On December 22, 1997, forty-five unarmed members of the indigenous organization Las Abejas (The Bees) were massacred during a prayer meeting in the village of Acteal, Mexico. The members of Las Abejas, who are pacifists, pledged their support to the Zapatista Army of National Liberation, a primarily indigenous group that has declared war on the state of Mexico. The massacre has been attributed to a paramilitary group composed of ordinary citizens acting on their own, although eyewitnesses claim the attack was planned ahead of time and that the Mexican government was complicit.In Without History, Jose Rabasa contrasts indigenous accounts of the Acteal massacre and other events with state attempts to frame the past, control subaltern populations, and legitimatize its own authority. Rabasa offers new interpretations of the meaning of history from indigenous perspectives and develops the concept of a communal temporality that is not limited by time, but rather exists within the individual, community, and culture as a living knowledge that links both past and present. Due to a disconnection between indigenous and state accounts as well as the lack of archival materials (many of which were destroyed by missionaries), the indigenous remain outside of, or without, history, according to most of Western discourse. The continued practice of redefining native history perpetuates the subalternization of that history, and maintains the specter of fabrication over reality.Rabasa recalls the works of Marx, Lenin, and Gramsci, as well as contemporary south Asian subalternists Ranajit Guha and Dipesh Chakrabarty, among others. He incorporates their conceptions of communality, insurgency, resistance to hegemonic governments, and the creation of autonomous spaces as strategies employed by indigenous groups around the globe, but goes further in defining these strategies as millennial and deeply rooted in Mesoamerican antiquity. For Rabasa, these methods and the continuum of ancient indigenous consciousness are evidenced in present day events such as the Zapatista insurrection.

A poignant, hilarious, and inspiring memoir from the first Latino and openly gay inaugural poet, which explores his coming-of-age as the child of Cuban immigrants and his attempts to understand his place in America while grappling with his burgeoning artistic and sexual identities. Richard Blanco’s childhood and adolescence were experienced between two imaginary worlds: his parents’ nostalgic world of 1950s Cuba and his imagined America, the country he saw on reruns of The Brady Bunch and Leave it to Beaver—an “exotic” life he yearned for as much as he yearned to see “la patria.” Navigating these worlds eventually led Blanco to question his cultural identity through words; in turn, his vision as a writer—as an artist—prompted the courage to accept himself as a gay man. In this moving, contemplative memoir, the 2013 inaugural poet traces his poignant, often hilarious, and quintessentially American coming-of-age and the people who influenced him. A prismatic and lyrical narrative rich with the colors, sounds, smells, and textures of Miami, Richard Blanco’s personal narrative is a resonant account of how he discovered his authentic self and ultimately, a deeper understanding of what it means to be American. His is a singular yet universal story that beautifully illuminates the experience of “becoming;” how we are shaped by experiences, memories, and our complex stories: the humor, love, yearning, and tenderness that define a life.

The book gives an informed history and step-by-step instruction on the art of communicating with angels on a daily basis using one's own intuitive abilities and tapping into angelic energy for loving guidance and protection. Readers can further bring the influence of angels into their lives by gaining knowledge on the characteristics of guardian angels, Archangels, and helper angels and their amazing ability to bring clarity, perspective, and healing into one's life. A detailed angel glossary and a comprehensive listing of resources are also provided. In Spanish.

This extensive Spanish language reference explains the logic behind more than 3,000 frequently used verb phrases and combinations that make Spanish speech sound native. Each entry includes a definition of the phrase including its register, synonyms, antonyms, complementary expressions, grammatical patterns, and examples of how the combinations are used in easy and difficult structures. Most entries also point out other factors to be taken into account, such as whether an expression is to be used in isolation, after explaining a cause, or if it shouldn't be used at the beginning of a sentence. The book presents generative patterns for combinations based on conceptual metaphors and grammar structures, details families of expressions as separate charts, and contains an index by complement. Featuring a wide range of varieties of Spanish, this volume includes both peninsular and New World Spanish and draws on both written and spoken corpora. Based on sound research in cognitive linguistics and written entirely in Spanish, this valuable reference will be useful to advanced students of Spanish, teachers of Spanish, translators, and writers. Sample Entry ABUNDARAbundar en detalles: Ofrecer mucha información. Esta expresión se utiliza en contextos neutros o formales. En forma negativa (no abundar en detalles) se usa para expresar de manera irónica que alguien no quiere ofrecer tanta información como necesitamos. S: El informe sobre el golpe de estado V: abunda CR: en detalles sobre la intervención de la CIA El estudio abunda en detalles estadísticos sobre la inmigración, pero no explica ni sus causas ni sus consecuencias. La testigo reconoció que era amante del acusado, pero no abundó en detalles sobre su relación. Contraste:Informal: Paquita llegó a casa borracha y con un ojo morado. Explicó a su marido que se había caído y nada más.Formal: La víctima llegó a su casa intoxicada y con señales de abuso físico. Explicó, sin abundar en detalles, que eran resultado de una caída. Expresiones relacionadas:1. Entrar en detalles (frecuentemente no entrar en detalles): Discutir un tema en profundidad. ‘No entrar’ significa quedarse fuera, por lo tanto, no entrar en detalles significa no explicar ningún detalle, mientras que no abundar en detalles significa hablar poco sobre un tema. El estudio abunda en detalles estadísticos sobre la inmigración, pero no explica ni sus causas ni sus consecuencias. *El estudio entra en detalles estadísticos sobre la inmigración, pero no explica ni sus causas ni sus consecuencias. Hasta ahora hemos tratado el tema de la absorción de este mineral de manera superficial. Ahora entraremos en detalles. *Hasta ahora hemos tratado el tema de la absorción de este mineral de manera superficial. Ahora abundaremos en detalles.