Launched at a kitchen table in Mendota Heights, Minnesota, Mano a Mano began collecting and shipping medical supplies to impoverished Bolivian communities in 1994. Twenty years later, an organization that once operated exclusively from the founder's basement has now successfully implemented over 300 infrastructure projects, including medical clinics, schools, roads, and water reservoirs. As a result of their efforts, over 700,000 Bolivians, who face one of the highest rural poverty rates in the world, now have access to health care for the first time.Gaining Ground is the inspiring case study of how this volunteer-based, grassroots organization is making history in Bolivia, and offers an autobiographical look at the “how to” and “lessons learned” of their international development work. Inside Gaining Ground, discover: a blueprint for developing your own international NGO, why the grassroots community partnership model works ,how to facilitate participatory development, approaches to achieving sustainability and self-sufficiency, alternatives to standard organizational structure, the critical nature of a bicultural perspective, and a detailed history of this organization.

Mano-a-mano is a Spanish construction meaning "hand to hand." It was used originally in bullfights where just the matador and the bull confront each other. Current Spanish usage describes any kind of competition between two people where they both compete, but somehow cooperate in achieving something. Mano-a-mano the devotional is a daily opportunity for men and their teenaged sons to share the Word of God for mentoring and discipleship. Men love competition and we know we are in competition for our young men's souls. Men and young men alike are competing yet cooperating in the achievement of our goals to become the men that God intends us to be: His men, His mighty warriors, His true and brave allies. Bryan Hall is a writer and consultant living in Brentwood, Tennessee with his wife, daughter and two sons. At Brentwood Baptist Church he serves as a deacon, small group Bible study leader, and fourth grade Sunday School negotiator. He also sings in the worship choir. Bryan has recently served on missions in Thailand and Hong Kong. His passion is to see child slavery eliminated in his lifetime. Hunter Hall is a biology major at Bryan College in Dayton, Tennessee where he runs varsity cross country and track. His favorite events are the Steeplechase and the 1500 meters. Hunter recently participated in mission work in St. Johns, V.I., teaching Vacation Bible School. Harrison Hall is a junior at Brentwood High School where he is a varsity wrestler, student council representative and worship leader for the Fellowship of Christian Athletes. Harrison's other passion is singing and he is a member of the band The Armory. Harrison recently participated in mission work in Chicago and Guatemala working with children.

Arts as intimate as a piece of needlework or a home altar. Arts as visible as decorative iron, murals, and low riders. Through such arts, members of Tucson's Mexican American community contribute much of the cultural flavor that defines the city to its residents and to the outside world. Now Tucson folklorist Jim Griffith celebrates these public and private artistic expressions and invites us to meet the people who create them. Josefina Lizárraga learned to make paper flowers as a girl in her native state of Nayarit, Mexico, and ensures that this delicate art is not lost. Ornamental blacksmith William Flores runs the oldest blacksmithing business in town, a living link with an earlier Tucson. Ramona Franco's family has maintained an elaborate altar to Our Lady of Guadalupe for three generations. Signmaker Paul Lira, responsible for many of Tucson's most interesting signs, brings to his work a thoroughly mexicano sense of aesthetics and humor. Muralists David Tineo and Luis Mena proclaim Mexican cultural identity in their work and carry on a tradition that has blossomed in the last twenty years. Featuring a foreword by Tucson author Patricia Preciado Martin and a spectacular gallery of photographs, many by Pulitzer prize-winning photographer José Galvez, this remarkable book offers a close-up view of a community rich with tradition and diverse artistic expression. Hecho a Mano is a piñata bursting with unexpected treasures that will inspire and inform anyone with an interest in folk art or Mexican American culture.

LA MANO DEL DESTINO tells the tale of a once-champion Luchador who, after being betrayed by his friends and unmasked in the ring, agrees to a Faustian bargain with a mysterious promoter. He gains a new power and the identity of La Mano del Destino in order to exact revenge upon his betrayers. Set in a swanky, 1960s Mexico where Lucha Libre is intrinsically woven into all aspects of society, this tale winds its way through the machinations and motivations of all types who inhabit this unique setting. Can La Mano del Destino get his revenge while remaining the champion he knows himself to be? Mesoamerican myth, Silver-Age storytelling, and high-flying Lucha Libre action converge to tell this epic story of vengeance and destiny! Collects LA MANO DEL DESTINO #1-6

A series of magical images unfold to reveal the beauty and wonder of the world.

From a respected author, a terrific, much-discussed mystery of sex, sin, and scandal in the big city. When his brother disappears, Father Mike Wilson comes to New York from Nebraska, and is shocked to discover that Tony's business there is a topless bar--where nude corpses keep turning up. Unadulterated fun.--New York Newsday.

Este volumen es un análisis fundamental para entender los lazos del escritor norteamericano con la España republicana y su posterior acogida, durante los años de postguerra, por parte del gobierno del general Franco. Los primeros tres capítulos examinan las alusiones literarias e históricas de algunas de sus obras en referencia a España, su relación política y literaria con Rafael Alberti y la recepción del escritor a la luz de su ideología. Los últimos cinco capítulos ofrecen y explican los documentos españoles, depositados en el Archivo General de la Administración en Alcalá de Henares, que testimonian cómo el gobierno franquista siempre consideró a Hemingway un escritor comunista y, por tanto, peligroso y objeto de censura.