An astonishing collection of short stories by one of the most daring prose experimentalists of the 20th century A taxidermied parrot, insulted by a stodgy uncle, comes violently alive and batters the poor fool to death with its beak. A terrible tyrant, Zar Palemón, presides over grotesque ritualized sex acts in his court—which is itself contained in a demonic gemstone the size of a fist. And deep in the Andes, in a hidden cave, an unremarkable house cat waits to trap its hapless victim with a Gorgon’s gaze and engage him in a staring contest on which the fate of the cosmos just might depend. Such are a few of the bizarre adventures found within Juan Emar’s mind-bending collection of short stories, Ten. Allegory? Parody? Horror? Surrealism? Yes to all, and none of the above: where lesser writers mark their end-point, the unclassifiable Juan Emar jumps off, straight into the deep end. Life is far from still in Emar’s world, where statues come alive, gaseous vampires stalk, and our hopes and fears materialize in a web of shocking interconnections unified by twisted logic and crystalline prose. Now, Ten is available in English for the first time, deftly translated by Megan McDowell and with an introduction by César Aira, who writes: “Emar has neither precedents nor equals; his echoes and affinities—Lautréamont, Macedonio Fernández, Gombrowicz—flow from his readers’ own inclinations.” Byzantine and vivid, intricate and bizarre, this quiver of shorts by Chile’s most idiosyncratic mad genius of literature will leave readers astounded for decades to come.
For the first time in English, a mind-bending, surreal masterpiece by “the forerunner of them all” (Pablo Neruda) In the city of San Agustín de Tango, the banal is hard to tell from the bizarre. In a single day, a man is guillotined for preaching the intellectual pleasures of sex; an ostrich in a zoo, reversing roles, devours a lion; and a man, while urinating, goes bungee jumping through time itself—and manages to escape. Or does he? Witness the weird machinery of Yesterday, where the Chilean master Juan Emar deploys irony, digression, and giddy repetitions to ratchet up narrative tension again and again and again, in this thrilling whirlwind of the ecstatically unexpected—all wed to the happiest marriage of any novel, ever. Born in Chile at the tail end of the nineteenth century, Juan Emar was largely overlooked during his lifetime, and lived in self-imposed exile from the literary circles of his day. A cult of Emarians, however, always persisted, and after several rediscoveries in the Spanish-speaking world, he is finally getting his international due with the English-language debut of Yesterday, deftly translated by Megan McDowell. Emar’s work offers unique and delirious pleasures, and will be an epiphany to anglophone readers.
An astonishing collection of short stories by one of the most daring prose experimentalists of the 20th century A taxidermied parrot, insulted by a stodgy uncle, comes violently alive and batters the poor fool to death with its beak. A terrible tyrant, Zar Palemón, presides over grotesque ritualized sex acts in his court—which is itself contained in a demonic gemstone the size of a fist. And deep in the Andes, in a hidden cave, an unremarkable house cat waits to trap its hapless victim with a Gorgon’s gaze and engage him in a staring contest on which the fate of the cosmos just might depend. Such are a few of the bizarre adventures found within Juan Emar’s mind-bending collection of short stories, Ten. Allegory? Parody? Horror? Surrealism? Yes to all, and none of the above: where lesser writers mark their end-point, the unclassifiable Juan Emar jumps off, straight into the deep end. Life is far from still in Emar’s world, where statues come alive, gaseous vampires stalk, and our hopes and fears materialize in a web of shocking interconnections unified by twisted logic and crystalline prose. Now, Ten is available in English for the first time, deftly translated by Megan McDowell and with an introduction by César Aira, who writes: “Emar has neither precedents nor equals; his echoes and affinities—Lautréamont, Macedonio Fernández, Gombrowicz—flow from his readers’ own inclinations.” Byzantine and vivid, intricate and bizarre, this quiver of shorts by Chile’s most idiosyncratic mad genius of literature will leave readers astounded for decades to come.
For the first time in English, a mind-bending, surreal masterpiece by “the forerunner of them all” (Pablo Neruda) In the city of San Agustín de Tango, the banal is hard to tell from the bizarre. In a single day, a man is guillotined for preaching the intellectual pleasures of sex; an ostrich in a zoo, reversing roles, devours a lion; and a man, while urinating, goes bungee jumping through time itself—and manages to escape. Or does he? Witness the weird machinery of Yesterday, where the Chilean master Juan Emar deploys irony, digression, and giddy repetitions to ratchet up narrative tension again and again and again, in this thrilling whirlwind of the ecstatically unexpected—all wed to the happiest marriage of any novel, ever. Born in Chile at the tail end of the nineteenth century, Juan Emar was largely overlooked during his lifetime, and lived in self-imposed exile from the literary circles of his day. A cult of Emarians, however, always persisted, and after several rediscoveries in the Spanish-speaking world, he is finally getting his international due with the English-language debut of Yesterday, deftly translated by Megan McDowell. Emar’s work offers unique and delirious pleasures, and will be an epiphany to anglophone readers.
En San Agustín de Tango el peligro, el delirio o la Verdad acechan a la vuelta de la esquina. A lo largo del día —el día de ayer— que abarca esta novela, el protagonista y su querida esposa asisten a la decapitación de un hombre por predicar los placeres intelectuales del sexo, se unen al canto celestial de un coro de cinocéfalos, presencian la ingesta de un león por parte de un avestruz, visitan el taller de un artista obsesionado con el color verde y se embarcan en un sinfín de disquisiciones filosóficas. Todo ello conforma un prodigioso peregrinaje urbano, una vuelta al día en pos de una revelación que se insinúa y nunca acaba de llegar. Porque en la literatura cuántica de Juan Emar el tiempo y el espacio van siempre un paso por delante del sujeto que los observa. Ayer, publicada originalmente en Chile en 1935, y que en esta edición viene acompañada de un prólogo de Alejandro Zambra, es una de las novelas más singulares escritas en español en el siglo xx, un derroche de humor e inteligencia en el que el espíritu vanguardista se alía felizmente con una irrefrenable pulsión narrativa para dar cuenta del absurdo metafísico y cotidiano de la existencia.
In The Origins of the Canon of the Hebrew Bible: An Analysis of Josephus and 4 Ezra, Juan Carlos Ossandón Widow examines the thorny question of when, how, and why the collection of twenty-four books that today is known as the Hebrew Bible was formed. He carefully studies the two earliest testimonies in this regard—Josephus’ Against Apion and 4 Ezra—and proposes that, along with the tendency to idealize the past, which leads to consider that divine revelation to Israel has ceased, an important reason to specify a collection of Scriptures at the end of the first century CE consisted in the need to defend the received tradition to counter those that accepted more books.
With contributions from seven of Mexico's finest journalists, this is reportage at its bravest and most necessary - it has the power to change the world's view of their country, and by the force of its truth, to start to heal the country's many sorrows. Supported the Arts Council Grant's for the Arts Programme and by PEN Promotes Veering between carnival and apocalypse, Mexico has in the last ten years become the epicentre of the international drug trade. The so-called "war on drugs" has been a brutal and chaotic failure (more than 160,000 lives have been lost). The drug cartels and the forces of law and order are often in collusion, corruption is everywhere. Life is cheap and inconvenient people - the poor, the unlucky, the honest or the inquisitive - can be "disappeared" leaving not a trace behind (in September 2015, more than 26,798 were officially registered as "not located"). Yet people in all walks of life have refused to give up. Diego Enrique Osorno and Juan Villoro tell stories of teenage prostitution and Mexico's street children. Anabel Hernández and Emiliano Ruiz Parra give chilling accounts of the "disappearance" of forty-three students and the murder of a self-educated land lawyer. Sergio González Rodríguez and Marcela Turati dissect the impact of the violence on the victims and those left behind, while Lydia Cacho contributes a journal of what it is like to live every day of your life under threat of death. Reading these accounts we begin to understand the true nature of the meltdown of democracy, obscured by lurid headlines, and the sheer physical and intellectual courage needed to oppose it.
This book is the result of ten years’ of scientific research carried out by the authors on Isla de los Estados. The research includes their doctoral thesis and many published scientific papers related to the island. The book is divided into two principal parts. The first part covers different social and natural aspects of this remote island and includes chapters on the scientific and historical background, physiography with topographical and hydrographical descriptions, climate and oceanographic circulation, vegetation and geology (including stratigraphy, structural geology and geological history). The second part comprises a reconstruction of the paleoenvironmental, paleoclimatic and paleogeographic history of the island from the Last Glacial Maximum to the present, correlating with other paleoecological records from the southern part of Isla Grande de Tierra del Fuego and Patagonia. This second part also includes a geomorphological chapter with a characterization of the principal erosive glacial landforms on Isla de los Estados constructed by means of morphometric analysis, inventories, maps, paleogeographic and glacial models, and a paleoecological chapter evaluating the palaeoenvironment and palaeoclimatic conditions that prevailed during the Late Pleistocene-Holocene times based on pollen and diatom analysis from three 14C-dated peat bogs and lakes. Finally, the book concludes with a review of the island’s archaeology and the relationship between the palaeoenvironmental history and human occupation of this island.
This book presents a new analysis of the organization, structure and changes of the pharaonic state through three millennia of its history. Moreno García sheds new light on this topic by bringing to bear recent developments in state theory and archaeology, especially comparative study of the structure of ancient states and empires. The role played by pharaonic Egypt in new studies often reiterates old views about the stability, conservatism and 'exceptionalism' of Egyptian kingship, which supposedly remained the same across the Bronze and Iron Ages. Ancient Egypt shared many parallels with other Bronze and Iron Age societies as can be shown by an analysis of the structure of the state, of the limits of royal power, of the authority of local but neglected micro-powers (such as provincial potentates and wealthy non-elite), and of the circulation and control of wealth. Furthermore, Egypt experienced deep changes in its social, economic, political and territorial organization during its history, thus making the land of the pharaohs an ideal arena in which to test applications of models of governments and to define the dynamics that rule societies on the longue durée. When seen through these new perspectives, the pharaonic monarchies appear less exceptional than previously thought, and more dependent on the balance of power, on their capacity to control the kingdom's resources and on the changing geopolitical conditions of their time.
Responsible for a high proportion of the world's crop losses, weedstake away food that the world badly needs. They decrease thequality and quantity of vegetable fibers, wool, and hides, andinterfere with fishing, irrigation, hydroelectric power production,and the movement of shipping vessels. In order to recognize thetrue magnitude of the weed problem, and to be better equipped todesign effective weed control methods, it is vital to identify andlearn as much as possible about the many different species of thisdestructive agricultural predator. The culmination of four decades of global research, World Weedspresents comprehensive and up-to-date information on over 100weeds--addressing recent changes in such areas as crop tillagemethods, herbicide use, and agricultural runoff. This monumentalwork, featuring a wealth of original data from the authors,provides extensive coverage of the known biology of each species.Each entry contains a full botanical description, plus importantdetails on habitat requirements and distribution, seed production,ecology, physiology, crop impact, and more. Generously suppliedwith dozens of unique illustrations and species distribution mapscovering over 100 countries, this definitive resource boasts anextensive multilingual index of common names, and a massivebibliography with over 3,000 references to facilitate furtherreading and research. World Weeds is a truly masterful referencethat will be celebrated by weed and crop scientists, botanists, andothers for years to come.
El lector conocerá un procedimiento descriptivo que aparece en la prosa de Emar y que podemos llamar realismo delirante; por un lado, se vale de técnicas que remiten a la novela decimonónica o la literatura científica, pero por otro remarca tanto las tintas en el detalle que la precisión llega a niveles de irrealidad. Este mecanismo discursivo constituye una de las características más notables y estrafalarias de la prosa emariana, un inconfundible rasgo de estilo que se extiende por varias líneas de "El pájaro verde" y "El hotel Mac Quice", relatos que se publican por primera vez en México y que, seguramente, permanecerán grabados en la memoria del lector con la nitidez de una fotografía y la impresión que provoca un cuadro surrealista.
Bread and Beauty is a study of the works and life of José Carlos Mariátegui (1894-1930), the autodidact Peruvian scholar and revolutionary activist frequently considered the most important Latin American Marxist.
The story of Dan Fadrique Lopez de Mendoza, a man of seafaring adventures and a deist in the mould of the eighteenth-century philosophes, and Dona Blanca Roldan de Solis, a woman of unbounded pride and a Catholic driven by religious fanaticism, neither of which traits prevented her from having had an adulterous affair as a young woman in Lima, Peru, with Don Fadrique."--Back cover.
Gabriel Garcia Marquez in Retrospect gathers fifteen essays by noted scholars in the fields of Latin American literature, politics, and theater. The volume offers broad overviews of the Colombian author’s total body of work, along with closer looks at some of his acknowledged masterpieces. The Nobel laureate’s cultural contexts and influences, his variety of themes, and his formidable legacy (Hispanic, U.S., world-wide) all come up for consideration. New readings of One Hundred Years of Solitude are further complemented by fresh, stimulating, highly detailed examinations of his later novels (Chronicle of a Death Foretold, The General in His Labyrinth, Of Love and Other Demons) and stories (Strange Pilgrims). Further attention is focused on “Gabo’s” labors as journalist and as memoirist (Living to Tell the Tale), and to his sometime relationships with the cinema and the stage. Reactions to his enormous stature on the part of younger writers, including recent signs of backlash, are also given thoughtful scrutiny. Feminist and ecocritical interpretations, plus lively discussions of Gabo’s artful use of humor, character’s names, and even cuisine, are to be found here as well. In the wake of García Márquez’s passing away in 2014, this collection of essays serves as a fitting tribute to one of the world’s greatest literary figures of the twentieth century.
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