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On June 23rd, 1914, the legendary División del Norte, commanded by General Francisco “Pancho” Villa, defeated the forces of then-president Victoriano Huerta and took the city of Zacatecas. After the decisive battle, the federales were unable to recover. The path to Mexico City—and ultimate victory—was clear for Villa and the revolutionaries. As Colonel Montejo, the narrator of Paco Taibo’s epic tale, says, “We broke their spine in Zacatecas. The rest was just a march south.” In this remarkable graphic novel, Paco Ignacio Taibo II (a.k.a. PIT)—the prolific historian, biographer of Che Guevara and Pancho Villa, as well as the founder of Mexican neopolicial fiction—brings his tremendous storytelling skills to bear, united with stunning illustrations by the artist Eko that evoke traditional Day of the Dead imagery and the etchings of legendary Mexican printmaker José Guadalupe Posada. Pancho Villa Takes Zacatecas not only depicts one of the most decisive moments of the revolution, it also profiles, in glorified action, one of the most beloved heroes of contemporary Mexico. Now translated into English and seamlessly adapted to ebook format, Pancho Villa Takes Zacatecas is an unforgettable paean to the dramatic story of the Mexican Revolution that will fascinate history buffs, avid readers, and graphic novel enthusiasts alike. Praise for Pancho Villa Takes Zacatecas "Like never before, maverick Mexican novelist, Paco Ignacio Taibo II, and visual virtuoso, Eko, bring to kinetic life a pivotal moment in Villa’s against-the-odds, David-Goliath battles with sitting oppressors—one that returned the power to the Mexican people. Extraordinarily energetic woodcut-art and a nimble narrative voice make this history showing and telling at its best!" —Frederick Luis Aldama, author of Your Brain on Latino Comics. “It’s impossible to review [Taibo II’s] literary work without painting an ideological portrait. He’s probably the writer on the left with the proudest lineage of all those I’ve read.” —Christopher Domínguez Michael, Letras Libres “Eko is in many ways a Renaissance artist who through archetypical characters and his work showing them to us recovers the essence (and drives) of humanity, and he shows them without objection.” —Jorge Rueda, Replicante Paco Ignacio Taibo II, or PIT, was born in Gijón, Spain in 1949, before fleeing Franco’s dictatorship with his family in 1958. He has resided in Mexico City ever since, where he’s built a career as a writer, journalist, historian, biographer of Pancho Villa and Che Guevara, and, perhaps most crucially, a founder of the neopolicial fiction genre in Latin America. His books have been published in 29 countries and translated into nearly as many languages. In addition to being a prolific writer, he is an active member of the international crime writing community and organizes Semana Negra or “Noir Week” in his native Gijón. He has won the Latin American Dashiell Hammett Prize three times, as well as the Mexican Premio Planeta, and several other awards for international crime fiction. Eko, born in Mexico in 1958, is a cartoonist, engraver, and painter. His wood etchings, often erotic in nature and the focus of controversial discussion, are part of a broader tradition in Mexican folk art popularized by José Guadalupe Posada. He has collaborated on projects for The New York Times, the Frankfurter Allgemeine Zeitung, and the Spanish daily El País, in addition to having published numerous books in Mexico and Spain. Nina Arazoza is a recent graduate of Tufts University’s International Relations Program and an aspiring translator and publishing professional. Her enthusiasm for Latin American culture, history, and politics led her to Restless Books and Pancho Villa Takes Zacatecas.
Born into a poor family in Ecuador, Pancho Segura was an undersized and undernourished kid working as a ball boy at an exclusive tennis club when he first picked up a racket. Little Pancho is the story of how this improbable athlete, with his bandy legs, infectious smile, and unorthodox two-handed style of play, became one of the greatest and most beloved tennis players of all time. During his twenty years in pro tennis, general audiences appreciated his spirit as a master entertainer, while tennis fans adored him. ø Drawing on interviews with many in the game who knew or admired Pancho, Caroline Seebohm provides a close-up picture of the unlikely pro as his career first emerged in Ecuador and then developed further in the United States during the 1940s, where he broke down social and political prejudices with his charm, naturalness, and brilliance on the court. ø Little Pancho follows Segura from the University of Miami, where he won three consecutive NCAA championships (still a record), to his time on the U.S. professional tennis tour. On the pro tour of that time, Segura and his fellow players struggled to earn a living and find acceptance in the traditional, sometimes elitist tennis world, which scorned ?professionals? as outcasts. Little Pancho shows us Segura when he quit the professional tour to become a coach at the Beverly Hills Tennis Club, working with movie stars such as Charlton Heston, Barbra Streisand, and Lauren Bacall. And finally, we hear for the first time from some of the later champions Segura coached, including Jimmy Connors. This history of tennis in the midcenturyøalso is the inspiring story of how one poor Latino kid, through sheer grit, grace, and talent, changed the face of the sport forever.
Pancho Rabbit and the Coyote is an allegorical picture book about the hardships and struggles of immigration from award-winning children’s book author and illustrator Duncan Tonatiuh. A Pura Belpré Author and Illustrator Honor Book! An ALA/ALSC Notable Children’s Book! Papa Rabbit left two years ago to travel far away north to find work in the great carrot and lettuce fields to earn money for his family. When Papa does not return home on the designated day, Pancho sets out to find him. He packs Papa’s favorite meal—mole, rice and beans, a heap of still-warm tortillas, and a jug full of fresh aguamiel—and heads north. Along the way, Pancho crosses a river, climbs a fence, and passes through a tunnel guarded by uniformed, bribe-taking snakes. He soon meets a coyote, who offers to help Pancho in exchange for some of Papa’s favorite foods. They travel together until the food is gone and the coyote decides he is still hungry . . . for Pancho! Tonatiuh enlivens Pancho’s story with the spirit of regional folklore, and he adds cultural atmosphere in arresting, flat folk art filled with cultural references. Of course, “coyote” has two meanings here. With tenderness and honesty, he brings to light the trials and tribulations facing families who seek to make better lives for themselves and their children by illegally crossing borders. “Incandescent, humane and terribly necessary.” ―Kirkus Reviews (Starred Review) “Pancho Rabbit’s trip has the feel of a classic fable or fairy tale.” ―Publishers Weekly (Starred Review)
Based on archival research, this study of Pancho Villa aims to separate myth from history. It looks at Villa's early life as an outlaw and his emergence as a national leader, and at the special considerations that transformed the state of Chihuahua into a leading centre of revolution.
Born into a family of cattlemen on the southern Arizona border at the beginning of the Great Depression, Mikey Summers is raised by people who are wilder than the animals under their care. Maggie, his mother, is quick to love, but also quick to fight, loves contention as much as peace, likes to run and play, but is decent with a fine moral sense. She does hard work as though tapping for a dance, but can be as mean and ill-tempered as she is decent and good. Paul Summers, his father, loves to cowboy, ride broncs, get drunk with Maggie's brothers, be Maggie's husband as long as it is fun, but tries not to get serious about any of it. When Maggie reminds him that he will have to stop running and playing and be responsible, he only grins. As his parents and uncles and their families work and play hard to keep their world from dying of drought, disease, and the Depression, Mikey revels in its fathers, mothers, horses, dirt, dogs, cows, and trees and learns that he must fight his own battles to keep it. Based on J. P. S. Brown's own experiences growing up and ranching in Mexico and Arizona, The World in Pancho's Eye offers an honest and heartfelt portrayal of the life of working cowboys and the love they and their families have for the job.
In 1913 a young Tom Mix meets revolutionary Pancho Villa and travels with his band across Mexico on a journey that opens his eyes to life, love, violence, and his own illusions
Violence and the Body: Race, Gender, and the State explores the relationship between subalternity, the discourse and technology of the body, and the rise and proliferation of racial, colonial, sexual, domestic, and state violence, examining the materiality of violence on the "otherized" body. Grounded in U.S./Mexico border and Latin American cultural studies, the essays in this collection intersect discussions of subalternity, violence, and discourses of the body in a transethnic, feminist, and global cultural studies context. They provide a global mapping of contemporary modes and acts of physical and representational violence and demonstrate how discourses of otherization are reinforced and interanimated through violence on what Elizabeth Grosz has called the "intensities" and "flows" of the body.
On January 3, 1914 Pancho Villa became Hollywood's first Mexican superstar. In signing an exclusive movie contract, Villa agreed to keep other film companies from his battlefield, to fight in daylight wherever possible, and to reconstruct battles if the footage needed reshooting. Through memoir and newspaper reports, Margarita De Orellana looks at the documentary film-makers who went down to cover events in Mexico. Feature film-makers in Hollywood portrayed the border as the dividing line between order and chaos, in the process developing a series of lasting Mexican stereotypes-the greaser, the bandit, the beautiful seorita, the exotic Aztec. Filming Pancho reveals how Mexico was constructed in the American imagination and how movies reinforced and justified both American expansionism and racial and social prejudice.