A sweeping, authoritative history of 16th-century Spain and its legendary conquistadors, whose ambitious and morally contradictory campaigns propelled a small European kingdom to become one of the formidable empires in the world “The depth of research in this book is astonishing, but even more impressive is the analytical skill Cervantes applies. . . . [He] conveys complex arguments in delightfully simple language, and most importantly knows how to tell a good story.” —The Times (London) Over the few short decades that followed Christopher Columbus's first landing in the Caribbean in 1492, Spain conquered the two most powerful civilizations of the Americas: the Aztecs of Mexico and the Incas of Peru. Hernán Cortés, Francisco Pizarro, and the other explorers and soldiers that took part in these expeditions dedicated their lives to seeking political and religious glory, helping to build an empire unlike any the world had ever seen. But centuries later, these conquistadors have become the stuff of nightmares. In their own time, they were glorified as heroic adventurers, spreading Christian culture and helping to build an empire unlike any the world had ever seen. Today, they stand condemned for their cruelty and exploitation as men who decimated ancient civilizations and carried out horrific atrocities in their pursuit of gold and glory. In Conquistadores, acclaimed Mexican historian Fernando Cervantes—himself a descendent of one of the conquistadors—cuts through the layers of myth and fiction to help us better understand the context that gave rise to the conquistadors' actions. Drawing upon previously untapped primary sources that include diaries, letters, chronicles, and polemical treatises, Cervantes immerses us in the late-medieval, imperialist, religious world of 16th-century Spain, a world as unfamiliar to us as the Indigenous peoples of the New World were to the conquistadors themselves. His thought-provoking, illuminating account reframes the story of the Spanish conquest of the New World and the half-century that irrevocably altered the course of history.
Until the end of the eighteenth century, missionaries to the New World agreed that diabolism lay at the heart of the Native American belief system and at the root of their own failure to establish a church purged of Satan and pagan superstition. The Devil mattered, and he occupied a central place in discussions of all non-Christian religious systems and in the bitter disputes over how to combat them. In this elegant and sensitive analysis, Fernando Cervantes gives the Devil his due, illuminating a neglected aspect of the European encounter with America and setting the full history of the "spiritual conquest" in a rich and original context. He reveals how Native Americans reinterpreted the view of Christianity presented to them, how they refused to see the world as the missionaries saw it. Drawing on archival sources, he brings into clear focus the complex, often bewildering, and sometimes tragic clash between a theology that posited the existence of competing forces and one that insisted that all deities were multiform beings within which good and evil coexisted. He deals in compelling and persuasive detail with the social history of the interaction between the two cultures, explaining not only the impact of European ideas upon the New World but the influence of diabolism on the ideology of the Old. And he provides a subtle account of the role of diabolism in the emerging baroque culture of the seventeenth and eighteenth centuries that strikingly challenges conventional explanations of the growth of skepticism in the period.
The Celestina is considered by scholars to be the first European novel. Written in fifteenth-century Spain, this masterpiece is remarkable for its originality, depth, handling of dialogue, and drawing of character. The novel's focus is the character of Celestina, who dominates the scene. An old bawd brimming with salty wisdom derived from a vigorous and sinful life, she is one of the great creations of all literature and holds a secure place beside her two compatriots, Don Quixote and Sancho Panza. This Spanish classic, the greatest of the forebears of Cervantes, was originally published anonymously, in 1499; later editions bear the name of Fernando de Rojas as author.
The Inquisition has become a byword for persecution and intolerance, and is often given as a reason for distrusting the Catholic Church. This booklet looks at what led up to this most controversial chapter in the Church's history, what really happened during it, and what changes of perspective led to Pope John Paul's famous 'apology' in 1997.
Depicts the intricate cultural, religious and intellectual kaleidoscope of interactions between angels, demons and the heterogeneous populations of Spanish America.
(Applause Books). "As Greek tragedy," says a Spanish writer, "was composed from the crumbs that fell from Homer's table, so the Spanish drama owed its earliest forms to La Celestina (1499)." Fernando de Rojas' tragi-comedy which has also been called "a novel in dialogue" runs to about three hundred pages in the James Mabbe translation, here adapted to the stage by Eric Bentley in a five-act, 93-page version. The central and pervasive situation is a simple one: a dirty old woman is helping a courtly young gentleman to seduce a girl. The wonder of the thing lies in the art with which Fernando do Rojas derives, from such commonplace materials, a towering tragedy or rather, tragi-comedy.
Like those writers to whom he has been compared--Fuentes, Garcia Marquez, James Joyce, and Rabelais--del Paso draws upon myth, science, and world literature to expand his particular story to universal proportions. Telling the story of a medical medical student who's engaged in an incestuous affair with his cousin, the novel satirizes advertising, politics, pornography, and mythology, while at the same time celebrating the body with a thoroughness that only a student of medicine could manage.
He querido titular así mi texto porque quizás en este IV Centenario se hablará más del hijo que del padre, de la rama más que del tronco, del repique más que de las campanas. Y así deberá ser puesto que el centenario es de la obra, no del autor. Pero yo no me quiero olvidar de éste ni quiero desligarle tampoco de su gran obra. Por eso le traigo con su nombre y con el apellido del hidalgo, como una foto del autor en primer plano y con su obra al fondo. A fin de cuentas, de ambos se trata porque son inseparables. El tono desenfadado solo pretende desdramatizar los verdaderos dramas que fueron las vidas de ambos. Claro, la del hidalgo está más que contada en el texto. La del autor es mucho menos conocida, aunque no menos dramática. Y la única real, por eso me ocupo de ella. Sin entrar en profundidades ni excesivos detalles que complicarían la agilidad de la lectura. Eso sí: mi más absoluto respeto a ambas.
A selection of prose by “Portugal’s greatest writer of the twentieth century . . . as addictive, and endearing, as Borges and Calvino” (The Washington Post Book World). Building on the wonderful Fernando Pessoa & Co.: Selected Poems, which was acclaimed by Booklist as “a beautiful one-volume course in the soul of the twentieth century,” translator Richard Zenith has now edited and translated selections from Pessoa’s prose, offering a second volume of this forgotten master’s flights of imagination and melancholy wit. Though known primarily as a poet, Pessoa wrote prose in several languages and every genre—the novel, short stories, letters, and essays. The pieces collected here span intellectual inquiry, Platonic dialogue, and literary rivalries between Pessoa’s many alter egos—a diverse cast of literary voices he called ‘heteronyms’—who launch movements and write manifestos. There are appreciations of Shakespeare, Dickens, Wilde, and Joyce; critical essays in which one heteronym derides the work of another; experiments with automatic writing; and works that toy with the occult. Also included is a generous selection from Pessoa’s masterpiece, The Book of Disquiet, freshly translated by Richard Zenith from newly discovered materials. Fernando Pessoa was one of the greatest exponents of modernism. The Selected Prose of Fernando Pessoa is an important contribution to literature that brings back to life a forgotten but crucial part of the canon.
For the first time—and in the best translation ever—the complete Book of Disquiet, a masterpiece beyond comparison The Book of Disquiet is the Portuguese modernist master Fernando Pessoa’s greatest literary achievement. An “autobiography” or “diary” containing exquisite melancholy observations, aphorisms, and ruminations, this classic work grapples with all the eternal questions. Now, for the first time the texts are presented chronologically, in a complete English edition by master translator Margaret Jull Costa. Most of the texts in The Book of Disquiet are written under the semi-heteronym Bernardo Soares, an assistant bookkeeper. This existential masterpiece was first published in Portuguese in 1982, forty-seven years after Pessoa’s death. A monumental literary event, this exciting, new, complete edition spans Fernando Pessoa’s entire writing life.
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