Este es mi primer libro: 20 años no es nada. Se trata de una recopilación de poemas sobre 20 años de mi vida; desde 1990 a 2010. Se compone de 4 capítulos, 3 de ellos de poesía y el cuarto de autoayuda. El primer Capítulo: en la gàbia (jaula) habla de mi primer contacto con el mundo homosexual (yo soy una mujer homosexual) de Valencia Capital. Vaya, lo que se llama salir del Armario. El 2° Capítulo: Mi cárcel; se refiere a una negligencia médica que marcó mi vida, pues me anuló durante 15 años. La primera mitad bajando y la segunda mitad subiendo (recuperándome). El capítulo 3° se refiere a los últimos años: el encuentro del amor, de querer y ser amada. De ahí surge la metamorfosis, la transformación, el milagro del amor incondicional y todo el sufrimiento se va evaporando. En el 4° capítulo Hago la comida. De una vieja receta, pero yo me traigo una exprimidora, y hago una síntesis de muchas cosas leídas, sobre cómo una persona puede salir de su oscuridad. Las fotos son mías, y este, es "el viaje hacia la nada, que consiste en la certeza de encontrar en tu mirada... LA BELLEZA" Canción de Miguel Bosé. Doy desde aquí las gracias a Louis L. Hay: Tu sencillez es reveladora y esa es tu fuerza. Gracias, me has abierto mi camino. Gracias a Silvia a su bondad y a su inteligencia. Gracias a Manu la diosa, que me volvió a dar la vida. Gracias a mi familia y a mis amigos. Todos son imprescindibles. Y gracias a aquellos que se alejaron, me han dado más fortaleza.

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Nei Jing states, Without entering and leaving, there is no development; without ascending and descending, no transformation, absorption, and storing.

In the first half of the twentieth century, a charismatic Peruvian Amazonian indigenous chief, José Carlos Amaringo Chico, played a key role in leading his people, the Ashaninka, through the chaos generated by the collapse of the rubber economy in 1910 and the subsequent pressures of colonists, missionaries, and government officials to assimilate them into the national society. Slavery and Utopia reconstructs the life and political trajectory of this leader whom the people called Tasorentsi, the name the Ashaninka give to the world-transforming gods and divine emissaries that come to this earth to aid the Ashaninka in times of crisis. Fernando Santos-Granero follows Tasorentsi’s transformations as he evolved from being a debt-peon and quasi-slave to being a slave raider; inspirer of an Ashaninka movement against white-mestizo rubber extractors and slave traffickers; paramount chief of a multiethnic, anti-colonial, and anti-slavery uprising; and enthusiastic preacher of an indigenized version of Seventh-Day Adventist doctrine, whose world-transforming message and personal influence extended well beyond Peru’s frontiers. Drawing on an immense body of original materials ranging from archival documents and oral histories to musical recordings and visual works, Santos-Granero presents an in-depth analysis of chief Tasorentsi’s political discourse and actions. He demonstrates that, despite Tasorentsi’s constant self-reinventions, the chief never forsook his millenarian beliefs, anti-slavery discourse, or efforts to liberate his people from white-mestizo oppression. Slavery and Utopia thus convincingly refutes those who claim that the Ashaninka proclivity to messianism is an anthropological invention.

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Briefly traces the history of the region, describes points of interest, and recommends hotels and restaurants.

A selective list of publications for the period, offering some 25,200 entries (no annotations) arranged by nationality and linguistic groups. Most entries concern literary currents in drama since the last third of the 19th century, playwrights who lived at least part of their lives in the 20th century, noted directors, and performance theory. For students and scholars of modern dramatic literature. While annual supplements of recent publications appear in the journal Modern Drama, new compilers took a publication date of 1991 as their starting point for listings, leaving some 2,000 items collected after 1992 appearing only in this volume. Annotation copyrighted by Book News, Inc., Portland, OR