"El Rayo de Luna" is one of his short stories.

    With determination and self-discipline he seizes opportunities of education and upward mobility, but struggles to keep his cultural identity alive through memories of his childhood. This sophisticated postcolonial text links language and character to reveal the social divisions, educational obstacles, and self-exploration of a struggling foreigner in the mid-20th century.

    The first published play by an African American writer, The Escape explored the complexities of American culture at a time when tensions between North and South were about to explode into the Civil War. This new volume presents the first-edition text of Brown’s play and features an extensive introduction that establishes the work’s continuing significance.The Escape centers on the attempted sexual violation of a slave and involves many characters of mixed race, through which Brown commented on such themes as moral decay, white racism, and black self-determination. Rich in action and faithful in dialect, it raises issues relating not only to race but also to gender by including concepts of black and white masculinity and the culture of southern white and enslaved women. It portrays a world in which slavery provided a convenient means of distinguishing between the white North and the white South, allowing northerners to express moral sentiments without recognizing or addressing the racial prejudice pervasive among whites in both regions.John Ernest’s introductory essay balances the play's historical and literary contexts, including information on Brown and his career, as well as on slavery, abolitionism, and sectional politics. It also discusses the legends and realities of the Underground Railroad, examines the role of antebellum performance art—including blackface minstrelsy and stage versions of Uncle Tom's Cabin—in the construction of race and national identity, and provides an introduction to theories of identity as performance.A century and a half after its initial appearance, The Escape remains essential reading for students of African American literature. Ernest's keen analysis of this classic play will enrich readers’ appreciation of both the drama itself and the era in which it appeared.The Editor: John Ernest is an associate professor of English at the University of New Hampshire and author of Resistance and Reformation in Nineteenth-Century African-American Literature: Brown, Wilson, Jacobs, Delany, Douglass, and Harper.

    He saw the beauty of the Peruvian landscape, as well as the grimness of social conditions in the Andes, through the eyes of the Indians who are a part of it. Ernesto, the narrator of Deep Rivers, is a child with origins in two worlds. The son of a wandering country lawyer, he is brought up by Indian servants until he enters a Catholic boarding school at age 14. In this urban Spanish environment he is a misfit and a loner. The conflict of the Indian and the Spanish cultures is acted out within him as it was in the life of Arguedas. For the boy Ernesto, salvation is his world of dreams and memories. While Arguedas' poetry was published in Quechua, he invented a language for his novels in which he used native syntax with Spanish vocabulary. This makes translation into other languages extremely difficult, and Frances Horning Barraclough has done a masterful job, winning the 1978 Translation Center Award from Columbia University for her efforts.

    Miguel León-Portilla had the incomparable success of organizing texts translated from Nahuatl by Ángel María Garibay Kintana to give us the The Aztec Account of the Conquest of Mexico: Indigenous people of Tenochtitlán, Tlatelolco, Texcoco, Chalco and Tlaxcala were formed about the struggle against the conquerors and the final ruin of the Aztec world.An account of the omens that announced the disaster, a description of Cortes' progress, a chronicle of the heroic battle of the ancient Mexicans in defense of their culture and of their own lives, a civilization that was lost forever, a great epic poem of the origins of Mexican nationality, The Aztec Account of the Conquest of Mexico is already a classic book and an indispensable reading work.

    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.

    This comprehensive text presents a wide range of excerpts and opinions from the most significant Supreme Court cases and provides the contextual material students need to interpret their historical significance. The Sixth Edition adds material on dozens of important recent cases, current through June 2004, and features carefully updated and refined pedagogy.Author Biography: David M. O'Brien is Leone Reaves and George W. Spicer Professor of Government and Foreign Affairs at the University of Virginia, where he teaches the popular constitutional law course on which his book Constitutional Law and Politics (now in its Sixth Edition) is based. Professor O'Brien is a regular commentator on the Supreme Court's activities and rulings. He is the author of over fifteen books and regularly contributes op-ed pieces on the Court to the Los Angeles Times.

    Many people knew things about Sebastian Knight as a distinguished novelist, but probably fewer than a dozen knew of the two love affairs that so profoundly influenced his career, the second one in such a disastrous way. After Knight's death, his half brother sets out to penetrate the enigma of his life, starting with a few scanty clues in the novelist's private papers. His search proves to be a story of mystery and intrigue as any of his subject's own novels, as baffling, and, in the end, as uniquely rewarding.

    This work, overlooked or trivialized by critics over theyears, today is considered a revolutionary narrtive because in it the writer experiments with techniques that pre-announce the XX Century Vanguard writiers, and even contemporary post-modernism texts. This is a novel built upon symbols, impresionist and expresionist prose, full of visionary enunciations that depict the present and future of an off-balance world; and the fragile and inconstant experiences of our daily life. Marti, according to his own confession, wrote the novel originally under the title of Amistad Funesta (Regrettable Friendship) in seven days for a New York magazine. He was forced to follow the guidelines set by the magazine's director: there had to be lots of love; a death; many young women, no sinful passion; and nothing that parents and clergymen would reject. And it had to be Hispanic American. The Cuban confessed he disliked the narrative genre. But years afterwards he changed his mind and thought about a modified version of his novel, with a different title because he realized, after reading Harriet Beecher Stowe's Uncle Tom's Cabin and Helen Hunt Jackson's Ramona, that novels could be a powerful social and political vehicle. In Lucia Jerez many critics have preferred to see a fundamentally aesthetic creation, the fruit of the end of the XIX Century Modernist stylistic innovations. But today (re)reading, "under the surface" of the text, as Marti preferred, one can discover a contemporary narrative that explores the disconnections and annomalies of modern life. Inthe preliminary study to this text Prof. Ivan A. Schulman examines Jose Marti's stance with regard to novelistic narratives, explores Lucia Jerez's structure and style, and adds notes that contribute to a novel, in-depth comprehension of Marti's text."

     Sudden Death begins with a brutal tennis match that could decide the fate of the world. The bawdy Italian painter Caravaggio and the loutish Spanish poet Quevedo battle it out before a crowd that includes Galileo, Mary Magdalene, and a generation of popes who would throw Europe into the flames. In England, Thomas Cromwell and Henry VIII behead Anne Boleyn, and her crafty executioner transforms her legendary locks into the most sought-after tennis balls of the time. Across the ocean in Mexico, the last Aztec emperors play their own games, as conquistador Hernán Cortés and his Mayan translator and lover, La Malinche, scheme and conquer, fight and f**k, not knowing that their domestic comedy will change the world. And in a remote Mexican colony a bishop reads Thomas More’s Utopia and thinks that instead of a parody, it’s a manual.   In this mind-bending, prismatic novel, worlds collide, time coils, traditions break down. There are assassinations and executions, hallucinogenic mushrooms, utopias, carnal liaisons and papal dramas, artistic and religious revolutions, love stories and war stories. A dazzlingly original voice and a postmodern visionary, Álvaro Enrigue tells a grand adventure of the dawn of the modern era in this short, powerful punch of a novel. Game, set, match.

    Its popularity owes much to the lyricism of the prose, thepitch-perfect rendition of black vernacular English, and the memorable characters--most notably, Janie Crawford. Collecting the most widely cited and influential essays published on Hurston's classic novel over the last quarter century, this Casebook presents contesting viewpoints by Hazel Carby, Henry Louis Gates, Jr., Barbara Johnson, Carla Kaplan, Daphne Lamothe, Mary Helen Washington, and Sherley Anne Williams. The volume also includes a statement Hurston submitted to a reference book on twentieth-century authors in 1942. As it records the major debates the novel has sparked on issues oflanguage and identity, feminism and racial politics, A Casebook charts new directions for future critics and affirms the classic status of the novel.

    In Anthem, Rand examines a frightening future in which individuals have no name, no independence, and no values. Equality 7-2521 lives in the dark ages of the future where all decisions are made by committee, all people live in collectives, and all traces of individualism have been wiped out. Despite such a restrictive environment, the spark of individual thought and freedom still burns in him--a passion which he has been taught to call sinful. In a purely egalitarian world, Equality 7-2521 dares to stand apart from the herd--to think and choose for himself, to discover electricity, and to love the woman of his choice. Now he has been marked for death for committing the ultimate sin. In a world where the great "we" reign supreme, he has rediscovered the lost and holy word--"I."

    The lights on the street and in the houses against the black wetness, little unilluminating glints that might be painted on it. The town seems huddled together, cowering on a high tiny perch, afraid to move lest it topple into the wind.”The town is Horizon, the setting of Sinclair Ross’ brilliant classic study of life in the Depression era. Hailed by critics as one of Canada’s great novels, As For Me and My House takes the form of a journal. The unnamed diarist, one of the most complex and arresting characters in contemporary fiction, explores the bittersweet nature of human relationships, of the unspoken bonds that tie people together, and the undercurrents of feeling that often tear them apart. Her chronicle creates an intense atmosphere, rich with observed detail and natural imagery.As For Me and My House is a landmark work. It is essential reading for anyone who seeks to understand the scope and power of the Canadian novel.

    And survive she did, but not unscathed. This intimate narrative echoes the voice of the narrator's younger self, a sharp, sensitive girl keen to life's hardships.With bare language and smart humor, both delicate and unafraid, the narrator strings a strand of touching moments together to create a portrait of an unconventional childhood that crushed her, scarred her, mended her, tore her apart and ultimately made her whole.

    Pagden’s English translation has been prepared from a close examination of the earliest surviving manuscript and of the first printed editions, and he also provides a new introduction offering a bold and innovative interpretation of the nature of the conquest and Cortes’s involvement in it. J. H. Elliot’s introductory essay explains Cortes’s conflicts with the Crown and with Diego Velazquez, the governor of Cuba.“The definitive edition [of the letters] in any language. . . . The book is a ’must’ for all those who are seriously interested in this traumatic clash of civilizations and the consequences, both for good and ill, which ensued.”—C. R. Boxer, English Historical Review“One of the most fascinating Machiavellian documents to come out of the Renaissance.”—Carlos Fuentes, Guardian “[Pagden] provides us with two important innovations: the first reliable edition of the most important Spanish text . . . and annotations that draw on Pagden’s own profound knowledge of Mesoamerican cultures.”—Helen Nader, Sixteenth Century Journal