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This work demonstrates that twentieth-century Nicaraguan poetry can not be comprehended in its fullest dimension without an understanding of the literary traditions of France and the United States. Ever since Ruben Dario established Hispanic America's literary independence from Spain in the nineteenth century with his modernista revolution, poets in Nicaragua actively have engaged in a dialogue with the works of French and North American authors as a means of assimilating and transforming them and thereby inventing a profoundly Nicaraguan literary identity. This process has resulted in what might be called a double genealogy in Nicaraguan poetry: certain poets attracted to the alchemical properties of the poetic word and a transcendent, mythic, meta-reality seem to have descended from French literary forebears; others, interested in an expansive, poeticized version of history and verisimilitude, have roots that might be traced to North American soil. This division is a provisional, experimental means of grouping Nicaraguan poets based not on the traditional compartmentalization of literary generations, but on the "family resemblances" of poetic affinities. Presented here is an effective analysis of the "familial" nature of the Nicaraguan poets achieving their own literary independence by taking into account socio-political and historical considerations, common literary themes, as well as the intertextual relations that form the basis of international literary dialogues. This rigorous, but flexible, approach to modern Nicaraguan poetry enables the reader to accompany the poets on their journeys toward God and the end of the world; into a timeless Nicaraguan landscape invaded by U.S. Marines; beyond a contemporary urban portrait of Los Angeles; through the horrifying European battlefields of World War I and the trenches of Nicaragua's revolution against the Somoza dictatorship. The English-speaking reader probably will be unfamiliar with most of the seven preeminent Nicarguan poets whose works are the subject of this book, but it is hoped that the reader will realize that the poetry of Nicaraguans Alfonso Cortes, Salomon de la Selva, Jose Coronel Urtecho, Pablo Antonio Cuadra, Joaquin Pasos, Carlos Martinez Rivas, and Ernesto Cardenal is worthy of serious study. Furthermore, the poems of these authors take on a richer meaning when they are studied as co-presences in relation to certain texts by Baudelaire, Rimbaud, Mallarme, and Supervielle, or - in an "American" context - by poets such as Whitman, Pound, Eliot, and Masters. A relatively small country with a rich, diverse tradition in poetry, Nicaragua has maintained high literary standards generation after generation and has produced poets of a world-class stature whose time has come for greater recognition.
Not a primer in aesthetics and revolution nor in Nicaraguan poetry, but rather a theoretical and sociohistorical intervention on aesthetics, revolution, and Marxism revised from its presentation as the author's doctoral dissertation (U. of Washington, 1990). Assumes some familiarity with the histori
These poems were collected and edited at Solentiname in Nicaragua in 1977 by the Venezuelan poet and workshop originator Mayra Jimenez. The Solentiname colony was established on an island at the southern end of Lake Nicaragua in 1965. Father Ernesto Cardenal lived there for 12 years celebrating the Mass, teaching the Gospel, and encouraging the islanders to create paintings and poetry. Then came the Sandinista revolution, in which Father Cardenal participated. The poems written by the children and adults of Solentiname were saved, collected, and finally published in Managua in 1980. Father Ernesto Cardenal decided in the middle 1970s that revolution in Nicaragua could not be peacefully achieved. As a result, he occupied a difficult vocation, as priest, poet, and revolutionary. Eventually, with the success of the revolution, he was appointed Minister of Culture in 1979.
Together with his brother Humberto, Daniel Ortega Saavedra masterminded the only victorious Latin American revolution since Fidel Castro's in Cuba. Following the triumphant 1979 Nicaraguan revolution, Ortega was named coordinator of the governing junta, and then in 1984 was elected president by a landslide in the country's first free presidential election. The future was full of promise. Yet the United States was soon training, equipping, and financing a counterrevolutionary force inside Nicaragua while sabotaging its crippled economy. The result was a decade-long civil war. By 1990, Nicaraguans dutifully voted Ortega out and the preferred candidate of the United States in. And Nicaraguans grew poorer and sicker. Then, in 2006, Daniel Ortega was reelected president. He was still defiantly left-wing and deeply committed to reclaiming the lost promise of the Revolution. Only time will tell if he succeeds, but he has positioned himself as an ally of Castro and Hugo Ch&ávez, while life for many Nicaraguans is finally improving. Unfinished Revolution is the first full-length biography of Daniel Ortega in any language. Drawing from a wealth of untapped sources, it tells the story of Nicaragua's continuing struggle for liberation through the prism of the Revolution's most emblematic yet enigmatic hero.
Cardenal, Apocalypse and Other Poems. Poems for revolution.
“A must-read for anyone interested in Nicaragua—or in the overall issue of social change.”—Margaret Randall, author of SANDINO'S DAUGHTERS and SANDINO'S DAUGHTERS REVISITED Sandinista is the first English-language biography of Carlos Fonseca Amador, the legendary leader of the Sandinista National Liberation Front of Nicaragua (the FSLN) and the most important and influential figure of the post–1959 revolutionary generation in Latin America. Fonseca, killed in battle in 1976, was the undisputed intellectual and strategic leader of the FSLN. In a groundbreaking and fast-paced narrative that draws on a rich archive of previously unpublished Fonseca writings, Matilde Zimmermann sheds new light on central themes in his ideology as well as on internal disputes, ideological shifts, and personalities of the FSLN. The first researcher ever to be allowed access to Fonseca’s unpublished writings (collected by the Institute for the Study of Sandinism in the early 1980s and now in the hands of the Nicaraguan Army), Zimmermann also obtained personal interviews with Fonseca’s friends, family members, fellow combatants, and political enemies. Unlike previous scholars, Zimmermann sees the Cuban revolution as the crucial turning point in Fonseca’s political evolution. Furthermore, while others have argued that he rejected Marxism in favor of a more pragmatic nationalism, Zimmermann shows how Fonseca’s political writings remained committed to both socialist revolution and national liberation from U.S. imperialism and followed the ideas of both Che Guevara and the earlier Nicaraguan leader Augusto César Sandino. She further argues that his philosophy embracing the experiences of the nation’s workers and peasants was central to the FSLN’s initial platform and charismatic appeal.
The most comprehensive selection of poems in English by Latin America's legendary poet-activist, Ernesto Cardenal.