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Memoir of growing up in Mexico in the 1940s and 1950s by award-winning author."According to Soledad" gives voice to Katie Goodridge Ingram to tell the story of her bi-cultural childhood. She was born in Mexico City and was raised there and in Jalisco. Soledad speaks of being part American and part Mexican. She says: "My skin is white but my soul is brown." She knows city life with the family's multicultural and artistic friends. She also knows village life with no running water and no electricity. She feels like a hybrid but is intrigued by and devoted to her unusual immigrant parents who left the US to spend their lives in Mexico. Her father is a rare book dealer often away hunting for the find of a lifetime. Her mother is a designer with an adventurous spirit who learns to shoot a gun in order to protect their house from frequent burglaries. This story could be called "A border runs through it" to describe Soledad who manages two languages every day and is hyper-observant of the sometimes shocking differences among the Mexicans, Americans and foreigners in her life.Katie Goodridge Ingram was born in Mexico and lived there for many years, first in Mexico City and then in Ajijic, a village and artist colony on the shores of Lake Chapala in Jalisco. She wrote her first story when she was nine and has continued to write ever since. Much of her writing was influenced by the fact that, as a child of immigrants to Mexico, she felt neither completely Mexican nor fully foreign. In her articles for "Mexico City News" she followed two of her many interests: art and the cultural variety of people and villages in her area. In her gallery she exhibited the works of resident artists as well of visitors to the area and of newly discovered talent. When her children were small she co-founded a bilingual school with other parents. Her children are also bilingual and multi-cultural. Her poetry and short stories have appeared in a variety of anthologies, most recently in "SOLO NOVO: Psalms of Cinder and Silt." She is currently working on a novel set in the state of Michoacán.
Netflix’s series adaptation of One Hundred Years of Solitude premieres December 11, 2024! One of the twentieth century’s enduring works, One Hundred Years of Solitude is a widely beloved and acclaimed novel known throughout the world and the ultimate achievement in a Nobel Prize–winning career. The novel tells the story of the rise and fall of the mythical town of Macondo through the history of the Buendía family. Rich and brilliant, it is a chronicle of life, death, and the tragicomedy of humankind. In the beautiful, ridiculous, and tawdry story of the Buendía family, one sees all of humanity, just as in the history, myths, growth, and decay of Macondo, one sees all of Latin America. Love and lust, war and revolution, riches and poverty, youth and senility, the variety of life, the endlessness of death, the search for peace and truth—these universal themes dominate the novel. Alternately reverential and comical, One Hundred Years of Solitude weaves the political, personal, and spiritual to bring a new consciousness to storytelling. Translated into dozens of languages, this stunning work is no less than an account of the history of the human race.
The definitive tie-in to the CNN documentary series Latino in America, from former top CNN anchor and special correspondent Soledad O’Brien. Following the smash-hit CNN documentary Black in America, Latino in America travels to small towns and big cities to illustrate how distinctly Latino cultures are becoming intricately woven into the broader American identity. As she reports the evolution of Latino America, Soledad O’Brien explores how tens of millions of Americans with roots in 21 different countries form a community called “Latino” and recalls her own upbringing and what she’s learned about being a Latino in America.
Award-winning author Angie Cruz takes readers on a journey as one young woman must confront not only her own past of growing up in Washington Heights, but also her mother's. At eighteen, Soledad couldn't get away fast enough from her contentious family with their endless tragedies and petty fights. Two years later, she's an art student at Cooper Union with a gallery job and a hip East Village walk-up. But when Tía Gorda calls with the news that Soledad's mother has lapsed into an emotional coma, she insists that Soledad's return is the only cure. Fighting the memories of open hydrants, leering men, and slick-skinned teen girls with raunchy mouths and snapping gum, Soledad moves home to West 164th Street. As she tries to tame her cousin Flaca's raucous behavior and to resist falling for Richie—a soulful, intense man from the neighborhood—she also faces the greatest challenge of her life: confronting the ghosts from her mother's past and salvaging their damaged relationship. Evocative and wise, Soledad is a wondrous story of culture and chaos, family and integrity, myth and mysticism, from a Latina literary light.
In this innovative new study, Laura Halperin examines literary representations of harm inflicted on Latinas’ minds and bodies, and on the places Latinas inhabit, but she also explores how hope can be found amid so much harm. Analyzing contemporary memoirs and novels by Irene Vilar, Loida Maritza Pérez, Ana Castillo, Cristina García, and Julia Alvarez, she argues that the individual harm experienced by Latinas needs to be understood in relation to the collective histories of aggression against their communities. Intersections of Harm is more than just a nuanced examination of the intersections among race, ethnicity, class, gender, and sexuality. It also explores the intersections of deviance and defiance, individual and collective, and mind, body, and place. Halperin proposes that, ironically, the harmful ascriptions of Latina deviance are tied to the hopeful expressions of Latina defiance. While the Latina protagonists’ defiance feeds into the labels of deviance imposed on them, it also fuels the protagonists’ ability to resist such harmful treatment. In this analysis, Halperin broadens the parameters of literary studies of female madness, as she compels us to shift our understanding of where madness lies. She insists that the madness readily attributed to individual Latinas is entwined with the madness of institutional structures of oppression, and she maintains that psychological harm is bound together with physical and geopolitical harm. In her pan-Latina study, Halperin shows how each writer’s work emerges from a unique set of locales and histories, but she also traces a network of connections among them. Bringing together concepts from feminism, postcolonialism, illness studies, and ecocriticism, Intersections of Harm opens up exciting new avenues for Latina/o studies.
In Men, Mobs, and Law, Rebecca N. Hill compares two seemingly unrelated types of leftist protest campaigns: those intended to defend labor organizers from prosecution and those seeking to memorialize lynching victims and stop the practice of lynching. Arguing that these forms of protest are related and have substantially influenced one another, Hill points out that both worked to build alliances through appeals to public opinion in the media, by defining the American state as a force of terror, and by creating a heroic identity for their movements. Each has played a major role in the history of radical politics in the United States. Hill illuminates that history by considering the narratives produced during the abolitionist John Brown’s trials and execution, analyzing the defense of the Chicago anarchists of the Haymarket affair, and comparing Ida B. Wells’s and the NAACP’s anti-lynching campaigns to the Industrial Workers of the World’s early-twentieth-century defense campaigns. She also considers conflicts within the campaign to defend Sacco and Vanzetti, chronicles the history of the Communist Party’s International Labor Defense, and explores the Black Panther Party’s defense of George Jackson. As Hill explains, labor defense activists first drew on populist logic, opposing the masses to the state in their campaigns, while anti-lynching activists went in the opposite direction, castigating “the mob” and appealing to the law. Showing that this difference stems from the different positions of whites and Blacks in the American legal system, Hill’s comparison of anti-lynching organizing and radical labor defenses reveals the conflicts and intersections between antiracist struggle and socialism in the United States.
This book provides in-depth insights into the construction of the first road to reach riparian communities and the main access point to a national park in the Amazonian rain forest. It is based on an ethnographic investigation in Peru’s Manu Province in the Amazon, which explored diverse local attitudes towards the construction of a road in the overlapping buffer zone of two protected areas: the Manu National Park and the Amarakaeri Communal Reserve. The book reveals the applicability of Harvey and Knox’s concept of ‘enchantments of infrastructure’ in the case of first roads, but also makes accessible wider debates in political ecology such as territoriality and frontier development. The promise of first roads sparks feelings of aspiration and anticipation of the advent of development through speedy travel, economic connectivity and political integration. Yet these developments seldom take shape as expected. The author explores the perspectives, social dynamics and political maneuvers that influence first road building processes in the Amazon, which have applicability to experiences and strategies of road development elsewhere.
A comprehensive volume on the life and work of renowned Chicana author Sandra Cisneros. Sandra Cisneros (b. 1954), author of the acclaimed novel The House on Mango Street and a recipient of the National Medal of the Arts, a MacArthur “Genius Grant” and the PEN/Nabokov Award for International Literature, was the first Chicana to be published by a major publishing house. ¡Ay Tú! is the first book to offer a comprehensive, critical examination of her life and work as a whole. Edited by scholars Sonia Saldívar-Hull and Geneva M. Gano, this volume addresses themes that pervade Cisneros’s oeuvre, like romantic and erotic love, female friendship, sexual abuse and harassment, the exoticization of the racial and ethnic “other,” and the role of visual arts in the lives of everyday people. Essays draw extensively on the newly opened Cisneros Papers, housed in the Wittliff Collections at Texas State University, and the volume concludes with a new long-form interview with Cisneros by the award-winning journalist Macarena Hernández. As these essays reveal, Cisneros’s success in the literary field was integrally connected to the emergent Chicana feminist movement and the rapidly expanding Chicanx literary field of the late twentieth century. This collection shows that Cisneros didn’t achieve her groundbreaking successes in isolation and situates her as a vital Chicana feminist writer and artist.