Todos los seres humanos llegamos a un punto de nuestra vida en la que nos hacemos preguntas existenciales. Yo he probado a responderlas pero no siempre lo he logrado, porque pensaba que cuestionarme sobre mi relación con el Universo y nuestro Creador era algo infinitamente grande para poderlo entender… Ya sólo el hecho de observar el Firmamento a través de la vista era una experiencia extraordinaria…pero siempre me quedaba desconectada con el más allá y lo dejaba estar... Hasta que un día, me di cuenta que estaba despertando… y empecé a investigar, a estudiar más a fondo esas disciplinas científicas de las que no tenía conocimiento, como la física cuántica, la psicología, y profundizando siempre más, gracias también a una serie de sincronicidades, muchísima información llegó hacia mí y me di cuenta que había dado el primer paso para emprender este maravilloso viaje de transformación y evolución espiritual de mi proprio Ser Interior, para conectarme finalmente con el Todo en una Consciencia de Unidad. Cuando llegamos al punto de saturación, algo parecido a la noche oscura del alma, es entonces cuando, espiritualmente, experimentamos el salto cuántico. Sólo el hecho de darnos cuenta de que algo está cambiando a nuestro alrededor, de que ya no somos los mismos y que no encajamos más con lo que está afuera de nosotros, con lo que nos quieren inculcar los que nos manejan como marionetas… ya es una señal de que nuestro Yo Superior nos dice: DESPIERTA TU CONCIENCIA DORMIDA. Nos damos cuenta que queremos salir del modo automático en el que vivimos cotidianamente, corriendo de un lado para el otro sin saber ¡para qué renegamos tanto y a dónde estamos yendo! Todo ese cambio, que estamos experimentando, ya es señal de que hemos puesto en marcha lo que se conoce como la Toma de Conciencia, de que nuestro verdadero tesoro es escuchar nuestra voz interior que nos repite DESPIERTA TU CONCIENCIA DORMIDA y ESCUCHA LO QUE TE DICE TU INTUICIÓN, porque será siempre la VERDAD. El maestro metafísico Jesús, decía: “¡donde esté tu tesoro, allí estará tu corazón!”, que es lo realmente importante en nuestra vida y donde tiene lugar toda CREACIÓN. Ahora sé que ¡no hemos venido a esta vida a sobrevivir…! DESPIERTA TU CONCIENCIA DORMIDA porque hemos venido a esta VIDA a APRENDER, a EVOLUCIONAR y a SER FELICES. DESPIERTA TU CONCIENCIA DORMIDA porque estamos TODOS INTERCONECTADOS por la INTELIGENCIA PRIMERA que nos CREÓ, y es puro AMOR y que reside en nosotros mismos; es por eso que ¡TODOS SOMOS UNO! DESPIERTA TU CONCIENCIA DORMIDA porque EXISTE UN ORDEN PERFECTO EN EL UNIVERSO, donde a cada uno le toca vivir lo que le corresponde aprender en este camino transitorio que llamamos VIDA, para EVOLUCIONAR, individual y colectivamente, en PAZ, AMOR Y ARMONÍA. DESPIERTA TU CONCIENCIA DORMIDA porque LA MUERTE NO EXISTE, dado que SOMOS PURA ENERGÍA y después de esta ESCUELA llamada VIDA, volvemos, espiritualmente vivos y sin el cuerpo físico, a la CASA, a la FUENTE, a la MORADA de DIOS o como tú quieras llamarlo... Entonces ¡DESPIERTA TU CONCIENCIA DORMIDA!…porque ha llegado la hora de entender que todo lo que existe y sucede en nuestra vida tiene un sentido más profundo de la simple visión de las cosas que nos rodean. ¡Feliz Viaje

Benito Pérez Galdós, considered Spain’s most important novelist after Cervantes, wrote 77 novels, several works of theater and a number of other tomes during his lifetime (1843–1920). His works have been translated into all major languages of the world, and many of his most highly regarded novels, those of the contemporary period, have been translated into English two, three and even four times over. Of the few “contemporary novels” of Galdós that until now have not come to light in English, The Forbidden is certainly among the most noteworthy. The story line concerns a wealthy philanderer, José María Bueno de Guzmán, who attempts to buy the favors of his three beautiful married cousins. He is successful with the first, Eloísa, a grasping materialist who falls deeply in love with him. Then he rejects her in order to attempt to seduce the youngest, Camila. Meanwhile, the third, the pseudo-intellectual María Juana, jealous, seduces José María. But it is Camila, healthy, impetuous and wild, who resists his temptations and holds our attention. The novelist and critic Leopoldo Alas, Galdós’s contemporary, calls her “the most feminine, graceful, lively female character that any modern novelist has painted.” As a naturalistic study, in the manner of Balzac in particular, principal characters of Galdós’s other novels (El doctor Centeno, La de Bringas, La familia de León Roch) become fleetingly visible in The Forbidden. In addition, the entire Bueno de Guzmán family gives evidence of the naturalistic emphasis on heredity: they all display certain physical or mental disorders. Eloísa has a morbid fear of feathers, María Juana often feels that she has a tiny piece of cloth caught in her teeth, José María suffers bouts of depression, an uncle is a kleptomaniac, one of the relatives writes letters to himself, etc. At the same time, this novel shows the foibles of Spanish society where status is determined by one’s associates, by the wearing of finery, and by living on borrowed money. In their history of Spanish literature, Chandler and Schwartz call Galdós “the greatest novelist of the nineteenth century and the only one who deserves to be mentioned in the same breath with great novelists like Balzac, Dickens and Dostoievsky.” The Forbidden, written at the height of the author’s creative powers, is a major work and its publication for an English-speaking audience is long overdue.

Beseeched by his dying mother to locate his father, Pedro Paramo, whom they fled from years ago, Juan Preciado sets out for Comala. Comala is a town alive with whispers and shadows--a place seemingly populated only by memory and hallucinations. 49 photos.

"A considerable tour de force by any standard." ?New York Times Book Review"

This timely practical reference addresses the lack of Spanish-language resources for mental health professionals to use with their Latino clients. Geared toward both English- and Spanish-speaking practitioners in a variety of settings, this volume is designed to minimize misunderstandings between the clinician and client, and with that the possibility of inaccurate diagnosis and/or ineffective treatment. Coverage for each topic features a discussion of cultural considerations, guidelines for evidence-based best practices, a review of available findings, a treatment plan, plus clinical tools and client handouts, homework sheets, worksheets, and other materials. Chapters span a wide range of disorders and problems over the life-course, and include reproducible resources for: Assessing for race-based trauma. Using behavioral activation and cognitive interventions to treat depression among Latinos. Treating aggression, substance use, abuse, and dependence among Latino Adults. Treating behavioral problems among Latino adolescents. Treating anxiety among Latino children. Working with Latino couples. Restoring legal competency with Latinos. The Toolkit for Counseling Spanish-Speaking Clients fills a glaring need in behavioral service delivery, offering health psychologists, social workers, clinical psychologists, neuropsychologists, and other helping professionals culturally-relevant support for working with this under served population. The materials included here are an important step toward dismantling barriers to mental health care.

A Chilean writer named Julio and his wife, Gloria, are at a low point in their lives. Constantly bickering, the pair are beset by worries about money, their writing, and their son (who may or may not be plying the oldest profession in Marrakesh). When Julio's boyhood best friend, now a famous artist, lends the couple his luxurious Madrid apartment for the summer, it is an escape for both - but in particular for Julio, who fantasizes about the garden next door and the erotic life of the lovely young aristocratic woman who inhabits it. But Julio's life - and career - unravel In Madrid: he is rebuffed by a famous literary agent, Nuria Monclus, who detests him and his novel; his son's friend from Marrakesh moves in and causes havoc; and Gloria begins to drink. In the face of pitiless adversity, Julio's talent inexorably begins to fade. The garden next door, however, is also Gloria, who has been doing some creating of her own. It is this twist that transforms Donoso's brilliant satire of the writer's life into something even greater: a carefully crafted and bitteily comic meditation on gardens, deceit, and the nature of a writer's muse.

Cecilia Valdés is arguably the most important novel of 19th century Cuba. Originally published in New York City in 1882, Cirilo Villaverde's novel has fascinated readers inside and outside Cuba since the late 19th century. In this new English translation, a vast landscape emerges of the moral, political, and sexual depravity caused by slavery and colonialism. Set in the Havana of the 1830s, the novel introduces us to Cecilia, a beautiful light-skinned mulatta, who is being pursued by the son of a Spanish slave trader, named Leonardo. Unbeknownst to the two, they are the children of the same father. Eventually Cecilia gives in to Leonardo's advances; she becomes pregnant and gives birth to a baby girl. When Leonardo, who gets bored with Cecilia after a while, agrees to marry a white upper class woman, Cecilia vows revenge. A mulatto friend and suitor of hers kills Leonardo, and Cecilia is thrown into prison as an accessory to the crime. For the contemporary reader Helen Lane's masterful translation of Cecilia Valdés opens a new window into the intricate problems of race relations in Cuba and the Caribbean. There are the elite social circles of European and New World Whites, the rich culture of the free people of color, the class to which Cecilia herself belonged, and then the slaves, divided among themselves between those who were born in Africa and those who were born in the New World, and those who worked on the sugar plantation and those who worked in the households of the rich people in Havana. Cecilia Valdés thus presents a vast portrait of sexual, social, and racial oppression, and the lived experience of Spanish colonialism in Cuba.