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A 1997 bibliography of American fiction from 1901-1925.
A young Zuni boy learns from his grandfather the customs and ways of his people.
Founded in 1781 by pioneers from what is today northern Mexico, El Pueblo de Los Angeles mirrors the history and heritage of the city to which it gave birth. When the pueblo was the capital of Mexico’s Alta California, the region’s rancheros came here to celebrate mass or to attend fiestas in the historic Plaza. Following California’s statehood in 1850, the pueblo for a time ranked among the most lawless towns of the American West. American speculators, wealthy rancheros, and Italian wine merchants crowded its dusty streets. The town’s first barrio and the vibrant precincts of Old Chinatown soon grew up nearby. As Los Angeles burgeoned into a modern metropolis, its historic heart fell into ruin, to be revitalized by the creation in 1930 of the romantic Mexican marketplace at Olvera Street. Here, two years later, David Alfaro Siqueiros painted the landmark mural América Tropical, whose story is a fascinating tale of art, politics, and censorship. In the decades since, the pueblo has remained one of Southern California’s most enduring and most complex cultural symbols. El Pueblo vividly recounts the story of the birthplace of Los Angeles. An engaging historical narrative is complemented by abundant illustrations and a tour of the pueblo’s historic buildings. The book also describes initiatives to preserve the pueblo’s rich heritage and considers the significance of its multicultural legacy for Los Angeles today
My Life in San Juan Pueblo is a rich, rewarding, and uplifting collection of personal and cultural stories from a master of her craft. Esther Martinez's tales brim with entertaining characters that embody her Native American Tewa culture and its wisdom about respect, kindness, and positive attitudes.
Traces the progress of the Indians of North America from the time of the Creation to the present.
The term “el pueblo” is used throughout Latin America, referring alternately to small towns, to community, or to “the people” as a political entity. In this vivid anthropological and historical analysis of Mexico’s Yucatán peninsula, Paul K. Eiss explores the multiple meanings of el pueblo and the power of the concept to unite the diverse claims made in its name. Eiss focuses on working-class indigenous and mestizo populations, examining how those groups negotiated the meaning of el pueblo among themselves and in their interactions with outsiders, including landowners, activists, and government officials. Combining extensive archival and ethnographic research, he describes how residents of the region have laid claim to el pueblo in varied ways, as exemplified in communal narratives recorded in archival documents, in the performance of plays and religious processions, and in struggles over land, politics, and the built environment. Eiss demonstrates that while el pueblo is used throughout the hemisphere, the term is given meaning and power through the ways it is imagined and constructed in local contexts. Moreover, he reveals el pueblo to be a concept that is as historical as it is political. It is in the name of el pueblo—rather than class, race, or nation—that inhabitants of northwestern Yucatán stake their deepest claims not only to social or political rights, but over history itself.
Ages 6 years & over. Jonathan employs a striking contemporary visual expression to allow us a candid view into the intimate communal life of Taos Pueblo as it was long ago. His charming primitive style, love of vivid colour, and strong use of space are distinctive of his work. His paintings are animated, open, and warmly inviting, revealing the enchanting serenity and gracefulness of life lived close to nature. Jonathan is also inspired by his mother, who was a well-known artist herself, and by his strong connection to the private spiritual life of his pueblo community. As appealing as this rich pastoral world is, it is vanishing quickly, even in Jonathan s lifetime. He is committed, therefore, to preserving his cultural heritage as best he can through his paintings, faithful as they are to both the timeless and the momentary. Thus he gives to his children and to all of us a remarkable record of a native lifestyle, intimately known and nostalgically recalled.
Our Lady Fetta opens in Portland, Me., and involves a small Hollywood estate with too many beneficiaries. The disposition of the will naturally carries the protagonist back to the Midwest and ultimately to the Southwest to reconnect with his former college classmates, one of whom acts as his attorney. The novel¡¦s diverse settings include Halifax, Chicago, Mesa, Santa Fe oand Tucson, where a couple of transplanted Mainers also figure among the hero¡¦s allies. Sanctimony, greed, religiosity, acculturation, the preservation of natural habitats, and other topics are explored; in addition to commentary and ideas by Robert Louis Stevenson, Somerset Maugham, Carlos Castaneda, Jim Morrison, Bram Stoker, and William Peter Blatty. Jet-setters, one of the short stories featured in the book, centers on a hilarious two-year romp in the Samoan islands at the onset of the global AIDS crisis. Other notable tales include New America, in which the author proposes a simple but macabre solution to overcrowded, tax-draining prisons, nnamely, banishment aboard galleons; Cardinal du Jour, about a teenage boy who narrowly escapes being molested by a high-ranking priest; Louse Party, about an LSD party and the horrors of addiction and drug abuse; and House with Ghost, based on actual events, about a man suffering from spirit attachment, whose ghostly companion haunts the home in which he rents a room and drives him out of the house.