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Journalist, historian, anthropologist, art critic, and creative writer, Anita Brenner was one of Mexico's most discerning interpreters. In this book, her daughter, Susannah Glusker, traces Brenner's intellectual growth and achievements from the 1920s through the 1940s. This intellectual biography brings to light a complex, fascinating woman who bridged many worlds--the United States and Mexico, art and politics, professional work and family life.Journalist, historian, anthropologist, art critic, and creative writer, Anita Brenner was one of Mexico's most discerning interpreters. Born to a Jewish immigrant family in Mexico a few years before the Revolution of 1910, she matured into an indepen...
This intellectual biography brings to light a complex, fascinating woman who bridged many worlds--the United States and Mexico, art and politics, professional work and family life.
“100 pages of text and 184 historical news photographs . . . This is the Mexican Revolution in its drama, its complexity, its incompleteness.” —Bertram D. Wolfe The Mexican Revolution began in 1910 with the overthrow of dictator Porfirio Díaz. The Wind That Swept Mexico, originally published in 1943, was the first book to present a broad account of that revolution in its several different phases. In concise but moving words and in memorable photographs, this classic sweeps the reader along from the false peace and plenty of the Díaz era through the doomed administration of Madero, the chaotic years of Villa and Zapata, Carranza and Obregón, to the peaceful social revolution of Cárd...
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Critical study ranges from pre-Columbian times through the 20th century to explore Mexico's intrinsic association between art and religion; the role of iconography in Mexican art; and the return to native values. Unabridged reprint of the classic 1929 edition. 118 black-and-white illustrations.
The Mexican Revolution—that violent, inchoate, never-quite-complete break with the past—opened a new era in Mexican art and letters now known as the “Mexican Renaissance.” In Mexico City, a coterie of artists including Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros explored how art could forward revolutionary ideals—and, in the process, spent countless hours talking, gossiping, arguing, and partying. Into this milieu came Anita Brenner, in her early twenties already trying her hand as a journalist, art critic, and anthropologist. Her journals of the period 1925 to 1930 vividly transport us to this vital moment in Mexico, when building a “new nation” was the goa...
Journalist, historian, anthropologist, art critic, and creative writer, Anita Brenner was one of Mexico's most discerning interpreters. Born to a Jewish immigrant family in Mexico a few years before the Revolution of 1910, she matured into an independent liberal who defended Mexico, workers, and all those who were treated unfairly, whatever their origin or nationality. In this book, her daughter, Susannah Glusker, traces Brenner's intellectual growth and achievements from the 1920s through the 1940s. Drawing on Brenner's unpublished journals and autobiographical novel, as well as on her published writing, Glusker describes the origin and impact of Brenner's three major books, Idols Behind Altars,Your Mexican Holiday, and The Wind That Swept Mexico. Along the way, Glusker traces Brenner's support of many liberal causes, including her championship of Mexico as a haven for Jewish immigrants in the early 1920s. This intellectual biography brings to light a complex, fascinating woman who bridged many worlds—the United States and Mexico, art and politics, professional work and family life.
Drawing on materials ranging from archaeological findings to recent studies of migration issues and drug violence, William H. Beezley provides a dramatic narrative of human events as he recounts the story of Mexico in the context of world history. Beginning with the Mayan and Aztec civilizations and their brutal defeat at the hands of the Conquistadors, Beezley discusses Spain's three-hundred-year colonial rule, foreign invasions and huge territorial losses at the hands of the United States, and conditions in Mexico today.
Carleton Beals was among America’s most distinctive foreign correspondents. His colorful, combatively critical reporting of U.S. intervention in Latin America had a fearless energy and authority that won him millions of readers. He interviewed the Nicaraguan rebel leader Sandino in the camp from which he fought thousands of U.S marines in 1928, covered two revolutions in Cuba (1933 and 1959), and interpreted the Mexican Revolution for American readers. Beals’s dispatches and features appeared regularly in the Nation, New Republic, Current History and the Progressive, and often in the New York Times. Time magazine called him “the best informed and the most awkward living writer on Latin...
A class of child artists in Mexico, a ship full of child refugees from Spain, classrooms of child pageant actors, and a pair of boy ambassadors revealed facets of hemispheric politics in the Good Neighbor era. Culture-makers in the Americas tuned into to children as producers of cultural capital to advance their transnational projects. In many instances, prevailing conceptions of children as innocent, primitive, dependent, and underdeveloped informed perceptions of Latin America as an infantilized region, a lesser "Other Americas" on the continent. In other cases, children's interventions in the cultural politics, economic projects, and diplomatic endeavors of the interwar period revealed that Latin American children saw themselves as modern, professional, participants in forging inter-American relationships.