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2022 BOOKER PRIZE FINALIST “Manifoldly clever…brilliant… ‘Glory’ is its own vivid world, drawn from its own folklore. This is a satire with sharper teeth, angrier, and also very, very funny.” —Violet Kupersmith, The New York Times Book Review "Genius."—#1 New York Times bestselling author Jason Reynolds From the award-winning author of the Booker-prize finalist We Need New Names, an exhilarating novel about the fall of an oppressive regime, and the chaos and opportunity that rise in its wake. NoViolet Bulawayo’s bold new novel follows the fall of the Old Horse, the long-serving leader of a fictional country, and the drama that follows for a rumbustious nation of animals on the path to true liberation. Inspired by the unexpected fall by coup in November 2017 of Robert G. Mugabe, Zimbabwe’s president of nearly four decades, Glory shows a country's imploding, narrated by a chorus of animal voices that unveil the ruthlessness required to uphold the illusion of absolute power and the imagination and bulletproof optimism to overthrow it completely. By immersing readers in the daily lives of a population in upheaval, Bulawayo reveals the dazzling life force and irresistible wit that lie barely concealed beneath the surface of seemingly bleak circumstances. And at the center of this tumult is Destiny, a young goat who returns to Jidada to bear witness to revolution—and to recount the unofficial history and the potential legacy of the females who have quietly pulled the strings here. The animal kingdom—its connection to our primal responses and its resonance in the mythology, folktales, and fairy tales that define cultures the world over—unmasks the surreality of contemporary global politics to help us understand our world more clearly, even as Bulawayo plucks us right out of it. Although Zimbabwe is the immediate inspiration for this thrilling story, Glory was written in a time of global clamor, with resistance movements across the world challenging different forms of oppression. Thus it often feels like Bulawayo captures several places in one blockbuster allegory, crystallizing a turning point in history with the texture and nuance that only the greatest fiction can.
Baroque New Worlds traces the changing nature of Baroque representation in Europe and the Americas across four centuries, from its seventeenth-century origins as a Catholic and monarchical aesthetic and ideology to its contemporary function as a postcolonial ideology aimed at disrupting entrenched power structures and perceptual categories. Baroque forms are exuberant, ample, dynamic, and porous, and in the regions colonized by Catholic Europe, the Baroque was itself eventually colonized. In the New World, its transplants immediately began to reflect the cultural perspectives and iconographies of the indigenous and African artisans who built and decorated Catholic structures, and Europe’s own cultural products were radically altered in turn. Today, under the rubric of the Neobaroque, this transculturated Baroque continues to impel artistic expression in literature, the visual arts, architecture, and popular entertainment worldwide. Since Neobaroque reconstitutions necessarily reference the European Baroque, this volume begins with the reevaluation of the Baroque that evolved in Europe during the late nineteenth century and the early twentieth. Foundational essays by Friedrich Nietzsche, Heinrich Wölfflin, Walter Benjamin, Eugenio d’Ors, René Wellek, and Mario Praz recuperate and redefine the historical Baroque. Their essays lay the groundwork for the revisionist Latin American essays, many of which have not been translated into English until now. Authors including Alejo Carpentier, José Lezama Lima, Severo Sarduy, Édouard Glissant, Haroldo de Campos, and Carlos Fuentes understand the New World Baroque and Neobaroque as decolonizing strategies in Latin America and other postcolonial contexts. This collection moves between art history and literary criticism to provide a rich interdisciplinary discussion of the transcultural forms and functions of the Baroque. Contributors. Dorothy Z. Baker, Walter Benjamin, Christine Buci-Glucksmann, José Pascual Buxó, Leo Cabranes-Grant, Haroldo de Campos, Alejo Carpentier, Irlemar Chiampi, William Childers, Gonzalo Celorio, Eugenio d’Ors, Jorge Ruedas de la Serna, Carlos Fuentes, Édouard Glissant, Roberto González Echevarría, Ángel Guido, Monika Kaup, José Lezama Lima, Friedrich Nietzsche, Mario Praz, Timothy J. Reiss, Alfonso Reyes, Severo Sarduy, Pedro Henríquez Ureña, Maarten van Delden, René Wellek, Christopher Winks, Heinrich Wölfflin, Lois Parkinson Zamora
Bhlawa’s Inconsolable Spirits is startling, often humorous, always graphic. Determined to understand everything, the young Nyezwa turns to writing to “train himself to see”. In Nyezwa’s vision no boundaries exist between imagination, day-to-day survival, spiritual reality, and economic violence: “What everyone saw up there at night in Bhlawa, and called the moon, was just the hungry face of God.”
“This book looks to cover the differences the new professional will encounter as he takes on his new position overseas”. The book not only covers the basic technical translations of the items likely to be encountered during your work, but also covers what I would call the “unspoken word” These are cultural differences, such as technical phrases, modern work concepts terminology, standard practices. The book takes the student through all stages of construction and explains in detail the principal phases that the student is expected to understand & know in the new Hi tech and fast changing environment. It will be a good reference book which will enable the student to rapidly adapt to their new environment by helping them understand the basic principles, working practices, descriptions etc which some countries will take for granted. A great aid for the aspiring foreign professional, I only wish it was available when I first came to Spain some 23 years ago! Peter Wilkey FCIOB CIOB Ambassador for Spain & Gibraltar … Este excelente libro es una guía fundamental para los arquitectos españoles u otros profesionales que quieran conocer o desarrollar su labor en un entorno anglosajón… Luis M. Sendra Mengual, Presidente (CTAV) Colegio Territorial de Arquitectos de Valencia … La vocación de internacionalización se ha convertido ahora en una exigencia que debemos atender… este libro es un importante primer paso… Rafael Sánchez Grandía, Director ESTIE UPV … Una herramienta útil y una guía eficaz para el profesional de la construcción… José Ramón Roca Rivera, Presidente del Colegio de Aparejadores, Arquitectos Técnicos e Ingenieros de Edificación de Valencia.
Torn between his adoration for his wife and young son and the irresistible draw of the criminal underworld, Shatterproof Bhekuzulu is headstrong, smart, cunning, and strangely endearing. The Lazarus of the tsotsi world, Shatterproof dithers between his need for redemption and his love for illicit scheming. Violent, funny, and intriguing, this story paints a colorful picture of a South African hustler during the apartheid--one so magnetic it hurts to watch him dig his own grave, one disastrous decision at a time.
This book revisits the claim that a key dimension of cultural modernity – understood as a turn to the autonomy of the signs and the erasure of the 'face of man' - arose in the mid-nineteenth century. It presents an alternative to that obsession, focusing instead on the aesthetic appreciation of forms through which connections are realised across place and time. The book is one of few to offer a comparative approach to numerous major writers and artists of this period over diverse countries. Specifically, the comparative approach overcomes the constitutively ambiguous relation between the modern and the Hispanic. The Hispanic is often imagined as at once foundational for and excluded from the modern world. Its reincorporation into the story of the mid-century unsettles the notion of modernity. The book offers instead an experiment in writing, tracing commonalities across place and time, and drawing on mid-century expressions of such likenesses.