La vida, en la Tierra, sé encuentra en una encrucijada, por no saber, sus dirigentes, el camino que deben de coger, para que ésta no naufrague, con todo sus habitantes, abordo. De nada vale el progreso, que hemos alcanzado, para con él remediar el hambre que se extiende, por todos los Continentes, como una maldición Bíblica. Si, las personas que nos gobiernan, no son capaces de sacar de la miseria, a las muchedumbres que no tienen para comer; que levanten las manos y se rindan; dejando paso a quienes pueden hacerlo. No deben seguir en sus puestos de mando, quienes no son capaces de terminar, de una vez por todas, con la pobreza que hay en nuestro Planeta; habiendo sobrados medios para ponerle remedio, a esta situación tan trágica, sin que nadie se tenga que deslomar para lograrlo.

The first comprehensive analysis of the novels of prominent contemporary Spanish writer and educator Josefina Aldecoa. Josefina Aldecoa, in her treatment of themes such as a woman's place in society under and after dictatorship, mother-daughter relationships, war, and memory, confirmed her unique role as a contemporary novelist concerned with women's identity in Spain and as a writer of the mid-century generation ('los niños de la guerra'). The first volume of her trilogy, Historia de una maestra, was one of the earliest narratives of historical memory to beproduced in Spain. In this sense, Aldecoa's work anticipated new developments in gender studies, such as the intersection of feminist concerns and cultural memory. This book offers a comprehensive examination of Aldecoa's trajectory as a novelist, from La enredadera to Hermanas, centring on her primary preoccupations of gender and memory, arguing that Aldecoa's fiction offers a new, more complex understanding of women's identity than previously understood. The work combines the two dominating theoretical components of feminism and cultural memory with close textual analysis of Aldecoa's narratives. Her novels highlight the importance of the details of women's daily experiences and struggles throughout the twentieth century, a period of significant socio-political upheaval and change in Spain's history. NUALA KENNY teaches Spanish at the National University of Maynooth, Ireland.

The marriage of philosophy and fiction in the first third of Spain's twentieth century was a fertile one. It produced some truly notable offspring—novels that cross genre boundaries to find innovative forms, and treatises that fuse literature and philosophy in new ways. In her illuminating interdisciplinary study of Spanish fiction of the "Silver Age," Roberta Johnson places this important body of Spanish literature in context through a synthesis of social, literary, and philosophical history. Her examination of the work of Miguel de Unamuno, Pio Baroja, Azorin, Ramon Perez de Ayala, Juan Ramon Jimenez, Gabriel Miro, Pedro Salinas, Rosa Chacel, and Benjamin Jarnes brings to light philosophical frictions and debates and opens new interpersonal and intertextual perspectives on many of the period's most canonical novels. Johnson reformulates the traditional discussion of generations and "isms" by viewing the period as an intergenerational complex in which writers with similar philosophical and personal interests constituted dynamic groupings that interacted and constantly defined and redefined one another. Current narratological theories, including those of Todorov, Genette, Bakhtin, and Martinez Bonati, assist in teasing out the intertextual maneuvers and philosophical conflicts embedded in the novels of the period, while the sociological and biographical material bridges the philosophical and literary analyses. The result, solidly grounded in original archival research, is a convincingly complete picture of Spain's intellectual world in the first thirty years of this century. Crossfire should revolutionize thinking about the Generation of '98 and the Generation of '14 by identifying the heterogeneous philosophical sources of each and the writers' reactions to them in fiction.

This anthology of foundational sixteenth-century Spanish-language texts presents the European side of the discovery and colonization of the New World. Otto Olivera has chosen representative selections from the works of eighteen authors, including Garcilaso de la Vega, Bartolomé de Las Casas, Bernal Díaz del Castillo, Hernán Cortés, and Alvar Núñez Cabeza de Vaca. Their writings present an impressive panorama of the first years of a real New World that could compete with any portrayed in European novels of chivalry or travel. To put these texts in historical context, Olivera has written an introduction that links the literature of colonization in its first century to the classical and medieval myths that helped shape Spaniards' thinking about the New World. He also provides a brief history of the discovery and conquest and a discussion of the social organization of the Spanish colonies.

"Estoy viva" es un testimonio autobiográfico de cómo he vivido, aceptado y superado el infierno de la fibromialgia.

Presents essays dealing with literature written by Hispanic Americans from the sixteenth century through 1960, evaluates individual authors, and examines the contributions of Latino authors in a multicultural, multilingual society.

En octubre de 2007, el autor Clinton Cruickshank comenzó a recibir una serie de revelaciones con una claridad poco común. Debido al contenido de las mismas, entendió que se trataba de revelaciones de Dios. En el Misterio de Dios, Cruickshank comparte estas revelaciones del Señor que son para todos nosotros. En él, proporciona las respuestas a una serie de preguntas que han intrigado a la humanidad durante siglos. Para explicar algunas de las obras y actos divinos de Dios, Cruickshank tuvo que crear una variedad de nuevos términos y expresiones. Expresiones tales como, el principio del holograma, el principio inverso del holograma, la infraestructura infinita, el canal de recepción primario (CRP), el canal de recepción secundario (CRS) y muchas más. El Misterio de Dios también aborda más de tres docenas de preguntas esenciales con respuestas que revelan su propósito y sus designios para el ser humano y para su reino. Dios explica, asimismo, por qué él es el alfa y la omega y aclara la diferencia entre él como el Dios alfa y él como el Dios omega sin dejar de ser el mismo y único Dios. De esta manera, Cruickshank nos comparte sorprendentes revelaciones que nos da un atisbo, un extraordinario vistazo al misterio de Dios.