar College. A few years later, after completing his studies at the University of Chile, he returned to the States, to do post-graduate work at the University of California, from which he received his Ph.D. In 1943, his historical novel for juveniles, Lautaro, received first prize in the Second Latin-American Literary Contest (Segundo Concurso Literario Latinoamericano) sponsored jointly by Farrar & Rinehart and the Pan-American Union; this first book has been translated into English, Portuguese, Czech, and other European languages and is regarded as a classic. In 1947, on a Guggenheim scholarship, he wrote Watt Whitman en Hispano America, He is known and esteemed throughout Latin America as the author of several published collections of poems and literary essays, five novels, contributions to many magazines, and as one of the editors of Revista Iberoamericana, His writing career reached a peak with the publication of Cabalio de Copa, which we now present in English translation as My Horse, Gonzalez, for it was immediately awarded the most important prize any novel can receive in Chile (the Premio Municipal, conferred by the Academia Chilena de Ia Lenqua), and was a bestseller not only throughout Latin America but in France (where it was called tout Cheval), We confidently predict that this novel about horses and women, an often hilarious and always absorbing tale, will bring him the fame he deserves in his adopted land, the U.S.A. . (original title: Cabalio de Copa). Fernando Alegría (Santiago de Chile, 26 September, 1918 - Walnut Creek, California, October 29, 2005) was a Chilean poet, writer, literary critic and scholar. Alegría grew up in the Independencia barrio of the city. Poets from this barrio include Pablo Neruda, Violeta Parra and Volodia Teitelboim. He received an M.A. from Bowling Green State University in 1941 and a Ph.D. from University of California, Berkeley, in 1947. From 1964-1967, Alegría was a professor at the University of California in Berkeley. From 1967 to 1998 he was a professor at Stanford University and for many years he was Chair of the Spanish and Portuguese Language Departments there. He sat on the Board of Trustees at the Western Institute for Social Research (WISR) for about twenty years beginning with its inception in 1975. Alegría served as cultural attachE from the government of Salvador Allende to the United States from 1970 to 1973. He was the representative of the Royal Academy of the Spanish Language in the United States for many years. Among the many awards he received is the Latin American Prize of Literature. A documentary film about the life of Chile's revolutionary poet Alegría, ¡Viva Chile Mierda!, was produced in 2004. The documentary is a humanistic portrayal of one of the most influential figures from Chile and a key figure in the advancement of Latino culture in the United States of America. Alegría's ‘Viva Chile Mierda', the most recited poem of the Allende era, was written in the 1960s. |
![]() | ![]() | LITERATURE. [Chile]. Alegria, Fernando. The Maypole Warriors. Pittsburgh. 1993. Latin American Literary Review Press. 0935480587. Translated from the Spanish by Carlos Lozano. 192 pages. paperback. Cover: Dr. Mary Hufty. Original title: Manana los guerreros. THE MAYPOLE WARRIORS gives a spectral vision of the most impressive events of the 30s and 40s, focusing on the artistic revolution in Chile and the role played in it by legendary figures such as Pablo Neruda and Vicente Huidobro. The novel also analyzes in depth the crisis of two old Chilean families who live in their young progeny the consequences of their social displacement. In a strikingly contemporary approach, the novel presents Juan Luis and Elisa, who at a time and in a country weighted with the social consequences of abortion, make the decision that only they could make . . . ‘. . . [a] visionary new novel . . . Alegria's Chile is eerily akin to the Civil War-Spain in Man's Hope by Andre Malraux . . . Alegria's prose, however, is more lyrical . . . He is deft at finding the evocative metaphor, the searing image. In a stylish translation by Lozano, the book will capture both the reader's attention and conscience.' - Publishers Weekly. the novel allows us a glimpse of a country that is the home of the Nobel-laureate Pablo Neruda (who appears in its pages), that at one time had one of the oldest democracies in the Americas, but that has more recently [undergone] tumult.' - Booklist. Chilean novelist, essayist, poet and literary critic, FERNANDO ALEGRIA is currently Emeritus Professor in the Humanities at Stanford University. Originally a realist, he has excelled in magic realism beginning with his novel The Maypole Warriors. Among others, his works include the critical volume Nueva historia de la novela hispanoamericana, the novel AMERIKA, AMERIKKA AMERIKKKA, and ALLENDE: A NOVEL, the fictionalized biography of former Chilean President Salvador Allende, recently published in English translation by Stanford University Press. Professor Alegria's work has been translated into numerous languages. Chilean novelist, essayist, poet and literary critic, FERNANDO ALEGRIA is currently Emeritus Professor in the Humanities at Stanford University. Originally a realist, he has excelled in magic realism beginning with his novel The Maypole Warriors. Among others, his works include the critical volume Nueva historia de la novela hispanoamericana, the novel AMERIKA, AMERIKKA AMERIKKKA, and ALLENDE: A NOVEL, the fictionalized biography of former Chilean President Salvador Allende, recently published in English translation by Stanford University Press. Professor Alegria's work has been translated into numerous languages. . CARLOS LOZANO, author of Ruben Dario en España, is one of the most acknowledged translators of Pablo Neruda. His English version of Odas Elementales is a classic. He is also the translator of Caballo de copa by Fernando Alegria. . (original title: Manana los guerreros). Fernando Alegría (Santiago de Chile, 26 September, 1918 - Walnut Creek, California, October 29, 2005) was a Chilean poet, writer, literary critic and scholar. Alegría grew up in the Independencia barrio of the city. Poets from this barrio include Pablo Neruda, Violeta Parra and Volodia Teitelboim. He received an M.A. from Bowling Green State University in 1941 and a Ph.D. from University of California, Berkeley, in 1947. From 1964-1967, Alegría was a professor at the University of California in Berkeley. From 1967 to 1998 he was a professor at Stanford University and for many years he was Chair of the Spanish and Portuguese Language Departments there. He sat on the Board of Trustees at the Western Institute for Social Research (WISR) for about twenty years beginning with its inception in 1975. Alegría served as cultural attachE from the government of Salvador Allende to the United States from 1970 to 1973. He was the representative of the Royal Academy of the Spanish Language in the United States for many years. Among the many awards he received is the Latin American Prize of Literature. A documentary film about the life of Chile's revolutionary poet Alegría, ¡Viva Chile Mierda!, was produced in 2004. The documentary is a humanistic portrayal of one of the most influential figures from Chile and a key figure in the advancement of Latino culture in the United States of America. Alegría's ‘Viva Chile Mierda', the most recited poem of the Allende era, was written in the 1960s. |
![]() | ![]() | LITERATURE. [Mexico]. Aleman Velasco, Miguel. Copilli: Aztec Prince. Garden City. 1984. Doubleday. 038518901x. Translated from the Spanish. 129 pages. hardcover. Cover: Jorge Encisco/Dover Publications/Editorial Diana,Mexico. JACKET PAINTING COURTESY OF EDITORIAL DIANA, MEXICO. It is a story that begins in the dusty archives of a library in twentieth-century Florence and ends four centuries in the past, in the heart of pre-Hispanic Mexico. From the obscure hieroglyphics of an ancient maguey scroll spills forth the fusion of reality and myth that is the Aztec empire at its height-a stunning mosaic of obsidian and jade, of Eagle Knights, noblemen, warriors, and priests. A society in which arts and sciences flourish in the grisly shadows of pyramids washed in sacrificial blood, ruled by a pantheon of mysterious and powerful gods whose existence is all too real. Here, too, is the intimate story of one man, Copilli, Aztec prince, of his rigorous training, trials, triumphs, loves, doubts, and dreams. And of the one compelling vision that possesses him - the building of a great Pyramid, to record in the indelible images of stone the rich history and traditions of his people . . . a vision that consumes him in both life and death. Part biography, part historical narrative, wholly novel, this fascinating account of the life of an Aztec nobleman re-creates the hallucinatory splendor of the Aztec civilization - a way of life swept into oblivion by the conquistadors, but echoing still through the corridors of history. Miguel Alemán Velasco is the author of several previous novels, which have been published to an enthusiastic audience in his native Mexico. The Spanish edition of COPILLI was a bestseller. He is an expert in ancient languages and in the history and mythology of Mexico. This is his first book to appear in the United States. |
![]() | ![]() | LITERATURE. [Brazil]. Alencar, Jose de. Senhora: Profile of a Woman. Austin. 1994. University of Texas Press. 0292704496. Translated from the Portuguese by Catarina Feldmann Edinger. Texas Pan American Series. 199 pages. hardcover. ‘It is a truth universally acknowledged that a single woman in possession of a good character but no fortune must be in want of a wealthy husband - that is, if she is the heroine of a nineteenth-century novel. Senhora, by contrast, turns the tables on this familiar plot. Its strong- willed, independent heroine Aurelia uses newly inherited wealth to ‘buy back' and exact revenge on the fiance who had left her for a woman with a more enticing dowry. This exciting Brazilian novel, originally published in 1875 and here translated into English for the first time, raises intriguing questions about traditional gender relationships, the commercial nature of marriage, and the institution of the dowry. While true love and conventional marital roles triumph in the end, the novel still offers realistic insights into the social and economic structure of Rio de Janeiro in the mid-1800s. With its unexpected plot, it also opens new important perspectives on the nineteenth-century Romantic novel. ‘ . . . an extremely important novel. . . quite startling in its revelations of money and gender as key social mechanisms in nineteenth-century Brazilian life.' - Daphne Patai, professor of Spanish and Portuguese and of women's studies, University of Massachusetts at Amherst. Texas Pan American Series . A journalist and politician who served as Minister of Justice under the Emperor Dom Pedro II, JOSE DE ALENCAR (1829-1877) is considered the father of Brazilian literature. He was the author of twenty novels and six plays, as well as many newspaper articles and speeches. . Translator CATARINA FELDMANN EDINGER is an associate professor of English at the William Paterson College of New Jersey. Jose Martiniano de Alencar (May 1, 1829 - December 12, 1877) was a Brazilian lawyer, politician, orator, novelist and dramatist. He is considered to be one of the most famous and influential Brazilian Romantic novelists of the 19th century, and a major exponent of the literary tradition known as 'Indianism'. Sometimes he signed his works with the pen name Erasmo. He is patron of the 23rd chair of the Brazilian Academy of Letters. Jose Martiniano de Alencar was born in what is today the bairro of Messejana, Fortaleza, Ceará, on May 1, 1829, to former priest (and later politician) Jose Martiniano Pereira de Alencar and his cousin Ana Josefina de Alencar. Moving to São Paulo in 1844, he graduated in Law at the Faculdade de Direito da Universidade de São Paulo in 1850 and started his career in law in Rio de Janeiro. Invited by his friend Francisco Otaviano, he became a collaborator for the journal Correio Mercantil. He also wrote many chronicles for the Diário do Rio de Janeiro and the Jornal do Commercio. Alencar would compile all the chronicles he wrote for these newspapers in 1874, under the name Ao Correr da Pena. It was in the Diário do Rio de Janeiro, during the year of 1856, that Alencar gained notoriety, writing the Cartas sobre A Confederação dos Tamoios, under the pseudonym Ig. In them, he bitterly criticized the homonymous poem by Gonçalves de Magalhães. Even the Brazilian Emperor Pedro II, who esteemed Magalhães very much, participated in this polemic, albeit under a pseudonym. Also in 1856, he wrote and published under feuilleton form his first romance, Cinco Minutos, that received critical acclaim. In the following year, his breakthrough novel, O Guarani, was released; it would be adapted into a famous opera by Brazilian composer Antônio Carlos Gomes 13 years later. O Guarani would be first novel of what is informally called 'Alencar's Indianist Trilogy' - a series of three novels by Alencar that focused on the foundations of the Brazilian nation, and on its indigenous peoples and culture. The other two novels, Iracema and Ubirajara, would be published on 1865 and 1874, respectively. Although called a trilogy, the three books are unrelated in its plots. Alencar was affiliated with the Conservative Party of Brazil, being elected as a general deputy for Ceará. He was the Brazilian Minister of Justice from 1868 to 1870. He also planned to be a senator, but Pedro II never appointed him, under the pretext of Alencar being too young; with his feelings hurt, he would abandon politics later. He was very close friends with the also famous writer Machado de Assis, who wrote an article in 1866 praising his novel Iracema, that was published the year before, comparing his Indianist works to Gonçalves Dias, saying that 'Alencar was in prose what Dias was in poetry'. When Assis founded the Brazilian Academy of Letters in 1897, he chose Alencar as the patron of his chair. In 1864 he married Georgina Augusta Cochrane, daughter of an eccentric British aristocrat. They would have six children - Augusto (who would be the Brazilian Minister of External Relations in 1919, and also the Brazilian ambassador on the United States from 1920 to 1924), Clarisse, Ceci, Elisa, Mário (who would be a journalist and writer, and a member of the Brazilian Academy of Letters) and Adelia. (It is implied that Mário de Alencar was actually an illegitimate son of Machado de Assis, a fact that inspired Assis to write his famous novel Dom Casmurro). Alencar died in Rio de Janeiro in 1877, a victim of tuberculosis. A theatre in Fortaleza, the Theatro Jose de Alencar, was named after him. Translator Catarina Feldmann Edinger is an associate professor of English at the William Paterson College of New Jersey. |
![]() | ![]() | LITERATURE. [Brazil]. Alencar, José Martiniano de. Iracema, or Honey-Lips and Manuel de Moraes the Convert. London. 1886. Bickers and Son. Translated from the Portuguese by Sir Richard and Isabel Burton. 106 pages. Original title: Iracema; lenda do Ceard, 1865. First edition in English of both of these novellas, translated by the Burtons during their stay in Sao Paulo in the late 1860's, but not published until later. These two stories were bound together in light biscuit-coloured paper wrappers, with border in black on front cover, enclosing title for both stories. Iracema is a kind of prose poem of the arrival of Portuguese colonists in Brazil and the unification of races and cultures there. Jose Martiniano de Alencar (May 1, 1829 - December 12, 1877) was a Brazilian lawyer, politician, orator, novelist and dramatist. He is considered to be one of the most famous and influential Brazilian Romantic novelists of the 19th century, and a major exponent of the literary tradition known as 'Indianism'. Sometimes he signed his works with the pen name Erasmo. He is patron of the 23rd chair of the Brazilian Academy of Letters. Jose Martiniano de Alencar was born in what is today the bairro of Messejana, Fortaleza, Ceará, on May 1, 1829, to former priest (and later politician) Jose Martiniano Pereira de Alencar and his cousin Ana Josefina de Alencar. Moving to São Paulo in 1844, he graduated in Law at the Faculdade de Direito da Universidade de São Paulo in 1850 and started his career in law in Rio de Janeiro. Invited by his friend Francisco Otaviano, he became a collaborator for the journal Correio Mercantil. He also wrote many chronicles for the Diário do Rio de Janeiro and the Jornal do Commercio. Alencar would compile all the chronicles he wrote for these newspapers in 1874, under the name Ao Correr da Pena. It was in the Diário do Rio de Janeiro, during the year of 1856, that Alencar gained notoriety, writing the Cartas sobre A Confederação dos Tamoios, under the pseudonym Ig. In them, he bitterly criticized the homonymous poem by Gonçalves de Magalhães. Even the Brazilian Emperor Pedro II, who esteemed Magalhães very much, participated in this polemic, albeit under a pseudonym. Also in 1856, he wrote and published under feuilleton form his first romance, Cinco Minutos, that received critical acclaim. In the following year, his breakthrough novel, O Guarani, was released; it would be adapted into a famous opera by Brazilian composer Antônio Carlos Gomes 13 years later. O Guarani would be first novel of what is informally called 'Alencar's Indianist Trilogy' - a series of three novels by Alencar that focused on the foundations of the Brazilian nation, and on its indigenous peoples and culture. The other two novels, Iracema and Ubirajara, would be published on 1865 and 1874, respectively. Although called a trilogy, the three books are unrelated in its plots. Alencar was affiliated with the Conservative Party of Brazil, being elected as a general deputy for Ceará. He was the Brazilian Minister of Justice from 1868 to 1870. He also planned to be a senator, but Pedro II never appointed him, under the pretext of Alencar being too young; with his feelings hurt, he would abandon politics later. He was very close friends with the also famous writer Machado de Assis, who wrote an article in 1866 praising his novel Iracema, that was published the year before, comparing his Indianist works to Gonçalves Dias, saying that 'Alencar was in prose what Dias was in poetry'. When Assis founded the Brazilian Academy of Letters in 1897, he chose Alencar as the patron of his chair. In 1864 he married Georgina Augusta Cochrane, daughter of an eccentric British aristocrat. They would have six children - Augusto (who would be the Brazilian Minister of External Relations in 1919, and also the Brazilian ambassador on the United States from 1920 to 1924), Clarisse, Ceci, Elisa, Mário (who would be a journalist and writer, and a member of the Brazilian Academy of Letters) and AdElia. (It is implied that Mário de Alencar was actually an illegitimate son of Machado de Assis, a fact that inspired Assis to write his famous novel Dom Casmurro). Alencar died in Rio de Janeiro in 1877, a victim of tuberculosis. A theatre in Fortaleza, the Theatro Jose de Alencar, was named after him. |
![]() | ![]() | LITERATURE. [Brazil]. Alencar, José Martiniano de. Iracema; a legend of Ceará. Rio de Janeiro. [no date]. Imprensa Inglesa. Translated from the Portuguese by N. Bidell. 114 pages. Translation of Iracema, lenda do Ceara. Iracema is one of the three indigenous novels by Jose de Alencar. It was first published in 1865. The story revolves around the relationship between the Tabajara indigenous woman, Iracema, and the Portuguese colonist, Martim, who was allied with the Tabajara nation's enemies, the Pitiguaras. Through the novel, Alencar tries to remake the history of the Brazilian colonial state of Ceará, with Moacir, the son of Iracema and Martim, as the first true Brazilian in Ceará. This pure Brazilian is born from the love of the natural, innocence (Iracema), culture and knowledge (Martim), and also represents the mixture (miscegenation) of the native race with the European race to produce a new caboclo race. Jose Martiniano de Alencar (May 1, 1829 - December 12, 1877) was a Brazilian lawyer, politician, orator, novelist and dramatist. He is considered to be one of the most famous and influential Brazilian Romantic novelists of the 19th century, and a major exponent of the literary tradition known as 'Indianism'. Sometimes he signed his works with the pen name Erasmo. He is patron of the 23rd chair of the Brazilian Academy of Letters. Jose Martiniano de Alencar was born in what is today the bairro of Messejana, Fortaleza, Ceará, on May 1, 1829, to former priest (and later politician) Jose Martiniano Pereira de Alencar and his cousin Ana Josefina de Alencar. Moving to São Paulo in 1844, he graduated in Law at the Faculdade de Direito da Universidade de São Paulo in 1850 and started his career in law in Rio de Janeiro. Invited by his friend Francisco Otaviano, he became a collaborator for the journal Correio Mercantil. He also wrote many chronicles for the Diário do Rio de Janeiro and the Jornal do Commercio. Alencar would compile all the chronicles he wrote for these newspapers in 1874, under the name Ao Correr da Pena. It was in the Diário do Rio de Janeiro, during the year of 1856, that Alencar gained notoriety, writing the Cartas sobre A Confederação dos Tamoios, under the pseudonym Ig. In them, he bitterly criticized the homonymous poem by Gonçalves de Magalhães. Even the Brazilian Emperor Pedro II, who esteemed Magalhães very much, participated in this polemic, albeit under a pseudonym. Also in 1856, he wrote and published under feuilleton form his first romance, Cinco Minutos, that received critical acclaim. In the following year, his breakthrough novel, O Guarani, was released; it would be adapted into a famous opera by Brazilian composer Antônio Carlos Gomes 13 years later. O Guarani would be first novel of what is informally called 'Alencar's Indianist Trilogy' - a series of three novels by Alencar that focused on the foundations of the Brazilian nation, and on its indigenous peoples and culture. The other two novels, Iracema and Ubirajara, would be published on 1865 and 1874, respectively. Although called a trilogy, the three books are unrelated in its plots. Alencar was affiliated with the Conservative Party of Brazil, being elected as a general deputy for Ceará. He was the Brazilian Minister of Justice from 1868 to 1870. He also planned to be a senator, but Pedro II never appointed him, under the pretext of Alencar being too young; with his feelings hurt, he would abandon politics later. He was very close friends with the also famous writer Machado de Assis, who wrote an article in 1866 praising his novel Iracema, that was published the year before, comparing his Indianist works to Gonçalves Dias, saying that 'Alencar was in prose what Dias was in poetry'. When Assis founded the Brazilian Academy of Letters in 1897, he chose Alencar as the patron of his chair. In 1864 he married Georgina Augusta Cochrane, daughter of an eccentric British aristocrat. They would have six children - Augusto (who would be the Brazilian Minister of External Relations in 1919, and also the Brazilian ambassador on the United States from 1920 to 1924), Clarisse, Ceci, Elisa, Mário (who would be a journalist and writer, and a member of the Brazilian Academy of Letters) and AdElia. (It is implied that Mário de Alencar was actually an illegitimate son of Machado de Assis, a fact that inspired Assis to write his famous novel Dom Casmurro). Alencar died in Rio de Janeiro in 1877, a victim of tuberculosis. A theatre in Fortaleza, the Theatro Jose de Alencar, was named after him. |
![]() | ![]() | LITERATURE. [Chile]. Allende, Isabel. Daughter of Fortune. New York. 1999. Harper Collins. 006019491x. 399 pages. paperback. From the acclaimed international bestselling author of THE HOUSE OF THE SPIRITS and PAULA comes this dazzling new historical novel, her most ambitious work of fiction yet - a sweeping portrait of an unconventional woman carving her own destiny in an era marked by violence, passion, and adventure. An orphan raised in Valparaiso, Chile, by a Victorian spinster and her rigid brother, young, vivacious Eliza Sommers follows her lover to California during the Gold Rush of 1849 - a danger-filled quest that will become a momentous journey of transformation from innocence to independence. A masterful novel of love, adversity, spirit, and fulfillment, DAUGHTER OF FORTUNE once again demonstrates Isabel Allende's extraordinary literary gifts and confirms her place as one of the world's leading writers. Isabel Allende (born 2 August 1942) is a Chilean writer. Allende, whose works sometimes contain aspects of the ‘magic realist‘ tradition, is famous for novels such as The House of the Spirits (La casa de los espíritus, 1982) and City of the Beasts (La ciudad de las bestias, 2002), which have been commercially successful. Allende has been called ‘the world's most widely read Spanish-language author'. In 2004, Allende was inducted into the American Academy of Arts and Letters, and in 2010, she received Chile's National Literature Prize. Allende's novels are often based upon her personal experience and pay homage to the lives of women, while weaving together elements of myth and realism. She has lectured and toured many American colleges to teach literature. Fluent in English as a second language, Allende was granted American citizenship in 2003, having lived in California with her American husband since 1989. |
![]() | ![]() | LITERATURE. [Chile]. Allende, Isabel. Eva Luna. New York. 1988. Knopf. 0394572734. Translated from the Spanish by Margaret Sayers Peden. 272 pages. hardcover. Jacket illustration and design by James McMullan. Original title: Eva Luna, 1987 - Plaza y Janes, S.A., Barcelona, Spain. In a very short time, Isabel Allende has won the allegiance and affection of readers and reviewers around the world-first with The House of the Spirits (praised by Alexander Coleman in The New York Tines Book Review as ‘a unique achievement, both personal witness and possible allegory of the past, present and future of Latin America'), followed closely by OF LOVE AND SHADOWS (of which Jonathan Yardley said in The Washington Post Book REVIEW, ‘The people . . . are so real, their triumphs and defeats are so faithful to the truth of human existence, that we see the world in miniature. This is precisely what fiction should do'). Now, in EVA LUNA, she has written her most ambitious and original work, a book that makes the foreign both familiar and welcoming, a book that confirms beyond any doubt her status as a major literary presence. ‘My name is Eva, which means ‘life,' according to a book of names my mother consulted. I was born in the back room of a shadowy house, and grew up amidst ancient furniture, books in Latin, and human mummies, but none of these things made me melancholy, because I came into the world with a breath of the jungle in my memory.' This is the voice that carries us through Eva Luna, the assured voice of a naturally inventive storyteller, a woman who relates to us the picaresque tale of her own life (born poor, orphaned early, she will eventually rise to a position of unique influence) and of the people-from all levels of society-that she meets along the way. They include the rich and eccentric, for whom she works as a servant . . . the Lebanese emigrE who befriends her and takes her in . . . her unfortunate godmother, whose brain is addled by rum, and who believes in all the Catholic saints, some of African origin and a few of her own invention . . . a street urchin who grows into a petty criminal and, later a leader in the guerrilla struggle . . . a celebrated transsexual entertainer who instructs her, with great tenderness and insight, in the ways of the adult world . . . a young refugee whose flight from postwar Europe will prove crucial to Eva's fate . . . As Eva tells her story, Isabel Allende conjures up a whole complex South American nation-the rich, the poor, the simple, and the sophisticated- in a novel replete with character and incident, with drama and comedy and history, a novel that will delight and increase her devoted audience. . Born in Peru, Isabel Allende is Chilean. She was a journalist for many years and began to write fiction in 1981. The result was the worldwide bestseller THE HOUSE OF THE SPIRITS, which was followed two years later by the equally successful OF LOVE AND SHADOWS. Long a resident of Caracas, she now makes her home in San Rafael, California, where she is completing a new book. Isabel Allende (born 2 August 1942) is a Chilean writer. Allende, whose works sometimes contain aspects of the ‘magic realist‘ tradition, is famous for novels such as The House of the Spirits (La casa de los espíritus, 1982) and City of the Beasts (La ciudad de las bestias, 2002), which have been commercially successful. Allende has been called ‘the world's most widely read Spanish-language author'. In 2004, Allende was inducted into the American Academy of Arts and Letters, and in 2010, she received Chile's National Literature Prize. Allende's novels are often based upon her personal experience and pay homage to the lives of women, while weaving together elements of myth and realism. She has lectured and toured many American colleges to teach literature. Fluent in English as a second language, Allende was granted American citizenship in 2003, having lived in California with her American husband since 1989. |
![]() | ![]() | LITERATURE. [Chile]. Allende, Isabel. Of Love and Shadows. New York. 1987. Knopf. 0394549627. Translated from the Spanish by Margaret Sayers Peden. 274 pages. hardcover. Jacket illustration by Anthony Russo. Jacket design by Sara Eisenman. Original title: De Amor y de Sombra, 1984 - Plaza y Janes, S.A., Barcelona, Spain. Rarely has a first novel catapulted a writer so suddenly to international attention and acclaim as Isabel Allende's THE HOUSE OF THE SPIRITS, the epic story of the large and tempestuous Trueba family. Now, with OF LOVE AND SHADOWS-itself a bestseller and critical success in Europe and Latin America-the promise of that auspicious debut is fulfilled. As in her first novel, Isabel Allende transports us to a world of large events, high drama, and rich emotions. Again we are in an unnamed Latin American country, this time in the grip of a military dictatorship. And at the center are two people, a woman and a man, who are fated, under the most desperate circumstances, to fall totally in love. She is Irene Beltrán, a daughter of the upper classes, a well-intentioned if somewhat naïve reporter for a women's magazine. He is Francisco Leal, son of Spanish exiles, a photographer and a clandestine worker in the resistance. Sent on a routine assignment, these two uncover a hideous crime, the revelation of which will challenge-and provoke-the official terrorism of the regime and will put their very lives at risk. OF LOVE AND SHADOWS gives us these people, their families, their country, and their agonized times with all the style and imagination, feeling and power that Isabel Allende's many passionate readers expect and recognize. And it should confirm her reputation as a major and original literary voice. Isabel Allende (born 2 August 1942) is a Chilean writer. Allende, whose works sometimes contain aspects of the ‘magic realist‘ tradition, is famous for novels such as The House of the Spirits (La casa de los espíritus, 1982) and City of the Beasts (La ciudad de las bestias, 2002), which have been commercially successful. Allende has been called ‘the world's most widely read Spanish-language author'. In 2004, Allende was inducted into the American Academy of Arts and Letters, and in 2010, she received Chile's National Literature Prize. Allende's novels are often based upon her personal experience and pay homage to the lives of women, while weaving together elements of myth and realism. She has lectured and toured many American colleges to teach literature. Fluent in English as a second language, Allende was granted American citizenship in 2003, having lived in California with her American husband since 1989. |
![]() | ![]() | LITERATURE. [Chile]. Allende, Isabel. Paula. New York. 1995. Harper Collins. 0060172533. Translated from the Spanish by Margaret Sayers Peden. 330 pages. hardcover. Jacket design and illustration (c) 1995 by Honi Werner. Illustration based on detail from Diego Velazquez's The Virgin Presenting the Chasuble to Saint Ildephonsus. Author photograph (c) 1994 by Jerry Bauer. Originally published in Spanish as Paula. Paula is a soul-baring memoir, which, like a novel of suspense, one reads without drawing a breath. The point of departure for these moving pages is a tragic personal experience. In December 1991, Isabel Allende's daughter, Paula, became gravely ill and shortly thereafter fell into a coma. During months in the hospital, the author began to write the story of her family for her unconscious daughter. In the telling, bizarre ancestors appear before our eyes; we hear both delightful and bitter childhood memories, amazing anecdotes of youthful years, the most intimate secrets passed along in whispers. Chile, Allende's native land, comes alive as well, with the turbulent history of the military coup of 1973, the ensuing dictatorship, and her family's years of exile. As an exorcism of death, in these pages Isabel Allende explores the past and questions the gods. The result is a magical book that carries the reader from tears to laughter, from terror to sensuality and wisdom. The glorious characters of Allende's fiction-clairvoyants, revolutionaries, and most of all the questing woman who makes her way through storytelling-populate this autobiography, perhaps Allende's finest work, and certainly her most revealing. In PAULA we understand that the miraculous world of THE HOUSE OF THE SPIRITS and EVA LUNA is the world Isabel Allende inhabits-it is her enchanted reality. Isabel Allende (born 2 August 1942) is a Chilean writer. Allende, whose works sometimes contain aspects of the ‘magic realist‘ tradition, is famous for novels such as The House of the Spirits (La casa de los espíritus, 1982) and City of the Beasts (La ciudad de las bestias, 2002), which have been commercially successful. Allende has been called ‘the world's most widely read Spanish-language author'. In 2004, Allende was inducted into the American Academy of Arts and Letters, and in 2010, she received Chile's National Literature Prize. Allende's novels are often based upon her personal experience and pay homage to the lives of women, while weaving together elements of myth and realism. She has lectured and toured many American colleges to teach literature. Fluent in English as a second language, Allende was granted American citizenship in 2003, having lived in California with her American husband since 1989. |
![]() | ![]() | LITERATURE. [Chile]. Allende, Isabel. Portrait in Sepia. New York. 2001. Harper Collins. 0066211611. 304 pages. hardcover. Jacket photograph by Marcia Lieberman. Isabel Allende's sensuous novel about the mystery of memory In nineteenth-century Chile, Aurora del Valle suffers a brutal trauma that erases all recollections of the first five years of her life. Raised by her regal and ambitious grandmother Paulina del Valle, Aurora grows up in a privileged environment, but is tormented by horrible nightmares. When she is forced to recognize her betrayal at the hands of the man she loves, and to cope with the resulting solitude, she explores the mystery of her past. Isabel Allende (born 2 August 1942) is a Chilean writer. Allende, whose works sometimes contain aspects of the ‘magic realist‘ tradition, is famous for novels such as The House of the Spirits (La casa de los espíritus, 1982) and City of the Beasts (La ciudad de las bestias, 2002), which have been commercially successful. Allende has been called ‘the world's most widely read Spanish-language author'. In 2004, Allende was inducted into the American Academy of Arts and Letters, and in 2010, she received Chile's National Literature Prize. Allende's novels are often based upon her personal experience and pay homage to the lives of women, while weaving together elements of myth and realism. She has lectured and toured many American colleges to teach literature. Fluent in English as a second language, Allende was granted American citizenship in 2003, having lived in California with her American husband since 1989. |
![]() | ![]() | LITERATURE. [Chile]. Allende, Isabel. The House of the Spirits. New York. 1985. Knopf. 0394539079. Translated from the Spanish by Magda Bogin. 368 pages. hardcover. Jacket illustration by Michel Guire Vaka. Jacket design by Sara Eicenman. Original title: La Casa de los Espiritus, 1982 - Plaza y Janes, S.A., Barcelona, Spain. Already a best seller and critical success in Europe and Latin America, THE HOUSE OF THE SPIRITS is the magnificent epic of the Trueba family-their loves, their ambitions, their spiritual quests, their relations with one another, and their participation in the history of their times, a history that becomes destiny and overtakes them all. We begin-at the turn of the century, in an unnamed South American country-in the childhood home of the woman who will be the mother and grandmother of the clan, Clara del Valle. A warm-hearted, hypersensitive girl, Clara has distinguished herself from an early age with her telepathic abilities-she can read fortunes, make objects move as if they had lives of their own, and predict the future. Following the mysterious death of her sister, the fabled Rosa the Beautiful, Clara has been mute for nine years, resisting all attempts to make her speak. When she breaks her silence, it is to announce that she will be married soon. Her husband-to-be is Esteban Trueba, a stern, willful man, given to fits of rage and haunted by a profound loneliness. At the age of thirty-five, he has returned to the capital from his country estate to visit his dying mother and to find a wife. (He was Rosa's fiancE, and her death has marked him as deeply as it has Clara.) This is the man Clara has foreseen-has summoned to be her husband; Esteban, in turn, will conceive a passion for Clara that will last the rest of his long and rancorous life. We go with this couple as they move into the extravagant house he builds for her, a structure that everyone calls ‘the big house on the corner' which is soon populated with Clara's spiritualist friends, the artists she sponsors, the charity cases she takes an interest in, with Esteban's political cronies, and, above all, with the Trueba children . . . their daughter, Blanca, a practical, self-effacing girl who will, to the fury of her father, form a lifelong liaison with the son of his foreman . . . the twins, Jaime and Nicolás, the former a solitary, taciturn boy who becomes a doctor to the poor and unfortunate; the latter a playboy, a dabbler in Eastern religions and mystical disciplines . . . and, in the third generation, the child Alba, Blanca's daughter (the family does not recognize the real father for years, so great is Esteban's anger), a child who is fondled and indulged and instructed by them all. For all their good fortune, their natural (and supernatural) talents, and their powerful attachments to one another, the inhabitants of ‘the big house on the corner' are not immune to the larger forces of the world. And, as the twentieth century beats on . . . as Esteban becomes more strident in his opposition to Communism . . . as Jaime becomes the friend and confidant of the Socialist leader known as the Candidate . . . as Alba falls in love with a student radical . . . the Truebas become actors-and victims-in a tragic series of events that gives THE HOUSE OF THE SPIRITS a deeper resonance and meaning. It is the supreme achievement of this splendid novel that we feel ourselves members of this large, passionate (and sometimes exasperating) family, that we become attached to them as if they were our own. That this is the author's first novel makes it all the more extraordinary. THE HOUSE OF THE SPIRITS marks the appearance of a major international writer. Isabel Allende (born 2 August 1942) is a Chilean writer. Allende, whose works sometimes contain aspects of the ‘magic realist‘ tradition, is famous for novels such as The House of the Spirits (La casa de los espíritus, 1982) and City of the Beasts (La ciudad de las bestias, 2002), which have been commercially successful. Allende has been called ‘the world's most widely read Spanish-language author'. In 2004, Allende was inducted into the American Academy of Arts and Letters, and in 2010, she received Chile's National Literature Prize. Allende's novels are often based upon her personal experience and pay homage to the lives of women, while weaving together elements of myth and realism. She has lectured and toured many American colleges to teach literature. Fluent in English as a second language, Allende was granted American citizenship in 2003, having lived in California with her American husband since 1989. |
![]() | ![]() | LITERATURE. [Chile]. Allende, Isabel. The Infinite Plan. New York. 1993. Harper Collins. 0060170166. Translated from the Spanish by Margaret Sayers Peden. 382 pages. hardcover. Jacket illustration & Design By Honi Werner. THE INFINITE PLAN charts one man's spiritual progress against five decades of history and cultural change. Greg Reeves, the son of an itinerant preacher who claims that life is governed by an infinite plan, spends the latter part of his childhood in the L.A. barrio where his family settled when their father became ill. His best friend and soul mate there is Carmen Morales, the daughter of a hospitable Latino family. The novel follows Greg and Carmen through turbulent experiences as each searches for identity. Greg discovers several different kinds of racial discrimination in the crowded barrio. Later, he taps into the social and sexual revolution in Berkeley; and suffers through the crucible of Vietnam, from which he emerges determined to become rich and powerful no matter the cost in morality or peace of mind. He enters into disastrous marriages with two beautiful women, both of whom, he belatedly realizes, resemble his passive, remote mother; he also fails as a father. Allende's intensely imagined prose has clarity and dimension; she describes the exotic and the mundane with equal skill. Along the way Greg discovers that ‘there is no infinite plan, just the strife of living.' Isabel Allende (born 2 August 1942) is a Chilean writer. Allende, whose works sometimes contain aspects of the ‘magic realist‘ tradition, is famous for novels such as The House of the Spirits (La casa de los espíritus, 1982) and City of the Beasts (La ciudad de las bestias, 2002), which have been commercially successful. Allende has been called ‘the world's most widely read Spanish-language author'. In 2004, Allende was inducted into the American Academy of Arts and Letters, and in 2010, she received Chile's National Literature Prize. Allende's novels are often based upon her personal experience and pay homage to the lives of women, while weaving together elements of myth and realism. She has lectured and toured many American colleges to teach literature. Fluent in English as a second language, Allende was granted American citizenship in 2003, having lived in California with her American husband since 1989. |
![]() | ![]() | LITERATURE. [Chile]. Allende, Isabel. The Stories of Eva Luna. New York. 1991. Atheneum. 0689121024. Translated from the Spanish by Margaret Sayers Peden. 335 pages. hardcover. Jacket illustration by Alicia Czecbowski. jacket design by Andy Bass. Handlettering by Carole Lowenstein. Originally published in Spanish as Cuentos de Eva Luna - Plaza y Janes, S.A., Barcelona, Spain. In 1988 Isabel Allende published EVA LUNA, a novel that recounted the adventurous life of a poor young Latin American woman who finds friendship, love and some measure of worldly success through her powers as a storyteller. Now in THE STORIES OF EVA LUNA, she again presents us with a treasure trove of such stories, showing us once more why Eva Luna (and her much-celebrated creator) has won such a large and devoted readership. Isabel Allende (born 2 August 1942) is a Chilean writer. Allende, whose works sometimes contain aspects of the ‘magic realist‘ tradition, is famous for novels such as The House of the Spirits (La casa de los espíritus, 1982) and City of the Beasts (La ciudad de las bestias, 2002), which have been commercially successful. Allende has been called ‘the world's most widely read Spanish-language author'. In 2004, Allende was inducted into the American Academy of Arts and Letters, and in 2010, she received Chile's National Literature Prize. Allende's novels are often based upon her personal experience and pay homage to the lives of women, while weaving together elements of myth and realism. She has lectured and toured many American colleges to teach literature. Fluent in English as a second language, Allende was granted American citizenship in 2003, having lived in California with her American husband since 1989. |
![]() | ![]() | LITERATURE. [Chile]. Allende, Isabel. The Stories of Eva Luna. New York. 1999. Scribner Classics. 0684873591. Translated from the Spanish by Margaret Sayers Peden. 335 pages. hardcover. Jacket illustration by Honi Werner. Originally published in Spanish as Cuentos de Eva Luna - Plaza y Janes, S.A., Barcelona, Spain. In 1988 Isabel Allende published EVA LUNA, a novel that recounted the adventurous life of a poor young Latin American woman who finds friendship, love and some measure of worldly success through her powers as a storyteller. Her most ambitious novel to date, EVA LUNA was described by the Washington Post as a ‘cascade of stories [that] tumbles out before the reader, stories vivid, passionate and human.' Now in THE STORIES OF EVA LUNA, she again presents us with a treasure trove of such stories, showing us once more why Eva Luna (and her much-celebrated creator) has won such a large and devoted readership. We begin with Rolf CarlE, the European refugee, journalist and lover who figured so largely in her last book. Lying in bed with Eva Luna, he asks her to tell him a story. ‘What about?' she asks. ‘Tell me a story you have never told anyone before. Make it up for me.' And so she does, giving Rolf CarlE and the reader twenty-three vibrant, enchanting demonstrations of her artistry. Here are campesinos and rich people, guerrillas and fortune-tellers, great beauties and tyrants, the foreign rendered indelibly familiar. Here is Clarisa, ‘born before the city had electricity, she lived to see television coverage of the first astronaut levitating on the moon, and she died of amazement when the Pope came for a visit and was met in the street by homosexuals dressed up as nuns'. . . here is El Capitán, who waited for forty years before proposing to his dancing partner . . . Horacio Fortunato, a circus owner and entrepreneur, whose encounter with a languid foreign woman will force him to change his roguish ways even as he attempts to court her . . . Maurizia Rugieri, who abandons her husband and child for a young medical student, converting their life together into an opera of her own design . . . Nicholas Vidal, who ‘had always known that a woman would cost him his life' but never suspected that it would be the wife of Judge Hidalgo . . . Riad Halabi (whom readers will remember from Eva Luna), once again displaying his concern and wisdom for the people of Agua Santa . . . Marcia Lieberman, the wife of a European diplomat, whose brief affair with the President for Life of an unnamed Latin American country has startling rewards . . . Love, vengeance, nostalgia, compassion, irony - Isabel Allende leaves no emotion untouched in these stories. Opulently imagined, stirringly told, they confirm once more her place as one of the world's leading writers. . Born in Peru, Isabel Allende is Chilean. She worked as a journalist for many years and only began to write fiction in 1981. The result was the widely acclaimed international bestseller THE HOUSE OF THE SPIRITS, which was soon followed by the novels OF LOVE AND SHADOWS and EVA LUNA. She left her homeland after the coup of 1973 and lived for many years in Caracas. She now lives near San Francisco, where she is completing her fourth novel. . Originally published in Spanish as Cuentos de Eva Luna - Plaza y Janes, S.A., Barcelona, Spain. Isabel Allende (born 2 August 1942) is a Chilean writer. Allende, whose works sometimes contain aspects of the ‘magic realist‘ tradition, is famous for novels such as The House of the Spirits (La casa de los espíritus, 1982) and City of the Beasts (La ciudad de las bestias, 2002), which have been commercially successful. Allende has been called ‘the world's most widely read Spanish-language author'. In 2004, Allende was inducted into the American Academy of Arts and Letters, and in 2010, she received Chile's National Literature Prize. Allende's novels are often based upon her personal experience and pay homage to the lives of women, while weaving together elements of myth and realism. She has lectured and toured many American colleges to teach literature. Fluent in English as a second language, Allende was granted American citizenship in 2003, having lived in California with her American husband since 1989. |
![]() | ![]() | LITERATURE. [Chile]. Allende, Isabel. Zorro. New York. 2005. Harper Collins. 0060778970. 390 pages. hardcover. Jacket design by Roberto de Vicq Cumptich. A swashbuckling adventure story that reveals for the first time how Diego de la Vega became the masked man we all know so well. Born in southern California late in the eighteenth century, he is a child of two worlds. Diego de la Vega's father is an aristocratic Spanish military man turned landowner; his mother, a Shoshone warrior. Diego learns from his maternal grandmother, White Owl, the ways of her tribe while receiving from his father lessons in the art of fencing and in cattle branding. It is here, during Diego's childhood, filled with mischief and adventure, that he witnesses the brutal injustices dealt Native Americans by European settlers and first feels the inner conflict of his heritage. At the age of sixteen, Diego is sent to Barcelona for a European education. In a country chafing under the corruption of Napoleonic rule, Diego follows the example of his celebrated fencing master and joins La Justicia, a secret underground resistance movement devoted to helping the powerless and the poor. With this tumultuous period as a backdrop, Diego falls in love, saves the persecuted, and confronts for the first time a great rival who emerges from the world of privilege. Between California and Barcelona, the New World and the Old, the persona of Zorro is formed, a great hero is born, and the legend begins. After many adventures-duels at dawn, fierce battles with pirates at sea, and impossible rescues-Diego de la Vega, a.k.a. Zorro, returns to America to reclaim the hacienda on which he was raised and to seek justice for all who cannot fight for it themselves. Isabel Allende (born 2 August 1942) is a Chilean writer. Allende, whose works sometimes contain aspects of the ‘magic realist‘ tradition, is famous for novels such as The House of the Spirits (La casa de los espíritus, 1982) and City of the Beasts (La ciudad de las bestias, 2002), which have been commercially successful. Allende has been called ‘the world's most widely read Spanish-language author'. In 2004, Allende was inducted into the American Academy of Arts and Letters, and in 2010, she received Chile's National Literature Prize. Allende's novels are often based upon her personal experience and pay homage to the lives of women, while weaving together elements of myth and realism. She has lectured and toured many American colleges to teach literature. Fluent in English as a second language, Allende was granted American citizenship in 2003, having lived in California with her American husband since 1989. |
![]() | ![]() | LITERATURE. [Cape Verde]. Almeida, Germano. The Last Will and Testament of Senhor da Silva Araujo. New York. 2004. New Directions. 0811215652. Translated from the Portuguese by Shelia Faria Glaser. Paperback Original. 152 pages. paperback. Cover photograph by Pierre Rene- Worms. design by Semadar Megged. Everyone in Cape Verde knew Senhor da Silva Araujo. Successful entrepeneur, owner of the island's first automobile, a most serious, upright, and self-made businessman, Senhor da Silva Araujo was the local success story. Born an orphan, he never married, he never splurged-one good suit was good enough for him-and he never wandered from the straight and narrow. Or so everyone thought. But when his 387-page Last Will and Testament is read aloud-a marathon task on a hot afternoon which exhausts reader after reader-there is shocking news, and not just for the smug nephew so certain of inheriting all of Senhor da Silva Araujo's property. In his will, Senhor da Silva Araujo has left a memoir that is a touching web of elaborate self-deceptions. He desired so ardently to prosper, to be taken seriously, and to join (perhaps, if they would have him) the exclusive GrEmio country club. But most of all, he wanted to be a good man. And yet, shady deals, twists of fate, an illegitimate child: such is the lot of poor, self-critical Senhor da Silva Araujo. A bit like Calvino's Mr. Palomar in his attention to protocol and in his terror of life's passions; a bit like Svevo's Zeno (a little pompous, a little old-fashioned, and often hapless), Senhor da Silva Araujo moves along a deliciously blurry line between farce and tragedy: a self-important buffoon becomes a fully human, even tragic, figure in the arc of this wonderful novel-translated into Spanish, German, French, Italian, Dutch, Norwegian, and Swedish, and now, at last, English. Germano Almeida (born 1945 in Boa Vista) is a Cape Verdean author and lawyer. Born on the Cape island Boa Vista, Almeida studied law at the University of Lisbon and currently practices in Mindelo. His novels have been translated into several languages. He married Sam Stewart in 1970. Almeida founded the magazine Porto & Vírgula (1983-87) and Aguaviva. In 1989 he founded the IlhEu Editora publishing house and has since published 16 books (nine novels). His first work was O dia das calças roladas which was about an account of a strike on the island of Santo Antão, it was first written in 1982 and was published in 1983. He wrote the novel The Last Will and Testament of Senhor da Silva Araújo which was about businessman turned philanthropist who leaves his fortune to his illegitimate daughter. As independence comes he is shown up to be a relic of colonialism. A motion picture would be made about the novel in 1997 and was directed by the Portuguese director Francisco Manso, it won the award at the Brazil's largest film festival, the Festival de Cinema de Gramado. He later published Dona Pura e os Camaradas de Abril in 1999, a story about the 1974 Carnation revolution in Portugal. Cabo Verde - Viagem pela historia das ilhas, published in 2003 was his historical presentation of all the nine inhabited islands that constitute Cape Verde. His recently published novels and works were Eva in 2006 and De Monte Cara vê-se o mundo in 2014. He has been awarded the Order of the Dragon Plant - First Class and the Portuguese Order of Merit. SHEILA FARIA GLASER is an editor at the New York Times Magazine and has translated Jean Baudrillard's Simulacra and Simulation and Michel Serres's The Troubador of Knowledge. . . |
![]() | ![]() | LITERATURE. [Brazil]. Almeida, Manuel Antonio de. Memoirs of a Militia Sergeant. Washington DC. 1959. Pan American Union. Translated from the Portuguese by Linton L. Barrett. 245 pages. hardcover. Originally published in Brazil under the title Memorias de um sargento de milicias in two volumes in 1854 and 1855. Less a novel in the usual sense than a series of scenes of everyday life in Rio of the time. The enduring qualities of the Memoirs clearly reside in the realistic description of life as it was actually lived in 19th century Brazil - though always with an element of satirical caricature in Rio de Janeiro ‘in the time of the king', i.e. between 1803 and 1821, when Dom Joao VI, the King of Portugal, and his court resided in Brazil as a result of the Napoleonic invasion of the Iberian Peninsula. Rio at that time, despite its growing trade and new political importance was still a sleepy colonial city of less than 100,000 inhabitants, with customs which, as the Memoirs clearly demonstrate, were almost rustic in their lack of sophistication. The realism of Manuel Antonio is the more remarkable because he wrote during period when romanticism was much in vogue in Brazil. Nonetheless, the Memoirs attained a certain popularity from the time of their publication. Criticism long considered the work a forerunner of naturalism and realism in Brazil. Modern critics of the stature of Mario de Andrade. Eduardo Frieiro. Eugënio Gomes and Josue Montelo have convincingly established that the work belongs instead to that of the picaresque novel, which had its origins in Spain. Manuel Antonio, who relates the behavior of his characters within a particular setting with little regard for their psychological motivation, does indeed create a pageant of Brazilian life of an earlier day in the best tradition of the picaresque novel. MEMOIRS OF A MILITIA SERGEANT is the fourth English translation in the Latin American Classics Series. Sponsored by UNESCO and the Organization of American States, the publication of the series is undertaken to introduce and spread knowledge of representative works of Latin American literature among English and French-speaking peoples. Manuel Antônio de Almeida (November 17, 1831 - November 28, 1861) was a Brazilian satirical writer, medician and teacher. He is famous for the book Memoirs of a Police Sergeant, written under the pen name Um Brasileiro (English: A Brazilian). He is the patron of the 28th chair of the Brazilian Academy of Letters. Almeida was born in Rio de Janeiro, to lieutenant Antônio de Almeida and Josefina Maria de Almeida. Few things are known about his years of primary studies - although he entered at the Medicine course in 1849, graduating in 1855. Financial difficulties inspired him to dedicate himself to literature and journalism. His magnum opus, Memoirs of a Police Sergeant, was initially published in feuilleton form during the years 1852-1853, in the journal Correio Mercantil. In 1858, he became the administrator of Tipografia Nacional, where he met Joaquim Maria Machado de Assis. Trying to enter in the political career, he would go to the city of Campos dos Goytacazes, embarking in the ship Hermes, in order to start his political research. However, the ship wrecked off near the shores of Macae, and he died in the disaster. |
![]() | ![]() | LITERATURE. [Brazil]. Almino, Joao. The Five Seasons of Love. Austin. 2008. Host Publications. 9780924047503. Translated from the Portuguese by Elizabeth Jackson. Introduction by K. David Jackson. 156 pages. hardcover. Jackeet design by Anand Ramaswamy. In THE FIVE SEASONS OF LOVE, acclaimed Brazilian writer Joao Almino presents a compelling and sympathetic portrait of a woman whose life has not turned out as she anticipated, and whose once audacious dreams have been replaced by half-truths, failures, and frustration. To fulfill a pact made during her student days, fifty-five-year-old Ana Kauffman plans a party to celebrate the new millennium. As old friends resurface and the countdown to the new century draws near, Ana's past undergoes a series of unexpected revisions--beginning with the arrival of Berta, the newly minted post-op persona of Ana's former boyfriend Norberto. Set amidst the chaos of contemporary Brasilia, a place where even the most basic human affairs--love, friendship, sex, and work--can take unlikely shapes, Ana's story is both relentlessly modern and profoundly timeless. Winner of the Casa de las Americas 2003 Literary Award, THE FIVE SEASONS OF LOVE is an extraordinary novel by a writer at the height of his powers. João Almino is a Brazilian novelist. He is the author of The Brasília Quintet, which consists of the novels Ideas on Where to Spend the End of the World, Samba-Enredo, The Five Seasons of Love (first published in Portuguese by Editora Record; published in Spanish by Alfaguara, MExico, and by Corregidor, in Argentina; in Italian by Editrice Il Sirente; Casa de las Americas 2003 Literary Award; in English by Host Publications, 2008); The Book of Emotions (shortlisted for the Zaffari & Bourbon Literary Award and the Portugal-Telecom Literary Award; Editora Record, 2008; Dalkey Archive Press, 2012) and Cidade Livre (Free City, Editora Record, 2010; Passo Fundo Zaffari & Bourbon Literary Award for best novel published in Portuguese from May 2009 to May 2011; shortlisted for the Jabuti Award 2011 and for the Portugal-Telecom Literary Award 2011; translated as Free City, it was published by Dalkey Archive Press in 2013). His most recent novel was published in Brazil in 2015: Enigmas da Primavera (Enigmas of Spring), which was published in English in 2016 by Dalkey Archive Press. He has also authored books of philosophical and literary essays. He taught at the National Autonomous University of |
![]() | ![]() | LITERATURE. [Mexico]. Altamirano, Ignacio M. Christmas in the Mountains. Gainesville. 1961. University of Florida Press. Edited, Translated from the Spanish by and introduction by Harvey L. Johnson. 68 pages. Original title: Navidad en las montanas, 1871. An idyllic, romantic novelette set in rural village. Ignacio Manuel Altamirano Basilio (November 13, 1834 - February 13, 1893) was a Mexican lawyer, writer, journalist, teacher and politician. He was born in Tixtla, Guerrero, into an indigenous family; his father was appointed mayor of Tixtla in 1848, which gave the boy Ignacio Manuel, who was 14 at the time, the opportunity to go to school. He learned to read and write in his hometown. He made his first studies in Toluca, thanks to a scholarship granted by Ignacio Ramírez, of whom he was a disciple. In 1849 he studied at the Literary Institute of Toluca, and later at the Colegio de San Juan de Letrán for law. He belonged to academic and literary associations such as the Mexican Drama Conservatory, the Nezahualcoyotl Society, the Mexican Society of Geography and Statistics, the Liceo Hidalgo and the Álvarez Club. A great defender of liberalism, Altamirano took part in the Ayutla revolution in 1854 against santanismo, and later in the war of the Reformation.. He also fought against the French invasion in 1863. After this period of military conflicts, Altamirano dedicated himself to teaching, working as a teacher in the National Preparatory School, in the School of Commerce and Administration, and in the National School of Teachers. He also worked in the press, where together with Guillermo Prieto and Ignacio Ramírez he founded the Correo de MExico, and with Gonzalo A. Esteva the literary magazine El Renacimiento. El Renacimiento published writers of all literary, ideological, and political tendencies, its main mission was to provoke the revival of Mexican literature and promote the notion of national unity and identity. Altamirano founded several newspapers and magazines such as: El Correo de MExico, El Renacimiento, El Federalista, La Tribuna and La República. In 1861, he served as a deputy in the Congress of the Union for three terms, during which he advocated free, secular and compulsory primary education. He was also Attorney General of the Republic, prosecutor, magistrate and president of the Supreme Court, as well as senior officer of the Ministry of Development. He also worked in the Mexican diplomatic service, serving as consul in Barcelona and Paris. Altamirano founded the Liceo de Puebla and the Escuela Normal de Profesores de MExico and wrote several highly successful books in his time, in which he cultivated different literary styles and genres, cultivating the short story, criticism, history, the essay, chronicles, biography, bibliographic studies, poetry, the novel. His literary works portray the Mexican society of the time. His critical studies were published in literary magazines in Mexico. His speeches have also been published. Altamirano loved the legends, customs, and descriptions of landscapes in Mexico. In 1867 he began to stand out and oriented his literature towards the affirmation of national values, he also worked as a literary historian and critic. He died in Italy in 1893 , on a diplomatic mission. On the centenary of his birth, his remains were deposited in the Rotunda of Illustrious Persons in Mexico City. |
![]() | ![]() | LITERATURE. [Mexico]. Altamirano, Ignacio M. El Zarco, the bandit. London. 1957. Folio Society. Translated from the Spanish by Mary Allt. 160 pages. Original title: ElZarco, 1901. Emphasizes the equality of the mestizo and Indian compared to the Anglo-Saxon. Ignacio Manuel Altamirano Basilio (November 13, 1834 - February 13, 1893) was a Mexican lawyer, writer, journalist, teacher and politician. He was born in Tixtla, Guerrero, into an indigenous family; his father was appointed mayor of Tixtla in 1848, which gave the boy Ignacio Manuel, who was 14 at the time, the opportunity to go to school. He learned to read and write in his hometown. He made his first studies in Toluca, thanks to a scholarship granted by Ignacio Ramírez, of whom he was a disciple. In 1849 he studied at the Literary Institute of Toluca, and later at the Colegio de San Juan de Letrán for law. He belonged to academic and literary associations such as the Mexican Drama Conservatory, the Nezahualcoyotl Society, the Mexican Society of Geography and Statistics, the Liceo Hidalgo and the Álvarez Club. A great defender of liberalism, Altamirano took part in the Ayutla revolution in 1854 against santanismo, and later in the war of the Reformation.. He also fought against the French invasion in 1863. After this period of military conflicts, Altamirano dedicated himself to teaching, working as a teacher in the National Preparatory School, in the School of Commerce and Administration, and in the National School of Teachers. He also worked in the press, where together with Guillermo Prieto and Ignacio Ramírez he founded the Correo de MExico, and with Gonzalo A. Esteva the literary magazine El Renacimiento. El Renacimiento published writers of all literary, ideological, and political tendencies, its main mission was to provoke the revival of Mexican literature and promote the notion of national unity and identity. Altamirano founded several newspapers and magazines such as: El Correo de MExico, El Renacimiento, El Federalista, La Tribuna and La República. In 1861, he served as a deputy in the Congress of the Union for three terms, during which he advocated free, secular and compulsory primary education. He was also Attorney General of the Republic, prosecutor, magistrate and president of the Supreme Court, as well as senior officer of the Ministry of Development. He also worked in the Mexican diplomatic service, serving as consul in Barcelona and Paris. Altamirano founded the Liceo de Puebla and the Escuela Normal de Profesores de MExico and wrote several highly successful books in his time, in which he cultivated different literary styles and genres, cultivating the short story, criticism, history, the essay, chronicles, biography, bibliographic studies, poetry, the novel. His literary works portray the Mexican society of the time. His critical studies were published in literary magazines in Mexico. His speeches have also been published. Altamirano loved the legends, customs, and descriptions of landscapes in Mexico. In 1867 he began to stand out and oriented his literature towards the affirmation of national values, he also worked as a literary historian and critic. He died in Italy in 1893 , on a diplomatic mission. On the centenary of his birth, his remains were deposited in the Rotunda of Illustrious Persons in Mexico City. |
![]() | ![]() | LITERATURE. [Mexico]. Altamirano, Ignacio M. El Zarco, the bandit. New York. 1957. Duchnes. Translated from the Spanish by Mary Allt. 160 pages. Original title: ElZarco, 1901. Emphasizes the equality of the mestizo and Indian compared to the Anglo-Saxon. (London:Folio Society, 1957). Ignacio Manuel Altamirano Basilio (November 13, 1834 - February 13, 1893) was a Mexican lawyer, writer, journalist, teacher and politician. He was born in Tixtla, Guerrero, into an indigenous family; his father was appointed mayor of Tixtla in 1848, which gave the boy Ignacio Manuel, who was 14 at the time, the opportunity to go to school. He learned to read and write in his hometown. He made his first studies in Toluca, thanks to a scholarship granted by Ignacio Ramírez, of whom he was a disciple. In 1849 he studied at the Literary Institute of Toluca, and later at the Colegio de San Juan de Letrán for law. He belonged to academic and literary associations such as the Mexican Drama Conservatory, the Nezahualcoyotl Society, the Mexican Society of Geography and Statistics, the Liceo Hidalgo and the Álvarez Club. A great defender of liberalism, Altamirano took part in the Ayutla revolution in 1854 against santanismo, and later in the war of the Reformation.. He also fought against the French invasion in 1863. After this period of military conflicts, Altamirano dedicated himself to teaching, working as a teacher in the National Preparatory School, in the School of Commerce and Administration, and in the National School of Teachers. He also worked in the press, where together with Guillermo Prieto and Ignacio Ramírez he founded the Correo de MExico, and with Gonzalo A. Esteva the literary magazine El Renacimiento. El Renacimiento published writers of all literary, ideological, and political tendencies, its main mission was to provoke the revival of Mexican literature and promote the notion of national unity and identity. Altamirano founded several newspapers and magazines such as: El Correo de MExico, El Renacimiento, El Federalista, La Tribuna and La República. In 1861, he served as a deputy in the Congress of the Union for three terms, during which he advocated free, secular and compulsory primary education. He was also Attorney General of the Republic, prosecutor, magistrate and president of the Supreme Court, as well as senior officer of the Ministry of Development. He also worked in the Mexican diplomatic service, serving as consul in Barcelona and Paris. Altamirano founded the Liceo de Puebla and the Escuela Normal de Profesores de MExico and wrote several highly successful books in his time, in which he cultivated different literary styles and genres, cultivating the short story, criticism, history, the essay, chronicles, biography, bibliographic studies, poetry, the novel. His literary works portray the Mexican society of the time. His critical studies were published in literary magazines in Mexico. His speeches have also been published. Altamirano loved the legends, customs, and descriptions of landscapes in Mexico. In 1867 he began to stand out and oriented his literature towards the affirmation of national values, he also worked as a literary historian and critic. He died in Italy in 1893 , on a diplomatic mission. On the centenary of his birth, his remains were deposited in the Rotunda of Illustrious Persons in Mexico City. |
![]() | ![]() | LITERATURE. [Dominican Republic]. Alvarez, Julia. A Cafecito Story. White River Junction. 2001. Chelsea Green Publishing Company. 1931498008. Woodcuts by Belkis Ramirez. Afterword by Bill Eicchner. 58 pages. hardcover. Cover: Belkis Ramirez. Throughout the Dominican Republic and Central America it is a household ritual to offer a ‘cafecito' (a small cup of dark, rich, potent coffee) to any visitor, especially a stranger. Now, in a story spanning Latin America and Nebraska, Julia Alvarez offers us A CAFECITO STORY. In North America, coffee is the morning lifeline between waking and working. In Central and South America, coffee is an economic lifeline, after oil the most important export commodity. Especially when coffee is grown sustainably, it links the First and Third Worlds in ways that are surprising and often delightful. For instance, North American songbirds winter in southern habitats where their survival is directly dependent on coffee farming practices. With lyric simplicity, A CAFECITO STORY tells the complex tale of a social beverage that bridges nations and unites people in trade, in words, in birds, and in love. The story unfolds through the eyes of Joe, a man with farming in his blood but an increasing sense of displacement from the natural world. While on holiday in the Dominican Republic, Joe learns about how coffee is grown and traded from Miguel, a Dominican coffee farmer. It is from Miguel and the other campesinos that Joe comes to understand the role of coffee in global trade, environmental degradation, and endangered songbird habitat. Initially overwhelmed, Joe eventually learns to live compatibly with the natural world. Human communication, in the form of the written word, the spoken word, and the shared cup of coffee gives him the power to face life's challenges one cup at a time. JULIA ALVAREZ was born, as she puts it, ‘by accident,' in New York City, but shortly thereafter her family moved back to their native Dominican Republic. She spent her childhood there until her family was forced to flee due to political pressure. Her first book of poems, HOMECOMING, appeared in 1984. Her first novel, HOW THE GARCIA GIRLS LOST THEIR ACCENTS, was published in 1990, followed four years later by IN THE TIME OF THE BUTTERFLIES, which was a finalist for the National Book Award. She has also the author of the novel IN THE NAME OF SALOME. She is a writer-in-residence at Middlebury College. She lives with her husband, Bill Eichner, in the Vermont countryside, but maintains close ties to her homeland through Alta Gracia, their organic coffee farm, established to demonstrate the ideas and principles of sustainable living. . BILL EICHNER, an ophthalmologist by trade, comes from Midwestern farm stock. He is also a gardener, chef, and the author of The New Family Cookbook (Chelsea Green, 2000). BELKIS RAMIREZ, who contributed the woodcuts for A CAFECITO STORY, is one of the most celebrated artists in the Dominican Republic. |
![]() | ![]() | LITERATURE. [Dominican Republic]. Alvarez, Julia. How the Garcia Girls Lost Their Accents. Chapel Hill. 1991. Algonquin Books. 0945575572. 290 pages. hardcover. The Garcías - Dr. Carlos (Papi), his wife Laura (Mami), and their four daughters, Carla, Sandra, Yolanda, and Sofía - belong to the uppermost echelon of Spanish Caribbean society, descended from the conquistadores. Their family compound adjoins the palacio of the dictator's daughter. So when Dr. García's part in a coup attempt is discovered, the family must flee. They arrive in New York City in 1960 to a life far removed from their existence in the Dominican Republic. Papi has to find new patients in the Bronx. Mami, far from the compound and the family retainers, must find herself. Meanwhile, the girls try to lose themselves - by forgetting their Spanish, by straightening their hair and wearing fringed bell bottoms. For them, it is at once liberating and excruciating being caught between the old world and the new, trying to live up to their father's version of honor while accommodating the expectations of their American boyfriends. Acclaimed writer Julia Alvarez's brilliant and buoyant first novel sets the García girls free to tell their most intimate stories about how they came to be at home - and not at home - in America. It's a long way from Santo Domingo to the Bronx, but if anyone can go the distance, it's the Garcia girls. Four lively latinas plunged from a pampered life of privilege on an island compound into the big-city chaos of New York, they rebel against Mami and Papi's old-world discipline and embrace all that America has to offer. Julia Alvarez is the author of five previous books of fiction, including HOW THE GARCIA GIRLS LOST THEIR ACCENTS and IN THE TIME OF THE BUTTERFLIES; a book of essays; five collections of poetry; and five books for children. She received the Hispanic Heritage Award in 2002. She lives in Vermont, where she is writer-in-residence at Middlebury College. |
![]() | ![]() | LITERATURE. [Dominican Republic]. Alvarez, Julia. How the Garcia Girls Lost Their Accents. New York. 1992. Plume/New American Library. 0452268060. 290 pages. paperback. The Garcías - Dr. Carlos (Papi), his wife Laura (Mami), and their four daughters, Carla, Sandra, Yolanda, and Sofía - belong to the uppermost echelon of Spanish Caribbean society, descended from the conquistadores. Their family compound adjoins the palacio of the dictator's daughter. So when Dr. García's part in a coup attempt is discovered, the family must flee. They arrive in New York City in 1960 to a life far removed from their existence in the Dominican Republic. Papi has to find new patients in the Bronx. Mami, far from the compound and the family retainers, must find herself. Meanwhile, the girls try to lose themselves - by forgetting their Spanish, by straightening their hair and wearing fringed bell bottoms. For them, it is at once liberating and excruciating being caught between the old world and the new, trying to live up to their father's version of honor while accommodating the expectations of their American boyfriends. Acclaimed writer Julia Alvarez's brilliant and buoyant first novel sets the García girls free to tell their most intimate stories about how they came to be at home - and not at home - in America. It's a long way from Santo Domingo to the Bronx, but if anyone can go the distance, it's the Garcia girls. Four lively latinas plunged from a pampered life of privilege on an island compound into the big-city chaos of New York, they rebel against Mami and Papi's old-world discipline and embrace all that America has to offer. Julia Alvarez is the author of five previous books of fiction, including HOW THE GARCIA GIRLS LOST THEIR ACCENTS and IN THE TIME OF THE BUTTERFLIES; a book of essays; five collections of poetry; and five books for children. She received the Hispanic Heritage Award in 2002. She lives in Vermont, where she is writer-in-residence at Middlebury College. |
![]() | ![]() | LITERATURE. [Dominican Republic]. Alvarez, Julia. In the Name of Salome. Chapel Hill. 2000. Algonquin Books. 1565122763. 357 pages. hardcover. Jacket image and design by Honi Werner. Cover photos: courtesy of Julia Alvarez. Author photo: Cameron Davidson. This novel tells the story of two women - mother and daughter, one a poet, the other a teacher - and how they confronted the machismo in two Caribbean revolutions. Set in the politically chaotic Dominican Republic of the late nineteenth century; on the campuses of three American universities, and in the idealistic Communist Cuba of the 1960s, this story is based on the real lives of a volatile, opinionated, romantic, intrigue-loving family. SalomE Urena's fervent patriotic poems turned her - at seventeen - into the Dominican Republic's national icon. In stark contrast, her daughter, Camila, shy and self-effacing, bent to accommodate the demands of her father and brothers (a president, an ambassador, an international literary star)-trying to hide her preference for women, to stay out of the spotlight, and to offend no one. Whereas her mother dedicated her brief life to educating Dominican girls to serve their turbulent new nation, Camila spent her career anonymously explaining the Spanish pluperfect to upper-class American girls. We meet Camila in 1960 when she is sixty-five years old and about to retire from Vassar College in Poughkeepsie, New York. This is Camila's last chance to choose a final destiny for herself In the process of deciding, Camila uncovers first the reality of her mother's tragic personal life and, finally, where she must place her own kind of passion and commitment. Latina poet and university professor Alvarez brings many common bonds to this novel based on ‘La musa de la patria,' SalomE Ureña, and her daughter, Profesora Camila Henriquez-Urena. Not the least of these is an undaunted female stance from inside a powerful Caribbean family. . JULIA ALVAREZ is the author of HOW THE GARCIA GIRLS LOST THEIR ACCENTS, IN THE TIME OF THE BUTTERFLIES (a National Book Award finalist), and YO! She has also published three collections of poetry and, most recently, SOMETHING TO DECLARE, a collection of essays. She lives in Vermont and in the Dominican Republic, where she and her husband run a coffee plantation. . . Julia Alvarez is the author of five previous books of fiction, including HOW THE GARCIA GIRLS LOST THEIR ACCENTS and IN THE TIME OF THE BUTTERFLIES; a book of essays; five collections of poetry; and five books for children. She received the Hispanic Heritage Award in 2002. She lives in Vermont, where she is writer-in-residence at Middlebury College. |
![]() | ![]() | LITERATURE. [Dominican Republic]. Alvarez, Julia. In the Time of the Butterflies. Chapel Hill. 1994. Algonquin Books. 1565120388. 325 pages. hardcover. Jacket design: Eddy Herch. Calligraphy: Carin Goldberg. Cover photograph: by John Blaustein. It is November 25, 1960, and the bodies of three beautiful, convent-educated sisters have been found near their wrecked Jeep at the bottom of a 150-foot cliff on the north coast of the Dominican Republic. El Caribe, the official newspaper, reports their deaths as an accident. It does not mention that a fourth sister lives. Nor does it explain that the sisters were among the leading opponents of Gen. Raphael Leonidas Trujillo's dictatorship. It doesn't have to. Everyone knows of Las Mariposas - ‘The Butterflies.' Now, three decades later, Julia Alvarez, also a daughter of the Dominican Republic and long haunted by these sisters, immerses us in a tangled and dangerous moment in Hispanic Caribbean history to tell their story in the only way it can truly be understood - through fiction. In this brilliantly characterized novel, the voices of all four sisters - Minerva, Patria, Maria Teresa, and DedE - speak across the decades, to tell their own stories - from hair ribbons to gunrunning to prison torture - and to describe the everyday horrors of life under Trujillo's rule. The Butterflies were extraordinary women. Minerva, once the object of the dictator's desire, had dared to publicly slap his face. Devout Patria found her calling to the uprising through the church. Alluring - and vain - Maria Teresa joined in pursuit of romance. Only DedE, the practical one, the most diligent in her duty to family and tradition, kept apart. And only she survived to see that their names were remembered. Now, through the art and magic of Julia Alvarez's imagination, the martyred Butterflies live again. And DedE joins them as a heroine of equal courage. Julia Alvarez was ten years old when her parents were forced to emigrate to the United States from the Dominican Republic, shortly before Trujillo was assassinated. Her first novel, HOW THE GARCIA GIRLS LOST THEIR ACCENTS, published in 1991, was received with delight and acclaim. It was listed by Library Journal as one of the best books of the year, was named a Notable Book of 1991 by the New York Times Book Review and by the ALA, and was awarded the PEN Oakland/Josephine Miles Award for excellence in literature. A professor of English at Middlebury College, Alvarez lives with her husband in Vermont. |
![]() | ![]() | LITERATURE. [Dominican Republic]. Alvarez, Julia. Saving the World. Chapel Hill. 2006. Algonquin Books of Chapel Hill. 9781565125100. 368 pages. hardcover. Design and imaging by Honi Werner from a photo by Stephen Swintek/Stone/Getty Images. Latina novelist Alma Huebner is suffering from writer's block and is years past the completion date for yet another of her bestselling family sagas. Her husband, Richard, works for a humanitarian organization dedicated to the health and prosperity of developing countries and wants her help on an extended AIDS assignment in the Dominican Republic. But Alma begs off joining him: the publisher is breathing down her neck. She promises to work hard and follow him a bit later. The truth is that Alma is seriously sidetracked by a story she has stumbled across. It's the story of a much earlier medical do-gooder. Spaniard Francisco Xavier Balmis, who in 1803 undertook to vaccinate the populations of Spain's American colonies against smallpox. To do this, he required live ‘carriers' of the vaccine. Of greater interest to Alma is Isabel Sendales y Gomez, director of La Casa de Expositos, who was asked to select twenty-two orphan boys to be the vaccine carriers. She agreed - with the stipulation that she would accompany the boys on the proposed two-year voyage. Her strength and courage inspire Alma, who finds herself becoming obsessed with the details of Isabel's adventures. This resplendent novel-within-a-novel spins the disparate tales of two remark- able women, both of whom are swept along by machismo. In depicting their confrontation bf the great scourges of their respective eras, Alvarez exposes the conflict between altruism and ambition. Julia Alvarez is the author of five previous books of fiction, including HOW THE GARCIA GIRLS LOST THEIR ACCENTS and IN THE TIME OF THE BUTTERFLIES; a book of essays; five collections of poetry; and five books for children. She received the Hispanic Heritage Award in 2002. She lives in Vermont, where she is writer-in-residence at Middlebury College. |
![]() | ![]() | LITERATURE. [Dominican Republic]. Alvarez, Julia. Something To Declare: Essays. Chapel Hill. 1998. Algonquin Books. 1565121937. 300 pages. hardcover. Jacket design: Honi Werner. Jacket photo: Daniel Cima. Julia Alvarez's three bestselling novels-HOW THE GARCIA GIRLS LOST THEIR ACCENTS, IN THE TIME OF THE BUTTERFLIES, and YO! - have sold over a half million copies in the United States and have been translated into nine foreign languages. Her three prizewinning volumes of poetry have established her as a major American poet. And her remarkably openhearted articles that appear regularly in many national magazines have made her singular voice familiar to many. Now, in her first book of nonfiction, Julia Alvarez offers two dozen personal essays about the two major (and interlocking) issues of her life-growing up with one foot in each of two cultures, and writing. In 1960, when Alvarez was ten years old, her father's participation in a failed coup attempt against Rafael Trujillo, the repressive dictator of the Dominican Republic, resulted in the family's self-imposed exile to New York City, where Dr. Alvarez set up a medical practice in the Bronx while his wife and four daughters set about the serious business of assimilation. That uprooting formed the thematic basis for two of Julia Alvarez's novels. Her father's revolutionary ties inspired the third, the story of one of Trujillo's most infamous atrocities. SOMETHING TO DECLARE is about the influences those experiences have had on her work, and about the practical lessons she's learned on her way to becoming the internationally acclaimed writer she now is. ‘Customs,' the first half of SOMETHING TO DECLARE, examines the specific effects of exile-surviving the shock of New York City public school life; yearning to fit in; watching the Miss America contest for clues to ‘beauty,' American-style; worrying about reactions to her published writing back on the Island. The essays in the second half, ‘Declarations,' are about the writing and range from confession of how she supported her writing habit early on to the gritty details of her own actual writing process. One of the most revealing is ‘In the Name of the Novel' in which she takes the reader along on a scouting trip in search of the subject of her next book. What's unexpected is that she lets us watch as the project falters and then fails. . As an experienced teacher of creative writing, Julia Alvarez is a popular speaker on college campuses and famous for her receptivity to probing questions from her audiences and for her generous responses. Something to Declare captures the unique rapport between a writer and her readers. Julia Alvarez lives in Vermont with her husband. A professor of English literature at Middlebuty College, she has also taught at the University of Illinois, George Washington University, and at the Breadloaf Writers Conference. Her novels have received many honors, including ALA Notable Book of the Year and designation as a National Book Critics Circle Award finalist. . . Julia Alvarez is the author of five previous books of fiction, including HOW THE GARCIA GIRLS LOST THEIR ACCENTS and IN THE TIME OF THE BUTTERFLIES; a book of essays; five collections of poetry; and five books for children. She received the Hispanic Heritage Award in 2002. She lives in Vermont, where she is writer-in-residence at Middlebury College. |
![]() | ![]() | LITERATURE. [Dominican Republic]. Alvarez, Julia. Yo!. Chapel Hill. 1997. Algonquin Books. 1565121570. 309 pages. hardcover. Cover: Illustration by: Robbin Gourley. Design by: Gwen Petruska. Author photo: Daniel Cima. Yolanda Garcia - Yo, for short - is the literary one in the family. Her first published novel, in which she made ‘characters' out of her three sisters, her Mami and Papi, her grandparents, tias, tios, cousins, housemaids, and husbands was a big success. Now she's famous and basking in the spotlight while her ‘characters' find their naked and very recognizable selves dangling in that same blinding light. So what happens? Turnabout is fair play. Yolanda Garcia's family and friends get their chance to tell the truth about Yo: how she's always had to be center stage; that she's been telling lies since the day she was born; about the year she went into therapy with her best friend and how Yo swore off sex; how her college professor kept trying to keep her from ruining her life and throwing away her talent; how she stole a plot for a short story from one of her students; how she fills the house her third husband built for her with voodoo offerings-'little things he mustn't touch'-we]l, you get the idea. Everyone, from her sisters to her fame-obsessed stalker, rips into her. In the process, they create endearing self-portraits, while Yo (which also means ‘I') is herself denied the privilege of speaking in her own defense. This zesty, daring novel is about what happens when an author really does ‘write what she knows.' At once funny and poignant, intellectual and gossipy, lighthearted and layered in meaning, Yo! is, ironically and above all, a portrait of the artist. And with its bright colors, passion, and penchant for controversy, it's a portrait that could come only from the palette of Julia Alvarez. ‘YO! works the same beguiling combination as HOW THE GARCIA GIRLS LOST THEIR ACCENTS - a lively and good-natured surface over depths of serious questioning. Sisterhood, daughterhood, friendship, the pain of political exile, the complications of fame, all the hard questions are churned up in the wake of the writer's central paradox: that she must betray secrets on the way to honesty, and tell dangerous lies if she is going to dare approach the truth.' - ROSELLEN BROWN . . . . JULIA ALVAREZ is the author of two previous novels, HOW THE GARCIA GIRLS LOST THEIR ACCENTS, which won the PEN Oakland/ Josephine Miles Award, and IN THE TIME OF THE BUTTERFLIES, an American Library Association Notable Book and a National Book Critics Circle Award finalist, Julia Alvarez has also published three highly acclaimed books of poetry. Her essays, stories, and poems have appeared in many magazines, including The New York Times Magazine, Allure, The New Yorker, Hispanic Magazine, and USA Weekend. She lives with her husband in Vermont and teaches at Middlebury College. . . Julia Alvarez is the author of five previous books of fiction, including HOW THE GARCIA GIRLS LOST THEIR ACCENTS and IN THE TIME OF THE BUTTERFLIES; a book of essays; five collections of poetry; and five books for children. She received the Hispanic Heritage Award in 2002. She lives in Vermont, where she is writer-in-residence at Middlebury College. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Captains of the Sands. New York. 1988. Avon Books. 0380897180. Translated from the Portuguese by Gregory Rabassa. 248 pages. paperback. Original title: Capitaes da areia,. 1937. THE LITTLE BANDITS OF BAHIA - They call themselves ‘Captains of the sands,' a gang of orphans and runaways who live by their wits and daring in the slums and sleazy back alleys of Bahia. Led by fifteen-year-old ‘Bullet,' the band-including a crafty liar named ‘Legless,' the intellectual ‘Professor,' and the sexually precocious ‘Cat' - pulls off heists and escapades against the rich and privileged of Brazil. But when a public outcry demands the capture of the ‘little criminals,' the fate of these children becomes a poignant, intensely moving drama of love and freedom in a shackled land. Available for the first time in English, Jorge Amado's classic - the sixth and final book of the early series he called his Bahian Novels'- captures the rich culture, vivid emotions, and wild landscape of Bahia with penetrating authenticity, and brilliantly displays the genius of Brazil's most acclaimed author. ‘AMADO IS BRAZIL'S MOST ILLUSTRIOUS AND VENERABLE NOVELIST.' - The New York Times. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. Amado was born in a fazenda (‘farm') in the inland of the city of Itabuna, in the southern part of the Brazilian state of Bahia, son of João Amado de Faria and D. Eulália Leal. The farm Amado was born in was precisely located on the village of Ferradas, which though today is a district of Itabuna, at the time was administered by the town of Ilheus. That is why he considered himself a citizen of Ilheus. In the large cocoa plantation, Amado knew the misery and the struggles of the people working the earth, living in almost slave conditions, which were to be a theme always present in his later works (for example, the notable Terras do Sem Fim of 1944). When he was only one year old the family moved to Ilheus, a coastal city, where he spent his childhood. He attended high school in Salvador, the capital of the state. During that period Amado began to collaborate with several magazines and took part in literary life, as one of the founders of the Modernist ‘Rebels' Academy'. Amado published his first novel, O País do Carnaval, in 1931, at age 18. Later he married Matilde Garcia Rosa and had a daughter, Lila, in 1933. The same year he published his second novel, Cacau, which increased his popularity. Amado's leftist activities made his life difficult under the dictatorial regime of Getulio Vargas: in 1935 he was arrested for the first time, and two years later his books were publicly burned. His works were banned from Portugal, but in the rest of Europe he gained great popularity with the publication of Jubiabá in France. The book had enthusiastic reviews, including that of Nobel Prize Award winner Albert Camus. Being a militant, from 1941 to 1942 Amado was compelled to go into exile to Argentina and Uruguay. When he returned to Brazil he separated from Matilde Garcia Rosa. In 1945 he was elected to the National Constituent Assembly, as a representative of the Brazilian Communist Party (PCB) (he received more votes than any other candidate in the state of São Paulo). He signed a law granting freedom of religious faith. The same year he remarried, this time to the writer Zelia Gattai. In 1947 he had a son, João Jorge. The same year his party was declared illegal, and its members arrested and persecuted. Amado chose exile once again, this time in France, where he remained until he was expelled in 1950. His first daughter, Lila, had died in 1949. From 1950 to 1952 Amado lived in Czechoslovakia, where another daughter, Paloma, was born. He also travelled to the Soviet Union, winning the Stalin Peace Prize in 1951. On his return to Brazil in 1955, Amado abandoned active political life, leaving the Communist Party one year later: from that period on he dedicated himself solely to literature. His second creative phase began in 1958 with Gabriela, Cravo e Canela, which was described by Jean-Paul Sartre as ‘the best example of a folk novel': Amado abandoned, in part, the realism and the social themes of his early works, producing a series of novels focusing mainly on feminine characters, devoted to a kind of smiling celebration of the traditions and the beauties of Bahia. His depiction of the sexual customs of his land was much to the scandal of the 1950s Brazilian society: for several years Amado could not even enter Ilheus, where the novel was set, due to threats received for the alleged offense to the morality of the city's women. On April 6, 1961 he was elected to the Brazilian Academy of Literature. He received the title of Doctor honoris causa from several Universities in Brazil, Portugal, Italy, Israel and France, as well as other honors in almost every South American country, including Obá de Xangô (santoon) of the Candomble, the traditional Afro-Brazilian religion of Bahia. Amado's popularity as a writer never decreased. His books were translated into 49 languages in 55 countries, were adapted into films, theatrical works, and TV programs. They even inspired some samba schools of the Brazilian Carnival. In 1987, the House of Jorge Amado Foundation was created, in Salvador. It promotes the protection of Amado's estate and the development of culture in Bahia. Amado died on August 6, 2001. His ashes were spread in the garden of his house four days later. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Dona Flor and Her Two Husbands. New York. 1969. Knopf. Translated from the Portuguese by Harriet De Onis. 555 pages. hardcover. Jacket design by Paul Bacon. Original title: Dona Flor e seus dois maridos - Livraria Martins Editora, Brazil. Dona Flor and Her Two Husbands is a wonder - a book, a story, a heroine to fall in love with. Dona Flor is (literally) an adorable woman - with a body made for love, a mind of her own, a cozy disposition, a witty tongue, a kissable face, high moral principles - and she can cook, too. (Her cooking school is all the rage in Salvador.) One wants her to have everything. One wants her to escape from her monumental dragon of a mother into the arms of the best of husbands. One wants her to have - because she deserves it - all the honey and spice of life, ecstasy in bed, respect at all times, tenderness and tickles, a comfortable income, laughter, a sense of being always cared for. And she gets it all-but, alas, from two different men! The question: is it possible for a moral woman like Flor to enjoy two husbands at once? Yes! Thanks to the genius of Amado, who has found a way for Dona Flor to have both her husbands - without offending her own delicate scruples, or ours. How this is accomplished is told in a novel that is alive with joy and erotic hilarity, with the piquant color of life in Bahia, with hundreds of marvelous characters, from prominent ladies of high life and low life to political kingpins, underworld kings, poets, professors, babes, bouncers, and the devoted members of the Bahia Amateur Symphony Orchestra. And most marvelous, at its very center, Dona Flor herself - and her two husbands! Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Dona Flor and Her Two Husbands: A Moral and Amorous Tale. New York. 1977. Avon/Bard. 0380017962. Translated from the Portuguese by Harriet de Onis. 523 pages. paperback. Original title: Dona Flor e seus dois maridos - Livraria Martins Editora, Brazil. ‘POETICAL, COMIC, HUMAN!'- The Washington Post. In this extraordinary adventure by Brazil's foremost novelist, one wants Flor to have everything - including her roguish, passionate husband who died of his exertions; and her new husband, a considerate gentleman. In a country of many gods and even occasional miracles, Flor approaches the divine Exu and stirs up more than old memories. And only she knows she has two husbands - one living, one dead - each consummately skilled in his way in the infinite art of love. ‘Bawdy, brilliant, human and humorous, it is a novel full of unexpected delights. . . . It is everything a modern novel should be . . . . It would appear high time for Brazil's Jorge Amado to be awarded the Nobel Prize for Literature.'- Denver Post. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Gabriela, Clove and Cinnamon. New York. 1962. Knopf. Translated from the Portuguese by John L. Taylor & William L. Grossman. 429 pages. hardcover. Typography, binding, and jacket design by WARREN CHAPPELL. Original title: Gabriela, cravo e cancela, 1958 - Livraria Martins Editora. In 1925-26, Ilheus was booming. There was a record cacao crop, but because of a sandbar in the harbor, shipments could not be made direct but had to clear through and pay tribute to the larger port to the north, Bahia. The controversy over the removal of this sandbar is one of the threads that runs through the story and gives you a wonderful picture of politics in a provincial Brazilian city. And then, too, it was the year that Colonel Mendonça lived up to the inviolable unwritten law and, shot his wife and her lover when he caught them in flagrante delicto. But above all, it was the year that Gabriela moved in from the backlands, one of a flock of dirty, bedraggled migrant workers -but what a girl she turned out to be. Nacib, the Arab owner of the most popular cafe-restaurant in town, was in really serious trouble-he had lost his cook. Gabriela proved to be a superb cook and, once scrubbed and decently clothed, a great beauty as well. Nacib's business boomed and, fat and foolish though he was, he found himself the happy possessor of a mistress who loved him and who soon became the most sought-after woman in the town. In this skillfully plotted novel there is a lusty and often humorous echo of the sly political machinations that control the life of every town, and the story crackles with intrigue as progress threatens the entrenched landowners and their hired assassins, just as it threatens the town's social and sexual mores. And Gabriela moves serenely through it all. She wields her increasing power to enchant until that age-old prerogative heretofore exercised by the cuckolded is no longer de rigueur or even legal. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Gabriela, Clove and Cinnamon. New York. 1974. Avon/Bard. 0380182750. Translated from the Portuguese by John L. Taylor & William L. Grossman. 426 pages. paperback. Original title: Gabriela, cravo e cancela, 1958 - Livraria Martins Editora. GABRIELA came to llheus from the backlands of Brazil, one of a flock of dirty, bedraggled migrant workers. Nacib, owner of the town's most popular cafe, was so desperate to replace his cook that he hired Gabriela immediately. She soon proved to be not only an excellent chef, but - once scrubbed and decently clothed - a great beauty as well. And Nacib found himself owner of the most prosperous business and the most sought-after woman in town. ‘Enchanting,' The Atlantic Monthly Press called Gabriela, the charm of this story is its pace and verisimilitude . . . a comedy vivid, believable, and entertaining.' Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Gabriela, cravo e canela (Portuguese language edition). Sao Paulo. 1961. Livraria Martins Editora. 453 pages. paperback. IN PORTUGUESE - GABRIELA came to llheus from the backlands of Brazil, one of a flock of dirty, bedraggled migrant workers. Nacib, owner of the town's most popular cafe, was so desperate to replace his cook that he hired Gabriela immediately. She soon proved to be not only an excellent chef, but - once scrubbed and decently clothed - a great beauty as well. And Nacib found himself owner of the most prosperous business and the most sought-after woman in town. ‘Enchanting,' The Atlantic Monthly Press called Gabriela, the charm of this story is its pace and verisimilitude . . . a comedy vivid, believable, and entertaining.' Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Home Is the Sailor. New York. 1964. Knopf. Translated from the Portuguese by Harriet De Onis. 301 pages. hardcover. Typography, binding, and jacket design by Warren Chappell. Original title: A Completa Verdade Sobre As Discutidas Aventuras do Comandante Vasco Moscoso de Aragao, Capitao de Longo Curso, 1961 - Livraria Martins Editora, Brazil. GOOD-NATURED, incompetent, friendly, and lustful-at sixty the crony of college students and high-living officials-Vasco Moscoso de Aragâo laments that his life as the son of a wealthy merchant has brought him no rank, degree, or title. So-though Vasco has never made a sea voyage-a friend gets him a license as a ship's captain. Moving to Periperi in the suburbs of Bahia, he takes up with relish the life of an honored, retired old sea dog surrounded by nautical instruments, sea-going uniforms, and listeners eager for his reminiscences' of the oceans and exotic lands that he has visited. Vasco is so endlessly and colorfully inventive that only a few of his canniest neighbors begin to suspect the truth. When the northbound good ship Ita comes into Bahia with her captain dead, Vasco-the only licensed captain in the area-is dragooned into completing the voyage up the coast to BelEm as master (with the understanding that he will be free to call on the first mate for all important decisions). On the voyage. Vasco enjoys himself, whiling away the time in social activities and in pursuing a lady passenger of forty, to whom he becomes engaged. But deceiving sailors turns out not to be so easy as dazzling landlubbers, and what happens then and thereafter is almost (but not quite) beyond belief. Written with the narrative grace, humor, ribaldry, compassion, tenderness, and constant inventiveness of Jorge Amado's popular GABRIELA, CLOVE AND CINNAMON, HOME IS THE SAILOR likewise rests (with Amado's thistledown touch) on a kind of philosophical or metaphysical background. ‘What is truth, what reality? Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Home Is the Sailor. New York. 1979. Avon/Bard. 0380451875. Translated from the Portuguese by Harriet De Onis. 255 pages. paperback. Original title: A Completa Verdade Sobre As Discutidas Aventuras do Comandante Vasco Moscoso de Aragao, Capitao de Longo Curso, 1961 - Livraria Martins Editora, Brazil. ADVENTURES BEYOND BELIEF. . . The sleepy Brazilian beach resort needed a hero. And when retired Captain Vasco Moscoso de Aragao arrives, the townspeople are enthralled by his tales of exploits and exotic romance on the five oceans. Through these vicarious voyages they meet dangers they had never taken on, and sinful, voluptuous women they, alas, had never bedded down. Only Chico Pacheco, the local hero whose storytelling eminence has been undermined, delves into the captains past-and discovers that he has never set foot on an oceangoing deck. But when the ship Ito comes into Bahia with her captain dead-and Captain Vasco is pressed into her service-the landlocked dreamer begins an adventure in love and seamanship that surpasses his fantasies. ‘Amado's humor is fresh, innocent, and inventive, and his altogether delightful comedy, which has some profound things to say about the human desire for importance, has been given an exceptionally good translation by Harriet de Onis.' - The New Yorker. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Jubiaba. New York. 1984. Avon/Bard. 0380885670. Paperback Original. Translated from the Portuguese by Margaret A. Neves. 294 pages. paperback. Jacket art by D. Pacinelli. ‘AMADO HAS PROFOUND THINGS TO SAY' - The New Yorker. Amado's powerful new novel of emancipation and betrayal, set in Bahia in the early 1930s, pulses with the exotic tropical imaginings and passionate desires that have made Amado internationally renowned. JUBIABA is the story of Antonio Balduino, a street urchin who abandons a desperate life as a champion circus boxer and a balladeer to join the local workers in their struggle against oppression. The spirit of JIJBIABA, the medicine man who inspires Antonio in his youth, follows Antonio's physical and spiritual odyssey through tragedy and despair, teaching him to ‘love all those. . .who were shaking off the fetters of slavery.' ‘Amado's strange and wonderful characters. . . his humanism, and his considerable powers of description' result in a richness and warmth that are impossible to resist.' - Washington Post. ‘Amado is Brazil's most illustrious and venerable novelist.' - New York Times. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Pen, Sword, Camisole: A Fable To Kindle a Hope. Boston. 1985. Godine. 0879235527. Translated from the Portuguese by Helen R. Lane. 276 pages. hardcover. Jacket illustration by James Steinberg. Original title: Farda, fardao, camisol de dormir, 1980 - Distribuidora Record Servicos de Imprentsa, S.A., Rio de Janeiro) It is 1940. In Rio de Janeiro, a crisis is brewing. The brilliant womanizing poet, Antonio Bruno, has just died, and his seat in the Brazilian Academy of Letters is vacant. Who will replace him? Colonel Agnaldo Sampaio Pereira, chief of security of the New State Dictatorship, who welcomed Nazi control with unqualified joy, resolves it shall be he. But he does not count on the resistance organized by two intrepid octogenarians who rally to their standard a powerful group as determined to keep the colonel out of the Academy as he is to get in. Thus battle is engaged, in which the international forces of Nazism and the national forces of reaction and totalitarianism unite against two old men and four remarkable women-a typically fiery actress, a dressmaker who is not averse to a little part-time paid companionship, the wife of one of Brazil's richest men, and an industrialist's radical daughter-all former mistresses of the poet Bruno. Amado subtitled his novel ‘A Fable to Kindle a Hope.' It is a just description, because this book, with its great, glorious doses of wit, is a ferocious and heartening cry for freedom. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. Amado was born in a fazenda (‘farm') in the inland of the city of Itabuna, in the southern part of the Brazilian state of Bahia, son of João Amado de Faria and D. Eulália Leal. The farm Amado was born in was precisely located on the village of Ferradas, which though today is a district of Itabuna, at the time was administered by the town of IlhEus. That is why he considered himself a citizen of IlhEus. In the large cocoa plantation, Amado knew the misery and the struggles of the people working the earth, living in almost slave conditions, which were to be a theme always present in his later works (for example, the notable Terras do Sem Fim of 1944). When he was only one year old the family moved to IlhEus, a coastal city, where he spent his childhood. He attended high school in Salvador, the capital of the state. During that period Amado began to collaborate with several magazines and took part in literary life, as one of the founders of the Modernist ‘Rebels' Academy'. Amado published his first novel, O País do Carnaval, in 1931, at age 18. Later he married Matilde Garcia Rosa and had a daughter, Lila, in 1933. The same year he published his second novel, Cacau, which increased his popularity. Amado's leftist activities made his life difficult under the dictatorial regime of Getulio Vargas: in 1935 he was arrested for the first time, and two years later his books were publicly burned. His works were banned from Portugal, but in the rest of Europe he gained great popularity with the publication of Jubiabá in France. The book had enthusiastic reviews, including that of Nobel Prize Award winner Albert Camus. Being a militant, from 1941 to 1942 Amado was compelled to go into exile to Argentina and Uruguay. When he returned to Brazil he separated from Matilde Garcia Rosa. In 1945 he was elected to the National Constituent Assembly, as a representative of the Brazilian Communist Party (PCB) (he received more votes than any other candidate in the state of São Paulo). He signed a law granting freedom of religious faith. The same year he remarried, this time to the writer ZElia Gattai. In 1947 he had a son, João Jorge. The same year his party was declared illegal, and its members arrested and persecuted. Amado chose exile once again, this time in France, where he remained until he was expelled in 1950. His first daughter, Lila, had died in 1949. From 1950 to 1952 Amado lived in Czechoslovakia, where another daughter, Paloma, was born. He also travelled to the Soviet Union, winning the Stalin Peace Prize in 1951. On his return to Brazil in 1955, Amado abandoned active political life, leaving the Communist Party one year later: from that period on he dedicated himself solely to literature. His second creative phase began in 1958 with Gabriela, Cravo e Canela, which was described by Jean-Paul Sartre as ‘the best example of a folk novel': Amado abandoned, in part, the realism and the social themes of his early works, producing a series of novels focusing mainly on feminine characters, devoted to a kind of smiling celebration of the traditions and the beauties of Bahia. His depiction of the sexual customs of his land was much to the scandal of the 1950s Brazilian society: for several years Amado could not even enter IlhEus, where the novel was set, due to threats received for the alleged offense to the morality of the city's women. On April 6, 1961 he was elected to the Brazilian Academy of Literature. He received the title of Doctor honoris causa from several Universities in Brazil, Portugal, Italy, Israel and France, as well as other honors in almost every South American country, including Obá de Xangô (santoon) of the CandomblE, the traditional Afro-Brazilian religion of Bahia. Amado's popularity as a writer never decreased. His books were translated into 49 languages in 55 countries, were adapted into films, theatrical works, and TV programs. They even inspired some samba schools of the Brazilian Carnival. In 1987, the House of Jorge Amado Foundation was created, in Salvador. It promotes the protection of Amado's estate and the development of culture in Bahia. Amado died on August 6, 2001. His ashes were spread in the garden of his house four days later. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Pen, Sword, Camisole: A Fable To Kindle a Hope. New York. 1986. Avon/Bard. 0380898314. Translated from the Portuguese by Helen R. Lane. 274 pages. paperback. It is 1940. In Rio de Janeiro, a crisis is brewing. The brilliant womanizing poet, Antonio Bruno, has just died, and his seat in the Brazilian Academy of Letters is vacant. Who will replace him? Colonel Agnaldo Sampaio Pereira, chief of security of the New State Dictatorship, who welcomed Nazi control with unqualified joy, resolves it shall be he. But he does not count on the resistance organized by two intrepid octogenarians who rally to their standard a powerful group as determined to keep the colonel out of the Academy as he is to get in. Thus battle is engaged, in which the international forces of Nazism and the national forces of reaction and totalitarianism unite against two old men and four remarkable women-a typically fiery actress, a dressmaker who is not averse to a little part-time paid companionship, the wife of one of Brazil's richest men, and an industrialist's radical daughter-all former mistresses of the poet Bruno. Amado subtitled his novel ‘A Fable to Kindle a Hope.' It is a just description, because this book, with its great, glorious doses of wit, is a ferocious and heartening cry for freedom. ON JORGE AMADO: ‘Amado's strange and wonderful characters. his humanism, and his considerable powers of description result in a richness and warmth that are impossible to resist.' - THE WASHINGTON POST. ‘It would be hard to find an English counterpart to Candide in Voltaire's time, and hard to find a writer in English-at least since the death of James Thurber-with as gay an imagination and as fond a sense of the absurd as the Brazilian, Jorge Amado.' - THE NEW YORK TIMES BOOK REVIEW. ‘[Amado] has the narrative art to a superlative degree, the ability to create three-dimensional characters, a deep awareness of the problems of his country and his epoch, a style as flexible and colorful as it is lyrical . . . . One hardly knows what to admire most: the dexterity with which Amado can keep half a dozen plots spinning; the gossamer texture of the writing; or his humor, tenderness, and humanity.' - THE SATURDAY REVIEW. ‘No other Latin American writer is more genuinely admired by his peers, nor has any other exerted so great a creative influence on the course of Latin American fiction.' - THE NEW YORK TIMES BOOK REVIEW. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Sea of Death. New York. 1984. Avon/Bard. 038088559x. Paperback Original. Translated from the Portuguese by Gregory Rabassa. 273 pages. paperback. Jacket art by D. Pacinelli. ‘BRAZILS LEADING MAN OF LETTERS. . . JORGE AMADO IS ADORED AROUND THE WORLD!' Newsweek. Here in SEA OF DEATH are the sea's unconquerable mysteries and the robust yearnings of seafaring men- a world of storms and smugglers, of reckless passion and star-crossed love. Set in Amado's lush Bahia, Brazil, in the early 1930s, SEA OF DEATH tells the story of Guma and Livia, lovers whose triumphs and tribulations mirror the dark imperatives of the world around them. ‘The men from dockside only have one path in life,' Amado writes, ‘the path of the sea. They follow it, it's their fate. The sea owns all of them: ' ‘Amado has profound things to say: ' The New Yorker. ‘Amado's strange and wonderful characters . . . his humanism, and his considerable powers of description result in a richness and warmth that are impossible to resist: ' Washington Post. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. Amado was born in a fazenda (‘farm') in the inland of the city of Itabuna, in the southern part of the Brazilian state of Bahia, son of João Amado de Faria and D. Eulália Leal. The farm Amado was born in was precisely located on the village of Ferradas, which though today is a district of Itabuna, at the time was administered by the town of Ilheus. That is why he considered himself a citizen of Ilheus. In the large cocoa plantation, Amado knew the misery and the struggles of the people working the earth, living in almost slave conditions, which were to be a theme always present in his later works (for example, the notable Terras do Sem Fim of 1944). When he was only one year old the family moved to Ilheus, a coastal city, where he spent his childhood. He attended high school in Salvador, the capital of the state. During that period Amado began to collaborate with several magazines and took part in literary life, as one of the founders of the Modernist ‘Rebels' Academy'. Amado published his first novel, O País do Carnaval, in 1931, at age 18. Later he married Matilde Garcia Rosa and had a daughter, Lila, in 1933. The same year he published his second novel, Cacau, which increased his popularity. Amado's leftist activities made his life difficult under the dictatorial regime of Getulio Vargas: in 1935 he was arrested for the first time, and two years later his books were publicly burned. His works were banned from Portugal, but in the rest of Europe he gained great popularity with the publication of Jubiabá in France. The book had enthusiastic reviews, including that of Nobel Prize Award winner Albert Camus. Being a militant, from 1941 to 1942 Amado was compelled to go into exile to Argentina and Uruguay. When he returned to Brazil he separated from Matilde Garcia Rosa. In 1945 he was elected to the National Constituent Assembly, as a representative of the Brazilian Communist Party (PCB) (he received more votes than any other candidate in the state of São Paulo). He signed a law granting freedom of religious faith. The same year he remarried, this time to the writer Zelia Gattai. In 1947 he had a son, João Jorge. The same year his party was declared illegal, and its members arrested and persecuted. Amado chose exile once again, this time in France, where he remained until he was expelled in 1950. His first daughter, Lila, had died in 1949. From 1950 to 1952 Amado lived in Czechoslovakia, where another daughter, Paloma, was born. He also travelled to the Soviet Union, winning the Stalin Peace Prize in 1951. On his return to Brazil in 1955, Amado abandoned active political life, leaving the Communist Party one year later: from that period on he dedicated himself solely to literature. His second creative phase began in 1958 with Gabriela, Cravo e Canela, which was described by Jean-Paul Sartre as ‘the best example of a folk novel': Amado abandoned, in part, the realism and the social themes of his early works, producing a series of novels focusing mainly on feminine characters, devoted to a kind of smiling celebration of the traditions and the beauties of Bahia. His depiction of the sexual customs of his land was much to the scandal of the 1950s Brazilian society: for several years Amado could not even enter Ilheus, where the novel was set, due to threats received for the alleged offense to the morality of the city's women. On April 6, 1961 he was elected to the Brazilian Academy of Literature. He received the title of Doctor honoris causa from several Universities in Brazil, Portugal, Italy, Israel and France, as well as other honors in almost every South American country, including Obá de Xangô (santoon) of the Candomble, the traditional Afro-Brazilian religion of Bahia. Amado's popularity as a writer never decreased. His books were translated into 49 languages in 55 countries, were adapted into films, theatrical works, and TV programs. They even inspired some samba schools of the Brazilian Carnival. In 1987, the House of Jorge Amado Foundation was created, in Salvador. It promotes the protection of Amado's estate and the development of culture in Bahia. Amado died on August 6, 2001. His ashes were spread in the garden of his house four days later. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Shepherds of the Night. New York. 1967. Knopf. 365 pages. hardcover. Cover: George Salter. Original title: Os pastores da noite, 1964 - Livaria Martins Editora, Sao Paulo. This new novel by the brilliantly entertaining Brazilian author of Gabriela, Clove and Cinnamon is set in his beloved Bahia. It is a swarming tale of raffish folk-prostitutes, cardsharpers, and pimps, drunks and homeless Don Juans and Messalinas in the teeming life of a tropical port. It tells three interlinked and cumulating stories: that of a marriage, that of a christening, and that of a siege. What happens in Shepherds of the Night was what was certain to happen when the cleverest of the Bahian Don Juans married an out-of-town prostitute who soon bored him and restricted his life, when an unmarried mother insisted upon having her fatherless child christened in a church, and when a group of homeless Bahians erected their shacks on private property. SHEPHERDS OF THE NIGHT is at once funny and sad. It is full of laughter and nostalgia, of macumba and candomble (Brazilian voodoo), of charms and incantations and wild song. It is full of Jorge Amado's untamed Rabelaisian poetry, of crooked laughing characters, of the sounds, smells, sights, tastes, and touches of GABRIELA, OF HOME IS THE SAILOR, of THE TWO DEATHS OF QUINCAS WATERYELL, of the world that has made Jorge Amado an esteemed and popular teller of tales. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Shepherds of the Night. New York. 1978. Avon/Bard. 0380399903. Translated from the Portuguese by Harriet De Onis. 372 pages. paperback. Original title: Os pastores da noite, 1964 - Livaria Martins Editora, Sao Paulo. ‘MAGIC AT WORK' - Saturday Review . . . On the Bahian waterfront the days are sun-blazed and languorous, the nights are filled with the struggles of men and the caresses of women - and only the prostitutes hold regular jobs. SHEPHERDS OF THE NIGHT is . . . . ‘an epic journey into passion, music, gambling, a bit of fighting and all manner of discursive side trips . . . it ripples with the special inner music that has made Amado's work popular the world over. Like all Amado's novels, this one is filled with the coppery women of Bahia and the men who chase them through nights of song and stars.' - Time. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. Amado was born in a fazenda (‘farm') in the inland of the city of Itabuna, in the southern part of the Brazilian state of Bahia, son of João Amado de Faria and D. Eulália Leal. The farm Amado was born in was precisely located on the village of Ferradas, which though today is a district of Itabuna, at the time was administered by the town of Ilheus. That is why he considered himself a citizen of Ilheus. In the large cocoa plantation, Amado knew the misery and the struggles of the people working the earth, living in almost slave conditions, which were to be a theme always present in his later works (for example, the notable Terras do Sem Fim of 1944). When he was only one year old the family moved to Ilheus, a coastal city, where he spent his childhood. He attended high school in Salvador, the capital of the state. During that period Amado began to collaborate with several magazines and took part in literary life, as one of the founders of the Modernist ‘Rebels' Academy'. Amado published his first novel, O País do Carnaval, in 1931, at age 18. Later he married Matilde Garcia Rosa and had a daughter, Lila, in 1933. The same year he published his second novel, Cacau, which increased his popularity. Amado's leftist activities made his life difficult under the dictatorial regime of Getulio Vargas: in 1935 he was arrested for the first time, and two years later his books were publicly burned. His works were banned from Portugal, but in the rest of Europe he gained great popularity with the publication of Jubiabá in France. The book had enthusiastic reviews, including that of Nobel Prize Award winner Albert Camus. Being a militant, from 1941 to 1942 Amado was compelled to go into exile to Argentina and Uruguay. When he returned to Brazil he separated from Matilde Garcia Rosa. In 1945 he was elected to the National Constituent Assembly, as a representative of the Brazilian Communist Party (PCB) (he received more votes than any other candidate in the state of São Paulo). He signed a law granting freedom of religious faith. The same year he remarried, this time to the writer Zelia Gattai. In 1947 he had a son, João Jorge. The same year his party was declared illegal, and its members arrested and persecuted. Amado chose exile once again, this time in France, where he remained until he was expelled in 1950. His first daughter, Lila, had died in 1949. From 1950 to 1952 Amado lived in Czechoslovakia, where another daughter, Paloma, was born. He also travelled to the Soviet Union, winning the Stalin Peace Prize in 1951. On his return to Brazil in 1955, Amado abandoned active political life, leaving the Communist Party one year later: from that period on he dedicated himself solely to literature. His second creative phase began in 1958 with Gabriela, Cravo e Canela, which was described by Jean-Paul Sartre as ‘the best example of a folk novel': Amado abandoned, in part, the realism and the social themes of his early works, producing a series of novels focusing mainly on feminine characters, devoted to a kind of smiling celebration of the traditions and the beauties of Bahia. His depiction of the sexual customs of his land was much to the scandal of the 1950s Brazilian society: for several years Amado could not even enter Ilheus, where the novel was set, due to threats received for the alleged offense to the morality of the city's women. On April 6, 1961 he was elected to the Brazilian Academy of Literature. He received the title of Doctor honoris causa from several Universities in Brazil, Portugal, Italy, Israel and France, as well as other honors in almost every South American country, including Obá de Xangô (santoon) of the Candomble, the traditional Afro-Brazilian religion of Bahia. Amado's popularity as a writer never decreased. His books were translated into 49 languages in 55 countries, were adapted into films, theatrical works, and TV programs. They even inspired some samba schools of the Brazilian Carnival. In 1987, the House of Jorge Amado Foundation was created, in Salvador. It promotes the protection of Amado's estate and the development of culture in Bahia. Amado died on August 6, 2001. His ashes were spread in the garden of his house four days later. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Shepherds of the Night. New York. 1988. Avon Books. 0380754711. Translated from the Portuguese by Harriet De Onis. 372 pages. paperback. Original title: Os pastores da noite, 1964 - Livaria Martins Editora, Sao Paulo. ‘MAGIC AT WORK!' Saturday Review On the Bahian waterfront, days are sun-blazed and languorous, nights are filled with the struggles of men and the caresses of women - and only the prostitutes hold regular jobs. ‘An epic journey into passion.it ripples with the special inner music that has made Amado's work popular the world over. Like all Amado's novels, this one is filled with coppery women and the men who chase them through nights of song and stars.' - Time Magazine. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Showdown. New York. 1988. Bantam Books. 0553051741. Translated from the Portuguese by Gregory Rabassa. 422 pages. hardcover. Author photo (c) 1987 Stephen Fischer. Cover art (c) 1988 Keith Batcheller. Original title: Tocaia Grande, 1987. SHOWDOWN is a novel of audacious scope. Its central character is Tocaia Grande, a city in the Bahian backlands of Brazil's cacao region, the scene of four previous Amado novels. But the master is full of playful surprises. Everything in Showdown is seen from a new perspective, as dozens of individual lives develop into the collective story of a community. Tocaia Grande was born when the henchman of a cacao plantation ambushed a rival colonel vying for power at the start of this century, in a time when honor took precedence over law, and courage came before power. It was a renegade beginning, in its grittiness, violence, pettiness and feel of dirt and blood, not unlike the birth of our great American West. In this paradise of the frontier that Amado has created live wonderful characters culled from the author's childhood-prostitutes, murderers, fugitives, migrant workers and even a flimflamming Turk. All of them are placed under the leadership of Natário da Fonseca, a gunslinger who is eventually appointed captain of the National Guard. These are the men and women Amado knows intimately, and has great faith in. He takes us into their very souls, chronicling their passions and their desires. And through their story, the story of the miraculous growth of a truly singular town is revealed. SHOWDOWN is the most daring novel in Jorge Amado's long and distinguished career. In it he opens his heart, and leaves us with a tale that will live long in our memories. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. Amado was born in a fazenda (‘farm') in the inland of the city of Itabuna, in the southern part of the Brazilian state of Bahia, son of João Amado de Faria and D. Eulália Leal. The farm Amado was born in was precisely located on the village of Ferradas, which though today is a district of Itabuna, at the time was administered by the town of Ilheus. That is why he considered himself a citizen of Ilheus. In the large cocoa plantation, Amado knew the misery and the struggles of the people working the earth, living in almost slave conditions, which were to be a theme always present in his later works (for example, the notable Terras do Sem Fim of 1944). When he was only one year old the family moved to Ilheus, a coastal city, where he spent his childhood. He attended high school in Salvador, the capital of the state. During that period Amado began to collaborate with several magazines and took part in literary life, as one of the founders of the Modernist ‘Rebels' Academy'. Amado published his first novel, O País do Carnaval, in 1931, at age 18. Later he married Matilde Garcia Rosa and had a daughter, Lila, in 1933. The same year he published his second novel, Cacau, which increased his popularity. Amado's leftist activities made his life difficult under the dictatorial regime of Getulio Vargas: in 1935 he was arrested for the first time, and two years later his books were publicly burned. His works were banned from Portugal, but in the rest of Europe he gained great popularity with the publication of Jubiabá in France. The book had enthusiastic reviews, including that of Nobel Prize Award winner Albert Camus. Being a militant, from 1941 to 1942 Amado was compelled to go into exile to Argentina and Uruguay. When he returned to Brazil he separated from Matilde Garcia Rosa. In 1945 he was elected to the National Constituent Assembly, as a representative of the Brazilian Communist Party (PCB) (he received more votes than any other candidate in the state of São Paulo). He signed a law granting freedom of religious faith. The same year he remarried, this time to the writer Zelia Gattai. In 1947 he had a son, João Jorge. The same year his party was declared illegal, and its members arrested and persecuted. Amado chose exile once again, this time in France, where he remained until he was expelled in 1950. His first daughter, Lila, had died in 1949. From 1950 to 1952 Amado lived in Czechoslovakia, where another daughter, Paloma, was born. He also travelled to the Soviet Union, winning the Stalin Peace Prize in 1951. On his return to Brazil in 1955, Amado abandoned active political life, leaving the Communist Party one year later: from that period on he dedicated himself solely to literature. His second creative phase began in 1958 with Gabriela, Cravo e Canela, which was described by Jean-Paul Sartre as ‘the best example of a folk novel': Amado abandoned, in part, the realism and the social themes of his early works, producing a series of novels focusing mainly on feminine characters, devoted to a kind of smiling celebration of the traditions and the beauties of Bahia. His depiction of the sexual customs of his land was much to the scandal of the 1950s Brazilian society: for several years Amado could not even enter Ilheus, where the novel was set, due to threats received for the alleged offense to the morality of the city's women. On April 6, 1961 he was elected to the Brazilian Academy of Literature. He received the title of Doctor honoris causa from several Universities in Brazil, Portugal, Italy, Israel and France, as well as other honors in almost every South American country, including Obá de Xangô (santoon) of the Candomble, the traditional Afro-Brazilian religion of Bahia. Amado's popularity as a writer never decreased. His books were translated into 49 languages in 55 countries, were adapted into films, theatrical works, and TV programs. They even inspired some samba schools of the Brazilian Carnival. In 1987, the House of Jorge Amado Foundation was created, in Salvador. It promotes the protection of Amado's estate and the development of culture in Bahia. Amado died on August 6, 2001. His ashes were spread in the garden of his house four days later. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Tent of Miracles. Madison. 2003. University of Wisconsin Press. 029918644x. Translated from the Portuguese by Barbara Shelby Merello. Introduction by Ilan Stavans. 380 pages. paperback. Cover illustration by PhotoDisc. Bahia - home of Dona Flor and Gabriela, land of heroic talkers, daring doers, Lucullan cooks, inexhaustible lovers, beautiful black women, beautiful white women, and mulatas exquisite beyond the praise of poets-is at its most gloriously Bahian, as Jorge Amado plies us with love, food, voodoo, wit and wonder, surrounds us with a cast of hundreds . . . (INCLUDING: fiery Black Doroteia, who has the heart of a turtledove; indomitable Major Damião de Souza; Fausto Pena, unrequited lover and poetl; Ana Mercedes, undulating reportress in mini-skirt and mini-blouse; capoeira artists, policemen, professors, drunks, whores, directors of tourism, devotees of African gods, members of the Society of Medical Writers) . . . and introduces us to his richest creation. Behold him! The late, lovable-roguish Pedro Archanjo, street-corner Socrates, passionate anthropologist, candomble practitioner, acknowledged dean of the living university of Bahia's demimonde and author of the momentous works in defense of miscegenation whose ‘discovery' by James D. Levenson (great gringo scholar, lover, and Nobel Prize winner) has plunged Bahia into the fantastic intrigue and carnival of the Archanjo Centennial Celebration. As the celebrants pour forth from every street and house, as all doors fly open unlocking the secret life of Bahia, the novel moves back into the misty past (especially into the Tent of Miracles, once the living heart of Salvador, presided over by Lidio Corro, miracle painter, vendor of voodoo and vaudeville, tooth-yanker, impresario of the magic lantern) and forward into the intoxicating present, in search of the true Pedro Archanjo. Savant? Seducer? Riffraff? Redeemer? Like DONA FLOR AND HER TWO HUSBANDS, like GABRIELA, CLOVE AND CINNAMON, this new novel by Brazil's most famous and beloved writer embraces the reader. in its generous, ebullient vision of earth and man. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. Amado was born in a fazenda (‘farm') in the inland of the city of Itabuna, in the southern part of the Brazilian state of Bahia, son of João Amado de Faria and D. Eulália Leal. The farm Amado was born in was precisely located on the village of Ferradas, which though today is a district of Itabuna, at the time was administered by the town of Ilheus. That is why he considered himself a citizen of Ilheus. In the large cocoa plantation, Amado knew the misery and the struggles of the people working the earth, living in almost slave conditions, which were to be a theme always present in his later works (for example, the notable Terras do Sem Fim of 1944). When he was only one year old the family moved to Ilheus, a coastal city, where he spent his childhood. He attended high school in Salvador, the capital of the state. During that period Amado began to collaborate with several magazines and took part in literary life, as one of the founders of the Modernist ‘Rebels' Academy'. Amado published his first novel, O País do Carnaval, in 1931, at age 18. Later he married Matilde Garcia Rosa and had a daughter, Lila, in 1933. The same year he published his second novel, Cacau, which increased his popularity. Amado's leftist activities made his life difficult under the dictatorial regime of Getulio Vargas: in 1935 he was arrested for the first time, and two years later his books were publicly burned. His works were banned from Portugal, but in the rest of Europe he gained great popularity with the publication of Jubiabá in France. The book had enthusiastic reviews, including that of Nobel Prize Award winner Albert Camus. Being a militant, from 1941 to 1942 Amado was compelled to go into exile to Argentina and Uruguay. When he returned to Brazil he separated from Matilde Garcia Rosa. In 1945 he was elected to the National Constituent Assembly, as a representative of the Brazilian Communist Party (PCB) (he received more votes than any other candidate in the state of São Paulo). He signed a law granting freedom of religious faith. The same year he remarried, this time to the writer Zelia Gattai. In 1947 he had a son, João Jorge. The same year his party was declared illegal, and its members arrested and persecuted. Amado chose exile once again, this time in France, where he remained until he was expelled in 1950. His first daughter, Lila, had died in 1949. From 1950 to 1952 Amado lived in Czechoslovakia, where another daughter, Paloma, was born. He also travelled to the Soviet Union, winning the Stalin Peace Prize in 1951. On his return to Brazil in 1955, Amado abandoned active political life, leaving the Communist Party one year later: from that period on he dedicated himself solely to literature. His second creative phase began in 1958 with Gabriela, Cravo e Canela, which was described by Jean-Paul Sartre as ‘the best example of a folk novel': Amado abandoned, in part, the realism and the social themes of his early works, producing a series of novels focusing mainly on feminine characters, devoted to a kind of smiling celebration of the traditions and the beauties of Bahia. His depiction of the sexual customs of his land was much to the scandal of the 1950s Brazilian society: for several years Amado could not even enter Ilheus, where the novel was set, due to threats received for the alleged offense to the morality of the city's women. On April 6, 1961 he was elected to the Brazilian Academy of Literature. He received the title of Doctor honoris causa from several Universities in Brazil, Portugal, Italy, Israel and France, as well as other honors in almost every South American country, including Obá de Xangô (santoon) of the Candomble, the traditional Afro-Brazilian religion of Bahia. Amado's popularity as a writer never decreased. His books were translated into 49 languages in 55 countries, were adapted into films, theatrical works, and TV programs. They even inspired some samba schools of the Brazilian Carnival. In 1987, the House of Jorge Amado Foundation was created, in Salvador. It promotes the protection of Amado's estate and the development of culture in Bahia. Amado died on August 6, 2001. His ashes were spread in the garden of his house four days later. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Tent of Miracles. New York. 1971. Knopf. 039444826x. Translated from the Portuguese by Barbara Shelby. 382 pages. hardcover. Jacket design by Paul Bacon. Originally published in Portuguese as Tenda Dos Milagres by Livaria Martins Editora, Sao Paulo, Brazil. Bahia - home of Dona Flor and Gabriela, land of heroic talkers, daring doers, Lucullan cooks, inexhaustible lovers, beautiful black women, beautiful white women, and mulatas exquisite beyond the praise of poets-is at its most gloriously Bahian, as Jorge Amado plies us with love, food, voodoo, wit and wonder, surrounds us with a cast of hundreds . . . (INCLUDING: fiery Black Doroteia, who has the heart of a turtledove; indomitable Major Damião de Souza; Fausto Pena, unrequited lover and poetl; Ana Mercedes, undulating reportress in mini-skirt and mini-blouse; capoeira artists, policemen, professors, drunks, whores, directors of tourism, devotees of African gods, members of the Society of Medical Writers) . . . and introduces us to his richest creation. Behold him! The late, lovable-roguish Pedro Archanjo, street-corner Socrates, passionate anthropologist, candomble practitioner, acknowledged dean of the living university of Bahia's demimonde and author of the momentous works in defense of miscegenation whose ‘discovery' by James D. Levenson (great gringo scholar, lover, and Nobel Prize winner) has plunged Bahia into the fantastic intrigue and carnival of the Archanjo Centennial Celebration. As the celebrants pour forth from every street and house, as all doors fly open unlocking the secret life of Bahia, the novel moves back into the misty past (especially into the Tent of Miracles, once the living heart of Salvador, presided over by Lidio Corro, miracle painter, vendor of voodoo and vaudeville, tooth-yanker, impresario of the magic lantern) and forward into the intoxicating present, in search of the true Pedro Archanjo. Savant? Seducer? Riffraff? Redeemer? Like DONA FLOR AND HER TWO HUSBANDS, like GABRIELA, CLOVE AND CINNAMON, this new novel by Brazil's most famous and beloved writer embraces the reader. in its generous, ebullient vision of earth and man. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. Amado was born in a fazenda (‘farm') in the inland of the city of Itabuna, in the southern part of the Brazilian state of Bahia, son of João Amado de Faria and D. Eulália Leal. The farm Amado was born in was precisely located on the village of Ferradas, which though today is a district of Itabuna, at the time was administered by the town of Ilheus. That is why he considered himself a citizen of Ilheus. In the large cocoa plantation, Amado knew the misery and the struggles of the people working the earth, living in almost slave conditions, which were to be a theme always present in his later works (for example, the notable Terras do Sem Fim of 1944). When he was only one year old the family moved to Ilheus, a coastal city, where he spent his childhood. He attended high school in Salvador, the capital of the state. During that period Amado began to collaborate with several magazines and took part in literary life, as one of the founders of the Modernist ‘Rebels' Academy'. Amado published his first novel, O País do Carnaval, in 1931, at age 18. Later he married Matilde Garcia Rosa and had a daughter, Lila, in 1933. The same year he published his second novel, Cacau, which increased his popularity. Amado's leftist activities made his life difficult under the dictatorial regime of Getulio Vargas: in 1935 he was arrested for the first time, and two years later his books were publicly burned. His works were banned from Portugal, but in the rest of Europe he gained great popularity with the publication of Jubiabá in France. The book had enthusiastic reviews, including that of Nobel Prize Award winner Albert Camus. Being a militant, from 1941 to 1942 Amado was compelled to go into exile to Argentina and Uruguay. When he returned to Brazil he separated from Matilde Garcia Rosa. In 1945 he was elected to the National Constituent Assembly, as a representative of the Brazilian Communist Party (PCB) (he received more votes than any other candidate in the state of São Paulo). He signed a law granting freedom of religious faith. The same year he remarried, this time to the writer Zelia Gattai. In 1947 he had a son, João Jorge. The same year his party was declared illegal, and its members arrested and persecuted. Amado chose exile once again, this time in France, where he remained until he was expelled in 1950. His first daughter, Lila, had died in 1949. From 1950 to 1952 Amado lived in Czechoslovakia, where another daughter, Paloma, was born. He also travelled to the Soviet Union, winning the Stalin Peace Prize in 1951. On his return to Brazil in 1955, Amado abandoned active political life, leaving the Communist Party one year later: from that period on he dedicated himself solely to literature. His second creative phase began in 1958 with Gabriela, Cravo e Canela, which was described by Jean-Paul Sartre as ‘the best example of a folk novel': Amado abandoned, in part, the realism and the social themes of his early works, producing a series of novels focusing mainly on feminine characters, devoted to a kind of smiling celebration of the traditions and the beauties of Bahia. His depiction of the sexual customs of his land was much to the scandal of the 1950s Brazilian society: for several years Amado could not even enter Ilheus, where the novel was set, due to threats received for the alleged offense to the morality of the city's women. On April 6, 1961 he was elected to the Brazilian Academy of Literature. He received the title of Doctor honoris causa from several Universities in Brazil, Portugal, Italy, Israel and France, as well as other honors in almost every South American country, including Obá de Xangô (santoon) of the Candomble, the traditional Afro-Brazilian religion of Bahia. Amado's popularity as a writer never decreased. His books were translated into 49 languages in 55 countries, were adapted into films, theatrical works, and TV programs. They even inspired some samba schools of the Brazilian Carnival. In 1987, the House of Jorge Amado Foundation was created, in Salvador. It promotes the protection of Amado's estate and the development of culture in Bahia. Amado died on August 6, 2001. His ashes were spread in the garden of his house four days later. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Tent of Miracles. New York. 1978. Avon/Bard. 0380410206. Translated from the Portuguese by Barbara Shelby. 401 pages. paperback. Originally published in Portuguese as Tenda Dos Milagres by Livaria Martins Editora, Sao Paulo, Brazil. ‘A MOST ENJOYABLE ROMP' - Gregory Rabassa, The New York Times. . . ‘A very rich and exotic novel . . . TENT OF MIRACLES tells the story of Pedro Archanjo, mestizo, self-taught ethnologist, apostle of miscegenation, laborer, cult priest, and bon vivant . . . Amado's joyous, exuberant, almost magical descriptions of festivals, puppet shows, African rituals, local legends, fascinating customs, strange and wonderful characters . . . his enthusiasm for his subject, his proficiency in its lore, his humanism, and his considerable powers of description result in a richness and warmth that are impossible to resist.' - The Washington Post. . . ‘TENT OF MIRACLES may well be Amado's masterpiece.' - The Christian Science Monitor. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Tereza Batista: Home From the Wars. New York. 1975. Knopf. 0394487524. Translated from the Portuguese by Barbara Shelby. 555 pages. hardcover. Photo by Alfred A. Knopf. Jacket design by Paul Bacon. Original title: Tereza Batista, cansada de guerra - Livraria Martins Editora S.A, Sao Paulo. No writer alive has given us more enchanting heroines. First, Gabriela-all spice, all clove and cinnamon. Next the modest Dona Flor-deservedly adored (and at the same time!) by her two husbands. And now, with all the gusto for the human carnival, all the comicality and warmth that have endeared this most famous of Brazilian novelists to American readers, Jorge Amado adds a crowning jewel to his (and Bahia's) diadem of splendid women. Behold her, Tereza Batista-inspiration to painters, poets, and sculptors (not to mention sailors on shore leave), teacher of the ignorant, lover of the powerful (and powerful lover), healer of the sick, champion of the downtrodden, seasoned veteran-at the peak of her beauty-of life's wars. No wonder the people of Bahia call her, in awe and delight, Tereza of the Thousand Nicknames-all complimentary! Gaze on Tereza ‘with her honey sweetness, her swaying walk, her joy in living, her color like copper.' Follow Tereza from her birth into direst poverty and bad luck (orphaned before she knew her parents, enslaved at the age of 12) to the great day when she turns the tables on that most splenetic and sadistic of slaveholders, the black-hearted Captain Justo Duarte da Rosa. From her education in grammar, love, and self-esteem as last mistress (established in a mansion fit for a millionairess) of the noble patriarch, Dr. Emiliano Guedes. From her Lysistratan strategies as chief-of-staff of the armies of heroic whores on strike, defying a police order formally entided ‘Heigh-Ho, Heigh-Ho, It's Back to Work We Go,' to her ultimate recognition as Bahia's best- beloved, blazing Empress of the Brazilian Samba, marvelous Muse, Protectress, Font of Wisdom, the most desired and admired courtesan of city and environs, her own woman, honored by all. Tereza Batista-rebounding from every buffet stronger (and more delicious) than before. Trier progress is told in a novel bursting with ebullient episodes and erotic hilarity, with compassion and color and, best of all, with just about the entire (and entirely fascinating) population of Bahia. Once again Jorge Amado-celebrating beauty and Bahia-has given us a woman, a world, a view of life, to fall in love with. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. Amado was born in a fazenda (‘farm') in the inland of the city of Itabuna, in the southern part of the Brazilian state of Bahia, son of João Amado de Faria and D. Eulália Leal. The farm Amado was born in was precisely located on the village of Ferradas, which though today is a district of Itabuna, at the time was administered by the town of Ilheus. That is why he considered himself a citizen of Ilheus. In the large cocoa plantation, Amado knew the misery and the struggles of the people working the earth, living in almost slave conditions, which were to be a theme always present in his later works (for example, the notable Terras do Sem Fim of 1944). When he was only one year old the family moved to Ilheus, a coastal city, where he spent his childhood. He attended high school in Salvador, the capital of the state. During that period Amado began to collaborate with several magazines and took part in literary life, as one of the founders of the Modernist ‘Rebels' Academy'. Amado published his first novel, O País do Carnaval, in 1931, at age 18. Later he married Matilde Garcia Rosa and had a daughter, Lila, in 1933. The same year he published his second novel, Cacau, which increased his popularity. Amado's leftist activities made his life difficult under the dictatorial regime of Getulio Vargas: in 1935 he was arrested for the first time, and two years later his books were publicly burned. His works were banned from Portugal, but in the rest of Europe he gained great popularity with the publication of Jubiabá in France. The book had enthusiastic reviews, including that of Nobel Prize Award winner Albert Camus. Being a militant, from 1941 to 1942 Amado was compelled to go into exile to Argentina and Uruguay. When he returned to Brazil he separated from Matilde Garcia Rosa. In 1945 he was elected to the National Constituent Assembly, as a representative of the Brazilian Communist Party (PCB) (he received more votes than any other candidate in the state of São Paulo). He signed a law granting freedom of religious faith. The same year he remarried, this time to the writer Zelia Gattai. In 1947 he had a son, João Jorge. The same year his party was declared illegal, and its members arrested and persecuted. Amado chose exile once again, this time in France, where he remained until he was expelled in 1950. His first daughter, Lila, had died in 1949. From 1950 to 1952 Amado lived in Czechoslovakia, where another daughter, Paloma, was born. He also travelled to the Soviet Union, winning the Stalin Peace Prize in 1951. On his return to Brazil in 1955, Amado abandoned active political life, leaving the Communist Party one year later: from that period on he dedicated himself solely to literature. His second creative phase began in 1958 with Gabriela, Cravo e Canela, which was described by Jean-Paul Sartre as ‘the best example of a folk novel': Amado abandoned, in part, the realism and the social themes of his early works, producing a series of novels focusing mainly on feminine characters, devoted to a kind of smiling celebration of the traditions and the beauties of Bahia. His depiction of the sexual customs of his land was much to the scandal of the 1950s Brazilian society: for several years Amado could not even enter Ilheus, where the novel was set, due to threats received for the alleged offense to the morality of the city's women. On April 6, 1961 he was elected to the Brazilian Academy of Literature. He received the title of Doctor honoris causa from several Universities in Brazil, Portugal, Italy, Israel and France, as well as other honors in almost every South American country, including Obá de Xangô (santoon) of the Candomble, the traditional Afro-Brazilian religion of Bahia. Amado's popularity as a writer never decreased. His books were translated into 49 languages in 55 countries, were adapted into films, theatrical works, and TV programs. They even inspired some samba schools of the Brazilian Carnival. In 1987, the House of Jorge Amado Foundation was created, in Salvador. It promotes the protection of Amado's estate and the development of culture in Bahia. Amado died on August 6, 2001. His ashes were spread in the garden of his house four days later. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. Tereza Batista: Home From the Wars. New York. 1977. Avon/Bard. 0380017520. Translated from the Portuguese Barbara Shelby. 558 pages. paperback. AH, TEREZA! Her story unfolds with brilliance and luminous intensity, a masterpiece of contemporary literature written by Brazil's foremost novelist. It is the story of Tereza, the twelve-year-old girl who is sold into slavery by her aunt. It is the story of Tereza, the young woman, who is jailed for defending her lover only to find him untrue. And it is the story of Tereza, reigning goddess of love - inspiration to poets, painters, and sailors on leave; mistress of a noble patriarch; chief-of-staff to the armies of whores on strike; and triumphant Queen of the Samba - desired, admired, and honored by all. ‘Amado has the narrative art to a superlative degree. . . . One hardly knows what to admire most: the dexterity with which he can keep half a dozen plots spinning, the gossamer texture of his writing, or his humor, tenderness, and humanity.' - Saturday Review. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. Amado was born in a fazenda (‘farm') in the inland of the city of Itabuna, in the southern part of the Brazilian state of Bahia, son of João Amado de Faria and D. Eulália Leal. The farm Amado was born in was precisely located on the village of Ferradas, which though today is a district of Itabuna, at the time was administered by the town of Ilheus. That is why he considered himself a citizen of Ilheus. In the large cocoa plantation, Amado knew the misery and the struggles of the people working the earth, living in almost slave conditions, which were to be a theme always present in his later works (for example, the notable Terras do Sem Fim of 1944). When he was only one year old the family moved to Ilheus, a coastal city, where he spent his childhood. He attended high school in Salvador, the capital of the state. During that period Amado began to collaborate with several magazines and took part in literary life, as one of the founders of the Modernist ‘Rebels' Academy'. Amado published his first novel, O País do Carnaval, in 1931, at age 18. Later he married Matilde Garcia Rosa and had a daughter, Lila, in 1933. The same year he published his second novel, Cacau, which increased his popularity. Amado's leftist activities made his life difficult under the dictatorial regime of Getulio Vargas: in 1935 he was arrested for the first time, and two years later his books were publicly burned. His works were banned from Portugal, but in the rest of Europe he gained great popularity with the publication of Jubiabá in France. The book had enthusiastic reviews, including that of Nobel Prize Award winner Albert Camus. Being a militant, from 1941 to 1942 Amado was compelled to go into exile to Argentina and Uruguay. When he returned to Brazil he separated from Matilde Garcia Rosa. In 1945 he was elected to the National Constituent Assembly, as a representative of the Brazilian Communist Party (PCB) (he received more votes than any other candidate in the state of São Paulo). He signed a law granting freedom of religious faith. The same year he remarried, this time to the writer Zelia Gattai. In 1947 he had a son, João Jorge. The same year his party was declared illegal, and its members arrested and persecuted. Amado chose exile once again, this time in France, where he remained until he was expelled in 1950. His first daughter, Lila, had died in 1949. From 1950 to 1952 Amado lived in Czechoslovakia, where another daughter, Paloma, was born. He also travelled to the Soviet Union, winning the Stalin Peace Prize in 1951. On his return to Brazil in 1955, Amado abandoned active political life, leaving the Communist Party one year later: from that period on he dedicated himself solely to literature. His second creative phase began in 1958 with Gabriela, Cravo e Canela, which was described by Jean-Paul Sartre as ‘the best example of a folk novel': Amado abandoned, in part, the realism and the social themes of his early works, producing a series of novels focusing mainly on feminine characters, devoted to a kind of smiling celebration of the traditions and the beauties of Bahia. His depiction of the sexual customs of his land was much to the scandal of the 1950s Brazilian society: for several years Amado could not even enter Ilheus, where the novel was set, due to threats received for the alleged offense to the morality of the city's women. On April 6, 1961 he was elected to the Brazilian Academy of Literature. He received the title of Doctor honoris causa from several Universities in Brazil, Portugal, Italy, Israel and France, as well as other honors in almost every South American country, including Obá de Xangô (santoon) of the Candomble, the traditional Afro-Brazilian religion of Bahia. Amado's popularity as a writer never decreased. His books were translated into 49 languages in 55 countries, were adapted into films, theatrical works, and TV programs. They even inspired some samba schools of the Brazilian Carnival. In 1987, the House of Jorge Amado Foundation was created, in Salvador. It promotes the protection of Amado's estate and the development of culture in Bahia. Amado died on August 6, 2001. His ashes were spread in the garden of his house four days later. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. The Discovery of America by the Turks. New York. 2012. Penguin Books. 9780143106982. Translated from the Portuguese by Gregory Rabassa. Foreword by José Saramago. 79 pages. paperback. For the first time in English: legendary Brazilian author Jorge Amado's spirited novella about Arab immigrants to South America - published for the centennial of Amado's birth. Two Arab immigrants - 'Turks,' as Brazilians call them - arrive in the rough Brazilian frontier on the same ship in 1903, hoping to find a future. They rub shoulders with gunslingers and plantation owners, and also tangle with merchants, one of whom is desperate to marry off his impossible daughter. Thus ensues a farcical drama that produces, in a humorous twist, the unlikeliest of suitors in this whimsical Brazilian take on The Taming of the Shrew. ‘Delightful. . . A wonder of the art of narration [by] the voice, the feeling, and the joy of Brazil.' - Jose Saramago, from the Foreword. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. The Golden Harvest. New York. 1992. Avon Books. 0380761009. Paperback Original. Translated from the Portuguese by Clifford E. Landers. 359 pages. paperback. Cover illustration: Terry Widener. Original title: Sao Jorge dos Ilheus, 1944, Livraria Martines Editora, Sao Paulo, Brazil. The colonials who survived the violent early days of cacao farming thirty years past have since grown prosperous and respectable. But avarice and blood still nourish the rich, fertile soil of Bahia. A dangerous cabal of exporters has set out to ruin the wealthy plantation owners by pandering to their insatiable lusts - a pitiless strategy that will ensnare all whose lives depend on the golden crop . . . from exploited migrant workers and embittered intellectuals to idle playboys, their faithless wives and faithful whores. And as crooked business deals and secret alliances destroy families and fortunes, battle lines are drawn in the violent land of plenty - setting friend against friend, brother against brother . . . and reluctant saint against willing sinner. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. Amado was born in a fazenda (‘farm') in the inland of the city of Itabuna, in the southern part of the Brazilian state of Bahia, son of João Amado de Faria and D. Eulália Leal. The farm Amado was born in was precisely located on the village of Ferradas, which though today is a district of Itabuna, at the time was administered by the town of Ilheus. That is why he considered himself a citizen of Ilheus. In the large cocoa plantation, Amado knew the misery and the struggles of the people working the earth, living in almost slave conditions, which were to be a theme always present in his later works (for example, the notable Terras do Sem Fim of 1944). When he was only one year old the family moved to Ilheus, a coastal city, where he spent his childhood. He attended high school in Salvador, the capital of the state. During that period Amado began to collaborate with several magazines and took part in literary life, as one of the founders of the Modernist ‘Rebels' Academy'. Amado published his first novel, O País do Carnaval, in 1931, at age 18. Later he married Matilde Garcia Rosa and had a daughter, Lila, in 1933. The same year he published his second novel, Cacau, which increased his popularity. Amado's leftist activities made his life difficult under the dictatorial regime of Getulio Vargas: in 1935 he was arrested for the first time, and two years later his books were publicly burned. His works were banned from Portugal, but in the rest of Europe he gained great popularity with the publication of Jubiabá in France. The book had enthusiastic reviews, including that of Nobel Prize Award winner Albert Camus. Being a militant, from 1941 to 1942 Amado was compelled to go into exile to Argentina and Uruguay. When he returned to Brazil he separated from Matilde Garcia Rosa. In 1945 he was elected to the National Constituent Assembly, as a representative of the Brazilian Communist Party (PCB) (he received more votes than any other candidate in the state of São Paulo). He signed a law granting freedom of religious faith. The same year he remarried, this time to the writer Zelia Gattai. In 1947 he had a son, João Jorge. The same year his party was declared illegal, and its members arrested and persecuted. Amado chose exile once again, this time in France, where he remained until he was expelled in 1950. His first daughter, Lila, had died in 1949. From 1950 to 1952 Amado lived in Czechoslovakia, where another daughter, Paloma, was born. He also travelled to the Soviet Union, winning the Stalin Peace Prize in 1951. On his return to Brazil in 1955, Amado abandoned active political life, leaving the Communist Party one year later: from that period on he dedicated himself solely to literature. His second creative phase began in 1958 with Gabriela, Cravo e Canela, which was described by Jean-Paul Sartre as ‘the best example of a folk novel': Amado abandoned, in part, the realism and the social themes of his early works, producing a series of novels focusing mainly on feminine characters, devoted to a kind of smiling celebration of the traditions and the beauties of Bahia. His depiction of the sexual customs of his land was much to the scandal of the 1950s Brazilian society: for several years Amado could not even enter Ilheus, where the novel was set, due to threats received for the alleged offense to the morality of the city's women. On April 6, 1961 he was elected to the Brazilian Academy of Literature. He received the title of Doctor honoris causa from several Universities in Brazil, Portugal, Italy, Israel and France, as well as other honors in almost every South American country, including Obá de Xangô (santoon) of the Candomble, the traditional Afro-Brazilian religion of Bahia. Amado's popularity as a writer never decreased. His books were translated into 49 languages in 55 countries, were adapted into films, theatrical works, and TV programs. They even inspired some samba schools of the Brazilian Carnival. In 1987, the House of Jorge Amado Foundation was created, in Salvador. It promotes the protection of Amado's estate and the development of culture in Bahia. Amado died on August 6, 2001. His ashes were spread in the garden of his house four days later. |
![]() | ![]() | LITERATURE. [Brazil]. Amado, Jorge. The Miracle of the Birds. New York. 1983. Targ Editions. Translated from the Portuguese by Barbara Shelby Merello. 16 pages. hardcover. Cover: Ronald Gordon. It all happened in the region of Piranhas, Alagoas state, on the banks of the São Francisco River, home to Captain Lindolfo Ezequiel and his wife, Sabô. The Captain was famous for his prowess as a gunslinger and for having wed the most desired woman in the region, all of which demanded a great deal of physical vigor and constant nurturing of his reputation as a killer. One day, along came Ubaldo Capadocio, a tall and good-looking caboclo with a deft hand at the arts of literature and popular music. In addition to authoring cordel poetry, at a push he could play harmonica like no other. The poet was in hot demand the length and breadth of the region to animate baptisms, weddings and even funerals. He was also given to philandering, breaking hearts wherever he went, and was known to keep two families, one in Bahia and another in Sergipe, having sired nine children with his three wives. In Piranhas, Ubaldo Capadocio falls head-over-heels for the wife of Lindolfo Ezequiel. Oblivious to the danger, he ends up in bed with Sabô while the Captain is away on business. But Ezequiel comes back early, and in order to save his hide and become the hero of this famous tale, Ubaldo Capadocio has to call on the support of numerous witnesses, a flock of birds and just a little help from Providence. In THE MIRACLE OF THE BIRDS, Jorge Amado turns a well-loved oral folk tale into the stuff of literature. This brief narrative, somewhere between a short story and a novella, is a tale of infidelity and dishonour typical of the popular tradition of the northeastern hinterlands. With his customary good humour and narrative flair, the author recovers and eternalizes this raucous tale, which had long enjoyed the ear of the people and done the rounds of backlands. Jorge Amado de Faria (August 10, 1912 - August 6, 2001) was a Brazilian writer of the Modernist school. He was the best-known of modern Brazilian writers, his work having been translated into some 30 languages and popularized in film, notably Dona Flor and her Two Husbands (Dona Flor e Seus Dois Maridos) in 1978. His work dealt largely with the poor urban black and mulatto communities of Bahia. Amado was born in a fazenda (‘farm') in the inland of the city of Itabuna, in the southern part of the Brazilian state of Bahia, son of João Amado de Faria and D. Eulália Leal. The farm Amado was born in was precisely located on the village of Ferradas, which though today is a district of Itabuna, at the time was administered by the town of Ilheus. That is why he considered himself a citizen of Ilheus. In the large cocoa plantation, Amado knew the misery and the struggles of the people working the earth, living in almost slave conditions, which were to be a theme always present in his later works (for example, the notable Terras do Sem Fim of 1944). When he was only one year old the family moved to Ilheus, a coastal city, where he spent his childhood. He attended high school in Salvador, the capital of the state. During that period Amado began to collaborate with several magazines and took part in literary life, as one of |