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Cajas de carton is the first title in the literary series Nuestra
vision: U.S. Latino Literature, which features original works by
Latino authors living and working in the United States. This work
is the Spanish version of the author's award-winning collection of
stories, The Circuit. Jimenez' 12 independent but intertwined short
stories chronicle the experiences of a Mexican-American family of
migrant farm laborers, as narrated by one of the children,
Panchito. Unlike many readers for this level, which anthologize
standard works, this book presents authentic, outstanding
literature and themes that are highly relevant to native Spanish
speakers in the U.S.
First published as a serial in the newspaper El Paso del Norte, in
October and November of 1915, then as a book published by the same
newspaper, the novel Los de abajo has been translated into all the
main languages of the world. Mariano Azuela's masterwork came out
one hundred years after Jose Loaquin Fernandez de Lazardi's El
Periquillo Sarniento created the genre of the Novel of the
Revolution, as it left behind the norms of the European novel and
forged new parameters for Hispanic American fiction. The impact of
Los de abajo is owed in large part to the sustained dramatic
tension of the novel, from the opening scene to the death of the
protagonist - in the same geographic location, creating a sense of
circularity - but its success is partly the result of the
fulfillment of the title's promise to depict the underdogs. Who are
the underdogs but those at the bottom of the social and economic
ladder, that is, the poorest and most disinherited. And the
underdogs in Azuela's story have decided to fight against the
injustices perpetrated by those on top. The struggle is bloody, the
suffering intolerable. And all for what? All just in order to
remain in the same place - as underdogs - after two years of
hardships. This attitude of defeat, of failure, is one of the
elements that sustain lively interest in the novel and give it
permanent value. The descriptions of nature serve to soften the
violent revolutionary scenes, and it is this technique of
interweaving human actions with descriptions of the landscape that
confers an unusual equilibrium upon the novel and has caused it to
be considered the best of the many novels about the Mexican
Revolution. This edition, annotated and with a prologue by Luis
Leal, is a fundamental text for any course in Hispanic literature,
and is indispensable for courses focusing on early 20th century
Latin America."
Miguel de Quintana was among those arriving in New Mexico with
Diego de Vargas in 1694. He was active in his village of Santa Cruz
de la Canada, where he was a notary and secretary to the alcalde
mayor, functioning as a quasi-attorney. Being unusually literate,
he also wrote personal poetry for himself and religious plays for
his community. His conflicted life with local authorities began in
1734 when he was accused of being a heretic. What unfolded was a
personal drama of intrigue before the colonial Inquisition. In this
fascinating volume Lomeli and Colahan reveal Quintana's writings
from deep within Inquisition archives and provide a translation of
and critical look at Quintana's poetry and religious plays.
Myth and legend have existed in Mexico in prehispanic times as a
means to transmit cosmogonical or ethological visions. During the
colonial period short stories appear intertwined in the many
chronicles, histories and writings of the conquistadores, priests
and other men of letters. With the Diario de Mexico (1805), the
short story starts its long association with journalism, and
appears along novels such as Jose Joaquin Fernandez de Lizardi's.
Literary magazines also were a fertile environment, but it was in
1870, when Jose Maria Roa Barcena published "Noche al raso," an
integrated recopilation, and Vicente Riva Palacio his "Cuentos del
general" (1896), that the mexican short story began to acquire its
prestige as a literary genre, to reach its high artistic level with
Gutierrez Najera, Amado Nervo and other "modernists." During the
twentieth century various tendencies appeared: the vanguardist
school, along Alfonso Reyes, Julio Torri and others; the
revolutionary period, centered in the civil war and indigenous
issues; and the post-revolutionary period, when the mexican short
story finally obtained its international literary high reputation.
This anthology, compiled and commented by prof. Luis Leal, gathers
stories representative of the genre in Mexico that span from the
origins up to the years affected by the Revolution, and constitutes
a captivating study reading material both for entry and upper
levels Spanish courses.
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La Bola (Spanish, Paperback)
Emilio Rabasa; Edited by Luis Leal
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R757
R615
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Emilio Rabasa (1856-1930), lawyer, historian, literary critic,
essayist and novelist, besides being a journalist and active
participant in politics, stands out among the Mexican intellectuals
of the late 19th and early 20th centuries. Considered to have
introduced realism into Mexican fiction, Rabasa's writing reveals
the influence of Prez Galds as well as earlier Mexican writers,
ranging from Jos Joaqun Fernndez de Lizardi's El periquillo
sarniento (1816) to Jos Toms de Cullar's Baile y cochino (1886). A
perceptive literary critic, journalist and well-informed historian,
he was one of the founders of the newspaper El Universal. Although
he wrote influential political analyses like La constitucin y la
dictadura.(1912) and La evolucin histrica de Mxico (1920), Rabasa
is best remembered for his five novels, which share recurrent
characters and political themes, or rather, criticism of
politicians who are unethical in their struggle for power. La bola
is the first of this series. What is la bola? La bola is not the
Revolution; unlike the Revolution, which centers on the idea,
develops national passion, modifies an institution and promotes the
involvement of citizens, la bola does not demand or represent
principles: it is born and it is dissolved in a short natural and
moral period, and requires ignorance. Revolution is born out of the
world's progress, but la bola is born out of ignorance and the
inevitable backwardness of poor nations. This is la bola that
Rabasa depicts so perceptively through the young, articulate and
earnest character of Juanillo Quiones' experience and observations,
combining elements that lead us to suspect it of being an
autobiographical story, filled with caciques, shyster lawyers,
rogues, turncoats and prevaricators. It is a world in which to get
rich, to take unfair advantage. It is a world of ill-considered
destructive impulse, which ends with a return to the status quo.
Emilio Rabasa in his first novel, is describing not the Revolution,
but la bola. It is certainly one of the best novels in all of
Mexican literature, and this edition's introduction and notes by
Professor Luis Leal elucidate Rabasa's text to make a reading of
the novel an unforgettable experience.
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