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In 1519, Cortez and a handful of Spaniards, horses, and Indian allies marched across Mexico to the Aztec capital of Tenochtitlan, and there, through cunning and force, brought death to the emperor Moctezuma and destruction to his mighty empire. And always at the side of the conqueror was a young Aztec woman, whom the people called Malinche.Her real name was Malinali, though the conquistadors called her Marina. Born a princess but sold into slavery by her own mother, and then given as tribute to Cortez, Marina became his translator, interpreter, confidante, and later, mother of two of his children. Like the emperor Moctezuma himself, she half-believed that the invincible man she followed was the beneficient god-king Quetzalcoatl. Aztec legend had promised his return from exile in the east to reclaim his kingdom from the usurping gods of war and death.As for Cortez, he knew very well that his campaign to bring Christianity to the Aztecs, and extract gold from them, could never have succeeded so quickly without Marina's skills in language and diplomacy, and her undying loyalty. He called her "my tongue," and declared, under oath, that after God she was his greatest aid in the Conquest.Today, the figure of Malinche is a curious creature - half legend, half history - lost in the folklore of Mexico. Was she a traitor to her people, a woman in love, a warrior princess, or a faithful servant manipulated by a ruthless man? Here her story is finally told, grounded in both Spanish and Aztec sources, and embedded in the rich culture and startling mores of her turbulent times. A well-crafted marriage of pure history and compelling storytelling, it restores a remarkable and resourceful woman to her place in history.

Laura Esquivel, la Princesa de la literatura latinoamericana, está de regreso!Su nueva novela Malinche es el extraordinario recuento del trágico y apasionado amor entre el conquistador Hernán Cortés y la india Malinalli, su intérprete durante la conquista del imperio azteca. Cuando Malinalli conoce a Cortés asume que se trata del propio Dios Quetzalcóatl que regresa a liberar a su pueblo. Los dos se enamoran apasionadamente, pero este amor pronto es destruido por la desmedida sed de conquista, poder y riqueza de Cortés. A lo largo de la historia de México Malinalli/Malinche ha sido conocida por su traición al pueblo indio. Pero recientes investigaciones históricas han mostrado que Malinalli fue la mediadora entre dos culturas, la hispánica y la americana nativa; y entre dos lenguas, el español y el náhuatl. Lo que Esquivel ha hecho aquí es desafiar la mitología tradicional mediante un retrato muy temperamental del Adán y la Eva de la cultura mestiza, Cortés y Malinalli, con la caída del imperio azteca como telón de fondo. Contada con el lirismo de la tradición cantarina y pictórica del náhuatl, Laura Esquivel nos brinda un mito fundacional de la cultura híbrida del Nuevo Mundo y una extraordinaria historia de amor.

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Malinche was the Amerindian translator for Hernán Cortés—from her lips came the words that triggered the downfall of the great Aztec Emperor Moctezuma in the Spanish Conquest of 1521. In Mexico, Malinche’s name is synonymous with “traitor,” yet folklore and legend still celebrate her mystique. The author traverses Mexico and delves into the country’s extraordinary past to excavate the mythologies of this exceptional woman’s life. Malinche—abandoned to strangers as a slave when just a girl—was taken by Cortés to become interpreter, concubine, witness to his campaigns, mother to his son, yet married to another. She survived unimaginably precarious times relying on her intelligence, courage, and gift for language. Though Malinche’s words changed history, her own story remained untold, until now.

En este nuevo libro, fruto del diálogo entre el trabajo de la imaginación y el de reconstrucción histórica, Laura Esquivel narra con su estilo intenso y cálido la aventura vital de la mujer que creyó que el extranjero Hernán Cortés pondría fin a los terribles sacrificios humanos de la religión azteca, pero acabaría en cambio descubriendo la crueldad no menos sangrienta de los conquistadores. Desde la recreación de toda una cultura perdida, con sus rituales y sus costumbres, hasta su destrucción casi total a manos de quienes por momentos creyeron que eran dioses, este relato explora las relaciones entre pueblos y razas e indaga las causas que tantas veces los llevan a enfrentarse. Un relato inolvidable, que penetra con la misma profundidad en el atribulado corazón de su protagonista y en el complejo corazón de México. Malinche es tal vez la mirada más abarcadora de su autora sobre dos de sus temas esenciales: la tierra mexicana y la condición femenina.

Good condition. This is the average used book, that has all pages or leaves present, but may include writing. Book may be ex-library with stamps and stickers. 1.1

REPPRINT/REISSUE: "1a edicion en Andanzas: octubre de 2004" and "1a edicion en Fabula: mayo de 2014" stated. Fine wraps/paperback. Only trivial, if any signs of age/wear/previous use.

Mexican and Mexican American women have written about Texas and their lives in the state since colonial times. Edited by fellow Tejanas Inés Hernández-Ávila and Norma Elia Cantú, Entre Guadalupe y Malinche gathers, for the first time, a representative body of work about the lives and experiences of women who identify as Tejanas in both the literary and visual arts.The writings of more than fifty authors and the artwork of eight artists manifest the nuanced complexity of what it means to be Tejana and how this identity offers alternative perspectives to contemporary notions of Chicana identity, community, and culture. Considering Texas-Mexican women and their identity formations, subjectivities, and location on the longest border between Mexico and any of the southwestern states acknowledges the profound influence that land and history have on a people and a community, and how Tejana creative traditions have been shaped by historical, geographical, cultural, linguistic, social, and political forces. This representation of Tejana arts and letters brings together the work of rising stars along with well-known figures such as writers Gloria Anzaldúa, Emma Pérez, Alicia Gaspar de Alba, Carmen Tafolla, and Pat Mora, and artists such as Carmen Lomas Garza, Kathy Vargas, Santa Barraza, and more. The collection attests to the rooted presence of the original indigenous peoples of the land now known as Tejas, as well as a strong Chicana/Mexicana feminism that has its precursors in Tejana history itself.

Mexican and Mexican American women have written about Texas and their lives in the state since colonial times. Edited by fellow Tejanas Inés Hernández-Ávila and Norma Elia Cantú, Entre Guadalupe y Malinche gathers, for the first time, a representative body of work about the lives and experiences of women who identify as Tejanas in both the literary and visual arts.The writings of more than fifty authors and the artwork of eight artists manifest the nuanced complexity of what it means to be Tejana and how this identity offers alternative perspectives to contemporary notions of Chicana identity, community, and culture. Considering Texas-Mexican women and their identity formations, subjectivities, and location on the longest border between Mexico and any of the southwestern states acknowledges the profound influence that land and history have on a people and a community, and how Tejana creative traditions have been shaped by historical, geographical, cultural, linguistic, social, and political forces. This representation of Tejana arts and letters brings together the work of rising stars along with well-known figures such as writers Gloria Anzaldúa, Emma Pérez, Alicia Gaspar de Alba, Carmen Tafolla, and Pat Mora, and artists such as Carmen Lomas Garza, Kathy Vargas, Santa Barraza, and more. The collection attests to the rooted presence of the original indigenous peoples of the land now known as Tejas, as well as a strong Chicana/Mexicana feminism that has its precursors in Tejana history itself.

A woman who played an active and powerful role in the Spanish conquest of Mexico, Malinche was an interpreter, advisor, and intermediary for Hernán Cortés. She was also a mistress to Cortés and gave birth to his first son Martín Cortés. It through the letters from mother to son, that the author constructs this vivid tale about the woman behind the myth.

Drawing from the humanities and the social sciences to interrogate the development of feminism, queer studies, and Latina/o studies, the editors of this volume examine the literary and cultural debates the figure of la Malinche has generated in critical circles by addressing the state and direction of Malinche scholarship.

This item is in overall good condition. Covers and dust jackets are intact but may have minor wear including slight curls or bends to corners as well as cosmetic blemishes including stickers. Pages are intact but may have minor highlighting/ writing. Binding is intact; however, spine may have slight wear overall. Digital codes may not be included and have not been tested to be redeemable and/or active. Minor shelf wear overall. Please note that all items are donated goods and are in used condition. Orders shipped Monday through Friday! Your purchase helps put people to work and learn life skills to reach their full potential. Orders shipped Monday through Friday. Your purchase helps put people to work and learn life skills to reach their full potential. Thank you!

"What the women I write about have in common is that they are all rebels with a cause, and I see myself represented in their mirror," asserts Alicia Gaspar de Alba. Looking back across a career in which she has written novels, poems, and scholarly works about Sor Juana Inés de la Cruz, la Malinche, Coyolxauhqui, the murdered women of Juárez, the Salem witches, and Chicana lesbian feminists, Gaspar de Alba realized that what links these historically and socially diverse figures is that they all fall into the category of "bad women," as defined by their place, culture, and time, and all have been punished as well as remembered for rebelling against the "frames" imposed on them by capitalist patriarchal discourses.In [Un]Framing the "Bad Woman," Gaspar de Alba revisits and expands several of her published articles and presents three new essays to analyze how specific brown/female bodies have been framed by racial, social, cultural, sexual, national/regional, historical, and religious discourses of identity—as well as how Chicanas can be liberated from these frames. Employing interdisciplinary methodologies of activist scholarship that draw from art, literature, history, politics, popular culture, and feminist theory, she shows how the "bad women" who interest her are transgressive bodies that refuse to cooperate with patriarchal dictates about what constitutes a "good woman" and that queer/alter the male-centric and heteronormative history, politics, and consciousness of Chicano/Mexicano culture. By "unframing" these bad women and rewriting their stories within a revolutionary frame, Gaspar de Alba offers her compañeras and fellow luchadoras empowering models of struggle, resistance, and rebirth.

This book is the first in-depth review and assessment of Laura Esquivel criticism, and it has won the Harvey L. Johnson Book Award for 2011 conferred by the South Central Organization of Latin American Studies at its 44th annual Congress in Miami, Florida (March 9, 2012). In the book outstanding essayists - from diverse critical perspectives in Latin American literature and film - explore Esquivel's critical reputation, contextualize her work in literary movements, and consider her four novels and the film based on Like Water for Chocolate. The book begins with An Introduction to Esquivel Criticism, reviewing 20 years of global praise and condemnation. Elena Poniatowska, in an essay provided in the original Spanish and in translation, reflects on her first reading of Like Water for Chocolate. From unique critical perspectives, Jeffrey Oxford, Patrick Duffey, and Debra Andrist probe the novel as film and fiction. The Rev. Dr. Stephen Butler Murray explores Esquivel's spiritual focus, while cultural geographer Maria Elena Christie uses words and images to compare Mexican kitchen-space and Esquivel's first novel. Elizabeth Coonrod Martinez and Lydia H. Rodriguez affirm divergent readings of The Law of Love, and Elizabeth M. Willingham discusses the contested national identity in Swift as Desire. Jeanne L. Gillespie and Ryan F. Long approach Malinche: A Novel through historical documents and popular and religious culture. In the closing essay, Alberto Julian Perez contextualizes Esquivel's fiction within Feminist and Hispanic literary movements.

This book is the first in-depth review and assessment of Laura Esquivel criticism, and it has won the Harvey L. Johnson Book Award for 2011 conferred by the South Central Organization of Latin American Studies at its 44th annual Congress in Miami, Florida (March 9, 2012). In the book outstanding essayists - from diverse critical perspectives in Latin American literature and film - explore Esquivel's critical reputation, contextualize her work in literary movements, and consider her four novels and the film based on Like Water for Chocolate. The book begins with An Introduction to Esquivel Criticism, reviewing 20 years of global praise and condemnation. Elena Poniatowska, in an essay provided in the original Spanish and in translation, reflects on her first reading of Like Water for Chocolate. From unique critical perspectives, Jeffrey Oxford, Patrick Duffey, and Debra Andrist probe the novel as film and fiction. The Rev. Dr. Stephen Butler Murray explores Esquivel's spiritual focus, while cultural geographer Maria Elena Christie uses words and images to compare Mexican kitchen-space and Esquivel's first novel. Elizabeth Coonrod Martinez and Lydia H. Rodriguez affirm divergent readings of The Law of Love, and Elizabeth M. Willingham discusses the contested national identity in Swift as Desire. Jeanne L. Gillespie and Ryan F. Long approach Malinche: A Novel through historical documents and popular and religious culture. In the closing essay, Alberto Julian Perez contextualizes Esquivel's fiction within Feminist and Hispanic literary movements.

Malintzin was the indigenous woman who translated for Hernando Cortés in his dealings with the Aztec emperor Moctezuma in the days of 1519 to 1521. "Malintzin," at least, was what the Indians called her. The Spanish called her doña Marina, and she has become known to posterity as La Malinche. As Malinche, she has long been regarded as a traitor to her people, a dangerously sexy, scheming woman who gave Cortés whatever he wanted out of her own self-interest.The life of the real woman, however, was much more complicated. She was sold into slavery as a child, and eventually given away to the Spanish as a concubine and cook. If she managed to make something more out of her life--and she did--it is difficult to say at what point she did wrong. In getting to know the trials and intricacies with which Malintzin's life was laced, we gain new respect for her steely courage, as well as for the bravery and quick thinking demonstrated by many other Native Americans in the earliest period of contact with Europeans.In this study of Malintzin's life, Camilla Townsend rejects all the previous myths and tries to restore dignity to the profoundly human men and women who lived and died in those days. Drawing on Spanish and Aztec language sources, she breathes new life into an old tale, and offers insights into the major issues of conquest and colonization, including technology and violence, resistance and accommodation, gender and power.

Malintzin como la llamaban los hablantes del nahuatl, dona Marina para los espanoles, Malinche para la posteridad, ha sido considerada como traidora a su pueblo: una mujer que seducida por el extranjero o por interes propio vendio a su patria. Figura controvertida, ha sido vista tambien como victima, como sobreviviente, como puente entre culturas. Pero la vida de la mujer real fue mas complicada que cualquiera de estas etiquetas. Vendida como esclava en la infancia y luego entregada a los espanoles como sirvienta y concubina, reducida por sus circunstancias a la mayor indefension, hizo uso de una extraordinaria inteligencia y rapidez de juicio no solo para sobrevivir, sino para mejorar considerablemente su posicion y la de sus descendientes. En este apasionante estudio de la vida de Malintzin que se lee como una novela, Camilla Townsend rechaza todos los mitos favorables y hostiles, y procura examinar las opciones y restaurar la dignidad de su protagonista. A partir de fuentes espanolas y nahuas, ofrece una vision novedosa sobre los grandes temas de la conquista y la colonizacion, la tecnologia y la violencia, la resistencia y la adaptacion, el genero y el poder.

Saiz' first full length poetry collection. Gathering short and long poems, fragments, epigrams, all rendered with an intense lyricism, The Bird of Nothing & Other Poems presents an absolutely unique poetry of stunning power and complexity. The collection includes the poem "malinche" (destined to become a classic), the moving "Knell" (for Miguel Hernandez), the 100-page tour de force,"the bird of nothing," as well as "the book of pronouns," (five haunting poems of the desert).

Chicana voices are missing from the psychology of women. Though “Chicana feminisms” have only recently been enumerated, a feminist perspective has long existed in Chicano communities without ever having been explicitly named. Grounded in specific aspects of Chicano culture such as the contested role of La Malinche and the complexities of Marianismo, the distinguishing feature of Chicana feminisms has been their embrace of diversity. Chicanas readily acribe to many feminisms and do not expect there to be only one.Focusing on young women between the ages of 20 and 30, Chicanas Speak Feminisms explores the relationship between Chicana feminism and the lived experiences of Chicanas. What do they see as their day-to-day manifestation of feminist consciousness? What is the relationship between what Chicana feminists propose and their lived experiences as women and as members of other significant social groups? Including rich ethnographic testimony based on questionnaires, in-depth interviews, and shadowing, Hurtado allows the women to speak in their own terms about how they see their femininity, sexuality, gender identity, ethnic/racial identity, and ties to other feminisms and political struggles.