Obra del autor Mexicano, Héctor Omar Frías Austria, originario de la Ciudad minera, Pachuca, Hgo. Su libro esta dividido en dos partes, la primera "Sueño Fugaz", donde trata del perene tema del amor y del desamor en sus muy diferentes vertientes. La segunda "Pensamiento Atrapado" aborda los muy diversos problemas sociales como es la locura, la drogadicción, el niño no deseado, la vejes. Etc. En su última parte envía pensamientos a la juventud, de lucha, de no claudicación ante los embates de la vida. En conclusión la obra de un tobogán de ideas reflexivas.

Asi que la primera condición para hacer el grimorio es ser puro, y luchar en la pureza. Años de pureza para poder cometer la aberración, para poder tentar al tentador, y entender que ese acto no fue una tentación que Leviatan creó, para hacerte caer, la tentación puede ser generado por otro ente, pero no necesariamente, puede engendrarse desde tu alma y ya esta invitación existe a través de una tentación y es díficil saber de donde proviene, si del libre albeldrío de ti o si es una trampa para lograr su ambición a través de la tuya.

La Nave del Recuerdo es una recopilación de varios de los mejores poemas y reflexiones del autor realizadas a lo largo de su dilatada vida. El amor y la familia aparecen como protagonistas del libro.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1950.

On September 29, 1927, Cuban soprano Rita Montaner walked onto the stage of Havana's Teatro Regina, her features obscured under a mask of blackened glycerin and her body clad in the tight pants, boots, and riding jacket of a coachman. Standing alongside a gilded carriage and a live horse, the blackfaced, cross-dressed actress sang the premiere of Eliseo Grenet's tango-congo, "Ay Mama Ines." The crowd went wild. Montaner's performance cemented "Ay Mama Ines" as one of the classics in the Cuban repertoire, but more importantly, the premiere heralded the birth of the Cuban zarzuela, a new genre of music theater that over the next fifteen years transformed popular entertainment on the island. Cuban Zarzuela: Performing Race and Gender on Havana's Lyric Stage marks the first comprehensive study of the Cuban zarzuela, a Spanish-language light opera with spoken dialogue that originated in Spain but flourished in Havana during the early twentieth century. Created by musicians and managers to fill a growing demand for family entertainment, the zarzuela evidenced the emerging economic and cultural power of Cuba's white female bourgeoisie to influence the entertainment industry. Susan Thomas explores zarzuela's function as a pedagogical tool, through which composers, librettists, and business managers hoped to control their troupes and audiences by presenting desirable and problematic images of both feminine and masculine identities. Zarzuela was, Thomas explains, "anti-feminist but pro-feminine, its plots focusing on female protagonists and its musical scores showcasing the female voice." Focusing on character types such as the mulata, the negrito, and the ingenue, Thomas uncovers the zarzuela's richly textured relationship to social constructs of race, class, and especially gender.