An essay is quite often a short bit of writing on a particular topic of interest to the author of course, but also, of interest to others who may have sought to walk along a shared intellectual path. Some might argue that essays are nonfiction writings designed as intellectual or even academic exercises and explorations.Writing seems both within and between, an inward exploration and outward manifestation. The ideas and themes contained herein weave together like aspects of a web and they are also the web itself, cast wide and now hold a grand diversity, an incredible bounty for the eye, mind, and spirit.I have always enjoyed imagining how writers and artists from the past, whether friends or competitors, or in many cases both, were known to have met together in cafés or pubs or other public and private haunts to share and perhaps to be raucous in their love of the creative process with all of its pushes and pulls. This project is one such example; albeit a conceptual café, as we are a collective of creative spirits living, working, and traveling around the globe. Within this volume are twenty essays contributed by eighteen authors sharing on topics ranging from physical to emotional incarceration, political liberation, spiritual elevation, and professional, personal, and poetic journeys traversing all manner of road and byway. Simply put, you are invited to see as Janus the Roman god was believed to have seen, simultaneously inward and outward. Each essayist was invited to write about whatever was on his or her mind or heart, which is to say they were asked to write about anything that they have wanted or needed to say. There were no maximum or minimum limits placed on length, number of pages or word count, besides, what reasonable person would ask another to contain their truths in such a way. All essays were form fitted in terms of typography, pagination and formatting for purposes of publication but no essay was harmed in the making of this book.

As part of the larger, ongoing movement throughout Latin America to reclaim non-Hispanic cultural heritages and identities, indigenous writers in Mexico are reappropriating the written word in their ancestral tongues and in Spanish. As a result, the long-marginalized, innermost feelings, needs, and worldviews of Mexico's ten to twenty million indigenous peoples are now being widely revealed to the Western societies with which these peoples coexist. To contribute to this process and serve as a bridge of intercultural communication and understanding, this groundbreaking, three-volume anthology gathers works by the leading generation of writers in thirteen Mexican indigenous languages: Nahuatl, Maya, Tzotzil, Tzeltal, Tojolabal, Tabasco Chontal, Purepecha, Sierra Zapoteco, Isthmus Zapoteco, Mazateco, Ñahñu, Totonaco, and Huichol. Volume Two contains poetry by Mexican indigenous writers. Their poems appear first in their native language, followed by English and Spanish translations. Montemayor and Frischmann have abundantly annotated the Spanish, English, and indigenous-language texts and added glossaries and essays that discuss the formal and linguistic qualities of the poems, as well as their place within contemporary poetry. These supporting materials make the anthology especially accessible and interesting for nonspecialist readers seeking a greater understanding of Mexico's indigenous peoples.

Formación de palabras y enseñanza del español LE/L2 offers a unique combination of theory and practice that guides the reader through the main processes of word formation in Spanish. It provides a detailed analysis of the role of lexical creation in the acquisition of L2 Spanish vocabulary, as well as over a hundred practical self-reflection activities. Key features: • Comprehensive theoretical explanations of word formation, including theoretical and pedagogical principles and their implementation in the teaching of L2 Spanish; • Step-by-step pedagogical introductions to the full range of lexical creation mechanisms in Spanish language, including prefixation, emotive and nonemotive suffixation and composition; • Carefully-chosen lists of relevant issues on lexical morphology with immediate applicability to the teaching of L2 Spanish; • Guided activities with an answer key, which helps the reader to connect theory with practice and to become familiar with the key aspects of Spanish lexical morphology; • Guidelines on how to tackle the teaching of Spanish word formation and vocabulary in an effective and engaging way. Written in a clear and accessible manner, Formación de palabras y enseñanza del español LE/L2 is an essential resource for teachers of Spanish at all levels. It is also an excellent reference book for language teachers who wish to integrate word formation into the teaching of the Spanish language.

PALABRAS: Dispatches from THE FESTIVAL DE LA PALABRA features short stories by authors, including Junot Diaz, Aurora Arias, and Mayra Santos Febres, from the Caribbean, Central and Latin America, Spain and Catalonia. Many of the stories in this collection are translated into English for the first time. Edited by Yamile Silva and Hank Willenbrink, this collection of new short fiction displays aesthetically diverse and remarkable voices from the Americas and Iberia.

Apóstol Paúl Young es el fundador y pastor de la lglesia Palabra de Vida Fellowship en Salem, Oregon. Él ha estado en ministerio desde 1974 y fundo Palabra de Vida en 1987. Él es conocido por su predicación directa y dinámica de la Palabra de Dios no adulterada. Con un corazón para equipar al pueblo de Dios, el Apóstol Young ha viajado a muchos paises de todo el mundo para enseñar y predicar, llamando a la gente a vivir de acuerdo con los principios de la Palabra. Es el anfitrión del programa de televisión semanal de hora, "La Vida De Hoy". Como propietario de un negocio exitoso y CEO, tiene visión de gran alcance y la sabiduría enel campo de los negocios y es conocido como un coche de la vida y mentor que motiva a la gente a su destino.

A sweeping, kaleidoscopic, and passionate novel that presents a stunning series of flashes — scenes, moods, dreams, and weather— as the narrator wanders through Lima. Published in 1928 to great acclaim when its author was just twenty years old, The Cardboard House is sweeping, kaleidoscopic, and passionate. The novel presents a stunning series of flashes — scenes, moods, dreams, and weather— as the narrator wanders through Barranco (then an exclusive seaside resort outside Lima). In one beautiful, radical passage after another, he skips from reveries of first loves, South Pole explorations, and ocean tides, to precise and unashamed notations of class and of race: an Indian woman “with her hard,shiny, damp head of hair—a mud carving,” to a gringo gobbling “synthetic milk,canned meat, hard liquor.” Adán’s own aristocratic family was in financial freefall at the time, and, as the translator notes, The Cardboard House is as “subversive now as when it was written: Adán’s uncompromising poetic vision and the trueness and poetry of his voice constitute a heroic act against cultural colonialism.”