A brilliant, kaleidoscopic exploration of soccer—and the passion, hopes, rivalries, superstitions, and global solidarity it inspires—from award-winning author and Mexico’s leading sports journalist, Juan Villoro. On a planet where FIFA has more members than the United Nations and the World Cup is watched by more than three billion people, football is more than just a game. As revered author Juan Villoro argues in this passionate and compulsively readable tribute to the world’s favorite sport, football may be the most effective catalyst for panglobal unity at the time when we need it most. (Following global consensus, Villoro uses “football” rather than “soccer” in the book.) What was the greatest goal of all time? Why do the Hungarians have a more philosophical sense of defeat than the Mexicans? Do the dead play football? In essays ranging from incisive and irreverent portraits of Maradona, Messi, Ronaldo, Pelé, Zidane, and many more giants of the game to entertaining explorations of left-footedness and the number 10, Juan Villoro dissects the pleasure and pain of football fandom. God Is Round is a book for both fanatics and neophytes who long to feel the delirium of the faithful. Praise for God is Round “If you want to talk about soccer, go talk to Juan Villoro.” —Carlos Fuentes “In trying times like these, when the anguish and uncertainty can be almost too much to bear, Mexico turns to him, its philosopher-fanatic, to make sense of the seemingly nonsensical. With the nation’s hopes for the World Cup spiraling into doubt and chaos, Juan Villoro, one of Mexico’s most decorated and esteemed writers — who also happens to be a leading soccer analyst—comes charging down the metaphorical field to scold, explain and extract the lessons within.” —The New York Times “The literature of Juan Villoro…is opening up the path of the new Spanish novel of the millennium.” —Roberto Bolaño “[Villoro] has assumed the Octavio Paz mantle of Mexican public wise man of letters (though with none of Paz’s solemnity, for Villoro is as boyishly effusive, brimming with laughter and cleverness, as Paz was paternalistically dour—and, of course, Villoro, the author of the book God Is Round, may be the most fútbol-obsessed man alive)” —Francisco Goldman, The New Yorker Juan Villoro is Mexico’s most prolific, prize-winning author, playwright, journalist, and screenwriter. His books have been translated into multiple languages; he has received the Herralde Award in Spain for his novel El testigo, the Antonin Artaud award in France for Los culpables. His novel, Arrecife, was recently short-listed for the Rezzori Prize in Italy. Villoro lives in Mexico City and is a visiting lecturer at Yale and Princeton universities. Thomas Bunstead's translations from the Spanish include work by Eduardo Halfon and Yuri Herrera, Aixa de la Cruz's story “True Milk” in Best of European Fiction, and the forthcoming A Brief History of Portable Literature by Enrique Vila-Matas (a co-translation with Anne McLean). A guest editor of a Words Without Borders feature on Mexico (March 2015), Thomas has also published his own writing in the Times Literary Supplement, The Independent, the Paris Review blog, 3ammagazine, Days of Roses, readysteadybook, and >kill author.
“We walked toward the part of the library where the air smelled as if it had been interred for years….. Finally, we got to the hallway where the wooden floor was the creakiest, and we sensed a strange whiff of excitement and fear. It smelled like a creature from a bygone time. It smelled like a dragon.” Thirteen-year-old Juan’s favorite things in the world are koalas, eating roast chicken, and the summer-time. This summer, though, is off to a terrible start. First, Juan’s parents separate and his dad goes to Paris. Then, as if that wasn’t horrible enough, Juan is sent away to his strange Uncle Tito’s house for the entire break! Uncle Tito is really odd: he has zigzag eyebrows; drinks ten cups of smoky tea a day; and lives inside a huge, mysterious library. One day, while Juan is exploring the library, he notices something inexplicable and rushes to tell Uncle Tito. “The books moved!” His uncle drinks all his tea in one gulp and, sputtering, lets his nephew in on a secret: Juan is a Princeps Reader––which means books respond magically to him––and he’s the only person capable of finding the elusive, never-before-read Wild Book. Juan teams up with his new friend Catalina and his little sister, and together they delve through books that scuttle from one shelf to the next, topple over unexpectedly, or even disappear altogether to find The Wild Book and discover its secret. But will they find it before the wicked, story-stealing Pirate Book does?
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.
“We walked toward the part of the library where the air smelled as if it had been interred for years….. Finally, we got to the hallway where the wooden floor was the creakiest, and we sensed a strange whiff of excitement and fear. It smelled like a creature from a bygone time. It smelled like a dragon.” Thirteen-year-old Juan’s favorite things in the world are koalas, eating roast chicken, and the summer-time. This summer, though, is off to a terrible start. First, Juan’s parents separate and his dad goes to Paris. Then, as if that wasn’t horrible enough, Juan is sent away to his strange Uncle Tito’s house for the entire break! Uncle Tito is really odd: he has zigzag eyebrows; drinks ten cups of smoky tea a day; and lives inside a huge, mysterious library. One day, while Juan is exploring the library, he notices something inexplicable and rushes to tell Uncle Tito. “The books moved!” His uncle drinks all his tea in one gulp and, sputtering, lets his nephew in on a secret: Juan is a Princeps Reader––which means books respond magically to him––and he’s the only person capable of finding the elusive, never-before-read Wild Book. Juan teams up with his new friend Catalina and his little sister, and together they delve through books that scuttle from one shelf to the next, topple over unexpectedly, or even disappear altogether to find The Wild Book and discover its secret. But will they find it before the wicked, story-stealing Pirate Book does?
What was the greatest goal of all time? Why do the Hungarians have a more philosophical sense of defeat than the Mexicans? Do the dead play soccer? On a planet where FIFA has more members than the United Nations, Juan Villoro's examination of soccer and its 3.5 billion-person fandom has stakes beyond those of such playful questions. Soccer is more than just a game; it is a catalyst for panglobal unity and even, Villoro suggests, the "recovery of childhood.
At once intimate and wide-ranging, and as enthralling, surprising, and vivid as the place itself, this is a uniquely eye-opening tour of one of the great metropolises of the world, and its largest Spanish-speaking city. Horizontal Vertigo: The title refers to the fear of ever-impending earthquakes that led Mexicans to build their capital city outward rather than upward. With the perspicacity of a keenly observant flaneur, Juan Villoro wanders through Mexico City seemingly without a plan, describing people, places, and things while brilliantly drawing connections among them. In so doing he reveals, in all its multitudinous glory, the vicissitudes and triumphs of the city ’s cultural, political, and social history: from indigenous antiquity to the Aztec period, from the Spanish conquest to Mexico City today—one of the world’s leading cultural and financial centers. In this deeply iconoclastic book, Villoro organizes his text around a recurring series of topics: “Living in the City,” “City Characters,” “Shocks,” “Crossings,” and “Ceremonies.” What he achieves, miraculously, is a stunning, intriguingly coherent meditation on Mexico City’s genius loci, its spirit of place.
At once intimate and wide-ranging, and as enthralling, surprising, and vivid as the place itself, this is a uniquely eye-opening tour of one of the great metropolises of the world, and its largest Spanish-speaking city. Horizontal Vertigo: The title refers to the fear of ever-impending earthquakes that led Mexicans to build their capital city outward rather than upward. With the perspicacity of a keenly observant flaneur, Juan Villoro wanders through Mexico City seemingly without a plan, describing people, places, and things while brilliantly drawing connections among them. In so doing he reveals, in all its multitudinous glory, the vicissitudes and triumphs of the city ’s cultural, political, and social history: from indigenous antiquity to the Aztec period, from the Spanish conquest to Mexico City today—one of the world’s leading cultural and financial centers. In this deeply iconoclastic book, Villoro organizes his text around a recurring series of topics: “Living in the City,” “City Characters,” “Shocks,” “Crossings,” and “Ceremonies.” What he achieves, miraculously, is a stunning, intriguingly coherent meditation on Mexico City’s genius loci, its spirit of place.
Tracing the evolution of Mexican literary and cultural production following the Tlatelolco massacre, this book shows its progression from a homogeneous construct set on establishing the “true” history of Tlatelolco against the version of the State, to a more nuanced and complex series of historical narratives. The initial representations of the events of 1968 were essentially limited to that of the State and that of the Consejo Nacional de Huelga (National Strike Council) and only later incorporated novels and films. Juan J. Rojo examines the manner in which films, posters, testimonios, and the Memorial del 68 expanded the boundaries of those initial articulations to a more democratic representation of key participants in the student movement of 1968.
En nuestra sociedad actual, es fundamental tomar en cuenta el factor de diferencia cultural o marginación social. El autor propone utilizar su experiencia personal así como sus conocimientos de filósofo para tratar esta cuestión en el ámbito de la educación.
At a time in which many in the United States see Spanish America as a distinct and, for some, threatening culture clearly differentiated from that of Europe and the US, it may be of use to look at the works of some of the most representative and celebrated writers from the region to see how they imagined their relationship to Western culture and literature. In fact, while authors across stylistic and political divides—like Gabriela Mistral, Jorge Luis Borges, or Gabriel García Márquez—see their work as being framed within the confines of a globalized Western literary tradition, their relationship, rather than epigonal, is often subversive. Borges and Kafka, Bolaño and Bloom is a parsing not simply of these authors' reactions to a canon, but of the notion of canon writ large and the inequities and erasures therein. It concludes with a look at the testimonial and autobiographical writings of Rigoberta Menchú and Lurgio Gavilán, who arguably represent the trajectory of Indigenous testimonial and autobiographical writing during the last forty years, noting how their texts represent alternative ways of relating to national and, on occasion, Western cultures. This study is a new attempt to map writers' diverse ways of thinking about locality and universality from within and without what is known as the canon.
London, 1903. Joseph Conrad is struggling with his new novel ('I am placing it in South America in a Republic I call Costaguana'). Progress is slow and the great writer needs help from a native of the Caribbean coast of South America. José Altamirano, Colombian at birth, who has just arrived in London, answers the great writer's advertisement and tells him his life story. José has been witness to the most horrible things that a person or a country could suffer, and drags with him not just a guilty conscience but a story that has almost destroyed him.But when Nostromo is published the following year José is outraged by what he reads: 'You've eliminated me from my own life. You, Joseph Conrad, have robbed me.' I waved the Weekly in the air again, and then threw it down on his desk. 'Here,' I whispered, my back to the thief, 'I do not exist.'The Secret History of Costaguana, the second novel by Juan Gabriel Vásquez to be published in English, is José Altamirano's riposte to Joseph Conrad. It is a big novel, tragic and despairing, comic and insightful by turns, told by a bumptious narrator with a score to settle. It is Latin America's post-modern answer to Europe's modernist vision. It is a superb, joyful, thoughtful and rumbustious novel that will establish Juan Gabriel Vásquez's reputation as one of the leading novelists of his generation.
En Safari accidental Juan Villoro reúne crónicas que lo confirman como uno de los mayores exponentes del género que él mismo denomina «el ornitorrinco de la prosa». Villoro visita a su Satánica Majestad Mick Lagger, viaja con Salman Rushdie a Tequila, sigue a la caravana zapatista en su ruta a la Ciudad de México, recupera la historia de amor de Fitzgerald y su esposa Zelda, dialoga con Bono, Peter Gabriel, Yoko Ono y Martin Amis. Las situaciones y los personajes célebres alternan con textos más personales: el autor recuerda a su padre durante el movimiento estudiantil del 68, descubre los recónditos placeres de la computadora Apple, evoca las enseñanzas de su maestro Augusto Monterroso y emprende una arriesgada fenomenología del chile. La crónica es una cacería frecuentemente determinada por el azar. El expedicionario que sale en pos de un león se topa con el inesperado ornitorrinco. En su versátil recorrido, Villoro retrata a un grupo que no siempre cabe en la misma foto: cien millones de mexicanos, y traza la geografía humana de algunas emblemáticas regiones de nuestro tiempo: el Berlín anterior y posterior al Muro, La Habana de todas las luces, Tijuana, la frontera más cruzada del mundo, y el parque temático por antonomasia, el reino gobernado por un ratón de fieltro, la plástica utopía de Disney World. De acuerdo con Juan Villoro los cronistas memorables son como los grandes del jazz: improvisan la eternidad. Safari accidental es un excepcional viaje en pos de esas eternidades.
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.
The composition ... by Luis Naón at the Espacio de Experimentación Sonora makes use of three interwoven elements that mutually interpret each other: the voice of Juan Gelman, reading his poems; the cellist Eric Picard, performing Gelmanianas; and commentaries and parentheses, which are sometimes pure sounds, fabricated either with external, hardly recognizable materials or through treatments and declensions of the voice and instrument"--Page [4] of cover.
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