As part of the larger, ongoing movement throughout Latin America to reclaim non-Hispanic cultural heritages and identities, indigenous writers in Mexico are reappropriating the written word in their ancestral tongues and in Spanish. As a result, the long-marginalized, innermost feelings, needs, and worldviews of Mexico's ten to twenty million indigenous peoples are now being widely revealed to the Western societies with which these peoples coexist. To contribute to this process and serve as a bridge of intercultural communication and understanding, this groundbreaking, three-volume anthology gathers works by the leading generation of writers in thirteen Mexican indigenous languages: Nahuatl, Maya, Tzotzil, Tzeltal, Tojolabal, Tabasco Chontal, Purepecha, Sierra Zapoteco, Isthmus Zapoteco, Mazateco, Ñahñu, Totonaco, and Huichol. Volume Two contains poetry by Mexican indigenous writers. Their poems appear first in their native language, followed by English and Spanish translations. Montemayor and Frischmann have abundantly annotated the Spanish, English, and indigenous-language texts and added glossaries and essays that discuss the formal and linguistic qualities of the poems, as well as their place within contemporary poetry. These supporting materials make the anthology especially accessible and interesting for nonspecialist readers seeking a greater understanding of Mexico's indigenous peoples.

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I am with you every day, even till the end of the world. Jesus Christ Yo estoy con ustedes todos los das, hasta el fin del mundo. Jesucristo Jesus is here with us every day. This is His promise. Jess est aqu con nosotros todos los das. sta es Su promesa. Our mission is your invitation to participate in this project. Nuestra misin es tu invitacin a participar en este proyecto. Use these songs daily to improve your knowledge of the Bible. Usa estas canciones diariamente para mejorar tu conocimiento de la Biblia. Use them to improve your bilingual skillsspeaking and reading and writing. salas para mejorar tus habilidades bilingeshablar y leer y escribir. We are inviting everyone to join in with your own music and melodies. Estamos invitando a todo el mundo a unirse con tu propia msica y melodas. Translate these songs into your own language to spread the message. Traduce estas canciones a tu propio idioma para difundir el mensaje. All these lyrics rhyme in English, and you can publish your own book. Todas estas letras riman en ingls, y t puedes publicar tu propio libro. You can translate the songs on our CD into your own language. Puedes traducir las canciones de nuestro CD a tu propio idioma. Please listen to the songs at www.wearechildrenofGod.com. Por favor escucha las canciones en www.somoshijosdeDios.com. You can release your CD with your group or record the songs in the studio. Puedes sacar tu CD con tu grupo o grabar las canciones en el estudio. The love of God and Jesus and the Holy Spirit is infinite. And it saves us! El amor de Dios y Jess y el Espritu Santo es infinito. Y nos salva! Have faith! To ask is to receive, to seek is to find, and to knock is to open. Ten fe! Pedir es recibir, buscar es encontrar, y llamar es abrir.

Kurma Murrain is a Colombian-American poet and philologist who graduated from the Universidad Nacional de Colombia. Her works include a book of poems titled Esta Soy and various other literary works. Her poetry has appeared in international journals and online magazines such as El Tiempo, Que Pasa, La Noticia, Label Me Latina/o, and Iodine Poetry Journal. In addition, she has translated books from English to Spanish that include Life in the Shadow of the Swastika by Frieda Roos-Van Hessen. In Charlotte, North Carolina, she has been a founding member of the poetry groups ArteSanos de la Palabra and Voz Es.

Winner of the 2011 SCSC Bainton Prize for Reference Works The “canon” of Hispanic mysticism is expanding. No longer is our picture of this special brand of early modern devotional practice limited to a handful of venerable saints. Instead, we recognize a wide range of “marginal” figures as practitioners of mysticism, broadly defined. Neither do we limit the study of mysticism necessarily to the Christian religion, nor even to the realm of literature. Representations of mysticism are also found in the visual, plastic and musical arts. The terminology and theoretical framework of mysticism permeate early modern Hispanic cultures. Paradoxically, by taking a more inclusive approach to studying mysticism in its “marginal” manifestations, we draw mysticism—in all its complex iterations—back toward its rightful place at the center of early modern spiritual experience. Contributors: Colin Thompson, Alastair Hamilton, Christina Lee, Clara E. Herrera, Darcy Donahue, Elena del Río Parra, Evelyn Toft, Fernando Durán López, Francisco Morales, Freddy Domínguez, Glyn Redworth, Jane Ackerman, Jessica Boon, José Adriano de Freitas Carvalho, Luce López-Baralt, María Carrión, Maryrica Lottman, and Tess Knighton.

During her lifetime, Gloria Fuertes achieved the status of a controversial cultural icon, both through her poetry for adults and through her poetry, recorded readings, and television programs for juveniles. This collection of lively essays, by authors who specialize in contemporary Spanish poetry, approaches the works of Gloria Fuertes from various theoretical and critical perspectives. In Her Words speaks to the inherent complexity of Gloria Fuertes' poetry, as manifested in its ultimate indeterminacy and indecision, yet attests to this poet's abiding value as the voice of the marginalized-women, the poor, children, all the invisible members of society-who were silenced during the years of Spanish dictatorship under Franco. This book manifests the prescience of Fuertes' stands on a variety of social and cultural issues, from women's changing roles in society, gender and sexuality, identity within a society held captive by a dictatorial regime, to more universal themes such as love, justice, ethics, nature, and obsolete societal norms. In Her Words decisively addresses and ultimately rejects the Spanish cultural elite's inclination to disavow Fuertes' influence and reveals how her voice has shaped succeeding generations of Spanish poets and underscored the ubiquity of her verse in contemporary Spanish literature and culture. The subtlety and diversity of the essays included in this volume attest to the power of Gloria Fuertes' poetic creativity, her ability to appeal to a wide audience both in Spain and abroad, and her place in the contemporary Spanish poetic canon.

"New worlds for old words / Mundos nuevos para viejas palabras" is a collection of chapters on the theme of lexical borrowing in the languages of Western Europe with particular focus on borrowing from Latin, or from Greek via Latin, into Spanish. Such cultured, or “learnèd” borrowing—as it has sometimes been designated—, is an especially intriguing feature of the Romance languages, since they also derive from Latin. It is also of particular interest to historical linguists since it is an example of what has been called “change from above”: innovation first evidenced in the written usage of the culturally élite which then diffuses into more general acceptance, with the result that some cultured borrowings (e.g. problem/problema, social, program(me)/programa) are now amongst the most common words in the modern languages. Despite their enormous influence on such major languages as English, Spanish, Portuguese, French, and Italian, the mechanisms by which these borrowings become established in their host languages have to date been relatively little studied. This book seeks to make a contribution to this question and revive interest in what has become a neglected area of historical linguistics and contains contributions both by internationally respected scholars and new researchers in the field. This bilingual collection will appeal to academics, scholars, and postgraduate students of Hispanic Studies, Cultural History, and particularly Historical Linguistics and Romance Linguistics. "New worlds for old words / Mundos nuevos para viejas palabras" es una colección sobre los préstamos léxicos en los idiomas de Europa occidental, centrándose sobre todo en los préstamos del latín, o del griego a través del latín, al español. Los cultismos son un rasgo especialmente interesante de las lenguas romances, ya que ellos mismos proceden del latín. También es de gran interés para la lingüística histórica dado que es un ejemplo de lo que se conoce como “cambio desde arriba”: cambios atestiguados primero en la lengua escrita de la élite cultural que luego comienza a tener un uso más generalizado, y cuyo resultado es que algunos de estos cultismos (por ejemplo “problema”, “social”, “programa”) se encuentran entre las palabras más comunes en los idiomas modernos. A pesar de su enorme influencia en lenguas tan importantes como el inglés, el español, el portugués, el francés o el italiano, los mecanismos por los que estos préstamos se establecen en los idiomas de acogida se han estudiado relativamente poco hasta ahora. Este volumen es una contribución a esta cuestión y su objetivo es reavivar el interés en lo que se ha convertido en un área olvidada de la lingüística diacrónica. Se incluyen capítulos de académicos conocidos internacionalmente y de investigadores noveles. Esta colección bilingüe será de gran utilidad para académicos, investigadores y alumnos de posgrado en estudios hispánicos, estudios culturales, y particularmente lingüística histórica y lingüística de las lenguas romances.