La tragedia de una mujer vendida por sus padres a un rico empresario repercute como eco en las vidas de varias generaciones que presencian el paso de la historia desde principios y hasta finales del siglo XX. En sus cartas, hacen referencia a un pueblo perdido en la montaña, cuyas gélidas paredes de piedra ocultan secretos familiares, intrigas políticas y peligro mortal. Pero si le preguntas a cualquiera de ellos sobre lo que pasó ahí, se limitarán a decir: "¡No hay para tanto!" "Una excelente novela de intriga, pero también un ciclorama sobre el que se proyectan una serie de personajes y situaciones típicas de la sociedad rural –el cacique, el cura, el juez, el rechazo a los forasteros, los odios seculares entre familias...– y una panorámica sobre los hechos que han caracterizado el siglo XX en nuestro país." Joan Josep Isern "Noventa años de nuestro país en una novela orgánica, viva, donde todos los elementos encajan como en un reloj de hora exacta." Andreu Martín "¡No hay para tanto!, una novela que no podéis dejar de leer: corta, intensa y diferente. Por su tratamiento epistolar, por las distintas voces que la habitan, por la intriga tan bien conducida y por su originalidad... ¡Buena lectura!" Gemma Lienas "Conocí bien a Bartomeu Cruells y compartí con él actividades de la lucha clandestina contra la dictadura y ahora descubro su talento literario para, novelando un crimen, hacer un repaso de noventa años de nuestra historia más reciente."Xavier Vinader Tags: misterio, novella histórica

Vol. 1 includes "Organization number," published Nov. 1917.

Whether or not it constituted a complete break from the past, the 15-M movement’s most important legacy was a more expansive notion of the popular political, one that recognized cultural representation as a mode of political articulation and as part of a political culture. In an effort to understand the populist cycle inaugurated by 15-M, and to do so beyond a series of narrated events, Performing Populism sets out to explain Spanish populism in relation to the performances of its visual politics. The book's first part examines how the 15-M movement created a new way of seeing that in turn led to a new way of doing politics in Spain. Part Two focuses on the multiple ramifications of that new vision once the people stopped marching and the movement became less visible. From electoral posters to fiction films, documentaries, and internet memes, Performing Populism traces the ways that collective Spanish identities evolved from a period when "the people" seemed to have been willingly subsumed under the apathetic ideation of the middle-class consumer to the moment in 2011 when a crisis of representation forced many into political consciousness. This rude awakening kickstarted the reconstruction of a Spanish "us" that staged exhibitions of popular will on par with and parallel to the Arab Spring, but in a European register that embraced the countercultural through art that disremembered its political past but could not escape the ghostly shadow of its history.

Virginia Aspe’s erudite Approaches to the Theory of Freedom offers a new interpretation of “Primero Sueño”–probably the highest Spanish-written poem–, written by the nun Sor Juana Inés de la Cruz . Aspe considers the philosophical and theological influences regarding Sor Juana’s development of her concept and ideal of freedom. With vast erudition, Aspe helps advance the field of Sor Juana studies beyond what Paz was able to accomplish. She emphasises the influence of the Jesuit theology of the University of Coimbra. New perspectives and references available to the Spanish speaking world, such as the recent translation of several previously unknown Latin texts from Sor Juana’s Mexican contemporaries, provide insights that help Aspe take our understanding of the poem further and cast new lights on her idea of freedom, as well as her background and references. Approaches to the Theory of Freedom help us to become familiar with the way this magnificent poem becomes a defense of freedom. That is why this book means a significant contribution to our understanding of Sor Juana’s thought and the poetry of Sor Juana’s period.

Like its predecessor and companion volume New Journeys in Iberian Studies, this volume gathers fresh and emerging research in a range of sub-fields of Iberian studies from an international range of established academics and early career researchers. The book provides rich evidence of the breadth and depth of new research being carried out in the dynamic field of Iberian studies at present. As the title suggests, a strong thread running through the collection is concerned with investigating the multiple spaces of tension between the centre and periphery that comprise the Iberian cultural system. Topically, the current situation in Catalonia naturally comes to the fore in a number of chapters and from a range of perspectives. However, in the revisiting of a range of cultural products and historical processes undertaken by the contributors, it can be seen that transoceanic postcolonial relations are not neglected and concerns with history, memory and fiction also weave their way through their work.