The question of how one can be both Hispanic and Protestant has perplexed Mexican Americans in Texas ever since Anglo-American Protestants began converting their Mexican Catholic neighbors early in the nineteenth century. Mexican-American Protestants have faced the double challenge of being a religious minority within the larger Mexican-American community and a cultural minority within their Protestant denominations. As they have negotiated and sought to reconcile these two worlds over nearly two centuries, los Protestantes have melded Anglo-American Protestantism with Mexican-American culture to create a truly indigenous, authentic, and empowering faith tradition in the Mexican-American community. This book presents the first comparative history of Hispanic Methodists, Presbyterians, and Baptists in Texas. Covering a broad sweep from the 1830s to the 1990s, Paul Barton examines how Mexican-American Protestant identities have formed and evolved as los Protestantes interacted with their two very different communities in the barrio and in the Protestant church. He looks at historical trends and events that affected Mexican-American Protestant identity at different periods and discusses why and how shifts in los Protestantes' sense of identity occurred. His research highlights the fact that while Protestantism has traditionally served to assimilate Mexican Americans into the dominant U.S. society, it has also been transformed into a vehicle for expressing and transmitting Hispanic culture and heritage by its Mexican-American adherents.

The first Nobel Prize in literature to be awarded to a Latin American writer went to the Chilean poet Gabriela Mistral. Famous and beloved during her lifetime all over Latin America and in Europe, Mistral has never been known in North America as she deserves to be. The reputation of her more flamboyant and accessible friend and countryman Pablo Neruda has overshadowed hers, and she has been officially sentimentalized into a "poetess" of children and motherhood. Translations, and even selections of her work in Spanish, have tended to underplay the darkness, the strangeness, and the raging intensity of her poems of grief and pain, the yearning power of her evocations of the Chilean landscape, the stark music of her Round Dances, the visionary splendor of her Hymns of America. During her lifetime Mistral published four books: Desolation, Tenderness, Clearcut, and Winepress. These are included in the "Complete" Nobel edition published in Madrid; the Poem of Chile, her last book, was printed years after her death. Le Guin includes poems from all five books in this volume, with particular emphasis on the later work. The intelligence and passion of Le Guin's selection and translation will finally allow people in the North to hear the originality, power, purity, and intransigence of this great American voice. Le Guin has published five volumes of her own poetry, an English version of Lao Tzu's Tao Te Ching, and a volume of mutual translation with the Argentine poet Diana Bellessi, The Twins, the Dream/Las Gemalas, El Sueño. Strongly drawn to Mistral's work as soon as she discovered it, Le Guin has been working on this translation for five years.

Twentieth-century Spanish poetry has received comparatively little attention from critics writing in English. Andrew Debicki now presents the first English-language history published in the United States to examine the sweep of modern Spanish verse. More important, he is the first to situate Spanish poetry in the context of European modernity, to trace its trajectory from the symbolists to the postmodernists. Avoiding the rigid generational schemes and catalogs of names found in traditional Hispanic literary histories, Debicki offers detailed discussions of salient books and texts to construct an original and compelling view of his subject. He demonstrates that contemporary Spanish verse is rooted in the modem tradition and poetics that see the text as a unique embodiment of complex experiences. He then traces the evolution of that tradition in the early decades of the century and its gradual disintegration from the 1950s to the present as Spanish poetry came to reflect features of the postmodern, especially the poetics of text as process rather than as product. By centering his study on major periods and examining within each the work of poets of different ages, Debicki develops novel perspectives. The late 1960s and early 1970s, for example, were not merely the setting for a new aestheticist generation but an era of exceptional creativity in which both established and new writers engendered a profound, intertextual, and often self-referential lyricism. This book will be essential reading for specialists in modern Spanish letters, for advanced students, and for readers inter-ested in comparative literature.

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The plays are in Spanish. Los papeles están en el español.

Parece imposible que esto ocurra, quien lo escuche creerá que estoy loca, no me van a entender, solo por su propia experiencia podrán comprobar que nos les digo mentiras, que no los engaño. Todo lo que hacemos tiene efectos que no se ven ni se sienten pero existen, son tan reales como tocarme la cara, mirar el cielo, escuchar tu voz, pensar, sentir, caminar...hechos que afectan tu vida, tu entorno, a los que están a tu lado de una u otra manera. Esas cosas, actitudes, decisiones y pensamientos de lo cotidiano trascienden a lo sobrenatural, a lo desconocido a lo inimaginable a lo impensable. Todo lo que nos ha pasado en tan corto tiempo, lo que hemos vivido es una locura inesperada, insospechada. ¿Qué me iba yo a imaginar que pasaría por todo esto? ¿A dónde llegaremos? ¿Qué nos tocará vivir? ¿Quiénes sí y quiénes no sobrevivirán? ¿Con los que amo, los que conozco y no conozco que pasará? No puedo dejar que las cosas sigan como si nada pasara, tengo que hacer todo lo que esté a mi alcance así tenga que dar mi vida para evitarlo, para que entiendan, para que me escuchen. No lo puedo hacer sola, necesito tu compañía, necesito tu apoyo, necesito tu fortaleza, tu consejo, el camino es muy duro, complejo y difícil pero contigo sé que todo puede ser mucho más fácil, te necesitan, nos necesitan, te necesito, sé que puedes, sé que quieres, sé que amas ¡Ayúdame por favor!