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These exquisite stories are mostly set in the 1980s in the small towns that surround Fresno. With an unflinching hand, Mu&ñ oz depicts the Mexican and Mexican American farmworkers who put food on our tables but were regularly and ruthlessly rounded up by the migra, as well as the everyday struggles and immense challenges faced by their families.The messy and sometimes violent realities navigated by his characters— straight and gay, immigrant and American-born, young and old— are tempered by moments of surprising, tender care: Two young women meet on a bus to Los Angeles to retrieve the men they love who must find their way back from the border after being deported; a gay couple plans a housewarming party that reveals buried class tensions; a teenage mother slips out to a carnival where she encounters the father of her child; the foreman of a crew of fruit pickers finds a dead body and is subsequently— perhaps literally— haunted.In The Consequences, obligation can shape, support, and sometimes derail us. It' s a magnificent new book from a gifted writer at the height of his powers.
Benito Pérez Galdós, considered Spain’s most important novelist after Cervantes, wrote 77 novels, several works of theater and a number of other tomes during his lifetime (1843–1920). His works have been translated into all major languages of the world, and many of his most highly regarded novels, those of the contemporary period, have been translated into English two, three and even four times over. Of the few “contemporary novels” of Galdós that until now have not come to light in English, The Forbidden is certainly among the most noteworthy. The story line concerns a wealthy philanderer, José María Bueno de Guzmán, who attempts to buy the favors of his three beautiful married cousins. He is successful with the first, Eloísa, a grasping materialist who falls deeply in love with him. Then he rejects her in order to attempt to seduce the youngest, Camila. Meanwhile, the third, the pseudo-intellectual María Juana, jealous, seduces José María. But it is Camila, healthy, impetuous and wild, who resists his temptations and holds our attention. The novelist and critic Leopoldo Alas, Galdós’s contemporary, calls her “the most feminine, graceful, lively female character that any modern novelist has painted.” As a naturalistic study, in the manner of Balzac in particular, principal characters of Galdós’s other novels (El doctor Centeno, La de Bringas, La familia de León Roch) become fleetingly visible in The Forbidden. In addition, the entire Bueno de Guzmán family gives evidence of the naturalistic emphasis on heredity: they all display certain physical or mental disorders. Eloísa has a morbid fear of feathers, María Juana often feels that she has a tiny piece of cloth caught in her teeth, José María suffers bouts of depression, an uncle is a kleptomaniac, one of the relatives writes letters to himself, etc. At the same time, this novel shows the foibles of Spanish society where status is determined by one’s associates, by the wearing of finery, and by living on borrowed money. In their history of Spanish literature, Chandler and Schwartz call Galdós “the greatest novelist of the nineteenth century and the only one who deserves to be mentioned in the same breath with great novelists like Balzac, Dickens and Dostoievsky.” The Forbidden, written at the height of the author’s creative powers, is a major work and its publication for an English-speaking audience is long overdue.
Manuel Mu�oz's dazzling second collection finds the author returning, once again, to the small towns of California's Central Valley. Set in a neighborhood with characters whose lives often intersect with each other, The Faith Healer of Olive Avenue offers ten stories about a wide range of lives: a mother coping with a mortally injured son after his motorcycle accident; a single father returning from San Francisco and attempting a reconciliation with an estranged sister; a young woman trying to provide safe haven to her cousin fleeing a vicious boyfriend; and a teenager who sees himself in the trials of the town's most-gossiped-about resident. How these characters cross paths reveal a neighborhood shaped by misunderstandings and long-held secrets, and show how a community can be both embracing and unforgiving, revealing a truth about the nature of home: you always live with its history.Stories from The Faith Healer of Olive Avenue were previously published in Epoch, Glimmer Train (marking Manuel's third appearance in this literary journal), Rush Hour, and Swink. His work has appeared in many other journals, including The Massachusetts Review, The Colorado Review, Boston Review, and Puerto del Sol, and has also been broadcast on National Public Radio's Selected Shorts.
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The long-awaited first novel by the award-winning author of two impressive story collections explores the sinister side of desire in Bakersfield, California, circa 1959, when a famous director arrives to scout locations for a film about madness and murder at a roadside motel. Unfolding in much the same way that Hitchcock made Psycho—frame by frame, in pans, zooms, and close-ups—Mun~oz’s re-creation of a vanished era takes the reader into places no camera can go, venturing into the characters’ private thoughts, petty jealousies, and unrealized dreams. The result is a work of stunning originality.
A literary essay on the power of imagination, creative writing and life written by a very popular Spanish women-writer.