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Limon has taken great care to document his re-construction of the narrative and to provide ample socio-cultural background and bibliography in this clear example of literary archeology.
The writer Jovita González was a long memeber- and ultimately seved as president- of Texas Folklore Society, which strve to preserve the oral traditions and customs of her native state. Many of the folklore-based stories in this volume were published by González in periodicals such as Southwest Review from the 1920s through the 1940s but have been gathered here for the first time. Sergio Reyna has brought together more than thirty narratives by González and arranged them into Animal Tales (such as "The Mescal-Drinking Horse"); Tales of Humans ("The Bullet-Swallower"); Tales of Popular Customs ("Shelling Corn by Moonlight); Religious Tales ("The Guadalupana Vine); Tales of Mexican Ancestrors ("Ambriosio the Indian); and Tales of Ghosts, Demons, and Buried Treasure ("The Woman Who Lost Her Soul"). Reyna also provides a helpful introduction that succinctly surveys the authors life and work, analyzing her writings within their historical and cultural contexts.
Gloria Anzaldua Book Prize, National Women's Studies Association, 2009 In the early twentieth century, three women of color helped shape a new world of ethnographic discovery. Ella Cara Deloria, a Sioux woman from South Dakota, Zora Neale Hurston, an African American woman from Florida, and Jovita González, a Mexican American woman from the Texas borderlands, achieved renown in the fields of folklore studies, anthropology, and ethnolinguistics during the 1920s and 1930s. While all three collaborated with leading male intellectuals in these disciplines to produce innovative ethnographic accounts of their own communities, they also turned away from ethnographic meaning making at key points in their careers and explored the realm of storytelling through vivid mixed-genre novels centered on the lives of women. In this book, Cotera offers an intellectual history situated in the "borderlands" between conventional accounts of anthropology, women's history, and African American, Mexican American and Native American intellectual genealogies. At its core is also a meditation on what it means to draw three women—from disparate though nevertheless interconnected histories of marginalization—into conversation with one another. Can such a conversation reveal a shared history that has been erased due to institutional racism, sexism, and simple neglect? Is there a mode of comparative reading that can explore their points of connection even as it remains attentive to their differences? These are the questions at the core of this book, which offers not only a corrective history centered on the lives of women of color intellectuals, but also a methodology for comparative analysis shaped by their visions of the world.
In The Kingdoms of Thorn and Bone, Greg Keyes has crafted a brilliant saga of magic, adventure, and love set against a backdrop of clashing empires and an ancient, reawakened evil. Now, with The Born Queen, Keyes brings his epic to a masterly close, gathering the strands of plot and character into a stunning climax that both completes and transcends all that has gone before. The Briar King is dead, and the world itself follows him to ruin. Aspar White, wounded and tired, must embark on one last quest to save the forest and the people he loves, but he has little hope of success. Anne Dare at last sits on the throne of Crotheny, but for how long? The Church, now led by the corrupt and powerful Marché Hespero, has declared a holy war against her, giving the king of Hansa the pretext he needs to unleash his vast might on the young queen and her unready army. But Hansa is the least of Anne’s worries. The Hellrune, war seer of Hansa, strikes at her through vision and prophecy. The Kept–last of the elder Skasloi lords–weaves his own dark webs. Anne’s teacher and ally in the sedos world might also be her worst enemy, and Anne’s own mounting strength compels her toward madness. Surviving these dangers and mastering her eldritch abilities are merely prelude to the real struggle. There are many–some with power matching or even exceeding Anne’s own–who are willing to kill in order to seize control. For whoever sits upon the throne will have the ultimate command to bring about the world’s salvation–or its apocalypse.
The 1929 master's thesis of folklorist, Jovita Gonzalez has served as source material on the Texas-Mexican borderlands for more than seventy-five years but has never before been published. When Gonzalez decided to pursue a master's degree in history from the University of Texas, she was already the vice-president and president-elect of the Texas Folklore Society. Despite this, she wrote a defiant master's thesis that offered a competing vision of Texas history and culture to that promoted by the founding fathers of Texas folklore. Her complex analysis de-emphasizes the role of the Texas Revolution in Texas history and explores the ways in which Anglos and Mexicans developed tense ties following the U.S.-Mexico War. Her approach to Texas history elegantly counters the rhetoric of dominance of the established historians of the American West of her time. Gonzalez's thesis is now available for the first time to a wider reading public, especially those who value a Tejana legacy that presents the borderlands as a crucible in which a new kind of identity is being formed.
Written by a Mexican-American woman and her coauthor during the 1930s and 1940s, Caballero remained unprinted and unavailable to the public for over 50 years. The novel examines the impact of the 1846-48 war with Mexico on a tejano family and particularly on Mexican women. Paper edition (unseen), $19.95. Annotation copyright by Book News, Inc., Portland, OR
A major anthology of Hispanic writing in the U.S., ranging from the early Spanish explorers to the present day.
Colonial Legacies in Chicana/o Literature and Culture exposes the ways in which colonialism is expressed in the literary and cultural production of the U.S. Southwest, a region that has experienced at least two distinct colonial periods since the sixteenth century. Vanessa Fonseca-Chávez traces how Spanish colonial texts reflect the motivation for colonial domination. She argues that layers of U.S. colonialism complicate how Chicana/o literary scholars think about Chicana/o literary and cultural production. She brings into view the experiences of Chicana/o communities that have long-standing ties to the U.S. Southwest but whose cultural heritage is tied through colonialism to multiple nations, including Spain, Mexico, and the United States. While the legacies of Chicana/o literature simultaneously uphold and challenge colonial constructs, the metaphor of the kaleidoscope makes visible the rupturing of these colonial fragments via political and social urgencies. This book challenges readers to consider the possibilities of shifting our perspectives to reflect on stories told and untold and to advocate for the inclusion of fragmented and peripheral pieces within the kaleidoscope for more complex understandings of individual and collective subjectivities. This book is intended for readers interested in how colonial legacies are performed in the U.S. Southwest, particularly in the context of New Mexico, Texas, and Arizona. Readers will relate to the book’s personal narrative thread that provides a path to understanding fragmented identities.
An undercover FBI agent has been exposed—while a traitor hides within the Bureau, in this heart-pounding crime thriller by “a knock-em-dead writer” (Anthony Neil Smith, author of Slow Bear). Tony Wolf, a troubled man and the FBI’s most esteemed undercover agent, is back after mysteriously vanishing without a trace. A specialist at infiltrating criminal organizations and taking them down from the inside, he lives his life in the shadows. But when he’s forced into the open during the rescue of two kidnapped children, Wolf becomes caught up in a massive federal manhunt. Faced with a traitorous agent and a ruthless, renegade biker gang he has crossed paths with before, Wolf finds himself in danger. And when he realizes that the double agent is helping the gang, Wolf sets out on a lethal mission to uncover the truth, no matter the cost. “J. D. Rhoades kicks ass!” —J. A. Konrath, author of the Jack Daniels series on Good Day in Hell