In Vienna, a woman parlays her gift for seeing the future into a fortunetelling position with a wealthy family. In Geneva, an ambulance driver and his wife take in the lonely, apparently dying ex-President of a Caribbean country, only to discover that his political ambition is very much intact. In these twelve masterful short stories about the lives of Latin Americans in Europe, García Márquez conveys the peculiar amalgam of melancholy, tenacity, sorrow, and aspiration that is the émigré experience.

    A leading figure in the movement known as modernismo, Darío created the modern Spanish lyric and permanently altered the course of Spanish poetry. Yet while his output has inspired a great deal of critical analysis and a scattering of translations, there has been, until now, no complete English translation of any of his books of poetry. This bilingual edition of Darío’s 1905 masterpiece, Cantos de vida y esperanza, fills a crucial gap in Hispanic and world literature studies. Will Derusha and Alberto Acereda have provided not only an elegant English translation of Darío’s work but also an authoritative version of the original Spanish text. Written over the course of seven years and in many locales in Latin America and Europe, the poems in Cantos de vida y esperanza reflect both Darío’s anguished sense of modern life and his ecstatic visions of transcendence, freedom, and the transformative power of art. They reveal Darío’s familiarity with Spanish, French, and English literature and the wide range of his concerns—existential, religious, erotic, and socio-political. Derusha and Acereda’s translation renders Darío’s themes with meticulous clarity and captures the structural and acoustic dimensions of the poet’s language in all its rhythmic sonority. Their introduction places this singular poet—arguably the greatest to emerge from Latin America in modern literature—and his best and most widely known work in historical and literary context. An extensive glossary offers additional information, explaining terms related to modernismo, Hispanic history, mythological allusions, and artists and writers prominent at the turn of the last century.

    An International Geographic expedition is headed to the dangerous, remote wilds of South America, on a mission to document the legendary Yeti of the Amazon known as the Beast.But there are many secrets hidden in the unexplored wilderness, as Alex and his new friend Nadia soon discover. Drawing on the strength of their spirit guides, both young people are led on a thrilling and unforgettable journey to the ultimate discovery. . . .

    It is the story of an ignorant Castillian peasant and multiple murderer, and it tells of the savage impulses behind his crimes and his redeeming characteristics.

    As 1990 Nobel Laureate Octavio Paz makes clear in his book-length study, Hieroglyphs of Desire (translated by Esther Allen), Villaurrutia is a major poet of desire whose beloved is the death we live each day. His poems define life between the nocturnal and diurnal and have taken on added poignancy as uncanny prophecies of individual lives in the age of the AIDS epidemic.

    An adaptation of the ballad singing culture of the gaucho minority that saw its way of life threatened by social and political changes of the 19th century.

    But when he admits his deception, the countess is faced with a social dilemma. A painful and hilarious comedy for anyone who has ever fallen in love with someone they shouldn’t have fallen in love with, The Dog in the Manger was part of the Royal Shakespeare Company’s acclaimed Spanish Golden Age Season in 2004.

    Bellatin’s work, Beauty Salon is pithy, allegorical and profoundly disturbing, with a plot that evokes The Plague by Camus or Blindness by José Saramago."--New York Times"Including a few details that may linger uncomfortably with the reader for a long time, this is contemporary naturalism as disturbing as it gets."--BooklistA strange plague appears in a large city. Rejected by family and friends, some of the sick have nowhere to finish out their days until a hair stylist decides to offer refuge. He ends up converting his beauty shop, which he’s filled with tanks of exotic fish, into a sort of medieval hospice. As his “guests” continue to arrive and to die, his isolation becomes more and more complete in this dream-hazy parable by one of Mexico’s cutting-edge literary stars.Mario Bellatin, the author of numerous short novels, was born in Mexico City in 1960. In 2000, Beauty Salon was nominated for the Médicis Prize for best novel translated into French. This is its first translation into English.

    "Unusual Occupations," the second chapter, describes the obsessions and predilections of the narrator's family, including the lodging of a tiger-just one tiger- "for the sole purpose of seeing the mechanism at work in all its complexity." Finally, the "Cronopios and Famas" section delightfully characterizes, in the words of Carlos Fuentes, "those enemies of pomposity, academic rigor mortis and cardboard celebrity-a band of literary Marx Brothers."

    Written at mid-ninteteenth century this work expresses a method of believable representation -non-biased and objective- of the real world, based upon a careful observation of reality; a censoring and critical attention of the Ecuadorian social life in his times. >From that standpoint and through techniques he employed, Riofrio placed his novel within the leading movement in Europe -France- after 1840: Realism. He appears as a writer well versed in in the latest knowledges, both cultural and scientific, and as a forefront scholar due to the use of realistic techniques and procedures; he represents, through narrative space and time, cultural, geographic, racial and gender issues that transform Rosaura, the main character, in zones of opposition, ambiguity and exile, demonstrating that she understands her society's structure and how it works. This leads his readers into sharing the the interpretative process of the character, and to reach the same understanding. Following Balzac, Riofrio is a realist well aware of his limits; he also depicts what molds, controls and limits narrative: history, economy, psicology and other precepts considered universal at writing time. The narration therefore shows the Ecuadorean historic and cultural moment, along cientific, literary and cultural knowledge of European origin. In this way Riofrio delves through his fiction into a zone untread both by his connationals and by many Latin Americans of his times. The new democratic ideas stimulate in him a wider scope from which he portraits the dominant strains of his society, including it's ill-understoodmorals and yesterday's ideas that constrain thought and stagnate the nation's development; by doing so he drives the reader into considering the relationships between classes and genders, and subsequent behaviours. To read La Emancipada is to perceive a close enough version of the real ninteenth century society, and a way of having a direct experience of it. In this edition profesor Flor Marma Rodrmguez-Arenas Licenciada, Universidad Pedagsgica Nacional, and Postgrado: Instituto Caro y Cuervo (Bogota, Colombia), M.A: The University of Michigan (Ann Arbor, USA), Ph.D.: The University of Texas (Austin, USA). Professor: Colorado State University (USA)] establishes the relationships between discursive formation and societal structures. The concepts of class, gender and ethnicity are systematically associated with levels and types of discourse used in narrative and the relations among story, teller, and audience. Also, speech acts and other textual strategies are incorporated into their social, political and cultural contexts in order to demonstrate the powers of dispersion and transformation, the violent impact of ignorance, and the social abuse that different levels of society, especially women, and indigenous peoples, experienced in a historical moment in Ecuador during the 19th century.

    Social protest and poetry; reality and myth; nostalgia for an uncorrupted, golden past; sensual human enjoyment of the present; 'magic' rather than lineal time, and, above all, a tender, compassionate love for the living, fertile, wondrous land and the struggling, hopeful people of Guatemala.—Saturday Review • Winner of the 1967 Nobel Prize for Literature

    Ostensibly a biography of the gaucho barbarian Juan Facundo Quiroga, Facundo is also a complex, passionate work of history, sociology, and political commentary, and Latin America's most important essay of the nineteenth century.

    Later published as a book, Una excursion a los indios ranqueles constitutes one of the few literary works that presents a vivid and testimonial account of a peaceful encounter between the native inhabitants of the South and those who consider themselves to be representatives of European civilization and of the Argentina of the future.Esteemed for its humor and narrative originality, Lucio V. Mansilla's Una excursion a los indios ranqueles is comparable to Sarmiento's Facundo and the two complement each other. Mansilla's book offers penetrating observations about the fundamental aspects of the confrontation between "civilization and barbarism," as well as about immigration, racial and ethnic diversity, private property ownership and land tenure. Juan Manuel de Rosas had dominated a large part of the country between 1829 and 1852 and despite having led successful expeditions against the indigenous frontier populations, the situation of the "Indian question" after his fall from power was a problematic one.In 1869, after a peace treaty was signed, Mansilla was sent to the tense frontier zone on a fact-finding mission. Colonel Mansilla, an experienced and cultured aristocrat, as well as a nephew of Rosas' (which he wrote "Rozas), was an exception in his era for his advocacy of an open dialogue as the best solution for the "Indian problem." Eventually the peaceful treaty he sought with the Ranqueles was rejected by the government, which gradually established policies of ethnic cleansing and land expropriation.Mansilla, with subtle humor, titled his expedition an "excursion," elegantly minimizing the dangers it entailed and avoiding any allusion to his disobedience to orders. During the trip Mansilla wrote a series of letters to a friend which were later published in La Tribuna of Buenos Aires. His detailed observations offer, besides a sharp-eyed and amusing commentary, quantities of ethnographic information, particularly valuable since shortly after that the majority of indigenous people in the south of Argentina were exterminated or assimilated.This book, as well as his participation in political and social events, established Lucio V. Mansilla as one of the dominating figures of the "Generation of 1880," which is so important in the literary and intellectual development of modern Argentina. This edition, by Saul Sosnowski, is an updated version of the text published by Biblioteca Ayacucho in 1984, to which he has added many very useful footnotes that aid in fuller comprehension of the text."

    The narrator, unable to stop himself, tries to track Ruiz-Tagle down, and sees signs of his activity over and over again. A corrosive, mocking humor sparkles within Bolaño's darkest visions of Chile under Pinochet. In Bolaño's world there's a big graveyard and there's a big graveyard laugh. (He once described his novel By Night in Chile as "a tale of terror, a situation comedy, and a combination pastoral-gothic novel.")Many Chilean authors have written about the "bloody events of the early Pinochet years, the abductions and murders," Richard Eder commented in the The New York Times: "None has done it in such a dark and glittering fashion as Roberto Bolaño."

    Rafael Trujillo, the depraved ailing dictator whom Dominicans call the Goat, controls his inner circle with a combination of violence and blackmail. In Trujillo's gaudy palace, treachery and cowardice have become the way of life. But Trujillo's grasp is slipping away. There is a conspiracy against him, and a Machiavellian revolution already underway that will have bloody consequences of its own. In this 'masterpiece of Latin American and world literature, and one of the finest political novels ever written' ("Bookforum"), Mario Vargas Llosa recounts the end of a regime and the birth of a terrible democracy, giving voice to the historical Trujillo and the victims, both innocent and complicit, drawn into his deadly orbit.