Caral, America's oldest civilization, flourished five thousand years ago along the Peruvian coast. Its principal product, cotton, was the foundation of an economy based on trade with nearby fishermen settlements. Industrious, intelligent and eminently peaceful, the people of Caral did not use war as an instrument of conquest. Instead, their elaborate complex of pyramids and other structures are a shining example of perfect urban planning. The discovery of Caral fascinated and motivated me to write Mother City, a tale in which I've attempted to weave historically accurate information with imaginary details of Carals citizens daily life.

Esta historia, está llena de duros y desgraciados acontecimientos, pero también, es una historia llena de dulzura, felicidad y sosiego, de acuerdo con los tiempos, que en cada momento acontecían; creo que es una historia donde el lector puede sentirse reconfortado, feliz y hasta identificado en muchos de los puntos de vista. Son muchas las cosas que han ocurrido, en este y otros países, que la gente se ha olvidado; si todos y cada uno de nosotros, echáramos de vez en cuando la vista atrás para recordar, quienes fueron nuestros ancestros. De donde procedemos y de quien. Como fuimos. Como somos y en qué nos hemos convertido; podéis tener la seguridad, de que todos y cada uno de nosotros, seríamos mucho más ricos en valores humanos; valores estos de los cuales cada día carecemos más. La historia de los pueblos y la propia de cada uno de nosotros, es el legado más valioso, que el ser humano puede tener.

Caminos 3 offers students complete preparation for GCSE/Standard Grade through full coverage of all five Areas of Experience, Grades A*-G. Mixed abilities are catered for in one carefully structured Student's Book by the use of symbols to indicate differentiated activities. Student motivation is encouraged through the use of material appropriate for the 14-16 year age group in both content and style. Full support for the teacher is provided through detailed notes, National Curriculum cross referencing, tapescripts and answers as well as general teaching advice. Student's Book and worksheet activities are supported by 7 cassettes of audio material.

Full of “sensual dreams [and] unexplained phenomena,” this "best-known and most-respected" coming-of-age classic from the godfather of Chicano literature follows a young boy growing up in the llano, or plains, of post-World War II New Mexico, and the generous curandera who introduces him to the sacred side of life (New York Times). A PBS Great American Read · Winner of the Premio Quinto Sol Award · Recipient of the National Humanities Medal · With a new Foreword by author, playwright, and stage director Denise Chavez; a new Afterword by award-winning journalist and author Carmela Padilla; and a new essay by Manuel Muñoz, a Macarthur Fellow and winner of the Joyce Carol Oates Prize. “I pulled this baby into the light of life . . . Only I will know his destiny.” Antonio Marez is six years old when the woman who helped usher him into the world comes to stay with his family in New Mexico. Venerated by some as a miracle-worker—and disparaged by others as a bruja—Ultima, a curandera, or healer, opens Tony’s eyes to the spiritual roots of his culture, and introduces him to a magical, if sometimes frightening, new world: a realm in which she operates as a shaman. Suddenly, the ordinary challenges and triumphs of childhood become extraordinary. As Ultima shows Tony how to cure ailments, reverse curses, and restore peace to those who have lost it, he embarks on a singular quest, one in which he probes the family ties that bind and rend him, questions the Catholicism that shaped him, and explores the Spanish, Mexican, and Native American influences that informed not only his heritage, but his very sense of self. And at each life turn there is Ultima, who was there the day he was born . . . and will nurture the birth of his soul. A rich and wondrous story that reveals universal truths about the human condition and celebrates the beauty of Chicano culture. Includes a Reading Group Guide.

"¡TOMA, POR MIENTA-MADRES!" es fresca, divertida hasta desternillar de risa, conmovedora hasta un nudo en la garganta o una lágrima; para leerse de un jalón. Cautiva de principio a fin. Aborda las travesuras, observaciones y vivencias de una niña en su tránsito familiar a la pre-adolescencia; tránsito también de la comodidad a la pobreza extrema de una adorable familia a mediados del siglo pasado en la Ciudad de México. Personajes: La Mana, ingenua-pícara, bobalicona-aguda, valiente-miedosa, ...; Marcos, hermano desbordante de genialidades; Virginia, dulce benjamina, creyente seguidora de los mayores; Beatriz media hermana sonámbula, catequista, curandera; paterfamilia fantasioso, y madre todóloga en quehaceres y economía doméstica. Es un anecdotario delicioso, de narración sencilla, ágil, juguetona, dramática en algunos pasajes. Nos dice algo de lo que todos gozamos o sufrimos de niños provocando añoranza, nostalgia y un enorme disfrute. ¡Léelo! Algo encontrarás de tí.

“Literally, chilaquiles are a breakfast I grew up eating: fried corn tortillas with tomato-chile sauce. Symbolically, they are the culinary metaphor for how working-class women speak with the seasoning of their food.”—from the Introduction Through the ages and across cultures, women have carved out a domain in which their cooking allowed them to express themselves, strengthen family relationships, and create a world of shared meanings with other women. In Voices in the Kitchen, Meredith E. Abarca features the voices of her mother and several other family members and friends, seated at their kitchen tables, to share the grassroots world view of these working-class Mexican and Mexican American women. In the kitchen, Abarca demonstrates, women assert their own sazón (seasoning), not only in their cooking but also in their lives. Through a series of oral histories, or charlas culinarias (culinary chats), the women interviewed address issues of space, sensual knowledge, artistic and narrative expression, and cultural and social change. From her mother’s breakfast chilaquiles to the most elaborate traditional dinner, these women share their lives as they share their savory, symbolic, and theoretical meanings of food. The charlas culinarias represent spoken personal narratives, testimonial autobiography, and a form of culinary memoir, one created by the cooks-as-writers who speak from their kitchen space. Abarca then looks at writers-as-cooks to add an additional dimension to the understanding of women’s power to define themselves. Voices in the Kitchen joins the extensive culinary research of the last decade in exploring the importance of the knowledge found in the practical, concrete, and temporal aspects of the ordinary practice of everyday cooking.