Outlines an eight-week program of basic yoga postures, meditation, and breath awareness combined to promote physical, emotional, and psychological balance, and includes additional information for managing chronic pain and stress.
The internationally acclaimed author of The House on Mango Street and winner of the PEN/Nabokov Award for Achievement in International Literature gives us a deeply moving tale of loss, grief, and healing: a lyrically told, richly illustrated fable for grown-ups about a woman’s search for a cat who goes missing in the wake of her mother’s death. The word “orphan” might not seem to apply to a fifty-three-year-old woman. Yet this is exactly how Sandra feels as she finds herself motherless, alone like “a glove left behind at the bus station.” What just might save her is her search for someone else gone missing: Marie, the black-and-white cat of her friend, Roz, who ran off the day they arrived from Tacoma. As Sandra and Roz scour the streets of San Antonio, posting flyers and asking everywhere, “Have you seen Marie?” the pursuit of this one small creature takes on unexpected urgency and meaning. With full-color illustrations that bring this transformative quest to vivid life, Have You Seen Marie? showcases a beloved author’s storytelling magic, in a tale that reminds us how love, even when it goes astray, does not stay lost forever.
Yves Bonnefoy's book of poems, Beginning and End of the Snow followed by Where the Arrow Falls, combines two meditations in which the poet's thoughts and a landscape reflect each other. In the first, the wintry New England landscape he encountered while teaching at Williams College evokes the dance of atoms in the philosophical poem of Lucretius as well as the Christian doctrine of death and resurrection. In the second, Bonnefoy uses the luminous woods of Haute Provence as the setting for a parable of losing one's way.
Winner of the PEN Center USA Literary Award for Creative Nonfiction • From the celebrated bestselling author of The House on Mango Street: "This memoir has the transcendent sweep of a full life.” —Houston Chronicle From Chicago to Mexico, the places Sandra Cisneros has lived have provided inspiration for her now-classic works of fiction and poetry. But a house of her own, a place where she could truly take root, has eluded her. In this jigsaw autobiography, made up of essays and images spanning three decades—and including never-before-published work—Cisneros has come home at last. Written with her trademark lyricism, in these signature pieces the acclaimed author of The House on Mango Street and winner of the 2019 PEN/Nabokov Award for Achievement in International Literature shares her transformative memories and reveals her artistic and intellectual influences. Poignant, honest, and deeply moving, A House of My Own is an exuberant celebration of a life lived to the fullest, from one of our most beloved writers.
Literary Nonfiction. Sparked by the only two letters--out of over a hundred-that López Medin's mother saved from her own mother in Paraguay, THE POEM THAT NEVER ENDS weaves together poems and family photos to explore the fragmentation of time, memory, and mother-child relationships. Fragments, family hearing impairments, ripped-up letters, and living and writing between languages point to the inescapable holes in language, troubling the notion of a finite utterance. Layering elements of painting, cinema, and the elusive three dimensions of theater into the weave, THE POEM THAT NEVER ENDS traces a sequence of mothers-López Medin's mother, her mother's mother, herself as a mother-in a porous, restless gesture toward what's never fully grasped.
'We are all Zapatistas.' Subcomandante MarcosThis book began in 1994, when Zapatista Subcomandante Marcos replied to a 10-year-old girl from Mexico City who had sent him a drawing. The ensuing collection of related tales about the warrior-beetle, narrated by his pipe-smoking, black-ski-masked human squire is an extraordinary account for the general reader of current global political struggle.Marcos created a humorous fictitious character, Don Durito, a beetle with Quixotic fantasies which regards Marcos as his Sancho Panza. In this book, Marcos creates a new political genre, so-called "postdata": ironical commentaries which he affixes to his formal communiqués or declarations. In one of them he even offers to perform a striptease for government negotiators.'We are the product of 500 years of struggle...They [Mexican government] don't care that we have nothing, absolutely nothing, not even a roof over our heads; no land, no work, no health care, no food, no education... nor is there peace nor justice for ourselves and our children. But today, we say ENOUGH IS ENOUGH!' First EZLN declaration of war, December 31st 1993The Zapatistas are not Marxist, Rightists, or Anarchists. They seek not to replace one infrastructure of power with another, thus rejecting the normal goal of an armed struggle. They are armed but do not use violence as a tool to expand their aims. Although a localized rebellion, the Zapatistas are unified in a worldwide struggle that transcends the mainstream media's limited perspective through eloquent dictations distributed globally via the Internet.With a fresh perspective and tactics that have never been seen in relation to an armed insurrection, the EZLN (Zapatista National Liberation Army) has changed the definition of what revolution means. From the marginalized confines of the poorest region in Mexico, a new concept of revolutionary change with a new solution to societies woes is currently being proposed.
NATIONAL BESTSELLER • Every year, Ceyala “Lala” Reyes' family—aunts, uncles, mothers, fathers, and Lala's six older brothers—packs up three cars and, in a wild ride, drive from Chicago to the Little Grandfather and Awful Grandmother's house in Mexico City for the summer. From the celebrated bestselling author of The House on Mango Street and winner of the 2019 PEN/Nabokov Award for Achievement in International Literature. Struggling to find a voice above the boom of her brothers and to understand her place on this side of the border and that, Lala is a shrewd observer of family life. But when she starts telling the Awful Grandmother's life story, seeking clues to how she got to be so awful, grandmother accuses Lala of exaggerating. Soon, a multigenerational family narrative turns into a whirlwind exploration of storytelling, lies, and life. Like the cherished rebozo, or shawl, that has been passed down through generations of Reyes women, Caramelo is alive with the vibrations of history, family, and love. From the winner of the 2019 PEN/Nabokov Award for Achievement in International Literature.
Hugo's legs have run away. They simply didn't want to stay at home where they just lay about. Hugo's legs just wanted out! Hugo Holt's legs have run away and jumped on the bus! Hugo can't do without them. How on earth will he catch his runaway legs?
Twenty-one writers answer the call for literature that addresses who we are by understanding where we are--where, for each of them, being in some way part of academia. In personal essays, they imaginatively delineate and engage the diverse, occasionally unexpected play of place in shaping them, writers and teachers in varied environments, with unique experiences and distinctive world views, and reconfiguring for them conjunctions of identity and setting, here, there, everywhere, and in between. Contents I Introduction Writing Place, Jennifer Sinor II Here Six Kinds of Rain: Searching for a Place in the Academy, Kathleen Dean Moore and Erin E. Moore The Work the Landscape Calls Us To, Michael Sowder Valley Language, Diana Garcia What I Learned from the Campus Plumber, Charles Bergman M-I-Crooked Letter-Crooked Letter, Katherine Fischer On Frogs, Poems, and Teaching at a Rural Community College, Sean W. Henne III There Levittown Breeds Anarchists Film at 11:00, Kathryn T. Flannery Living in a Transformed Desert, Mitsuye Yamada A More Fortunate Destiny, Jayne Brim Box Imagined Vietnams, Charles Waugh IV Everywhere Teaching on Stolen Ground, Deborah A. Miranda The Blind Teaching the Blind: The Academic as Naturalist, or Not, Robert Michael Pyle Where Are You From? Lee Torda V In Between Going Away to Think, Scott Slovic Fronteriza Consciousness: The Site and Language of the Academy and of Life, Norma Elia Cantu Bones of Summer, Mary Clearman Blew Singing, Speaking, and Seeing a World, Janice M. Gould Making Places Work: Felt Sense, Identity, and Teaching, Jeffrey M. Buchanan VI Coda Running in Place: The Personal at Work, in Motion, on Campus, and in the Neighborhood, Rona Kaufman