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The Chicano poet offers a collection of poems from the last fifteen years, including fourteen new works that discuss love, sex, and AIDS.
Jaime Saenz is arguably the greatest Bolivian writer of the twentieth century. His poetry is apocalyptic, transcendent, hallucinatory, brilliant--and, until recently, available only in Spanish. Forrest Gander and Kent Johnson's translations of Saenz's work have garnered much-deserved attention and acclaim. Here for the first time in English they give us his masterpiece, The Night, Saenz's most famous poem and the last he wrote before his death in 1986. An unusual man, Saenz lived his whole life in La Paz, Bolivia, seldom venturing far from the city and its indigenous culture that feature so prominently in his writings. He sought God in unlikely places: slum taverns, alcoholic excess, the street. Saenz was nocturnal. He once stole a leg from a cadaver and hid it under his bed. On his wedding night he brought home a panther. In this epic poem, Saenz explores the singular themes that possessed him: alcoholism, death, nightmares, identity, otherness, and his love for La Paz. The poem's four movements culminate in some of the most profoundly mystical, beautiful, and disturbing passages of modern Latin American poetry. They are presented here in this faithful and inspired English translation of the Spanish original. Complete with an introduction by the translators that paints a vivid picture of the poet's life, and an afterword by Luis H. Antezana, a notable Bolivian literary critic and close friend of Saenz, this bilingual edition is the essential introduction to one of the most visionary and enigmatic poets of the Hispanic world.
Contains almost 200 collected poems in both Spanish and English.
San Diego's Border Voices has been one of the nation's largest poetry festivals for fourteen years, featuring nationally renowned poets, prize winning student poets from San Diego county, and a cadre of poetry teachers from throughout the school district. This poetry book collects together the best poems from fourteen years of festivals, featuring poems by students, teachers, and national poets. Includes biographical notes on major poets. Major poets include Francisco X. Alarcn, Billy Collins, Robert Creeley, Dana Gioia, Galway Kinnell, Steve Kowit, Philip Levine, Sharon Olds, Robert Pinsky, Adrienne Rich, Luis Rodrguez, Gary Snyder, Gary Soto, and Mark Strand.
A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation.
This volume reassesses Argentinian poet Alejandra Pizarnik (1936-72) in the light of recent publications to her 'complete' poetry and prose, and previously unavailable archive material.
Since 1994, the Camino del Sol series has been one of the premier vehicles for Latina/o literary voices. Launched under the auspices of Chicana/o luminary Ray Gonzalez, it quickly established itself in both the Latina/o community and the publishing world as it garnered awards for its outstanding writing. Featuring both established writers and first-time authors, Camino del Sol has published poetry and prose that convey something about the Latina/o experience—works that tap into universal truths through a distinct cultural lens. This volume celebrates fifteen years of books by bringing together some of the series’ best work, such as poetry from Francisco X. Alarcón, fiction from Christine Granados, and nonfiction from Luis Alberto Urrea. These voices echo the entire spectrum of Latina/o writing, from Chicana/o to Puerto Rican to Brazilian-American, and take in themes ranging from migration to gender. Awards bestowed upon Camino del Sol titles include the PEN/Beyond Margins Award to Richard Blanco’s Directions to the Beach of the Dead; Before Columbus Foundation American Book Awards to Diana García’s When Living Was a Labor Camp and Luis Alberto Urrea’s Nobody’s Son; International Latino Book Awards to Pat Mora’s Adobe Odes and Kathleen Alcalá’s The Desert Remembers My Name; the Premio Aztlán literary prize to Sergio Troncoso’s The Last Tortilla; and the PEN Oakland-Josephine Miles National Literary Award to Kathleen de Azevedo’s Samba Dreamers. All of these works are represented in this outstanding collection. In a short span of time, Camino del Sol has cultivated an admirable and sizeable list of distinguished contemporary authors—and even garnered the first National Book Critics Circle Award for a Chicana/o for Juan Felipe Herrera’s Half of the World in Light. Camino del Sol: Fifteen Years of Latina and Latino Writing is a benchmark for the series and a wonderful introduction to the world of Latina/o literature.
Reveals the dependence of American ethnic identity on Spain and Spanish imperialism.
Por amor a Dios y a todos sin excepción, empezaré por decir a ustedes que éste libro, que hoy se presenta, lo escribí con uno y varios fi nes, el primero: la obediencia y otro de ellos: conducir a mis lectores hacia la verdadera fuente de la Palabra Divina, la Biblia o Dios. "Escribe un libro" se me dijo por escrito y en la Biblia misma; sentí que era para mí el mensaje. Entre sorprendida y asustada, volví a abrir la Sagrada Escritura, apareció un segundo mensaje y así hasta completar un corto diálogo mental, en el que Él ordenó y yo contestaba........ el cuál fi gura en las primeras páginas de éste volumen. Me entregué a su escritura de mañana, noche o madrugada. Cuatro veces escribí la historia del Pueblo de Dios, porque Él así lo quiso y permitió una manuscrita, la segunda a máquina, la tercera en computadora y la cuarta: lo imprimí. Siempre puliendo y repuliendo lo ya escrito. Hubo momentos en que sentía un escalofrío o como hormigueo que recorría mi ser, lo percibía como aprobación. Aquello me daba ánimos para continuar. Al principio pensé concretarme únicamente a las mujeres de la Santa Historia, pero me di cuenta que Él quería algo más. "Escribiré la historia de tu Pueblo Padre, ayúdame." Yo hablaba con el pensamiento. Investigué primero en la Sagrada Biblia, en amarillentos y empolvados libro viejos, toqué puertas, me introduje en el texto hasta su propia médula y la pluma corría por las hojas. Me adentré en la historia como supongo los pintores se introducen en el paisaje que pintan y hasta pueden percibir el perfume de las fl orecillas silvestres de su propio cuadro, o los escultores sienten los latidos de los cuerpos que modelan. No soy muy buena escribiendo, pero lo hice con tanto amor y fe y eso es lo que es éste libro: un mensaje de amor y fe. Graciela Padilla de Amador