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"On the street with gangs in three world cities - Chicago, Rio de Janeiro, and Capetown - Hagedorn discovers that many of them have institutionalized as a strategy to confront a hopeless cycle of poverty, racism, and oppression. The mhilistic appeal of gangsta rap and its ethic of survival "by any means necessary," he argues, provides vital insights into the ideology and persistence of gangs around the world. Proposing how gangs can be encouraged to overcome their violent tendencies, Hagedorn appeals to community leaders to use the urgency, outrage, and resistance common to both gang life and hip-hop to bring gangs into broader movements for social justice."--BOOK JACKET.
"Al otro lado de la vida", es una emocionante historia de amor, atrapada en el escalofriante escenario de un hogar mancillado por la crueldad y la cobardía de un hombre que maltrata a su esposa. Ella se mueve al límite, y oscila entre la razón y la sinrazón, la cordura y la locura, en un dramático esfuerzo por torcer las líneas del destino. De la mano de sus personajes, el lector podrá vivir aventuras inolvidables, nutridas de una vibrante intriga y pasión, con lo que consigue transmitir al lector todo su realismo. En ella se muestran además escenarios muy distintos al del hogar, destacando entre ellos aventuras en África y en París, entre otros.
"The southerly drive from Austin to Karnes City, Texas, takes about two hours. The first half-hour or so is on Interstate 35, traveling past car dealerships, fast food restaurants, and outlet malls. Leaving I-35 around about San Marcos, you take State Route 123 past front yards, farms, ranches, and "the graveyards of rusted automobiles," as Johnny, Arlo, and Willie sang. Small towns along the way are steeped in Texas history. One of them is Geronimo, known for its annual barbecue and chili cook-off. Then comes Seguin, established in 1838, once a frontier stop for the then-twelve-year-old Texas Rangers patrolling a three-county area. After Seguin, you go past Stockdale which describes itself as a "friendly little town" and host to the annual"--
Y todos eramos actores, un siglo de luz y sombra nos sumerge en una doble historia de amor, una de emotiva y humana dimension entre nuestro heroe y La Bella entre las bellas; y otra, sublime y tragica, entre un recio, varonil y enorme camion frances de 36 toneladas y un fragil y coqueto auto dorado, al mas puro y chabacano gusto narco, que sin rumbo deambulaban transportando actores y viejos decorados por los escarpados caminos de la cordillera de los Andes desde Buenos Aires, Argentina, hasta Santa Marta, Colombia.Una historia que como los amores se desarrolla entre la comedia italiana y la tragedia griega al recorrer un siglo herido mostrando la belleza de su piel y el hedor de sus heridas.Relata la epopeya de un hombre-testigo-actor-aventurero que sonriendo cruzo sin ser visto un siglo tormentoso en el que por haber visto lo que no debio ver, y saber que no lo vio todo, fue condenado a desaparecer de la historia escrita en blanco y negro, la lineal e insipida que exige tomar partido, aquella que busca reemplazar los barrotes de hierro de la celda por barrotes de deslucidos parlamentos destinados a encerrar el pensamiento y desterrar la voz discordante.Ajada historia de falsos decorados de carton piedra que quieren ocultar la realidad olvidando que en aquella epoca no habia espectadores, que todos eramos actores, olvidando que la razon de ser del actor es morir para renacer sobre otro escenario en la piel de otro personaje ocultandose asi de los inquisidores para, riendose, contrastar la belleza y el hedor de un siglo de luz y sombra. !Oh dioses, tened piedad de mi, dadme la fuerza necesaria para inmolarme y renacer en la palabra! y a vosotros, lectores, les pido que me acompanen por los espirales de vida y de muerte hasta desaparecer en el ultimo escalon de la obra cuando libres podran escoger el papel que les corresponda.La prosa traviesa, el verso herido, la imagen cinematografica, la replica insolente, el viaje, la autobiografia y la ficcion se entremezclan en Y todos eramos actores recuperando la riqueza perdida en la escritura, aquella que Enrique Vila-Matas imaginara para el futuro de la literatura y del libro, como lo dijera en la FIL de Guadalajara:"e;Pensaba que en este siglo se mezclarian la autobiografia, el diario de viajes y la ficcion. Pensaba que ibamos a una literatura mixta donde los limites se difuminarian, pensaba que la accion se difuminaria en favor del pensamiento"e;... "e;Luego las cosas se torcieron. La industria editorial esta erradicando de la literatura todo aquello que nos quiere hacer creer que es demasiado pesado o que va demasiado cargado de sentido. El panorama desde el punto de vista literario es desolador"e;.Desolador, a menos que se escoja la curva equivocada, la mas peligrosa y por ello la mas excitante y hermosa, rechazando los derroteros que la industria editorial corporativa nos quiere imponer a usted como lector y a mi como escritor, y escojamos libremente un mundo editorial en el que el yo, lector y el yo, escritor, en la diversidad, podamos amarnos.De Y todos eramos actores:Dos dias mas tarde levantamos la huelga de hambre, se habia encontrado una salida al laberinto, faltaba solamente despejar las vias para alcanzar esa salida, en Colombia nada es facil, un si es un no y en el mejor de los casos un quizas; un silencio es un grito y en ese espacio nos habian permitido desplazarnos, se regresaba a las costumbres milenarias, a las primeras civilizaciones: a los locos y los juglares se les respeta hermano, en ellos somos, en ellos permanece nuestra memoria.*Rompio las fronteras, el director no esta hablando de Colombia.*Y nosotros no estamos hablando de nuestros muertos; nuestras masacres son sus masacres, nuestros laberintos no tienen salida.El mar nuevamente me ofrecia una salida.*Entrada, entrada, no salida. Hay algunos que nunca aprenden.
Translations (from both Galician and Spanish) of more than 100 poems by one of the outstanding poets of 19th-century Spain. De Castro's (1837-1885) poetry, often compared to that of Emily Dickinson, is characterized by an intimate lyricism, simple diction, and innovative prosody. Includes a critical introduction, notes to the translations, and two of the poet's own autobiographical prologues. Paper edition (unseen), $16.95. Annotation copyrighted by Book News, Inc., Portland, OR
This book provides an analytical framework for understanding how the concept of quality peace can be used to evaluate post-conflict peacebuilding, using social science, statistics, and case studies. Including contributions from more than 20 researchers and practitioners, it argues that the quality of the peace in a post-conflict state relates to the extent to which peace accords are implemented, the agreed-upon mechanism for the non-violent resolution of the conflict, and the available social space for civil and political actors. To arrive at the concept of 'quality peace', the authors evaluate the existing literature and identify a lack of a satisfactory means of measuring outcomes, and consequently how these might be researched comparatively. The volume problematizes the 'quality peace' concept as a way to understand the origins of armed conflict as well as problems deriving from the conflict dynamics and the need for social, political, and economic changes in the post-conflict periods. The book emphasizes five dimensions as crucial for quality peace in a post-accord society. Negotiations and agreements not only aim at avoiding the return of war but also seek to: (1) promote reconciliation, (2) develop mechanisms for resolving future disputes, (3) provide for reliable security, (4) open economic opportunities for marginalized segments of the population, and (5) generate space for civil society. These five dimensions together provide for quality peace after war. They are studied in the context of internal armed conflicts in which multiple parties have signed a peace agreement. This book will be of great interest to students of peace and conflict studies, civil wars, global governance, security studies, and International Relations in general.
As a young boy, Otilio Quintero lived with his family in abject poverty in a labor camp in California’s San Joaquin Valley. Later, they moved to a housing project that exposed him to the madness of violence. Despite his difficult childhood, he managed to go to college. But more important to his development was a trip to Mexico in which he was taken in and taught by the Mayan Chol people. In his memoir, Quintero writes he found his calling at an indigenous ceremony during The Longest Walk, a 3,000-mile march across the country—from Alcatraz Island in San Francisco to Washington, DC—in 1978 by Native Americans to protest federal attacks on their way of life. The marchers carried the sacred pipe to the nation’s capital and ultimately legislative bills detrimental to indigenous people were defeated. His life took a dramatic turn when he found himself in a maximum-security prison facing a possible 20-year sentence! Through a miracle of faith and hope, Quintero escaped prison and began teaching farmworkers at a community college. He would go on to become a leader in the movement against gang violence, joining forces with organizations such as Barrios Unidos and Homies Unidos. He worked alongside the likes of Cesar Chavez, Harry Belafonte and Tom Hayden, and his efforts to save lives took him to El Salvador, Nicaragua and Venezuela. This compelling read exemplifies the need to make change within before attempting to change the world around us, and Quintero contends the challenges of the current times require our awakening now.
An ethnographic analysis of the purported transnational gang crisis between the United States and El Salvador, based on extensive research in Los Angeles and San Salvador.