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Enter the world of bees and discover their wonderful powers. A beautiful hymn to nature featuring haikus, set in a quiet corner of Japan. It was summertime when an old lady and her granddaughter decided to spend more time together and make the most out of it by walking through the countryside through the countryside. Grandma was passionate about nature and she enjoyed feeling surrounded by trees and animals, but what she liked the most was watching bees. The little girl enjoyed listening to her grandmother tell her about the amazing life of bees and their extremely important mission for life on our planet. Not a day went by that they did not visit the bees and the girl always learned something new, like that day when she discovered what the dance of the bees was. With each passing day, their bond grew stronger and stronger, and all thanks to those little insects. But after the years, the little girl, now a woman, returns with her son to the place where her grandmother's house was and, thanks to the dance of the bees, they will discover something that they will never be able to forget.
A beautiful hymn to nature featuring haikus, set in a quiet corner of Japan. An old lady and her granddaughter enjoy strolling through the countryside in the middle of summer. The grandmother explains to the little girl all about the wonderful world of bees, and why these beautiful insects are so important for life on our planet. Years later, the granddaughter returns with her son to the place where her grandmother's house once stood, and thanks to the dance of the bees, discovers something they'll never forget.
From a beguiling voice in Mexican fiction comes an astonishing novel--her first to be translated into English--about a mysterious child with the power to change a family's history in a country on the verge of revolution. From the day that old Nana Reja found a baby abandoned under a bridge, the life of a small Mexican town forever changed. Disfigured and covered in a blanket of bees, little Simonopio is for some locals the stuff of superstition, a child kissed by the devil. But he is welcomed by landowners Francisco and Beatriz Morales, who adopt him and care for him as if he were their own. As he grows up, Simonopio becomes a cause for wonder to the Morales family, because when the uncannily gifted child closes his eyes, he can see what no one else can--visions of all that's yet to come, both beautiful and dangerous. Followed by his protective swarm of bees and living to deliver his adoptive family from threats--both human and those of nature--Simonopio's purpose in Linares will, in time, be divined. Set against the backdrop of the Mexican Revolution and the devastating influenza of 1918, The Murmur of Bees captures both the fate of a country in flux and the destiny of one family that has put their love, faith, and future in the unbelievable.
'We are all Zapatistas.' Subcomandante MarcosThis book began in 1994, when Zapatista Subcomandante Marcos replied to a 10-year-old girl from Mexico City who had sent him a drawing. The ensuing collection of related tales about the warrior-beetle, narrated by his pipe-smoking, black-ski-masked human squire is an extraordinary account for the general reader of current global political struggle.Marcos created a humorous fictitious character, Don Durito, a beetle with Quixotic fantasies which regards Marcos as his Sancho Panza. In this book, Marcos creates a new political genre, so-called "postdata": ironical commentaries which he affixes to his formal communiqués or declarations. In one of them he even offers to perform a striptease for government negotiators.'We are the product of 500 years of struggle...They [Mexican government] don't care that we have nothing, absolutely nothing, not even a roof over our heads; no land, no work, no health care, no food, no education... nor is there peace nor justice for ourselves and our children. But today, we say ENOUGH IS ENOUGH!' First EZLN declaration of war, December 31st 1993The Zapatistas are not Marxist, Rightists, or Anarchists. They seek not to replace one infrastructure of power with another, thus rejecting the normal goal of an armed struggle. They are armed but do not use violence as a tool to expand their aims. Although a localized rebellion, the Zapatistas are unified in a worldwide struggle that transcends the mainstream media's limited perspective through eloquent dictations distributed globally via the Internet.With a fresh perspective and tactics that have never been seen in relation to an armed insurrection, the EZLN (Zapatista National Liberation Army) has changed the definition of what revolution means. From the marginalized confines of the poorest region in Mexico, a new concept of revolutionary change with a new solution to societies woes is currently being proposed.
Audible Geographies in Latin America examines the audibility of place as a racialized phenomenon. It argues that place is not just a geographical or political notion, but also a sensorial one, shaped by the specific profile of the senses engaged through different media. Through a series of cases, the book examines racialized listening criteria and practices in the formation of ideas about place at exemplary moments between the 1890s and the 1960s. Through a discussion of Louis Moreau Gottschalk’s last concerts in Rio de Janeiro, and a contemporary sound installation involving telegraphs by Otávio Schipper and Sérgio Krakowski, Chapter 1 proposes a link between a sensorial economy and a political economy for which the racialized and commodified body serves as an essential feature of its operation. Chapter 2 analyzes resonance as a racialized concept through an examination of phonograph demonstrations in Rio de Janeiro and research on dancing manias and hypnosis in Salvador da Bahia in the 1890s. Chapter 3 studies voice and speech as racialized movements, informed by criminology and the proscriptive norms defining “white” Spanish in Cuba. Chapter 4 unpacks conflicting listening criteria for an optics of blackness in “national” sounds, developed according to a gendered set of premises that moved freely between diaspora and empire, national territory and the fraught politics of recorded versus performed music in the early 1930s. Chapter 5, in the context of Cuban Revolutionary cinema of the 1960s, explores the different facets of noise—both as a racialized and socially relevant sense of sound and as a feature and consequence of different reproduction and transmission technologies. Overall, the book argues that these and related instances reveal how sound and listening have played more prominent roles than previously acknowledged in place-making in the specific multi-ethnic, colonial contexts characterized by diasporic populations in Latin America and the Caribbean.
Reprint of the revered Harvard UP original of 1967, itself a translation of the German original (Springer Verlag, 1965)--with a new foreword by Thos. D. Seeley. Annotation copyright by Book News, Inc., Portland, OR