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Barbara J. Schwegman's second book of poetry is an introspection of the trip she took in 1995 to El Salvador and Guatemala. This trip took place a few years after the civil war in El Salvador. The poems in this collection reflect some of the situations she experienced and the people she grew to love and respect.
A contact bomb, a volcano ready to erupt" describes not only Central America in the 1980s but-in the conception of its editors-this anthology of contraband poetry. The poems themselves were often copied by hand and smuggled onto Mexico, from Honduras, El Salvador, Guatemala, and Nicaragua. In all those countries, except Nicaragua, this poetry is banned. The thirty-nine poets represented here give potent voice to the struggles of their peoples under the crushing oppression of life "under the volcano" in these war-stunned lands. Many of these women and men have been jailed, exiled, killed, or otherwise made to disappear. Still they survive in these faithful and sensitive translations by a new literary underground in North America.
A guide to the history of poetic debate and practice in 20th-century Latin America. The book argues that the possibility of universal emancipation is evoked in the transformation of language. Each chapter focuses on key texts by poets such as Cardenal, Neruda, Vallejo and the Andrades.
An anthology of poems translated into English presents traditional pre-Columbian work alongside contemporary poetry collected from nineteen Latin American countries, ranging from nature and nonsense to politics and magic.
"... very well translated... Cardenal merits praise for presenting, on such an ambitious scale, a passionate alternative history of the Spanish encounter with Central America." --Booklist "Combining hsitory with poetry, Cardenal exposes the violence, treachery, injustice, and exploitation that are so much a part of Central America and Mexico's] past and present." --World Literature Today "Explore this dense, beautiful poem and you will be rewarded with riches that 'delight and hurt not'." --Nicaragua Update "... a remarkable text.... El estrecho dudoso is a masterful and compelling poetic account of early colonial Central America, and the translation is likewise masterful." --Colonial Latin American Historical Review In this book-length poem, Nicaraguan priest and revolutionary Ernesto Cardenal tells the story of the Spanish conquest of Central America from the "discovery" of the American continent to recent historical events. A remarkable achievement and an engrossing narrative, the poem is published here in both Spanish and English.
This study considers the ways Spanish American and Brazilian poets differ from their European counterparts by considering 'Latin American' as more than a perfunctory epithet. It sets the orthodox Latin tradition of the subcontinent against others that have survived or grown up after the conquest then pays attention to those poets who, from Independence, have striven to express a specifically American moral and geographical identity. Dr Brotherson focuses on Modernismo, or the 'coming of age' of poetry in Spanish America and Brazil, and the importance of the movements associated with it. He considers César Vallejo and Pablo Neruda, probably the greatest of the selection, Octavio Paz, and modern poets who have reacted differently to the idea that Latin America might now be thought to have not just a geographical but a nascent political identity of its own. Poems are liberally quoted, and treated as entities in their own right.
"In this book, scholar Thorpe Running shows that a skeptical approach to both language and poetry places eight poets from three countries in Latin America within a strain of poetry prefigured by Stephane Mallarme." "Octavio Paz, Jorge Luis Borges, Roberto Juarroz, Alejandra Pizarnik, Alberto Girri, Juan Luis Martinez, Gonzalo Millan, and David Huerta span three different generations. In addition to their age and geographical differences, their poetry bears no obvious similarities. All eight, however, are poetas pensantes, or thinking poets, and underlying the work of these probing writers is the disturbing question: Does language do what it is supposed to do? The answer is negative for all these poets who see their poems as being made up of words that don't work."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved