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Seven Serpents and Seven Moons is set on the shores of Santorontón. This tropical village is inhabited by some exceptional beings: the vigorous, rough-hewn Father Cándido and his wry talking Jesus--a crucifix presented to him by pirates from out of the past; Colonel Candelario Mariscal, the despoiler who is said to be the son of the Devil and is seeking salvation through the honest love of the daughter of the witch doctor Bulu-Bulu; and Crisóstomo Chalena, the outsider who gains control of the town's roofs and rainwater and eventually the entire village. These and many other equally protean figures cross paths and swords as Santorontón is torn between the Evil One and the Crucified One. The story is invested with a pervading sense of magic and with political meaning as well. The fantastic microcosm of Santorontón illustrates both symbolically and literally many of the essential problems that bedevil Latin America.
Seven Serpents and Seven Moons is set on the shores of Santorontón. This tropical village is inhabited by some exceptional beings: the vigorous, rough-hewn Father Cándido and his wry talking Jesus--a crucifix presented to him by pirates from out of the past; Colonel Candelario Mariscal, the despoiler who is said to be the son of the Devil and is seeking salvation through the honest love of the daughter of the witch doctor Bulu-Bulu; and Crisóstomo Chalena, the outsider who gains control of the town's roofs and rainwater and eventually the entire village. These and many other equally protean figures cross paths and swords as Santorontón is torn between the Evil One and the Crucified One. The story is invested with a pervading sense of magic and with political meaning as well. The fantastic microcosm of Santorontón illustrates both symbolically and literally many of the essential problems that bedevil Latin America.
Gregory Rabassa's influence as a translator is incalculable. His translations of Gabriel Garcia Marquez's One Hundred Years of Solitude and Julio Cortazar's Hopscotch have helped make these some of the most widely read and respected works in world literature. (Garcia Marquez was known to say that the English translation of One Hundred Years was better than the Spanish original.) In If This Be Treason: Translation and Its Dyscontents Rabassa offers a cool-headed and humorous defense of translation, laying out his views on the art of the craft. Anecdotal, and always illuminating, If This Be Treason traces Rabassa's career, from his boyhood on a New Hampshire farm, his school days "collecting" languages, the two-and-a-half years he spent overseas during WWII, his travels, until one day "I signed a contract to do my first translation of a long work [Cortazar's Hopscotch] for a commercial publisher." Rabassa concludes with his "rap sheet," a consideration of the various authors and the over 40 works he has translated. This long-awaited memoir is a joy to read, an instrumental guide to translating, and a look at the life of one of its great practitioners.
Dragons are wily and wise creatures of vast intelligence and capriciousness and their dens reflect this. Herein lie seven dragon lairs and the serpents that inhabit them, following in the footsteps of the Seven Strongholds, Seven Cities, and Sacred Ground sourcebooks.
This book is a critical study of the work of Gregory Rabassa, translator of such canonical novels as Gabriel Garcìa Márquez's Cien años de soledad, José Lezama Lima's Paradiso, and Julio Cortàzar's Rayuela. During the past five decades, Rabassa has translated over fifty Latin American novels and to this day he is one of the most prominent English translators of literature from Spanish and Portuguese. Rabassa's role was pivotal in the internationalization of several Latin American writers; it led to the formation of a canon and, significantly, to the most prevalent image of Latin American literature in the world. Even though Rabassa's legacy has been widely recognized, the extent of his work's influence and the complexity of the sociocultural circumstances surrounding his practice have remained largely unexamined. In Gregory Rabassa's Latin American Literature: A Translator's Visible Legacy, María Constanza Guzmán examines the translator's conceptions about language, contextualizes his work in terms of the structures and conditions that have surrounded his practice, and investigates the role his translations have played in constructing collective narratives of Latin American literature in the global imaginary. By revisiting and historicizing the translator's practice, this book reveals the scale of Rabassa's legacy. The translator emerges as an active subject in the inter-American literary exchange, an agent bound to history and to the forces involved in the production of culture.