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Poetry. Translated from the Spanish by Wendy Burk. "We hear a subtle call and response in Tedi's work. Private event and history and the sensual world prompt each other and choir to suggest not predictable epiphanies, but a congeries of provocative ambiguity that only coheres between light and the trace of a gesture...the falling and rising rhythms of death and desire...I've been waiting hungrily for this moment and whether or not you know it yet, you have too"--Forrest Gander. Tedi Lopez Mills is a poet, essayist and translator who was born in Mexico City.
From one of Mexico’s premier poets, the award-winning Tedi López Mills, a hybrid, genre-defying book of essays following the unusual and surprising complexities of everyday life. Through thirteen essays, Tedi López Mills explores the minutiae that at first glance go unnoticed. In “Improper Nouns,” she explores the history and destiny of an uncomfortable name, asking whether the way we name what surrounds us affects the fabric of its essence. In “How Time Passes, In Consciousness and Outside,” one’s individual experience of time splits from how it passes outside us. The following essays allude to conscience, pain, private histories, dreams, wisdom, and the most difficult of memories that build one’s own identity. Throughout, López Mills traces the trail of her own history, journeying into her own conscience and the mysteries of existence.
The poems in Against the Current expose a mind moving fast as water. Tedi López Mills renders a river as a cool but contaminated space, propelling its detritus through a hybrid rural/urban zone that is inhabited by allegory and rife with collision. As the poems swim upstream, they accrue the impurities and complicities of memory, embodied in the central figure of the brother who is also the other. Wendy Burk reproduces the baroque, occasionally frenetic rhythms of the abecedarian original with lucidity, in these poems that underscore that Mexico is defined by physical and philosophical contrast.
For millions of people around the world, Tibet is a domain of undisturbed tradition, the Dalai Lama a spiritual guide. By contrast, the Tibet Museum opened in Lhasa by the Chinese in 1999 was designed to reclassify Tibetan objects as cultural relics and the Dalai Lama as obsolete. Suggesting that both these views are suspect, Clare E. Harris argues in The Museum on the Roof of the World that for the past one hundred and fifty years, British and Chinese collectors and curators have tried to convert Tibet itself into a museum, an image some Tibetans have begun to contest. This book is a powerful account of the museums created by, for, or on behalf of Tibetans and the nationalist agendas that h...
“A Native American boy captures a hawk in the hope that he can also capture some sense of its ability to fly….Parnall’s sweeping black-and-white panoramas complement this spare, poetic text.” —School Library Journal A Caldecott Honor Book An ALA Notable Book
Like A New Sun: An Anthology of Indigenous Mexican Poetry features poetry from Huastecan Nahuatl, Isthmus Zapotec, Mazatec, Tzotzil, Yucatec Maya, and Zoque languages. Co-edited by Isthmus Zapotec poet Víctor Terán and translator David Shook, this groundbreaking anthology introduces six indigenous Mexican poets—three women and three men—each writing in a different language. Well-established names like Juan Gregorio Regino (Mazatec) appear alongside exciting new voices like Mikeas Sánchez (Zoque). Each poet's work is contextualized and introduced by its translator. Forward by Eliot Weinberger. Poets include Víctor Terán (Isthmus Zapotec), Mikeas Sánchez (Zoque), Juan Gregorio Regino (Mazatec), Briceida Cuevas Cob (Yucatec Maya), Juan Hernández (Huastecan Nahuatl), and Ruperta Bautista (Tzotzil).
The 1994 IUCN Red List of Threatened Animals was a major advance on its predecessors in clarity of layout and amount of information presented. This is taken further in the 1996 edition, which is also the first global compilation to use the complete new IUCN Red List category system.
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Equal parts personal memoir and literary history, Jazmina Barrera's "collection" of lighthouses explores the allure of loneliness and asks how we use it to create meaning
Mario Bellatin’s complex dreamscape, offered here in a brand-new translation, presents a timely allegorical portrait of the body and society in decay, victim to inscrutable pandemic. In a large, unnamed city, a strange, highly infectious disease begins to spread, afflicting its victims with an excruciating descent toward death, particularly unsparing in its assault of those on society's margins. Spurned by their loved ones and denied treatment by hospitals, the sick are left to die on the streets until a beauty salon owner, whose previous caretaking experience extended only to the exotic fish tanks scattered among his workstations, opens his doors as a refuge. In the ramshackle Morgue, victim to persecution and violence, he accompanies his male guests as they suffer through the lifeless anticipation of certain death, eventually leaving the wistful narrator in complete, ill-fated isolation.