One of the most extraordinary works of the human imagination and the most important text in the native languages of the Americas, Popul Vuh: The Mayan Book of the Dawn of Life was first made accessible to the public 10 years ago. This new edition retains the quality of the original translation, has been enriched, and includes 20 new illustrations, maps, drawings, and photos.

Note: Proceeds of this book will be donated to the funding of the N.G.O STEPS's educational initiatives in their mission to conserve native legends and provide educational activities for underprivileged children in native communities. Travel back many creations ago as Artist Emanuel Carballo takes you on a neon-saturated visual journey through the mythological Mayan creation story. Swim through the empty universe with the Gods and witness their several attempts at creation. Race through the jungles with the epic Hero Twins as they transverse through the underworld and up into the heavens. Shine among the stars with the creation of the sun and the moon seen through shades of neon. The Popol Vuh, meaning "Book of the People", is an epic saga that recounts the creation myth and history of the K'iche Mayan ancestors. This short story version is a visual representation of one of the very few recorded Mayan legends we have left today. The majority of their literature in science and the arts were burnt in an instant by the Spanish invaders and lost forever. Luckily, this epic journey was stowed away and found years later offering us a glimpse into a culture shrouded in mystery. Emanuel Carballo puts his own artistic flavor to the drawings and converts one of the oldest stories known to mankind into a digitally illustrated, neon laden futuristic storybook. Written in collaboration with the N.G.O STEPS in San Cristobal de las Casas, Chiapas, Mexico. Their aim is to provide education in native communities through the preservation of their very own endangered legends and myths. Many of their traditions and customs are passed down orally from generation to generation and now face the risk of being lost forever in an ever-increasing globalized world. Proceeds of this book will be donated to the funding of their educational initiatives.

The K’iche’ Maya creation story preserved in the sixteenth-century manuscript Popol Vuh describes the origin of the world and its people in a setting long assumed to be the Guatemalan central highlands. Now a scholar with a deep knowledge of Maya history shows that all of these mythological events occurred at specific locations and that this landscape was the template for the Maya worldview. Examining the primary Maya deities, Karen Bassie-Sweet links geographic features to gods and beliefs. She reconstructs key elements of the Popol Vuh to argue that the three volcanoes around Lake Atitlan were the three thunderbolt gods and that the lake was the center of the world. She also shows that the Maya view of the creation of humans is centered on corn and examines core beliefs about the corn cycle to propose that the creation myth was established much earlier in Maya history than previously supposed. Generously illustrated, Maya Sacred Geography and the Creator Deities is a detailed ethnohistorical analysis of Maya religion, cosmology, and ritual practice that convincingly links mythology to the land. A comprehensive treatment of Maya religion, it provides an essential resource for scholars and will fascinate any reader captivated by these ancient beliefs.

Maya Creation myths provides not only new and outstanding translations of these myths but also an interpretive journey through these often misunderstood texts, providing insight into Maya cosmology and how Maya intellectuals met the challenge of the European clergy's attempts to eradicate their worldviews. Unlike many scholars who primarily focus on traces of pre-Hispanic culture or Christian influence within the Books of Chilam Balam, Knowlton emphasizes the diversity of Maya mythic traditions and the uniquely Maya discursive strategies that emerged in the Colonial period.

ISSN: 2397-9607 Issue 34 In Issue 34 of the Baba Indaba Children's Stories, Baba Indaba narrates the Maya version of the creation story which starts with the high god Hurakan, the mighty wind, who passed over the universe, still wrapped in gloom. He called out "Earth", and the solid land appeared thus starting the creation of the world. It is believed that folklore and tales are believed to have originated in India and made their way overland along the Silk and Spice routes and through Central Asia before arriving in Europe. Even so, this does not cover all folklore from all four corners of the world. Indeed folklore, legends and myths from Africa, Australia, Polynesia, and some from Asia too, are altogether quite different and seem to have originated on the whole from separate reservoirs of lore, legend and culture. This book also has a "Where in the World - Look it Up" section, where young readers are challenged to look up a place on a map somewhere in the world. The place, town or city is relevant to the story, on map. HINT - use Google maps. Baba Indaba is a fictitious Zulu storyteller who narrates children's stories from around the world. Baba Indaba translates as "Father of Stories".ÿ

An inspired and urgent prose retelling of the Maya myth of creation by acclaimed Latin American author and scholar Ilan Stavans, gorgeously illustrated by Salvadoran folk artist Gabriela Larios and introduced by renowned author, diplomat, and environmental activist Homero Aridjis. The archetypal creation story of Latin America, the Popol Vuh began as a Maya oral tradition millennia ago. In the mid-sixteenth century, as indigenous cultures across the continent were being threatened with destruction by European conquest and Christianity, it was written down in verse by members of the K’iche’ nobility in what is today Guatemala. In 1701, that text was translated into Spanish by a Dominican friar and ethnographer before vanishing mysteriously. Cosmic in scope and yet intimately human, the Popol Vuh offers invaluable insight into the Maya way of life before being decimated by colonization—their code of ethics, their views on death and the afterlife, and their devotion to passion, courage, and the natural world. It tells the story of how the world was created in a series of rehearsals that included wooden dummies, demi-gods, and eventually humans. It describes the underworld, Xibalba—a place as harrowing as Dante’s hell—and relates the legend of the ultimate king, who, in the face of tragedy, became a spirit that accompanies his people in their struggle for survival. Popol Vuh: A Retelling is a one-of-a-kind prose rendition of this sacred text that is as seminal as the Bible and the Qur’an, the Ramayana and the Odyssey. Award-winning scholar of Latin American literature Ilan Stavans brings a fresh creative energy to the Popol Vuh, giving a new generation of readers the opportunity to connect with this timeless story and with the plight of the indigenous people of the Americas. Praise for Popol Vuh: A Retelling: “Salvadoran illustrator Larios provides lush images to accompany stories of the Earth and the underworld, Xibalba, and the animals and gods that inhabit them…. A beautiful interpretation of pivotal Central American history told through contemporary illustration and language.” —Kirkus Reviews “In these pages you will find an adroit retelling of a complex and often confusing tale with a vast and bewildering cast of characters. Approaching the Popol Vuh with a fresh eye and the necessary erudition, Ilan Stavans, the distinguished scholar of Hispanic culture, nimbly conveys the content and the sense of the original, retaining its magic and fascination, while rendering it more accessible to a wider readership. Popol Vuh: A Retelling artfully presents the case for the centrality of this magisterial story to the cultural consciousness of the Americas and for the urgency of its message.” —Homero Aridjis, from the foreword "At a time when so many of us ask ourselves about the end of the world as we know it, few books could be more relevant than this sacred text of the Maya. In a mesmerizing, illuminating new translation, Ilan Stavans brings to contemporary readers this lyrical epic, with its messages from a lost civilization obsessed, as ours should be, with the inevitable cycles of catastrophe and change. The Popol Vuh encourages us to contemplate the perpetual conflict between truth and falsehood, light and darkness, so that we may find the wisdom to emerge as better people." —Ariel Dorfman, author of Death and the Maiden "Popol Vuh is one of the seminal foundational 'texts' of the Americas before it became 'America'—and one so few of us really know much about. Again, Ilan Stavans is infusing the US of A with the cultures and stories that have been traditionally erased or ignored and forgotten. All I can say is, another amazing Stavans project!" —Julia Alvarez "The Popol Vuh is the great book of creation of the Maya K'iche' culture, and Ilan Stavans has embarked on an intrepid adventure of recreation; he returns to a myth of origin to endow it with vibrant topicality, proving that rewriting a legend is a way of bewitching time." —Juan Villoro, author of God Is Round “Many translators, scholars, and poets have brought us close to the radiant eminence of our Mayan origin story, the Popol Vuh. None touch its wondrous dynamism and epic elegance like Stavans and Larios. Free of the formal constraints of the K’iche’ original, Stavans’s delivers a masterful retelling that invites us into chimeric dreams: from the mischievous first peoples and the quests of those grown from seeds, to hybrid creatures and demi-god twins with battles lost and won. Larios’s dexterous admixture of cool washes and vibrant color palettes along with a K’iche’-inspired line-work aesthetic, further unzip our minds to a shared ancestral imaginary. Only my Guatemalan abuelita could cast such storytelling spells over me. Together, Stavans and Larios invite us all to dance as the children we once were and will become. A gift!” —Frederick Luis Aldama, author of Long Stories Cut Short: Fiction from the Borderlands “Ilan Stavans's retelling of this ancient and sacred story of the Mayan people is as exquisitely written as it is necessary.” —Eduardo Halfon, author of Mourning Praise for Ilan Stavans: “Ilan Stavans is an inventive interpreter of the contemporary cultures of the Americas…. Cantankerous and clever, sprightly and serious, Stavans is a voracious thinker. In his writing, life serves to illuminate literature—and vice versa: he is unafraid to court controversy, unsettle opinions, make enemies. In short, Stavans is an old-fashioned intellectual, a brilliant interpreter of his triple heritage—Jewish, Mexican, and American.” —Henry Louis Gates, Jr. “…in the void created by the death of his compatriot Octavio Paz, Ilan Stavans has emerged as Latin America’s liveliest and boldest critic and most innovative cultural enthusiast.” —The Washington Post “Ilan Stavans has done as much as anyone alive to bridge the hemisphere’s linguistic gaps.” —The Miami Herald “A canon-maker.” —The Chronicle of Higher Education “Ilan Stavans is a maverick intellectual whose canonical work has already produced a whole array of marvels... His incisive essays are redefining Jewish literature.” —The Forward “Ilan Stavans is the rarest of North American writers—he sees the Americas whole. Not since Octavio Paz has Mexico given us an intellectual so able to violate borders, with learning and grace.” —Richard Rodriguez “In the multicultural rainbow that is contemporary America, no one may be more representative of the state of the union than Ilan Stavans.” —Newsday “Ilan Stavans may very well succeed in becoming the Octavio Paz of our age.” —The San Francisco Chronicle “A virtuoso critic with an exuberant, encyclopedic, restless mind.” —The Forward “Ilan Stavans has the sharp eye of the internal exile. Writing about the sometimes reluctant reconquista of North America by Spanish-speaking cultures or the development of his own identity, he deals with both the life of the mind and the life of the streets.” —John Sayles “Lively and intelligent, eclectic, sharp-tongued.” —Peter Matthiessen “I think Stavans has one of the best grips around on what makes Spanish America tick.” —Gregory Rabassa “Ilan Stavans is a disciple of Kafka and Borges. He accepts social identity broadly, in the most cosmopolitan terms… His impulse is to broaden, not to narrow; he finds understanding through complication of identity, not through the easy gestures of ethnic politics.” —The New York Times “Ilan Stavans has established himself as an invaluable commentator of literature.” —Phillip Lopate

Mayan civilization once flourished in what is today Guatemala and the Yucatan. The Mayan sacred book the Popol Vuh tells of the creation of the universe, the world of gods and demi-gods and the creation of mankind.

The myths of the Aztec and Maya derive from a shared Mesoamerican cultural tradition. This is very much a living tradition, and many of the motifs and gods mentioned in early sources are still evoked in the lore of contemporary Mexico and Guatemala. Professor Taube discusses the different sources for Aztec and Maya myths. The Aztec empire began less than 200 years before the Spanish conquest, and our knowledge of their mythology derives primarily from native colonial documents and manuscripts commissioned by the Spanish. The Maya mythology is far older, and our knowledge of it comes mainly from native manuscripts of the Classic period, over 600 years before the Spanish conquest. Drawing on these sources as well as nineteenth- and twentieth-century excavations and research, including the interpretation of the codices and the decipherment of Maya hieroglyphic writing, the author discusses, among other things, the Popol Vuh myths of the Maya, the flood myth of Northern Yucatan, and the Aztec creation myths.