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From Mexico City to San Francisco's Mission District, nothing comes easy—in life or in love. Here is an unstereotypical view of a world as treacherous as it is tender, as hilarious as it is heartbreaking. Authentic and honest, these nine stories focus on today’s Latino men, their strength and vulnerability, their fears and deepest desires. “Danger, cruelty, lust, loss, blood, death and dance. . . . Couldn’t put the book down. So hot I had to smother it in half and half. Murguía's a master of hearts on fire, working his storytelling anvil late at night, in a wrecked cubicle of SF called La Mission. No doubt the hungriest fiction and the most ferocious collection in the last three decades.”—Juan Felipe Herrera, author of Border Crosser with a Lamborghini Dream “Alejandro Murguía has returned the short story to the people. Though some of his characters are down on their luck, the author has hit the literary jackpot with this one. He’s been revered as an artist for decades among the multicultural cognoscenti, and the publication of this fabulous volume will confirm for many readers what we knew all along.”—Ishmael Reed, author of The Reed Reader “This is a book of rare intensity and transcultural joy!"—José David Saldívar, author of Border Matters: Remapping American Cultural Studies "The nine tales of life in Mexico City and the Mission District depicted . . . crackle with energy without losing sight of their narratives. . . . [Murguia's] Mission district is not a hipster haven but a melting pot for Latinos from all over the Americas, and his Mexico City is a thriving cultural whirlwind."—San Francisco Chronicle Book Review "Alejandro Murguía begins This War Called Love: Nine Stories, his second collection, with an unforgettable portrait of Mexico City in the summer of 1956. Murguía’s prose has the captivating quality that can only flow from a narrator who is himself captivated by his passions. A born storyteller, Murguía sustains flawlessly believable first-person narratives, which gives his prose much of its warmth and nuance."—The San Francisco Bay Guardian "Equal parts funny and sad, Murguía’s short stories depict, with tender and sometimes unflinching detail, love, life, and growing up Hispanic. . . . Although the best of the collection are on the darker side, Murguía also shines in the more lighthearted stories . . . Free of stereotypes and always honest, this collection presents Latino Chicano life at full throttle."—Booklist "Authentic and honest, these stories focus on today’s Latin men, their strength and vulnerability, their fears and deepest desires."—Latin Style Alejandro Murguía was born in California, but raised in Mexico City. His experiences as an international volunteer in the Nicaraguan Insurrection of 1979 are recounted in his second collection of short stories Southern Front (American Book Award, 1991). He lives in San Francisco, where he teaches Latin American literature at San Francisco State University.
Revolution and Rebellion in Mexican Film examines Mexican films of political conflict from the early studio Revolutionary films of the 1930-50s up to the campaigning Zapatista films of the 2000s. Mapping this evolution out for the first time, the author takes three key events under consideration: the Mexican Revolution (1910-1920); the student movement and massacre in 1968; and, finally, the more recent Zapatista Rebellion (1994-present). Analyzing films such as Vamanos con Pancho Villa (1936), El Grito (1968), and Corazon del Tiempo (2008), the author uses the term 'political conflict' to refer to those violent disturbances, dramatic periods of confrontation, injury and death, which characterize particular historical events involving state and non-state actors that may have a finite duration, but have a long-lasting legacy on the nation. These conflicts have been an important component of Mexican film since its inception and include studio productions, documentaries, and independent films.
This book will take you through the improbable, unconventional and entertaining adventures of the author and his family who fled Cuba after Castro took control of their homeland in 1960.The family was led by the author's father, an ordinary man with no college education, no building experience and very little knowledge of the English language. He was a man who was not afraid to dream big and with sheer determination, boundless energy and drive led his family, like many refugees, to experience the American Dream. Their story takes you through an interesting twist of fate of a man and his family that had lost their home and country and recovered to provide affordable housing and create thousands of jobs for so many in a country that graciously welcomed them. Arriving in Miami in 1960 with only a few personal possessions, this story will take you through the family's diverse journey experiencing life in America in this fast-paced autobiography.
María Félix (1914-2002) left her mark on Mexican and European film as well as fashion, art and jewellery design. Cartier created one-of-a-kind pieces; Leonora Carrington and Diego Rivera painted portraits; Carlos Fuentes wrote a play; Agustín Lara, a bestselling song. But she was nobody's muse.María Félix (1914-2002) left her mark on Mexican and European film as well as fashion, art and jewellery design. Cartier created one-of-a-kind pieces; Leonora Carrington and Diego Rivera painted portraits; Carlos Fuentes wrote a play; Agustín Lara, a bestselling song. But she was nobody's muse. Did Félix really bring baby crocodiles to the Cartier boutique to request lifelike copies in a necklace? The story may be apocryphal, but it perfectly encapsulates her powerful, independent and unconventional persona. This book first examines Félix's life and work, reviewing her films and acting style and considering what they say about gender norms and a woman's place on screen. It then turns to her role as curator and benefactor, exploring how art, literature and song sustained her image. It concludes by exploring the persistent interest in her life story and evaluating her significance for contemporary audiences.enefactor, exploring how art, literature and song sustained her image. It concludes by exploring the persistent interest in her life story and evaluating her significance for contemporary audiences.enefactor, exploring how art, literature and song sustained her image. It concludes by exploring the persistent interest in her life story and evaluating her significance for contemporary audiences.enefactor, exploring how art, literature and song sustained her image. It concludes by exploring the persistent interest in her life story and evaluating her significance for contemporary audiences.
Memoir is Rosario Ferré’s account of her life both as a writer and as a member of a family at the center of the economic and political history of Puerto Rico during the American Century, one hundred years of territorial “non-incorporation” into the United States. The autobiography tells the story of Ferré’s transformation from the daughter of a privileged family into a celebrated novelist, poet, and essayist concerned with the welfare of Puerto Ricans, and with the difficulties of being a woman in Puerto Rican society. It is a snapshot of twentieth-century Puerto Rico through the lens of a writer profoundly aware of her social position. It is a picture taken from the perspective of a keen observer of the local history of the island, and of the history of the United States. Included are many photographs that connect Ferré’s life with the story of her writing career.
Based on twenty years of research and thousands of interviews, this authoritative biography of performer Josephine Baker (1906-1975) provides a candid look at her tempestuous life. Born into poverty in St. Louis, the uninhibited chorus girl became the sensation of Europe and the last century's first black sex symbol. A heroine of the French Resistance in World War II, she entranced figures as diverse as de Gaulle, Tito, Castro, Princess Grace, two popes, and Martin Luther King, Jr. Yet Josephine was also, as one critic put it, "a monster who made Joan Crawford look like the Virgin Mary." Jean-Claude Baker's book also reveals her outbursts that resulted in lasting feuds, her imperious treatment of family and entourage members, and her ambivalent attitudes concerning her ethnic background. Reconciling Josephine's many personas—Jazz-age icon, national hero of France, proponent of Civil Rights, mother of children from across the globe—Josephine: The Hungry Heart gives readers the inside story on a star unlike any other before or since.
Surreal Friends brings together for the first time the work of three women Surrealist artists, brought together in exile in Mexico in the 1940s: British painter Leonora Carrington, Spanish painter Remedios Varo and Hungarian photographer Kati Horna. For all three women, Mexico offered freedom to explore their art in ways that had not been possible in Europe. Surreal Friends tells the fascinating story of their artistic friendship.
The essays in Globalization on the Line criticize the almost exclusive emphasis on the ethnically constituted trans-nation, whose function as an instrument of de-nationalization has become signified in the metaphorical use of 'the border.' Contributors focus on the surge of a more diverse variety of cultural forms of citizenship in response to the dramatic change that the geographies of U.S. border areas have undergone and simultaneously held to shape at the end of the 20th century. In its attempt to move beyond examinations of de-nationalized diasporic formations at the border, several essays in the collection add an attention to the northern frontier a hemispheric perspective that was originally spawned by imagining new forms of citizenship within U.S.- Mexico transborder cultures. Instead of viewing globalization and nation-states as two separate and opposed domains of theorization and politics, Globalization on the Line contextualizes U.S. borders within global processes that are currently reconstituting the relationship between nation-states and private corporations at the site of U.S. borders. The volume thus adds to the almost exclusive focus on the counter-hegemonic diasporic trans-nation an emphasis on various forms of citizenship that have emerged in response to increasingly more globally organized entities and practices.
From the mid-1930s to the late 1950s, Mexican cinema became the most successful Latin American cinema and the leading Spanish-language film industry in the world. Many Cine de Oro (Golden Age cinema) films adhered to the dominant Hollywood model, but a small yet formidable filmmaking faction rejected Hollywood’s paradigm outright. Directors Fernando de Fuentes, Emilio Fernández, Luis Buñuel, Juan Bustillo Oro, Adolfo Best Maugard, and Julio Bracho sought to create a unique national cinema that, through the stories it told and the ways it told them, was wholly Mexican. The Classical Mexican Cinema traces the emergence and evolution of this Mexican cinematic aesthetic, a distinctive film form designed to express lo mexicano. Charles Ramírez Berg begins by locating the classical style’s pre-cinematic roots in the work of popular Mexican artist José Guadalupe Posada at the turn of the twentieth century. He also looks at the dawning of Mexican classicism in the poetics of Enrique Rosas’ El Automóvil Gris, the crowning achievement of Mexico’s silent filmmaking era and the film that set the stage for the Golden Age films. Berg then analyzes mature examples of classical Mexican filmmaking by the predominant Golden Age auteurs of three successive decades. Drawing on neoformalism and neoauteurism within a cultural studies framework, he brilliantly reveals how the poetics of Classical Mexican Cinema deviated from the formal norms of the Golden Age to express a uniquely Mexican sensibility thematically, stylistically, and ideologically.