In 1954, during the height of the Cold War, the CIA carried out a coup to overthrow the first democratically-elected president in Guatemala. In the months leading up to the coup, the CIA Station Chief in Guatemala City was Grossinger’s grandfather. Dying long before Grossinger was born, his presence still loomed like a mythological creature throughout much of her childhood. Serpent Tongue explores Guatemalan history through the lenses of power, identity and memory.

The Mayans have long fascinated modern readers with their complex written language, sophisticated mathematics, and advanced astronomy. In Guatemala in 1558, a young Mayan K'iche' man transcribed what he called a sacred book that "we can no longer see." This was the Popul Vuh, the Mayans' written account of the creation of the universe, the gods and demi-gods who occupied that universe, and the story of how man was created by them. Furthermore, it traced, generation by generation, the lineage of the Mayan lords down to their imprisonment and torture by the Spanish invaders. Considered the Mayan bible, the Popol Vuh appears here in an authoritative, gorgeously illustrated version by noted Maya anthropologist Victor Montejo, who has captured all the drama and excitement of one of the world's great creation stories.

Life in Guatemala is simple for young Davico and his older brother Felipe ... until soldiers invade, and the blackouts begin. Davico lives with his family above La Casita -- the Little House -- in Guatemala City in the early 1950s. But it's not just a little house. It's also the family restaurant! The restaurant provides plenty of distraction and adventure for Davico and his older brother, Felipe. The mean cook, Augusto, and the always-late waiter, Otto, love to play tricks on Davico. There's a huge oven that Felipe knows how to light -- if he can only reach the box of matches above the stove. And don't forget the glass tank of live lobsters -- including the king of them all, Genghis Khan, who stares at Davico with round unblinking eyes. Could Genghis Khan climb on the back of the other lobsters and get out of the tank, Davico wonders. Could he move faster on land than in the water? Then one day, Davico hears shooting in the streets. There are blackouts every evening, and the family must sleep under the big wooden table in the dining room. People stop coming to the restaurant, and tanks and soldiers swarm the front of the National Palace, where a shoeshine boy warns the brothers that the gringos are coming. But what does that mean, and who are the gringos? Davico wants to be brave, but the shooting and tanks and airplanes flying overhead terrify him. He finds comfort in the special lamp that his father buys him to endure the blackouts. But it is not enough to console Davico when his parents announce that it's time to leave for the United States of America, where no one speaks Spanish, and everything is different. Key Text Features Illustrations Correlates to the Common Core State Standards in English Language Arts: CCSS.ELA-LITERACY.RL.3.7 Explain how specific aspects of a text's illustrations contribute to what is conveyed by the words in a story (e.g., create mood, emphasize aspects of a character or setting)

Nobel Peace Prize winner and noted Maya activist Rigoberta Menchu Tum returns once more to the world of her childhood in The Secret Legacy. Seven-year-old Ixkem is chosen by her grandfather amongst all the villagers to inherit the responsibility for tending his special cornfield. Ixkem goes to the field and begins to shout and stomp to frighten away the animals who would like to share the harvest. Suddenly a mass of tiny creatures appear -- the b'e'n -- secret animal spirits of which there is one for every human on earth. They take Ixkem into the underworld, where she tells them the amazing stories that her grandfather has told her. In exchange the b'e'n whisper a secret for her to take to her grandfather. Rich and vibrant illustrations by noted Mazatec-Mexican artist Domi perfectly complement this magical Maya tale. Key Text Features Illustrations Correlates to the Common Core State Standards in English Language Arts: CCSS.ELA-LITERACY.RL.3.2 Recount stories, including fables, folktales, and myths from diverse cultures; determine the central message, lesson, or moral and explain how it is conveyed through key details in the text.

Set in strife-torn Guatemala City in the early 1980s, this sophisticated, quasi-comedic tale depicts the decline and near-fall of a prominent Guatemalan Jewish family. In the face of military rule, terrorism, and sabotage, Marcos learns the truth about his brother Aaron, only to find that sibling secrets can be every bit as dangerous as civil unrest.

Antipoems: New and Selected, a fresh bilingual gathering as well as retrospective of the work of Chile's foremost poet, reintroduces him to North American readers after thirteen years. Though he has been hardly unproductive, the politics of his homeland have channeled his inventiveness into new modes of expression, which remind us of the sometimes sly hermeticism of Italian writers, Eugenio Montale and Elio Vittorini among them, during the Fascist regime. As Frank MacShane makes clear in his introduction, Parra has not tried to escape repression, but by "using his wit and his humor, he has shown how the artist can still speak the truth in troubled times." Since much of Parra's early work is now out of print, editor David Unger has included many of the poems which influenced North American poets such as Ferlinghetti and Merton in the '50s and '60s, some in new or revised translations. Of Parra's more recent work, there are generous selections from Artifacts (1972), Sermons and Preachings of the Christ of Elqui (1977), New Sermons and Preachings of the Christ of Elqui(1979), Jokes to Mislead the Police (1983), Ecopoems (1983), Recent Sermons(1983), and a section of "Uncollected Poems" (1984). Antipoems: New and Selected is edited by David Unger, who contributed many of the translations to Enrique Lihn's The Dark Room and Other Poems (New Directions, 1978). Professor Frank MacShane of Columbia University, in his critical introduction, gives a full evaluation of a poet who is "unquestionably one of the most influential and accomplished in Latin America today, heir to the position long held by his countryman, Pablo Neruda."