La novela nos habla de una historia que siempre gira en círculos durante siete días. Con extrema nitidez, vivenciamos a los personajes de La Tigra como si fuésemos partícipes del relato. The novel tells us about a story that always turns in circles for se
Patricia Severín
(Rafaela, 10 de agosto de 1955) es una escritora, poetisa, narradora y
ensayista argentina.?
Trabajó como
productora agropecuaria en zonas rurales al noroeste de su provincia.
Vivió en
Reconquista y actualmente reside en Santa Fe capital.
Estudió
profesorado de Castellano Literatura y Latín, pero no ejerció la docencia sino
que se dedicó a su labor de escritora.
Creó y dirige
junto a Alicia Barberis y Graciela Prieto Rey, Palabrava, editorial que se
dedica a visibilizar la escritura de su provincia, así como también a poner de
relieve la mejor poesía de la Argentina profunda.
Codirige la
fundación Lectobus-Alas de Papel, que promociona la lectura en barrios
vulnerables y en el interior de su provincia.
Nació en la
ciudad de Rafaela, conocida como el corazón de la pampa gringa. Mayor de cuatro
hermanos (dos mujeres y dos varones), su padre fue el arquitecto Marcos Aurelio
Severín, quien se dedicó a la astronomía y a investigar la lluvia de meteoritos
en Campo del Cielo, cerca de la localidad de Gancedo (provincia del Chaco). Su
madre, María de las Mercedes Capózzolo, nacida en Reconquista, ejerció la
docencia en el área de la geografía.
Cuentos
Las líneas de la
mano. Santa Fe: Editorial Universidad Nacional del Litoral, 1996.
Solo de amor.
Santa Fe: Sade y Lux, 1999.
Helada Negra.
Santa Fe: Editorial Universidad Nacional del Litoral y Editorial Palabrava,
2016.
Novelas
Salir de cacería.
Santa Fe: Palabrava, 2013.
Poesía
La loca de
ausencia. Santa Fe: Libro de Tierra Firme, 1991.
Amor en mano y
cien hombres volando (escrito junto a Graciela Geller y Adriana Díaz Crosta).
Santa Fe: Libros de Tierra Firme, 1993.
Poemas con
bichos. Santa Fe: Vinciguerra, 2001. Santa Fe: Palabrava, 2011.
Libro de las
certezas. Santa Fe: Centro Editor Latinoamericano, 2006.
El universo de la
mentira. Santa Fe: Palabrava, 2011.
Abuela y la niña;
con fotografías de Beatriz Leguiza. Santa Fe: Palabrava, 2012.
Amor en mano y
cien hombres volando (redición). Santa Fe: Editorial de l’Aire, 2016.
Antologías
Fabulaciones y
cantares. Santa Fe: Banco Bica, sin fecha.
Santa Fe en su
literatura. Santa Fe: Banco Bica, sin fecha.
El segundo juego.
Santa Fe: Banco Bica, sin fecha.
Huellas de
palabras. Santa Fe: Banco Bica, sin fecha.
La ventana mágica
de los sueños. Santa Fe: Rotary Club, y diario El Litoral de Santa Fe, sin
fecha. Recibió el premio Alicia Moreau de Justo.
El primer siglo.
Buenos Aires: Secretaría de Cultura de la Municipalidad de Buenos Aires, sin
fecha.
El 101. Santa Fe:
Las Tierras Planas y Universidad del Litoral (premio Subsecretaría de Cultura).
Y beber todas
juntas el agua con las manos. Santa Fe: Subsecretaría de Cultura de la
Provincia, sin fecha.
Antología mínima.
Reconquista (provincia de Santa Fe): Secretaría de Cultura, sin fecha.
Poesía argentina
de fin de siglo. Reconquista (provincia de Santa Fe): Secretaría de Cultura,
sin fecha.
Cuentistas
argentinos de fin de siglo. Reconquista (provincia de Santa Fe): Secretaría de
Cultura, sin fecha.
Quién es ella en
Santa Fe. Santa Fe: Vinciguerra, sin fecha.
Concurso regional
de poesías y cuentos (edición de Gloria de Bertero). Alvear (provincia de
Corrientes): Casa de la Cultura, sin fecha.
Luz inagotable.
Santa Fe: SADE y Universidad del Litoral, sin fecha.
Palabras
rafaelinas. Rafaela (provincia de Santa Fe): Escritores Rafaelinos Agrupados,
sin fecha.
Letras del
desamor (selección de poesía de autores contemporáneos). Uruguay: Bianchi
Editores,
Nueve mujeres
(tarjetas ilustradas). Dos ediciones, sin lugar y sin fecha.
Padre río
(cuentos y poemas del río Paraná). Santa Fe: Desde la Gente,
Pertenencia
(cuentos y relatos del nordeste argentino), con selección y prólogo de Mempo
Giardinelli. Instituto Movilizador de Fondos Cooperativos. Santa Fe: Desde la
Gente, sin fecha.
Poesía
latinoamericana Argentina-Perú, con selección y prólogo de Mempo Giardinelli.
Instituto Movilizador de Fondos Cooperativos. Rosario: Edición Poesía de
Rosario, sin fecha.
Poetas argentinas
(1940-1960), selección y prólogo de Irene Gruss. Santa Fe: Ediciones del Dock,
sin fecha.
Las 40 (poetas
santafesinas 1922-1981), compiladas por Concepción Bertone. Santa Fe: Ediciones
Universidad del Litoral, sin fecha.
2010: Una isla en
la isla. Latin Heritage Foundation, 2010.
2011: Poemas inolvidables. Latin Heritage Foundation, 2011.
Distinciones
Primer Premio en
cuento, Concurso Nacional Alicia Moreau de Justo.
Primer Premio en
cuento Las Tierras Planas.
Premio
Publicación Subsecretaría de Cultura de la provincia de Santa Fe.
Faja de Honor de
la Sociedad Argentina de Escritores por Las líneas de la mano y La loca de
ausencia.
Premio Poesía del
Fondo Nacional de las Artes, con Poemas con Bichos y Premio Municipalidad de
Buenos Aires para la misma obra.
Premio Macedonio
Fernández para Libro de las certezas.
Premio
Publicación Manuel Mujica Láinez por su cuento Muro de viento.
XXIV Certamen de
poesía María del Villar de Tafalla 2018 (ex aequo)3?
Editorial
Palabrava
Desde su
nacimiento en enero del 2012, Editorial Palabrava trabaja en la difusión de
escritores y escritoras de Santa Fe, y de sus artistas plásticos, en
colecciones de narrativa a muy bajo costo, que se distribuyen con el diario
[[El Litoral (Santa Fe)|El Litoral (de Santa Fe). Su objetivo es que los libros
puedan ser adquiridos por la mayoría, y también de respeto por al autor y su
obra, pago de derechos justos y mejorar el vínculo entre el escritor, el editor
y el librero.2?
Gustavo Adolfo Bécquer (1836-1870) lyric corpus is considered the starting point of contemporary Spanish poetry. The author of Rimas y Leyendas, a collection of short lyric poems and prose, revolutionized Spanish poetry. El corpus lírico del poeta románti
El Romanticismo tardío o Posromanticismo es el período en el que se data la obra de Bécquer, a quien —junto con Rosalía de Castro se le considera como epígono del Romanticismo—. Se sitúa en la segunda mitad del siglo XIX, en la transición entre Romanticismo y Realismo. Se caracteriza por ser más sentimental e intimista que el Romanticismo, dejando así, en segundo plano a lo histórico y legendario. La influencia de la poesía alemana de Heinrich Heine está muy presente, con lo que nos encontramos una poesía personal. Se crean nuevas rimas y formas métricas.
Gustavo Adolfo Bécquer es un autor de lirismo intimista, sencillo y refinado en la forma para que transluzca mejor el sentir profundo de su obra. Está muy influenciado por el Romanticismo alemán de Heine.
Su obra más importante fue Rimas y leyendas. Las leyendas fueron publicadas en su mayor parte entre 1857 y 1871 en El Contemporáneo y El Museo Uni.
La temática de las leyendas se puede dividir en tres: crimen y castigo, peligros del ideal y el poder de lo sobrenatural, todos caracterizados por la violación de un tabú para satisfacer el deseo propio, que provoca el desencadenamiento de la tragedia.
En el comienzo de cada obra se observa cómo el narrador es un personaje que en ocasiones le explica a otro la historia de la que trata el relato; con lo que se produce un cambio de narrador: en la introducción de la historia es un narrador testigo y más tarde, en el desarrollo de la leyenda, un narrador omnisciente. Así se da cuenta de que en el Romanticismo, el narrador, con frecuencia en primera persona, hace una referencia al autor, que es conocedor de todos los lugares y sensaciones del protagonista de sus obras..
Los personajes están definidos en pocas palabras, aunque en la mayor parte de las ocasiones se trata de hombres valientes y enamorados y mujeres hermosas y perversas. Ambos se caracterizan por el amor a la soledad y dar más importancia a lo espiritual que a lo material, principios del espíritu romántico. El lugar y el tiempo es creado mediante la descripción detallada de lugares, el uso de adjetivos, recursos literarios e introduciendo influencias del folclore europeo como estatuas que cobran vida, espíritus que regresan del más allá y seres fantásticos con apariencias de mujeres bellas, con lo que la influencia del sentimiento nacionalista está muy presente en las obras románticas.
La estructura argumental es común y se divide en una introducción —planteamiento— donde se describen exhaustivamente las situaciones anteriores a la tragedia, el cuerpo central —nudo—, donde se cuenta la historia, que sucede dentro de los personajes y es narrada por un narrador omnisciente y un epílogo -desenlace-, que se sitúa posterior en tiempo, en el que la atmósfera de misterio y terror se resuelve.
Las influencias del Romanticismo, el Costumbrismo y el Postromanticismo consiguen que estas leyendas tomen un tinte más oscuro, provocando así en el lector miedos escondidos que Bécquer intenta despertar. El fondo de estas historias es claramente característico del Romanticismo: un hombre que vaga por un mundo casi desconocido que lucha por lograr un ideal inalcanzable y cuando está en el punto más cercano a él, desaparece.
Japanese Mexican immigrants and their descendants suffered the consequences of World War II in concentration camps or their families destroyed by the selective detention of hundreds of men and the forced sale of their property, and deportation.
On December 7, 1941, a suicide squadron that had left Japan weeks earlier attacked Pearl Harbor. After this event, the U.S. military campaign against Japan and other Axis countries reached hundreds of Mexican citizens. There were even ivilian deaths.
This “collateral damage” took place slowly and systematically in the Mexican Republic. Japanese immigrants and their descendants suffered the consequences of World War II in various ways: some families were sent to concentration camps or designated areas in Mexico City and Guadalajara, while others were destroyed by the selective detention of hundreds of men in Perote Prison, the forced sale of their property, and deportation. This book gives a partial account of the history of the Japanese-Mexican community during World War II. However, it makes no attempt to be a historically accurate source of information. The task of narrating this story is so complex that it is necessary to incorporate interviews, legal documents, police reports, memoirs, poems, and short stories without specifying the genre, the degree of veracity, or the exact origin of the texts. All names have been changed, and while some situations are fictional, others are told in the first person by those affected to give the reader an opportunity to measure the dimensions of the human heart.
The documents that served as the basis for this book can be found at the General Archives of the Nation of Mexico and the National Archives of the United States. However, oral histories are the cornerstone of this 
text. I must inform my reader, therefore, that this story is also the work of Fidelia Takaki de Noriega, Eva Watanabe Matsuo, Rodolfo Nakamura Ortiz, the Tanaka Otsuka family, Raúl Hiromoto Yoshino, María Fujigaki Lechuga, and Susana Kobashi Sánchez, as well as the officials of various government departments who wrote the reports, memos, and certificates that appear in this volume.
Selfa A. Chew holds an MFA in creative writing and a PhD in borderlands history from the University of Texas at El Paso. She is an editor for Border Senses Literary Review. She teaches at the University of Texas at El Paso and New Mexico State University.
A moving story inserted with primary documents that
challenges the official discourse through a chorus of voices that interweave in
the life and death of the Japanese-Mexican community, especially its women.
Images, poetry, and words disseminate a unique story—Lourdes Vázquez, author of
Not Myself Without You.
Ïn Silent Herons, Selfa Chew offers us a beautiful, polyphonic testimony, and strikes a balance,
thanks to her art, among her own invention, documents, and oral histories.
Based on true events, but it doesn’t allow to be overwhelmed by them, nor does I
seem to be a mere reconstruction of the past. Materials have been placed in
their places: they are seamlessly intertwined.” —Daniel Orizaga, author
of Minuta: Ensayos sobre literatura.
Selfa Chew discover and disseminates the history of the
Japanese Mexican community that has been erased from national historiography in
order to fill the empty spaces of our history and reveal the hegemonic discourse
and artifices.”—Guadalupe Pérez-Anzaldo, University of Missouri.
This smart, spunky narrator does not walk between two worlds but creates her own path rich in imagination, familial warmth, Mexican tradition, and American popular culture.
The author introduces the reader to Pinky García, her younger self who grows up in the border city of El Paso, Texas during the early 1960s. She creates The Club Oasis, a magical world in her upstairs porch, a space in which her imagination soars with the love, encouragement and tenderness of her grandmother, mother and, particularly her father who shares Pinky’s adventures with enthusiasm, a sense of humor, playfulness and endearing enchantment. Pinky develops from a playful nine year old far beyond her years in maturity into a blossoming adolescent displaying compassion, pride in her Mexican heritage, an unwavering commitment to her family and the values they instilled in her: respect and love for family, particularly her father, a fierce independence and belief in the power of education and the confidence to believe in herself while always maintaining a spirit of adventure and a sense of humor.
Gacha, the drug lord, at the time of his apprehension and death, was carrying a 38-caliber revolver, a nine-millimeter pistol, a submachine gun, and a rifle. A rifle grenade, five war grenades and five rifle loaders were seized from his truck.
known for years: the real Drug Cartel, a group consisting of over two-hundred drug traffickers, met for the first time in 1976, not to discuss drugs, but to devise a solution to the kidnapping and murders inflicted upon them by the Marxist guerrillas. It is the gripping story of "El Mexicano," when at age six, he witnesses the massacre of his family by the Colombian Army. It shows his involvement with the adolescent city gang, El Centro, which controlled Colombia's lucrative emerald black market, to the Cartel's development from a national to international status. In an operation by the Colombian police’s Cuerpo Élite, the drug trafficker Gonzalo Rodríguez Gacha, one of the leaders of the Medellín Cartel, was taken down. Author Peter A. Neissa has written a gripping story.
At 1:45 pm on December 15, 1989, units of this specialized group tracked down Gonzalo Rodríguez Gacha in a farm on the border between the departments of Córdoba and Sucre. More than 50 agents participated in the operation, which took down alias “El Mexicano” (The Mexican), his son Fredy Rodríguez Celades, and 15 of his lieutenants.
On the Trail of “El Mexicano”
Gacha, who was one of the people on the extradition list to the USA, had been tracked down the day before his death in the Bocagrande sector of Cartagena. From there, he fled toward Coveñas. When he tried to get to this town, a patrol car of the Colombian Naval Infantry spotted him and informed the police.
The criminals escaped on the highway to Tolú and after a confrontation with the police officers, they hid inside La Lucha farm. Their plan was to escape into the forest, but they were caught by an armed helicopter.
Criminal Record
Alias “El Mexicano” was the second most wanted man in Colombia after Pablo Escobar. The police offered a reward of COP 100 million for anyone who gave information on his whereabouts. He was one of the people in charge of ordering the terrorist attacks as part of the war the Medellín Cartel waged on the Colombian state to avoid extradition.
Additionally, he was considered the main person responsible for the distribution of cocaine from Panama to California. He was accused of having participated in the assassination of Minister of Justice Rodrigo Lara Bonilla, Judge Tulio Manuel Castro Gil, Colonel Jaime Ramírez Gómez and the presidential candidate Luis Carlos Galán. Furthermore, he had coordinated a series of bomb attacks, which included the bombing of the El Espectador and Vanguardia Liberal newspapers.
He was connected to a series of massacres in the Middle Magdalena Region, in Urabá and in Córdoba. These included the massacres of Punta Coquitos in Antioquia; Mejor Esquina in Córdoba; La Negra in Antioquia; Piñalito in Meta; Segovia in Antioquia; Saiza and El Toma in Córdoba; San Rafael in Antioquia; Otanche in Boyacá; and Finca Honduras in Antioquia.
He started his criminal activities in 1970 smuggling emeralds. In 1976, he joined the drug trafficking business, and he spent the last years of his life financing paramilitary groups. One of the last terrorist attacks attributed to him was the bus bomb that destroyed the Administrative Department of Security (DAS, for the Spanish original) building on December 6, 1989.
Domecq creates and recreates the story and character of a 19th-century historical figure, Teresa Urrea, an illegitimate daughter of master and servant, who breaks down all myths, taboos and traditions and becomes the object of a cult ...
The
Mexican narrative is not prodigal in intense feminine characters, but Teresita
comes to fill some of that lack. The author went to meet her story and, of what
was just a fact,Tomóchica name in an early-century novel(Heriberto Frías' Takechic) built a magnificent and authentic character.
Touring the Veredas del Olvido created a story of the real and the
wonderful thus forging a great fictional female character who transcended
Oblivion. (Aralia
López González)
The
bells had to have been blown into flight, and critics should have fallen little less than on
their knees, in the face of a work of such magnitude as this. From the best
novels by Luis Spota, and that of Juan 
Rulfo, there was nothing written in
Mexico of this size... which assumes greatness, magnitude, originality and
flight like few novels written in Spanish. I'll be grateful for the advice of
anyone who reads this real literary gem. (Rafael Solana)
Brianda
Domecq offers a great novela
worth being read (...) where the history of Mexico, everyday life at the turn
ofthe last century, magical, religious and mythical beliefs
(converge with) cultural schemes around family, morality, and women... Domecq
offers a literary discourse where aesthetic values lie in its mastery of the
word (...) and a deep world view. (Lorena Paz Valderrábano Bernal)
Veredas del olvido (Teresa Urrea 'la Santa' de Cabora) is a novel that blurs the boundaries between popular fiction and
high literature. It is easy to read, action-packed, and – at the same time –
can be read at a philosophical, analytical and metafiction level. It is a novel
that occupies many spaces: those traditionally considered masculine (history,
politics, philosophy) and those traditionally considered feminine (the domestic
world, emotions and nature). (Deborah
Shaw)
The novel tells the story of Teresa Urrea,
illegitimate daughter of an indigenous woman –Cayetana Chavez– and a rancher
from northern Mexico– Tomás Urrea–, against the background of the dictatorship
of Porfirio Díaz, the wars of the Yaquis Indians in the north, and the first
gestations of the Mexican Revolution. On the scheme of real events, a story
full of magic and humanity is
weeded that transcends the time of action to face the timeless and current
issues of the human being.
In this
comprehensive novel, Domecq creates and recreates the story and
character of a 19th-century historical figure, Teresa Urrea. An
illegitimate daughter of master and servant, Teresa breaks down all myths,
taboos and traditions and becomes the object of a cult, a revolutionary, and
the dominant force in a patriarchal society. The plot, fascinating and complex, is carefully woven,
with each thread in place. (Gabriella de Beer)
The title –which wryly
refers to the penchant that Latin American writers have for producing ‘Bestiaries’–
indicates that this volume deals basically with the ‘beasts’ of the home:
“…dogs, canaries, women… etc.” as Domecq herself says when asked.
Using well-known myths and
legends as a starting point –sometimes very familiar domestic stories– Domecq transforms
them into sharp, new narratives that leave the reader surprised and wondering.
A final short novel, titled “Trilogía”, rewrites the myth of Adam, Eve, Lilith
and Sammaël with delight, amusement and much imagination.
A canary that commits
suicide by laying eggs, leaving its owner to wonder at the contents of the last
strange egg produced; a dog that falls hopelessly in love with a blue bucket; a
young girl playing at being a horse with her friends at school is forced to
awaken to the tribulations of adulthood; a woman who invokes the devil so that
he can concede her deepest wish… these are some of the characters that inhabit Domecq’s
stories and then linger in the reader’s memory with their troubling messages.
Sometimes, Domecq begins with everyday things only to take the reader to the extraordinary
charged with new meaning; other times, the extraordinary becomes ordinary and
leaves the reader asking new questions.
“Written with elegance, in
a prose polished, efficient and pleasing to the ear, these stories transport
the reader to a place of surprise, of shock and of understanding of the human
essence, which will remain with him or her for a long time. An absurd gesture
or an unusual act is enough to reveal a character and allow the reader into the
secret of his or her soul. The author uses a series of literary devices with
both intelligence and elegance, to entice the reader through rewritten myths
and legends, stories both magical and realistic and, sometimes,
autobiographical, with surprise endings. Thus she gifts the reader an excellent
collection of short stories… the work –without a doubt- of a talented writer.”
(Taken from a review of the book by Federico Patán, Excélsior, 1982)
La narrativa mexicana no es pródiga en intensos caracteres femeninos, pero Teresita viene a llenar parte de esa carencia. La autora fue al encuentro de su historia y, de lo que solo era un dato, un nombre en una novela de principios de siglo (Tomóchic, de Heriberto Frías) construyó un personaje magnífico y auténtico. Recorriendo las Veredas del olvido creó una historia de lo real y lo maravilloso forjando con ello un gran personaje femenino de ficción que trascendió el Olvido. (Aralia López González)
Veredas
del olvido (Teresa Urrea 'la Santa' de Cabora) es como la célebre caja de Pandora, receptáculo de
múltiples historias… una estupenda novela que vale la pena ser leída, una
novela donde los valores estéticos radican en su dominio de la palabra y se
funden con una profunda visión de mundo. (Lorena Paz Valderrábano Bernal)
Las campanas tenían que haber sido echadas a vuelo, y los
críticos debieran de haber caído poco menos que de rodillas, ante una obra de
tal magnitud como ésta. Desde las mejores novelas de Luis Spota, y la de Juan
Rulfo, no había nada escrito en México de esta talla… que asume una grandeza,
una magnitud, una originalidad y un vuelo como pocas novelas escritas en
español. Me agradecerá el consejo quien lea esta auténtica joya literaria.
(Rafael Solana)
Brianda Domecq ofrece una estupenda novela que vale la
pena ser leída (…) donde la historia de México, la vida cotidiana en el cambio
de siglo pasado, las creencias mágicas, religiosas y míticas (confluyen con)
los esquemas culturales en torno a la familia, la moral, y la mujer... Domecq
ofrece un discurso literario donde los valores estéticos radican en su dominio
de la palabra (…) y una profunda visión de mundo. (Lorena Paz Valderrábano
Bernal)
Veredas
del olvido es una novela que
desdibuja las fronteras entre la ficción popular y la alta literatura. Es fácil
de leer, llena de acción, y –al mismo tiempo- puede leerse a un nivel filosófico,
analítico y de metaficción. Es una novela que ocupa muchos espacios: aquellos
tradicionalmente considerados masculinos (la historia, la política, la
filosofía) y aquellos tradicionalmente considerados femeninos (el mundo
doméstico, las emociones y la naturaleza).
(Deborah Shaw)
La novela cuenta la historia de Teresa Urrea, hija
ilegítima de una mujer indígena –Cayetana Chávez- y un hacendado del norte de
México –Tomás Urrea-, contra el trasfondo de la dictadura de Porfirio Díaz, las
guerras de los indios Yaquis en el norte, y las primeras gestaciones de la
Revolución mexicana. Sobre el esquema de los hechos reales, se teje una
historia llena de magia y humanidad que traspasa la época de la acción para
enfrentar las cuestiones tanto intemporales como actuales del ser humano.
En esta abarcadora novela, Domecq crea y recrea la
historia y el personaje de una figura histórica del siglo XIX, Teresa Urrea.
Hija ilegítima de amo y sirvienta, Teresa rompe todos los mitos, tabúes y
tradiciones y se convierte en objeto de un culto, una revolucionaria, y la
fuerza dominante en una sociedad patriarcal. La trama, fascinante y compleja,
esta cuidadosamente tejida, con cada hilo en su lugar. (Gabriella de Beer)
El título --según la costumbre de escritores
latinoamericanos de producir ‘Bestiarios’-- nos indica que el tomo trata,
mayoritariamente, de las bestias de la casa: “…perros, canarios, mujeres”, como
suele explicar su autora cuando se le pregunta.
Tomando como punto de arranque mitos y leyendas bien
conocidos, a veces historias domésticas más que familiares, Domecq los
transforma en agudos nuevos mensajes que dejan al lector sorprendido y reflexionando.
Al final, una novela corta , titulada “Trilogía”, reescribe el mito de Adán,
Eva, Lilith y Sammaël con gran regocijo e imaginación.
Una canaria que se suicida en un frenético desove dejando
a su dueña preguntándose qué habrá en el último extraño huevo que encontró tirado
en el fondo de la jaula; un perro que se enamora fútilmente de una cubeta azul;
una niña que juega a ser caballo junto con sus amigas de la escuela hasta que
es obligada a despertar a la realidad del mundo adulto; una mujer que invoca al
diablo para que le cumpla su más caro deseo… son algunos de los muchos
personajes que se quedan, después, en la memoria del lector con sus
inquietantes mensajes. A veces se parte de lo cotidiano para llegar a lo
insólito y cargarlo de sentido; otras lo inesperado se vuelve cotidiano y deja
al lector preguntándose ¿por qué?
“Escritos con elegancia, en una prosa cuidada, eficaz y
fina de oído, estos cuentos llevan al lector a la sorpresa, al choque y a la comprensión
de esencias humanas que se le quedarán durante mucho tiempo dándole vueltas. Un
gesto absurdo o un acto desusado basta para desnudar a una persona y
permitirnos entrar en la trastienda de su espíritu. La autora maneja, con
inteligencia y elegancia, una serie de recursos literarios considerables para
llevar al lector a través de mitos y leyendas reescritas, cuentos realistas o
hechos probablemente autobiográficos con finales sorprendentes para dejar al
lector con un conjunto excelente de cuentos que nos pone en presencia de una
escritora de talento.” (Federico Patán, Excélsior, 1982)
Al final del volumen, una jocosa ‘autobiografía’ escrita
en el tono picaresco del Lazarillo de Tormes nos revela de dónde la autora ha
sacado su talento y su sentido del humor.
The Best Peruvian Recipes. Lo Mejor del Sabor Peruano. A color illustrated and extremely practical cookbook for home cooks that want to experience iconic Peruvian dishes.
Ronald and Maricarmen Lemley are bilingual teachers
who have worked for decades teaching English in California, New Mexico, China,
Taiwan, and Lima before settling in their home in Cajamarca, Peru. Maricarmen
and Ronald have been married for 35 years and have written and illustrated five
bilingual children’s books with the help of Floricanto Press.
They are well-known by the fruit and vegetable vendors
in the colorful Mercado Municipal de Magdalena del Mar as well as the Mercado
Central in Cajamarca. They have traveled to the Cusco and Macchu Pichu and the
Amazonian jungle areas of Iquitos and Madre de Dios. After much practice, they
can find and prepare a wide variety of fresh herbs, fruit vegetables, meat
products, and spices that can be used for cooking Peruvian food.
A whole spectrum of Andean, coastal and Amazonian
ingredients are available in Cajamarca due to its unique geographical location.
One can buy the tiny bananas called plátanos-manzanos, yucca, red, yellow
purple and white potatoes, giant papayas, mangoes, passion fruit, five
different kinds of avocados, and numerous other ingredients.
While this is their first cookbook, Ronald`s work
history includes several years as a cook in French/Vietnamese restaurant where
he learned to make Creme Brule, Coc au Vin, Ratatouille, traditional and sourdough
French bread and Crevettes Cognac au Beurre.
The couple spent their free time in both Northern
California and New Mexico, growing extensive gardens with a variety of Peruvian
yellow chiles, black corn, tomatoes, and Peruvian purple potatoes.
Peruvians become experimental when living in the US,
and Maricarmen would often buy Peruvian ingredients at a Latin market to make
flan, aji de gallina, carpulcra, and other dishes.
In Lima, the couple earned certificates of achievement
after attending professional cooking classes and often experiment with their
newly learned recipes.
Please don’t be afraid to shop the Latin American
markets and try out the recipes in this book that offers many unique and easy
to prepare Peruvian recipes.
On her quest, she encounters the very profound, individual, and structural face of discrimination and the debasing effects of denial of information and library services to Latinos and minorities—let them pay taxes, but don’t let them in the library!
It is the story of Elizabeth Irene Martínez, an early Latina
pioneer administrator in the library world—and a leading advocate of library
services to Hispanics and the Mexican and Latino communities. She witnessed and
suffered racial hostilities and fought the denial of library services to
minorities. The story includes the spiritual strength
she drew from her ancestors, her vigor, which helped her to stave off the
professional criticism. This compelling narrative documents her
struggles to provide library services to the underserved populations and the
contentious issues that divided American librarianship then, and today, its
persistent inability to recognize and serve diverse communities, the Latino
population in particular. It also documents the hostile response and backlash
from the white leading administrators and library board members to her
legitimate demands. Her account is a
story of enduring professional friendships, an indictment of the library profession,
bitter betrayals, and overt racial discrimination by leaders of the American
public libraries.
This book comes at an appropriate time when bigotry, racial
discrimination, and inequities in public services have driven to exasperation
victimized minorities and people of good conscience. When the wounds of racial
divisions, lack of services, and conflict in
American institutions—often very well hidden to this day in American
libraries—have come opened and bleed shame, discontent, anger, if not
remorse, sorrow, and regret. On June 26, 2020, four days before this book went to press, and about 144 years after its founding, The American Library Association (ALA), very likely forced by the unprecedented racial demonstrations in the streets of America, has issued a declaration of responsibility: "ALA takes responsibility for past racism, pledges a more equitable association." However, will the status quo change?
Hers is a Chicana
chronicle, a Latina woman’s story, an American story. It is a tale mainly
written on the open stage of American libraries over the last four
decades. The White entrenched library
world saw her mission of diversity and expanding services to minorities as
aggression to white dominance over budget and services. She hopes that young
people of all ethnicities, races, and cultures who are entering any profession
striving for changes to address multicultural communities will find in her
story inspiring to fight for a racially inclusive and pluralistic society.
Voyages of an Oceanless Boat exposes the cracks in our American reality, explores Hood Existentialism, and exonerates and examines the confused and choiceless of the atrocities poverty makes them commit.
This story needed to go beyond the hyper-realism usually associated with representations of the ghetto and its conditions. Searing and powerful, this work could not be more urgent in our present moment. --Roanne Kantor, Professor of English, Stanford University
Solo Cholo University chronicles the author's metamorphosis, evolving from the street smarts necessary to survive a gang war zone in East San Jose, California, to achieving educational enlightenment at a higher learning institution.
Posada’s Unknown Calaveras. "Posada’s engravings are works of art of the highest order. Posada can never be imitated: he can never be defined.” Diego Rivera
