The American Dream is the fundamental story of this country, and my life is a grateful reflection of its reality." When Rosario was fourteen years old she moved from Mexico to California with no grasp of the English language and few resources. She has since become a trailblazer in every sense: from becoming the first in her family to graduate from college to having her signature appear on the U.S. dollar bill as the treasurer of the United States, and the first Latina in California to run for the U.S. Senate. Leading Between Two Worlds is the story of this incredible journey. Rosario exposes her most personal secrets and impressive achievements as she divulges what she has sacrificed and what she has gained in politics. She takes us through a deeply felt betrayal, her struggle through depression, the creation of her family, her devotion to advocating for the rights of people with disabilities, and her joyous return to Mexico. Rosario's story is the story of every immigrant who -- in the face of unbelievable adversity -- seeks to make it in the United States. Her journey is one of tragedy and triumph, one from which readers will draw inspiration.
The American Dream is the fundamental story of this country, and my life is a grateful reflection of its reality." When Rosario was fourteen years old she moved from Mexico to California with no grasp of the English language and few resources. She has since become a trailblazer in every sense: from becoming the first in her family to graduate from college to having her signature appear on the U.S. dollar bill as the treasurer of the United States, and the first Latina in California to run for the U.S. Senate. Leading Between Two Worlds is the story of this incredible journey. Rosario exposes her most personal secrets and impressive achievements as she divulges what she has sacrificed and what she has gained in politics. She takes us through a deeply felt betrayal, her struggle through depression, the creation of her family, her devotion to advocating for the rights of people with disabilities, and her joyous return to Mexico. Rosario's story is the story of every immigrant who -- in the face of unbelievable adversity -- seeks to make it in the United States. Her journey is one of tragedy and triumph, one from which readers will draw inspiration.
Charys visual expression reveals simultaneously her displacement from and re-encounter with a nation that is marked by a long history of dispossession and cultural intermixing. Her art can perhaps be best understood in the context of the Cuban avant-garde movement, which, in turn, resonates against the costumbrista and paisajista movements. In addition to revealing a search for cultural origins, Charys art highlights the importance of the landscape as well as the inclusion of regional iconography and folklore. It reveals the presence of distinct elements, patterns, rhythms and cultural forms first explored by the first generation of Cuban vanguardia artists, who distinguished themselves according to their use of bright colors, patterns and baroque visual rhythms. Seeking to somehow define the essence of Cuban culture and forge a new national identity, the vanguardia artists of the 1920s located the national in the picturesque and drew upon the countryside as a powerful source of visual iconography. Like many of the vanguardia artists, Chary employs iconographical symbols and elements in an attempt to explore and recapture the many sources of Cuban culture from her childhood. Though her work is drawn primarily from her imagination, it is anchored in the artists memories of the Cuban countryside. Chary draws upon the landscape in an effort to explore her own sense of loss and displacement. When I paint landscapes, she tells me, they are always Cuban; when I paint fruit, they are tropical. The fruit and the roosters that appear in my work not only represent my Cuban roots, but they also enable me to process the past. Charys canvases are habitats populated with sensuous flora and fabulous fauna. Rendered primarily in pen and ink, fantastical animals and exotic fruit spring to life on her canvases in frenetic swirls and chiaroscuro. Although they are reminiscent of her earlier work, her most recent creations tend to be more abstract, or focus more specifically on pattern and form. For Chary, the abstract represents a way of commenting on loss as well as her own personal battles. For me, she explains, painting is a mode of survival. Chary renders in brilliant inks and fluorescent acrylics an inventory of a past informed by movement and loss. She cultivates a symbolic language that serves to define certain fundamental aspects of what is means to be a Cuban in diaspora, and in the process recaptures the translucent colors and the dazzling tropical forms of the island she left behind. Light and form become symbol in Charys art. It generates unexpected paradigms that reproduce and transform the ordinary in an exuberant, dancelike strugglea poetic renderingof movement, color and form.
Drops of Inclusivity examines race and racism on the island of Puerto Rico by combining a wide-angle historical narrative with the individual stories of Black Puerto Ricans. While some of these Afro-Boricuas, such as Roberto Clemente and Ruth Fernández, are well known, others, such as Cecilia Orta and Juan Falú Zarzuela, have been largely forgotten, if remembered at all. Individually and collectively, their words and lives speak to the persistent power of racial hierarchies and responses to them across periods, from the Spanish-American War at the turn of the twentieth century to Martin Luther King, Jr.'s visit to the island in the early 1960s. Drawing on rich archival research, Milagros Denis-Rosario shows how Afro-Boricuas denounced, navigated, and negotiated racism in the fields of education, law enforcement, literature, music, the military, performance, politics, and more. Each instance of self-determination marks a gain in inclusivity—gota a gota, or drop by drop, as the saying goes in Puerto Rico. This study pays homage to them.
While it is rare for a poet to become a cultural icon, Julia de Burgos has evoked feelings of bonding and identification in Puerto Ricans and Latinos in the United States for over half a century. In the first book-length study written in English, Vanessa Pérez-Rosario examines poet and political activist Julia de Burgos's development as a writer, her experience of migration, and her legacy in New York City, the poet's home after 1940. Pérez-Rosario situates Julia de Burgos as part of a transitional generation that helps to bridge the historical divide between Puerto Rican nationalist writers of the 1930s and the Nuyorican writers of the 1970s. Becoming Julia de Burgos departs from the prevailing emphasis on the poet and intellectual as a nationalist writer to focus on her contributions to New York Latino/a literary and visual culture. It moves beyond the standard tragedy-centered narratives of de Burgos's life to place her within a nuanced historical understanding of Puerto Rico's peoples and culture to consider more carefully the complex history of the island and the diaspora. Pérez-Rosario unravels the cultural and political dynamics at work when contemporary Latina/o writers and artists in New York revise, reinvent, and riff off of Julia de Burgos as they imagine new possibilities for themselves and their communities.
An urgent call to think on the edges, surfaces, and turns of the literary artifact when it crosses cultural boundaries In the absence of specialized programs of study, abstract discussions of China in Latin America took shape in contingent critical infrastructures built at the crossroads of the literary market, cultural diplomacy, and commerce. As Rosario Hubert reveals, modernism flourishes comparatively, in contexts where cultural criticism is a creative and cosmopolitan practice. Disoriented Disciplines: China, Latin America, and the Shape of World Literature understands translation as a material act of transfer, decentering the authority of the text and connecting seemingly untranslatable cultural traditions. In this book, chinoiserie, “coolie” testimonies, Maoist prints, visual poetry, and Cold War memoirs compose a massive archive of primary sources that cannot be read or deciphered with the conventional tools of literary criticism. As Hubert demonstrates, even canonical Latin American authors, including Jorge Luis Borges, Octavio Paz, and Haroldo de Campos, write about China from the edges of philology, mediating the concrete as well as the sensorial. Advocating for indiscipline as a core method of comparative literary studies, Disoriented Disciplines challenges us to interrogate the traditional contours of the archives and approaches that define the geopolitics of knowledge.
Memoir is Rosario Ferré’s account of her life both as a writer and as a member of a family at the center of the economic and political history of Puerto Rico during the American Century, one hundred years of territorial “non-incorporation” into the United States. The autobiography tells the story of Ferré’s transformation from the daughter of a privileged family into a celebrated novelist, poet, and essayist concerned with the welfare of Puerto Ricans, and with the difficulties of being a woman in Puerto Rican society. It is a snapshot of twentieth-century Puerto Rico through the lens of a writer profoundly aware of her social position. It is a picture taken from the perspective of a keen observer of the local history of the island, and of the history of the United States. Included are many photographs that connect Ferré’s life with the story of her writing career.
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