In addition to notes on the poems, this edition also includes the particulars of translation and provides a background for the composition of the verses, features lacking in earlier translations. An index of first lines, both English and Spanish, is included. Instructors considering this book for use in a course may request an examination copy here.
Get BOOK. Versos Sencillos. Versos Sencillos Book Description:. This dual-language edition. Chilean poet, educator, diplomat, and feminist Gabriela Mistral — rose from poverty in the foothills of the Andes to become the first Latin American to win the Nobel Prize in Literature in This volume provides both a detailed biography of the author and a careful analysis of her writing. Author : Miguel A. During a time in which the predominant philosophical view was materialistic e.
Gabriela Mistral is the only Latin American woman writer to be awarded the Nobel Prize in literature. Even so, her extraordinary achievements in poetry, narrative, and political essays remain largely untold. Gabriela Mistral: The Audacious Traveler explores the complex legacy of Mistral and the ways in which her work continues to define the Americas. Gabriela Mistral: The Audacious Traveler is the first work to explore the totality of Mistral's vision and her political writings.
It addresses her leadership as a representative of Chile during the drafting of the United Nations Universal Declaration of Human Rights and her work on behalf of a unified American hemisphere. Throughout, she is depicted as a courageous social activist whose writings reveal a passionate voice for freedom and justice. Offers insights on Latino Caribbean writers born or raised in the United States who are at the vanguard of a literary movement that has captured both critical and popular interest.
In this groundbreaking study, William Luis analyzes the most salient and representative narrative and poetic works of the newest literary movement to emerge in Spanish American and U. The book is divided into three sections, each focused on representative Puerto Rican American, Cuban American, and Dominican American authors.
Luis traces the writers' origins and influences from the nineteenth century to the present, focusing especially on the contemporary works of Oscar Hijuelos, Julia Alvarez, Cristina Garcia, and Piri Thomas, among others. While engaging in close readings of the texts, Luis places them in a broader social, historical, political, and racial perspective to expose the tension between text and context.
As a group, Latino Caribbeans write an ethnic literature in English that is born of their struggle to forge an identity separate from both the influences of their parents' culture and those of the United States. For these writers, their parents' country of origin is a distant memory. They have developed a culture of resistance and a language that mediates between their parents' identity and the culture that they themselves live in.
Latino Caribbeans are engaged in a metaphorical dance with Anglo Americans as the dominant culture. Just as that dance represents a coming together of separate influences to make a unique art form, so do both Hispanic and North American cultures combine to bring a new literature into being.
This new body of literature helps us to understand not only the adjustments Latino Caribbean cultures have had to make within the larger U. In a unique analysis of Cuban literature inside and outside the country's borders, Eduardo Gonzalez looks closely at the work of three of the most important contemporary Cuban authors to write in the post diaspora: Guillermo Cabrera Infante , who left Cuba for good in and established himself in London; Antonio Benitez-Rojo , who settled in the United States; and Leonardo Padura Fuentes b.
Through the positive experiences of exile and wandering that appear in their work, these three writers exhibit what Gonzalez calls "Romantic authorship," a deep connection to the Romantic spirit of irony and complex sublimity crafted in literature by Lord Byron, Thomas De Quincey, and Samuel Taylor Coleridge. In Gonzalez's view, a writer becomes a belated Romantic by dint of exile adopted creatively with comic or tragic irony.
Gonzalez weaves into his analysis related cinematic elements of myth, folktale, and the grotesque that appear in the work of filmmakers such as Alfred Hitchcock and Pedro Almodovar. El cuerpo cede y ondea; La bata abierta provoca, Es una rosa la boca; Lentamente taconea. Yo tengo un paje ejemplar Que no come, que no duerme, Y que se acurruca a verme Trabajar, y sollozar.
Salgo y el vil se desliza Y en mi bolsillo aparece, Vuelvo, y el terco me ofrece Una taza de ceniza. Mi paje, hombre de respeto. Y a mis pies vi de repente, Ofendido del hedor Un pez muerto, un pez hediondo En el bote remador. Voy, por el bosque, a paseo A la laguna vecina; Y entre las ramas la veo, Y por el agua camina.
Mi amor del aire se azora; Eva es rubia, falsa es Eva; Viene una nube, y se lleva Mi amor que gime y que llora. Sobre unas briznas de paja Se ven mendrugos mondados; Le cuelga el manto a los lados, Lo mismo que una mortaja.
No nace en el torvo suelo Ni una viola, ni una espiga: Muy lejos, la casa amiga, Muy triste y oscuro el cielo. Una duquesa violeta Va con un frac colorado; Marca un vizconde pintado El tiempo en la pandereta. Y pasan las chupas rojas Pasan los tules de fuego, Como delante de un ciego Pasan volando las hojas. Yo quiero salir del mundo Por la puerta natural: En un carro de hojas verdes A morir me han de llevar. Yo que vivo, aunque me he muerto, Soy un gran descubridor, Porque anoche he descubierto La medicina de amor.
El enemigo brutal Nos pone fuego a la casa; El sable la calle arrasa, A la luna tropical. Pasa, entre balas, un coche: Entran, llorando, a una muerta; Llama una mano a la puerta En lo negro de la noche. A la boca de la muerte, Los valientes habaneros Se quitaron los sombreros Ante la matrona fuerte. El rayo reluce; zumba El viento por el cortijo; El padre recoge al hijo, Y se lo lleva a la tumba.
El cabello, como un casco, Le corona el rostro bello: Brilla su negro cabello Como un sable de Damasco. El verso, dulce consuelo, Nace al lado del dolor. Pues del error Di el antro, di las veredas Oscuras: di cuanto puedas Del tirano y del error.
Cultivo una rosa blanca En julio como en enero, Para el amigo sincero Que me da su mano franca.
0コメント