These illuminating essays generally follow the chronology of the twentieth-century Spanish poet Luis Cernuda's creative life, beginning with the poet's early surrealist collections and encompassing his last volume of verse, Desolacion de la quimera (The disconsolate chimera). The select bibliography includes all significant items of Cernuda criticism of the past forty years.
In the years following the Mexican Revolution, a nationalist and masculinist image of Mexico emerged through the novels of the Revolution, the murals of Diego Rivera, and the movies of Golden Age cinema. Challenging this image were the Contemporáneos, a group of writers whose status as outsiders (sophisticated urbanites, gay men, women) gave them not just a different perspective, but a different gaze, a new way of viewing the diverse Mexicos that exist within Mexican society. In this book, Salvador Oropesa offers original readings of the works of five Contemporáneos—Salvador Novo, Xavier Villaurrutia, Agustín Lazo, Guadalupe Marín, and Jorge Cuesta—and their efforts to create a Mexican literature that was international, attuned to the realities of modern Mexico, and flexible enough to speak to the masses as well as the elites. Oropesa discusses Novo and Villaurrutia in relation to neo-baroque literature and satiric poetry, showing how these inherently subversive genres provided the means of expressing difference and otherness that they needed as gay men. He explores the theatrical works of Lazo, Villaurrutia's partner, who offered new representations of the closet and of Mexican history from an emerging middle-class viewpoint. Oropesa also looks at women's participation in the Contemporáneos through Guadalupe Marín, the sometime wife of Diego Rivera and Jorge Cuesta, whose novels present women's struggles to have a view and a voice of their own. He concludes the book with Novo's self-transformation from intellectual into celebrity, which fulfilled the Contemporáneos' desire to merge high and popular culture and create a space where those on the margins could move to the center.
Juan Ramón Jiménez, 1956 winner of the Nobel Prize, published Platero and I in 1914. Like Le Petit Prince by Antoine de Saint-Exupéry and Lewis Carroll's Alice in Wonderland , Platero and I is a book not only for children, but for adults as well. It is an allegory of the deepest human emotions.
Noted filmmaker Jesús Salvador Treviño participated in and documented the most important events in the Mexican American civil rights movement of the late 1960s and early 1970s: the farm workers' strikes and boycotts, the Los Angeles school walk-outs, the Chicano Youth Conference in Denver, the New Mexico land grant movement, the Chicano moratorium against the Vietnam War, the founding of La Raza Unida Party, and the first incursion of Latinos into the media. Coming of age during the turmoil of the sixties, Treviño was on the spot to record the struggles to organize students and workers into the largest social and political movement in the history of Latino communities in the United States. As important as his documentation of historical events is his self-reflection and chronicling of how these events helped to shape his own personality and mission as one of the most renowned Latino filmmakers. Treviño's beautifully written memoir is fascinating for its detail, insight, and heretofore undisclosed reports from behind the scenes by a participant and observer who is able to strike the balance between self-interest and reportage.
The Inside Man is the culmination of more than seventeen years of groundbreaking, meticulous, and exhaustive research into the life of this least known or understood of the "Big Five" who built the western end of the first transcontinental railroad. Drawn from original sources most of which have hitherto been inaccessible or ignored by previous chroniclers-thousands of pages of handwritten letters, telegrams, accounts from scores of newspapers archived around the country, including biographical and historical works-are brought to bear in this monumental account. More than the biography of one individual, this masterful account weaves within the narrative the many forces and competing issues faced by Mark Hopkins and his associates as well as the culture and mores of late nineteenth century California, and their very personal struggles and conflicts.
Amigo mío, el caminar por esta tierra, nos deja lleno de muchas experiencias vividas. Mis poemas, es como un tren que va recorriendo a muchas aldeas y en cada aldea que pasa recoge un recuerdo vivido. Así es nuestra mente, va recorriendo momentos vividos a través de nuestro corto tiempo aquí en la tierra. Estos momentos vividos, son expresados por varios temas como DIOS, LA MUJER, LA NATURALEZA, LA PATRIA, EL AMOR Y otros temas generales. Dedico pues, mi primer libro de poemas, a todo aquel que como yo, haya vivido los momentos que yo viví en esta tierra y ha sabido dejar su huella en cualquier medio literario, inclu- yendo la poesía que es mi especialidad, para una nueva generación.
In "The War of the Fatties," a campy, tongue-in-cheek retelling of an episode from the Mexican "Trojan War," naked fat women from Tlatelolco discombobulate Tenochtitlan’s invading army by squirting them with breast milk. Told with satiric allusions to the policies and tactics used by Mexico’s current ruling party, PRI, to consolidate its power, the play unfolds a history of vain rivalry and decadence, intricate political maneuvers, corruption, and unchecked ambition that determined the course of Mexican history for two centuries before the Spanish conquest. Novo’s other works in this collection—"A Few Aspects of Sex among the Nahuas," "Ahuítzotl and the Magic Water," "Cuauhtémoc: Play in One Act," "Cuauhtémoc and Eulalia: A Dialogue," "Malinche and Carlota: A Dialogue," and "In Ticitézcatl or The Enchanted Mirror: Opera in Two Acts"—represent nearly all of his Aztec-related writings. Taken together, they provide a delightful introduction to Novo’s later works and a light-hearted, historically accurate introduction to Aztec culture. The text is supplemented by a glossary of Nahuatl terms, notes on the historical characters, and an introduction that provides historical background and places Novo’s works within their cultural context.
Following the death of Emiliano Zapata in 1919, the Zapatistas continued to lead the struggle for land reform. Land, Liberty, and Water offers a political and environmental history of the aftermath of the 1910 Mexican Revolution by examining the outcomes of the insurgency in the state of Morelos. Salvador Salinas takes readers inside the diverse pueblos of the former Zapatistas during the 1920s and 1930s and recounts the first statewide land reform carried out in postrevolutionary Mexico. Based on extensive archival research, he reveals how an alliance with the national government that began in 1920 stimulated the revival of rural communities after ten years of warfare and helped once-landless villagers reclaim Morelos’s valley soils, forested mountains, and abundant irrigation waters. During the presidency of Plutarco Elías Calles (1924–1928), pueblos forged closer ties to the centralized government in Mexico City through a plethora of new national institutions, such as ejidos, forestry cooperatives, water juntas, credit societies, and primary schools. At the same time, the expansion of charcoal production in the Sierra de Ajusco and rice cultivation in the lowland valleys accelerated deforestation and intensified water conflicts. Salinas recounts how the federal reforms embraced by the countryside aided the revival of the pueblos, and in return, villagers repeatedly came to the defense of an embattled national regime. Salinas gives readers interested in modern Mexico, the Zapatista revolution, and environmental history a deeply researched analysis of the outcomes of the nation’s most famous revolutionary insurgency.
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