Over the past four decades Ruth R. Wisse has been a leading scholar of Yiddish and Jewish literary studies in North America, and one of our most fearless public intellectuals on issues relating to Jewish society, culture, and politics. In this celebratory volume, edited by four of her former students, Wisse’s colleagues take as a starting point her award-winning book The Modern Jewish Canon (2000) and explore an array of topics that touch on aspects of Yiddish, Hebrew, Israeli, American, European, and Holocaust literature.
Arguing the Modern Jewish Canon brings together writers both seasoned and young, from both within and beyond the academy, to reflect the diversity of Wisse’s areas of expertise and reading audiences. The volume also includes a translation of one of the first modern texts on the question of Jewish literature, penned in 1888 by Sholem Aleichem, as well as a comprehensive bibliography of Wisse’s scholarship. In its richness and heft, Arguing the Modern Jewish Canon itself constitutes an important scholarly achievement in the field of modern Jewish literature.
Ilan Stavans has been a lightning rod for cultural discussion and criticism his entire career. In A Critic's Journey, he takes on his own Jewish and Hispanic upbringing with an autobiographical focus and his typical flair with words, exploring the relationship between the two cultures from his own and also from others' experiences.
Stavans has been hailed as a voice for Latino culture thanks to his Hispanic upbringing, but as a Jew and a Caucasian, he's also an outsider to that culture---something that's sharpened his perspective (and some of his critics' swords). In this book of essays, he looks at the creative process from that point of view, exploring everything from the translation of Don Quixote to the Hispanic anti-Semitism and the Holocaust in Latin America.
Ilan Stavans is Lewis-Sebring Professor in Latin American and Latino Culture and Five College Fortieth Anniversary Professor at Amherst College. A native of Mexico, he received his doctorate in Latin American Literature from Columbia University. Stavans's books include The Hispanic Condition, On Borrowed Words, Spanglish, Dictionary Days, The Disappearance, Love & Language (with Verónica Albin), Resurrecting Hebrew, and Mr. Spic Goes to Washington, and he has edited books including The Oxford Book of Jewish Stories and the upcoming Norton Anthology of Latino Literature. His story "Morirse está en Hebreo" was made into the award-winning movie My Mexican Shivah.
Stavans has received numerous awards, among them a Guggenheim Fellowship, the National Jewish Book Award, an Emmy nomination, the Latino Book Award, Chile's Presidential Medal, the Rubén Darío Distinction, and the Cátedra Roberto Bolaño. His work has been translated into a dozen languages.
The Latin American Ecocultural Reader is a comprehensive anthology of literary and cultural texts about the natural world. The selections, drawn from throughout the Spanish-speaking countries and Brazil, span from the early colonial period to the present. Editors Jennifer French and Gisela Heffes present work by canonical figures, including José Martí, Bartolomé de las Casas, Rubén Darío, and Alfonsina Storni, in the context of our current state of environmental crisis, prompting new interpretations of their celebrated writings. They also present contemporary work that illuminates the marginalized environmental cultures of women, indigenous, and Afro-Latin American populations. Each selection is introduced with a short essay on the author and the salience of their work; the selections are arranged into eight parts, each of which begins with an introductory essay that speaks to the political, economic, and environmental history of the time and provides interpretative cues for the selections that follow.
The editors also include a general introduction with a concise overview of the field of ecocriticism as it has developed since the 1990s. They argue that various strands of environmental thought—recognizable today as extractivism, eco-feminism, Amerindian ontologies, and so forth—can be traced back through the centuries to the earliest colonial period, when Europeans first described the Americas as an edenic “New World” and appropriated the bodies of enslaved Indians and Africans to exploit its natural bounty.
Contributors. John Barth, José Bianco, Robert Bly, Jorge Luis Borges, Alejo Carpentier, Hiber Conteris, Robert Coover, Julio Cortázar, Ezequiel Martínez Estrada, Waldo Frank, Carlos Fuentes, William H. Gass, Nicolás Guillén, William Kennedy, Mario Vargas Llosa, Gabriel García Márquez, José Martí, Pablo Neruda, Victoria Ocampo, Juan Carlos Onetti, Grace Paley, Octavio Paz, Katherine Anne Porter, Thomas Pynchon, Kenneth Rexroth, Antonio Benítez Rojo, Barbara Probst Solomon, Susan Sontag, Ilan Stavans, Mark Strand, John Updike, Pedro Henríque Ureña, Derek Walcott, Paul West
Although investigations of Hispanic popular culture were approached for decades as part of folklore studies, in recent years scholarly explorations—of lucha libre, telenovelas, comic strips, comedy, baseball, the novela rosa and the detective novel, sci-fi, even advertising—have multiplied. What has been lacking is an overarching canvas that offers context for these studies, focusing on the crucial, framing questions: What is Hispanic pop culture? How does it change over time and from region to region? What is the relationship between highbrow and popular culture in the Hispanic world? Does it make sense to approach the whole Hispanic world as homogenized when understanding Hispanic popular culture? What are the differences between nations, classes, ethnic groups, religious communities, and so on? And what distinguishes Hispanic popular culture in the United States?
In ¡Muy Pop!, Ilan Stavans and Frederick Luis Aldama carry on a sustained, free-flowing, book-length conversation about these questions and more, concentrating on a wide range of pop manifestations and analyzing them at length. In addition to making Hispanic popular culture visible to the first-time reader, ¡Muy Pop! sheds new light on the making and consuming of Hispanic pop culture for academics, specialists, and mainstream critics.
Winner of 2005 Grammy Award for Best Instrumental Composition
Winner of 2005 National Medal of Arts
My Sax Life is the award-winning memoir of famed Cuban musician Paquito D'Rivera. A best-selling artist with more than thirty solo albums to his credit, D'Rivera has performed at the White House and the Blue Note, and with orchestras, jazz ensembles, and chamber groups around the world. Propelled by jazz-fueled high spirits, D'Rivera's story soars and spins from memory to memory in a collage of his remarkable life. D'Rivera recalls his early nightclub appearances as a child, performing with clowns and exotic dancers, as well as his search for artistic freedom in communist Cuba and his hungry explorations of world music after his defection. Opinionated but always good-humored, My Sax Life is a fascinating statement on art and the artist's life.
The One-Handed Pianist was published to acclaim in the early 1990’s, with the two-part Spanish edition winning the Latino Literature Prize in 1989 and the Gamma Literature Prize in 1992. Its tales look at what it means to be Jewish in the Hispanic world—a world in which spirituality is often exercised outside the realm of orthodoxy.
Stavans constructs fables that raise questions about ethnicity and community; even Stavans’ person raises questions about ethnicity and community: what does it mean that a Jew of Eastern European lineage can call himself Latino and speak for that group?
First published in 1885, The Purple Land was the first novel of William Henry Hudson, author of Green Mansions. The Anglo-Argentine naturalist distinguished himself both as one of the finest craftsmen of prose in English literature and as a thinker on ecological matters far ahead of his time.
The Purple Land is the exuberant, often wryly comic, first-person account of a young Englishman’s imprudent adventures, set against a background of political strife in nineteenth-century Uruguay. Eloping with an Argentine girl, young Richard Lamb makes an implacable enemy of his teenage bride’s father. Leaving her behind, he goes ignorantly forth into the interior of the country to seek his fortune and is eventually imprisoned and persecuted by the vengeful father. His narrative closes as he sets off on still another impetuous quest.
This facsimile of the 1904 Three Sirens Press edition includes striking woodcuts by Keith Henderson illustrating the characters in the novel and the fauna of Uruguay. Ilan Stavans’s introduction offers an opportunity to revisit The Purple Land as a "road novel" in which an outsider offers reflections on nationality and diasporic identity.
After a stirring e-mail exchange with his father, awardwinning essayist and cultural commentator Ilan Stavans decided to do something bizarre: revisit his hometown, Mexico City, accompanied by a tourist guide. But rather than seeking his roots in the neighborhood where he grew up, he headed to the Centro Histórico, the downtown area at the heart of the world’s largest metropolis. It was there that conversos, the hidden Jews escaping the might of the Holy Office of the Inquisition, were burned at the stake. And, centuries later, it was the same section where Jewish immigrants, both Yiddish-speaking Ashkenazim and Sephardim from the Ottoman Empire, made their homes as peddlers. In a sense, Centro Histórico is to Mexico what the Lower East Side is to the United States: a platform for reinventing one’s self in the New World.
With the same linguistic verve and insight that has made him one of the most distinguished voices in American literature today, Ilan Stavans invites readers along for a personal journey that is not only his own, but that of an entire culture. In Return to Centro Histórico he makes it possible to understand the intimate role that Jews have played in the development of Hispanic civilization.
Natives of the Iberian Peninsula and the twenty countries of Latin America, as well as their kinsfolk who've immigrated to the United States and around the world, share a common quality or identity characterized as la hispanidad. Or do they?
In this lively, provocative book, two distinguished intellectuals, a cultural critic and a historian, engage in a series of probing conversations in which they try to discern the nature of la hispanidad and debate whether any such shared identity binds the world's nearly half billion people who are "Hispanic." Their conversations range from La Reconquista and Spanish monarchs Ferdinand and Isabella, who united the Spanish nation while expelling its remaining Moors and Jews, to the fervor for el fútbol (soccer) that has swept much of Latin America today. Along the way, they discuss a series of intriguing topics, including the complicated relationship between Latin America and the United States, Spanish language and the uses of Spanglish, complexities of race and ethnicity, nineteenth-century struggles for nationhood and twentieth-century identity politics, and popular culture from literary novels to telenovelas. Woven throughout are the authors' own enlightening experiences of crossing borders and cultures in Mexico and Chile and the United States.
Sure to provoke animated conversations among its readers, What is la hispanidad? makes a convincing case that "our hispanidad is rooted in a changing tradition, flexible enough to persist beyond boundaries and circumstances. Let us not fix it with a definition, but allow it instead to travel, always."
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