A signature compendium of recipes from the popular San Francisco Bay Area restaurant brings together the best of Mexico's taste-tempting culinary traditions with ninety recipes for breakfast, lunch, salads, sides, dinner, desserts, and drinks, along with descriptions of ethnic ingredients and listings of resources for locating hard-to-find items.

A signature compendium of recipes from the popular San Francisco Bay Area restaurant brings together the best of Mexico's taste-tempting culinary traditions with ninety recipes for breakfast, lunch, salads, sides, dinner, desserts, and drinks, along with descriptions of ethnic ingredients and listings of resources for locating hard-to-find items.

Doña Flor is a giant woman who lives in a puebla with lots of families. She loves her neighbors–she lets the children use her flowers for trumpets, and the families use her leftover tortillas for rafts. So when a huge puma is terrifying the village, of course Flor is the one to investigate. Featuring Spanish words and phrases throughout, as well as a glossary, Pat Mora’s story, along with Raúl Colón’s glorious artwork, makes this a treat for any reader, tall or small. Award-winning author Pat Mora’s previous book with Raúl Colón, Tomás and the Library Lady, received the Tomás Rivera Mexican American Children’s Book Award, an IRA Teacher’s Choice Award, a Skipping Stones Award, and was also named a Texas Bluebonnet Award Master List title and an Americas Award for Children’s and Young Adult Literature commended title. She lives in Santa Fe, New Mexico.

Reproduction of the original: The Great Galeoto Folly Or Saintliness by Hannah Lynch

"La Doa, One Person as Three" describes a wealthy woman who creates two other personalities to find a non-violent way to destroy a drug operation in a remote Guatemalan town: a sister in plain dress and her angry mental creature full of power. She inspires the people of the town to pull together to love and trust each other. At the same time her son, who is on drugs, finds a cure from a Mayan Curandero and becomes a new man. The ancient town moves into the modern age, keeping old traditions that matter, but dropping bad habits and taboos gathered over centuries. Once a human catalyst is active, many events can unfold. This story is based on real people, too moving to forget, who created co-operatives teaching new skills to women who had lost their husbands or had been abandoned. They learned that every individual has power to be used thoughtfully.

In 'The Great Galeoto; Folly or Saintliness', José Echegaray explores themes of jealousy and obsession through the interplay of two intertwining plots. Echegaray's literary style is characterized by its emotional intensity and moral complexity, drawing inspiration from both classical tragedy and Spanish romanticism. The juxtaposition of folly and saintliness serves as a reflection on the duality of human nature, ultimately questioning the thin line between good and evil. Written in the late 19th century, these plays showcase Echegaray's mastery in delving into the depths of the human psyche. José Echegaray, a Spanish playwright and Nobel laureate in Literature, was known for his dramatic works that often grappled with philosophical and ethical dilemmas. His background in mathematics and science influenced his writing, leading to intricate plots and thought-provoking themes. Echegaray's exploration of morality and human nature in 'The Great Galeoto' showcases his profound understanding of the human condition. I highly recommend 'The Great Galeoto; Folly or Saintliness' to readers interested in classic Spanish drama and psychological introspection. Echegaray's poignant portrayal of jealousy and virtue makes this work a timeless and captivating read that continues to resonate with audiences today.

The Casa del Deán in Puebla, Mexico, is one of few surviving sixteenth-century residences in the Americas. Built in 1580 by Tomás de la Plaza, the Dean of the Cathedral, the house was decorated with at least three magnificent murals, two of which survive. Their rediscovery in the 1950s and restoration in 2010 revealed works of art that rival European masterpieces of the early Renaissance, while incorporating indigenous elements that identify them with Amerindian visual traditions. Extensively illustrated with new color photographs of the murals, The Casa del Deán presents a thorough iconographic analysis of the paintings and an enlightening discussion of the relationship between Tomás de la Plaza and the indigenous artists whom he commissioned. Penny Morrill skillfully traces how native painters, trained by the Franciscans, used images from Classical mythology found in Flemish and Italian prints and illustrated books from France—as well as animal images and glyphic traditions with pre-Columbian origins—to create murals that are reflective of Don Tomás’s erudition and his role in evangelizing among the Amerindians. She demonstrates how the importance given to rhetoric by both the Spaniards and the Nahuas became a bridge of communication between these two distinct and highly evolved cultures. This pioneering study of the Casa del Deán mural cycle adds an important new chapter to the study of colonial Latin American art, as it increases our understanding of the process by which imagery in the New World took on Christian meaning.