Helen Maria Williams’s epic poem Peru, first published in 1784, movingly recounts the story of Francisco Pizarro’s brutal conquest and exploitation of the Incas and their subsequent revolt against Spain. Like William Wordsworth, who revised The Prelude over the course of his life, Williams revisited her epic several times within almost four decades, transforming it with each revision. It began as an ambitious poetic blueprint for revolution—in terms of politics, gender, religion, and genre. By the time it appeared in 1823, under the title “Peruvian Tales” in her last poetry collection, Williams’s voice had become more moderate, more restrained; in her words, her muse had become “timid,” reflecting the cultural shift that had taken place in England since the poem’s earliest publication. This edition includes both versions of the poem, along with extensive examples of Williams’s literary sources, other poetic works, and the many and varied critical responses from contemporary reviewers.

Helen Maria Williams’s epic poem Peru, first published in 1784, movingly recounts the story of Francisco Pizarro’s brutal conquest and exploitation of the Incas and their subsequent revolt against Spain. Like William Wordsworth, who revised The Prelude over the course of his life, Williams revisited her epic several times within almost four decades, transforming it with each revision. It began as an ambitious poetic blueprint for revolution—in terms of politics, gender, religion, and genre. By the time it appeared in 1823, under the title “Peruvian Tales” in her last poetry collection, Williams’s voice had become more moderate, more restrained; in her words, her muse had become “timid,” reflecting the cultural shift that had taken place in England since the poem’s earliest publication. This edition includes both versions of the poem, along with extensive examples of Williams’s literary sources, other poetic works, and the many and varied critical responses from contemporary reviewers.

Ugly Stories of the Peruvian Agrarian Reform reveals the human drama behind the radical agrarian reform that unfolded in Peru during the final three decades of the twentieth century. That process began in 1969, when the left-leaning military government implemented a drastic program of land expropriation. Seized lands were turned into worker-managed cooperatives. After those cooperatives began to falter and the country returned to civilian rule in the 1980s, members distributed the land among themselves. In 1995–96, as the agrarian reform process was winding down and neoliberal policies were undoing leftist reforms, the Peruvian anthropologist Enrique Mayer traveled throughout the country, interviewing people who had lived through the most tumultuous years of agrarian reform, recording their memories and their stories. While agrarian reform caused enormous upheaval, controversy, and disappointment, it did succeed in breaking up the unjust and oppressive hacienda system. Mayer contends that the demise of that system is as important as the liberation of slaves in the Americas. Mayer interviewed ex-landlords, land expropriators, politicians, government bureaucrats, intellectuals, peasant leaders, activists, ranchers, members of farming families, and others. Weaving their impassioned recollections with his own commentary, he offers a series of dramatic narratives, each one centered around a specific instance of land expropriation, collective enterprise, and disillusion. Although the reform began with high hopes, it was quickly complicated by difficulties including corruption, rural and urban unrest, fights over land, and delays in modernization. As he provides insight into how important historical events are remembered, Mayer re-evaluates Peru’s military government (1969–79), its audacious agrarian reform program, and what that reform meant to Peruvians from all walks of life.

In recent years, Peru has transformed from a war-torn country to a global high-end culinary destination. Connecting chefs, state agencies, global capital, and Indigenous producers, this “gastronomic revolution” makes powerful claims: food unites Peruvians, dissolves racial antagonisms, and fuels development. Gastropolitics and the Specter of Race critically evaluates these claims and tracks the emergence of Peruvian gastropolitics, a biopolitical and aesthetic set of practices that reinscribe dominant racial and gendered orders. Through critical readings of high-end menus and ethnographic analysis of culinary festivals, guinea pig production, and national-branding campaigns, this work explores the intersections of race, species, and capital to reveal links between gastronomy and violence in Peru.

Marnacocha the angry sea god has a secret that only the llama knows -- he's going to flood the earth! Can the llama warn the animals and save the earth?

Siluk's 2005 reviews: Radio Programas del Peru, concerning publications: Spell of the Andes, and Peruvian Poems by Milagros Valverde (Milagros read poems from both of Mr. Siluk's books.) By JP Magazine, Jose Luis Pantoja Ventocilla. By Mayor Jesus Vargas Párraga of San Jeronimo, Peru, All mayors should recognize Dennis' work and publicize it . (Paraphrased.) Radio 91.7 Super Latina by Joseito Arrieta: the Municipality and the Cultural House from Huancayo should give an acknowledgement for the work [Dennis] did on The Mantaro Valley. Channel #5 Panamericana Good Morning Huancayo interviewed by: Vladimir Bendezu, on Mr. Siluk's books, and biography. Cesar Hildebrandt, International Journalist, Commentator; Channel #2, Lima, Peru, introduced Mr. Siluk's book, Peruvian Poems, to the world, saying: Peruvian Poems, is a most interesting book, and important Over 240,000-visitors came to Mr. Siluk's website in 2005. Siluk received a personally signed picture with compliments from the Dalai Lama, after sending him his book, The Last Trumpet on eschatology. Ezine Magazine: 12-million annual readerships: Siluk has over 10,000-readers per month; recognized as one of their most valued writers. Named columnist of the year by the UK, International Magazine. Siluk's books were recommended by the Cultural Agency, Peru, and the University of Minnesota.