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COMMON SENSE MEDIA SELECTION FOR TEENS BOOKLIST BEST OF THE YEAR NYPL TOP 10 OF THE YEAR HIPLATINA BEST OF THE YEAR Elizabeth Acevedo has said that reading Lorraine Avila feels like an “UPPERCUT to the senses.” You've never encountered an author with prose of this sensitivity and fire. Yolanda Alvarez is having a good year. She’s starting to feel at home at Julia De Burgos High, her school in the Bronx. She has her best friend Victory, and maybe something with José, a senior boy she’s getting to know. She’s confident her initiation into her family’s bruja tradition will happen soon. But then a white boy, the son of a politician, appears at Julia De Burgos High, and his vibes are off. And Yolanda’s initiation begins with a series of troubling visions of the violence this boy threatens. How can Yolanda protect her community, in a world that doesn’t listen? Only with the wisdom and love of her family, friends, and community – and the Bruja Diosas, her ancestors and guides. The Making of Yolanda la Bruja is the book this country, struggling with the plague of gun violence, so desperately needs, but which few could write. Here Lorraine Avila brings a story born from the intersection of race, justice, education, and spirituality that will capture readers everywhere. P R A I S E ★ “Inspiring… full of heart and spirituality.” —Shelf-Awareness (starred) ★ "A sharply rendered portrait...Avila's striking debut is not to be missed." —Booklist (starred) ★ “Unabashedly political…A remarkable, beautifully rendered debut.” —Kirkus (starred) ★ “Suspenseful…A boldly characterized protagonist whose intersectional identities as a queer and Deaf person of color informs her sharp-witted narrative voice and conviction around combatting racism within her community.” —Publishers Weekly (starred) ★ Heartbreaking… thoughtful and gripping… Avila has created a complex heroine whose identities as a Deaf and queer person of color give a layer of authenticity and intersectionality that will resonate with readers.” —School Library Journal (starred) “Impressive and urgent. [Avila] takes on racism, violence and injustice with a mix of magic, spirituality and care that few have attempted—and she’s captivatingly successful.” —Ms. Magazine “Explores gun violence, race, justice, education, and spirituality, which holds this book like a canopy, enclosing and exposing layers of Blackness and the growth and sense of belonging community can provide.” —Al Dia “A necessary story about gun violence, race, and education.” —Refinery29 “Gripping…skillfully depicts the reality of growing up as a Black Latinx teen in the midst of racial violence and social upheaval… Avila carefully demonstrates the tremendous strength in Yolanda’s community and the deep roots of her spiritual life, which keep her grounded as she steps into her full power.” —Horn Book "Written in stunning prose, this sharp examination of education, race, violence, and spirituality is a must-read." —The Mary Sue
Reading Lorraine Avila feels like an "UPPERCUT to the senses." --Elizabeth Acevedo Yolanda Alvarez is having a good year. She's starting to feel at home at Julia De Burgos High, her school in the Bronx. She has her best friend Victory, and maybe something with José, a senior boy she's getting to know. She's confident her initiation into her family's bruja tradition will happen soon. But then a white boy, the son of a politician, appears at Julia De Burgos High, and his vibes are off. And Yolanda's initiation begins with a series of troubling visions of the violence this boy threatens. How can Yolanda protect her community, in a world that doesn't listen? Only with the wisdom and love of her family, friends, and community -- and the Bruja Diosas, her ancestors and guides. The Making of Yolanda la Bruja is the book this country, struggling with the plague of gun violence, so desperately needs, but which few could write. Here Lorraine Avila brings a story born from the intersection of race, justice, education, and spirituality that will capture readers everywhere. P R A I S E Common Sense Media Selection for Teens ★ "Inspiring...full of heart and spirituality." --Shelf-Awareness (starred) ★ "A sharply rendered portrait...Avila's striking debut is not to be missed." --Booklist (starred) ★ "Unabashedly political...A remarkable, beautifully rendered debut." --Kirkus (starred) ★ "Suspenseful...A boldly characterized protagonist whose intersectional identities as a queer and Deaf person of color informs her sharp-witted narrative voice and conviction around combatting racism within her community." --Publishers Weekly (starred) ★ "A heartbreaking climax...thoughtful and gripping...[a] lyrical debut novel." --School Library Journal (starred) "Impressive and urgent. [Avila] takes on racism, violence and injustice with a mix of magic, spirituality and care that few have attempted--and she's captivatingly successful." --Ms. Magazine "Explores gun violence, race, justice, education, and spirituality, which holds this book like a canopy, enclosing and exposing layers of Blackness and the growth and sense of belonging community can provide." --Al Dia "A necessary story about gun violence, race, and education." --Refinery29 "Gripping...skillfully depicts the reality of growing up as a Black Latinx teen in the midst of racial violence and social upheaval... Avila carefully demonstrates the tremendous strength in Yolanda's community and the deep roots of her spiritual life, which keep her grounded as she steps into her full power." --Horn Book "Written in stunning prose, this sharp examination of education, race, violence, and spirituality is a must-read." --The Mary Sue
Richard Delgado is University Professor at Seattle University Law School. --
While it is rare for a poet to become a cultural icon, Julia de Burgos has evoked feelings of bonding and identification in Puerto Ricans and Latinos in the United States for over half a century. In the first book-length study written in English, Vanessa Pérez-Rosario examines poet and political activist Julia de Burgos's development as a writer, her experience of migration, and her legacy in New York City, the poet's home after 1940. Pérez-Rosario situates Julia de Burgos as part of a transitional generation that helps to bridge the historical divide between Puerto Rican nationalist writers of the 1930s and the Nuyorican writers of the 1970s. Becoming Julia de Burgos departs from the prevailing emphasis on the poet and intellectual as a nationalist writer to focus on her contributions to New York Latino/a literary and visual culture. It moves beyond the standard tragedy-centered narratives of de Burgos's life to place her within a nuanced historical understanding of Puerto Rico's peoples and culture to consider more carefully the complex history of the island and the diaspora. Pérez-Rosario unravels the cultural and political dynamics at work when contemporary Latina/o writers and artists in New York revise, reinvent, and riff off of Julia de Burgos as they imagine new possibilities for themselves and their communities.
Mexican cinema has largely been overlooked by international film scholars because of a lack of English-language information and the fact that Spanish-language information was difficult to find and often out of date. This comprehensive filmography helps fill the need. Arranged by year of release and then by title, the filmography contains entries that include basic information (film and translated title, production company, genre, director, cast), a plot summary, and additional information about the film. Inclusion criteria: a film must be a Mexican production or co-production, feature length (one hour or more, silent films excepted), fictional (documentaries and compilation films are not included unless the topic relates to Mexican cinema; some docudramas and films with recreated or staged scenes are included), and theatrically released or intended for theatrical release.
AfroLatinas as a subject of scholarship are woefully underrepresented, and this edited volume, AfroLatinas and LatiNegras: Culture, Identity, and Struggle from an Intersectional Perspective, offers an important and timely intervention. The consistent attention to AfroLatinas’ agency across all the chapters is empowering and attentive to the difficult circumstances of asserting that agency, and to the tremendous breadth of what agency can look like. The authors argue for the analytical power of the concept of Intersectionality while considering the hegemonic pressures on AfroLatinidad and the essentializing moves that an intersectional approach enables: evading, overthrowing, and resisting systems of power. Through the study of multiple cultural expressions of Blackness, such as photography, colonial inquisition records, dance, music, fiction, non-fiction, poetic memoir, and religious expression, and throughout different region of the Americas, the chapter contributors of this book consider the relationship that social and historical processes, such as sovereignty and colonialism, have on narrative and cultural production. Rosita Scerbo, Concetta Bondi, and the contributors acknowledge that racial and gender equity cannot exist without Intersectionality, and the inclusion of activist voices broadens this volume's reach and links theory to praxis.
Includes section "Who's who in British films and television" (varies)
Vols. for 1969- include ACTFL annual bibliography of books and articles on pedagogy in foreign languages 1969-