El pájaro escritor es único en su especie: se trata de un hombre diminuto que vive encerrado en una pajarera y se pasa el día, muy a su pesar, escribiendo. El pájaro escritor se compone de trece relatos de sorprendente factura: la conducta insensata de dos ancianos japoneses ante el desastre de Fukushima; un hombre que a todas horas escucha caer una gota y cuya mujer incuba un feto de dos cabezas; un niño que desaparece durante el juego del escondite; un barrendero que vive en el interior de una baldosa por temor a cruzar líneas en el suelo; un padre fallecido que se le aparece a su hijo en la forma de una ridícula..., en fin, mejor que lo lean. Ejemplos de personajes cotidianos o risibles, a los que les sucede por un momento algo extraordinario o simplemente extraño: el arte de la literatura lo transforma en una metáfora de sus vidas. El humor, a veces negro, pero siempre compasivo, está entretejido de forma inevitable con la tragedia o el drama, como nos demuestran estos relatos ingeniosos y de fácil lectura, aunque no simples. Son, muy al contrario, cuentos cargados de profundidad emocional y humana.
His exploration ship blasted from orbit, Terran scout Adam Reith is stranded on Tschai, a world colonized by three alien species -- the Chasch, the Dirdir, and the Wannek -- while the planet's original inhabitants, the mysterious Pnume, lurk underground. In the fourth and final book of the cycle, Reith's plans to leave Tschai are foiled by the treachery of Aila Woudiver, who delivers him into the clutches of the subterranean-dwelling Pnume. Reith escapes, and teaming with a young and reluctant Pnumekin woman, embarks on an odyssey through a somber labyrinth of tunnels and underworld waterways, to where his spaceship lies hidden. When his companion is captured by the Pnume, Reith must force a last, desperate bargain. Tschai is grandmaster Jack Vance at his unparalleled adventure-spinning peak. - Matt Hughes "The Pnume" is Book IV of the Tschai (Planet of Adventure) sequence, and Volume 37 of the Spatterlight Press Signature Series. Released in the centenary of the author's birth, this handsome new collection is based upon the prestigious Vance Integral Edition. Select volumes enjoy up-to-date maps, and many are graced with freshly-written forewords contributed by a distinguished group of authors. Each book bears a facsimile of the author's signature and a previously-unpublished photograph, chosen from family archives for the period the book was written. These unique features will be appreciated by all, from seasoned Vance collector to new reader sampling the spectrum of this author's influential work for the first time. - John Vance II
Monograph of the genus Pseuduvaria (Annonaceae) - taxnomic history, morphology and anatomy, distribution, taxonomy (keys, full synonymies, descriptions, maps), line drawings, color plates.
"A good story and first-rate social science."—New York Times Book Review. A sinisterly funny modern-day Through the Looking Glass that begins with cyanide poisoning and ends in strawberry ice cream. The idea of the Native American living in perfect harmony with nature is one of the most cherished contemporary myths. But how truthful is this larger-than-life image? According to anthropologist Shepard Krech, the first humans in North America demonstrated all of the intelligence, self-interest, flexibility, and ability to make mistakes of human beings anywhere. As Nicholas Lemann put it in The New Yorker, "Krech is more than just a conventional-wisdom overturner; he has a serious larger point to make. . . . Concepts like ecology, waste, preservation, and even the natural (as distinct from human) world are entirely anachronistic when applied to Indians in the days before the European settlement of North America." "Offers a more complex portrait of Native American peoples, one that rejects mythologies, even those that both European and Native Americans might wish to embrace."—Washington Post "My story, the story of 'how I became a nun,' began very early in my life; I had just turned six. The beginning is marked by a vivid memory, which I can reconstruct down to the last detail. Before, there is nothing, and after, everything is an extension of the same vivid memory, continuous and unbroken, including the intervals of sleep, up to the point where I took the veil ." So starts Cesar Aira's astounding "autobiographical" novel. Intense and perfect, this invented narrative of childhood experience bristles with dramatic humor at each stage of growing up: a first ice cream, school, reading, games, friendship. The novel begins in Aira's hometown, Coronel Pringles. As self-awareness grows, the story rushes forward in a torrent of anecdotes which transform a world of uneventful happiness into something else: the anecdote becomes adventure, and adventure, fable, and then legend. Between memory and oblivion, reality and fiction, Cesar Aira's How I Became a Nun retains childhood's main treasures: the reality of fable and the delirium of invention. A few days after his fiftieth birthday, Aira noticed the thin rim of the moon, visible despite the rising sun. When his wife explained the phenomenon to him he was shocked that for fifty years he had known nothing about "something so obvious, so visible." This epiphany led him to write How I Became a Nun. With a subtle and melancholic sense of humor he reflects on his failures, on the meaning of life and the importance of literature.
“The first English translation of the major work of a privileged, unconventional, and somewhat neglected Cuban author.” —Choice Eleven years before Uncle Tom’s Cabin fanned the fires of abolition in North America, an aristocratic Cuban woman told an impassioned story of the fatal love of a mulatto slave for his white owner's daughter. So controversial was Sab’s theme of miscegenation and its parallel between the powerlessness and enslavement of blacks and the economic and matrimonial subservience of women that the book was not published in Cuba until 1914, seventy-three years after its original 1841 publication in Spain. Also included in the volume is Avellaneda’s Autobiography (1839), whose portrait of an intelligent, flamboyant woman struggling against the restrictions of her era amplifies the novel's exploration of the patriarchal oppression of minorities and women. “A worthy addition to scholarship in Latin American studies, useful in comparative literature and social history courses covering such writers as Harriet Beecher Stowe, Jorge Isaacs, Alejo Carpentier, or Ramon del Valle-Inclán.” —Choice
ñDavid is mine!î Mrs. Renteria shouts out to her neighbors gathered about the dead but handsome young man found in the dry riverbed next to their homes in a Los Angeles barrio. ñDavid?î Tiburcio asked. ñSince when is his name David? He looks to me more like a î Tiburcio glanced at the manÍs face, ñ a Luis.î Mrs. RenteriaÍs neighbors call out a litany of names that better suit the mysterious corpse: Roberto, Antonio, Henry, Enrique, Miguel, Roy, Rafael. The very first winner of the Chicano / Latino Literary Prize in 1974, Ron AriasÍ ñThe Wetbackî uses dark humor to reflect on the appearance of a dead brown man in their midst. This landmark collection of prize-winning fiction, poetry, and drama paints a historical and aesthetic panorama of Chicana/o and Latina/o letters over a twenty-five-year period beginning in 1974 and ending in 1999. Most, but not all, of the winning entries are featured in this anthology, which also includes second- and third-place winners, as well as honorable mentions. Now entering its thirty-first year, the award has recognized a wide variety of writers, from established ones such as Juan Felipe Herrera, Michael Nava, and Helena Maria Viramontes, to those that are lesser known. Many of the pieces in this anthology are considered to be foundational texts of Chicana/o and Latina/o literature, and those that are not as widely recognized deserve more serious study and attention. Presented in chronological order, the selected writings are primarily in English, although some are written in Spanish, and others in Spanglish. Some, like Francisco X. AlarconÍs poem ñRaices / Roots,î appear in both languages: ñMis raices / las cargo / siempre / conmigo / enrolladas / me sirven / de almohada.î ñI carry / my roots / with me / all the time / rolled up / I use them / as my pillow.î In addition to the diverse array of authors, styles, and genres, the works included in this collection cover a wide range of themes, from more political issues of ethnic, gender, and class.
