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  <id type="integer">120261</id>
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    <![CDATA[The Oxford Book of Latin American Short Stories]]>
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    <![CDATA[The Oxford Book of Latin American Short Stories Edited by Roberto Gonzalez Echevarria       When Latin American writers burst onto the world literary scene in the now famous &quot;Boom&quot; of the sixties, it seemed as if an entire literature had invented itself over night out of thin air. Not only was the writing extraordinary but its sudden and spectacular appearance itself seemed magical. In fact, Latin American literature has a long and rich tradition that reaches back to the Colonial period and is filled with remarkable writers too little known in the English-speaking world.  The short story has been a central part of this tradition, from Fray Bartolome de las Casas' narrative protests against the Spanish Conquistadors' abuses of Indians, to the world renowned Ficciones of  Jorge Luis Borges, to the contemporary works of such masters as Carlos Fuentes, Gabriel Garcia Marquez, Rosario Ferre, and others.         Now, in The Oxford Book of Latin American Short Stories, editor Roberto Gonzalez Echevarria brings together fifty-three stories that span the history of Latin American literature and represent the most dazzling achievements in the form. In his fascinating introduction, Gonzalez Echevarria traces the evolution of the short story in Latin American literature, explaining why the genre has flourished there with such brilliance, and illuminating the various cultural and literary tensions that resolve themselves in &quot;magical realism.&quot; The stories themselves exhibit all the inventiveness, the luxuriousness of language, the wild metaphoric leaps and uncanny conjunctions of the ordinary with the fantastic that have given the Latin American short story its distinctive and unforgettable flavor: From the Joycean subtlety of  Machado de Assis's  &quot;Midnight Mass,&quot; to the brutal parable of Julio Ramon Ribeyro's &quot;Featherless Buzzards,&quot; to the startling disorientation of Alejo Carpentier's &quot;Journey Back to the Source,&quot; (which is told backwards, because a sorcerer has waved his wand and made time flow in reverse), to the haunting reveries of Maria Luisa Bombal's &quot;The Tree.&quot; Readers familiar with only the most popular Latin American writers will be delighted to discover many exciting new voices here, including Catalina de Erauso, Ricardo Palma, Rubin Dario, Augusto Roa Bastos, Christina Peri Rossi, along with Borges, Garcia Marquez, Fuentes, Cortazar, Vargas Llosa, and many others. Gonzalez Echevarria also provides brief and extremely helpful headnotes for the each selection,  discussing the author's influences, major works, and central themes.         Short story lovers will find a wealth of satisfactions here, in terrains both familiar and uncharted.  But the unique strength of The Oxford Book of Latin American Short Stories is that it allows us to see the connections between writers from Peru to Puerto Rico and from the sixteenth century to the present--and thus to view in a single, unprecedented volume one of the most diverse and fertile literary landscapes in the world.]]>
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  </authors>  <published>1997</published>
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        <book>
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    <![CDATA[The Oxford Book of Latin American Short Stories]]>
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    <![CDATA[Now, in The Oxford Book of Latin American Short Stories, editor Roberto Gonzalez Echevarria brings together fifty-three stories that span the history of Latin American literature and represent the most dazzling achievements in the form. These stories exhibit all the inventiveness, the luxuriousness of language, the wild metaphoric leaps and uncanny conjunctions of the ordinary with the fantastic that have given the Latin American short story its distinctive and unforgettable flavor.    <p>Short story lovers will find a wealth of satisfactions here, in terrains both familiar and uncharted. Readers acquainted with only the most popular Latin American writers will be delighted to discover many exciting new voices, including Catalina de Erauso, Ricardo Palma, Ruben Dario, Augusto Roa Bastos, Cristina Peri Rossi, along with Borges, Garcia Marquez, Fuentes, Cortazar, Vargas Llosa, and many others.  With a fascinating introduction by Roberto Gonzalez Echevarria, The Oxford Book of Latin American Short Stories offers in a single, unprecedented volume a view of one of the most diverse and fertile literary landscapes in the world.</p>]]>
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  </authors>  <published>1997</published>
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        <book>
  <id type="integer">501857</id>
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    <![CDATA[The Pride of Havana: A History of Cuban Baseball]]>
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    <![CDATA[The &quot;national&quot; in &quot;national pastime&quot; is a relative term in Yale literature professor and former semi-pro catcher Roberto Gonzalez Echevarria's meticulous examination of baseball in the land of his birth. A respected scholar, Echevarria is also a fan, and he manages to weave both objectivity and appreciation throughout a carefully researched and multi-layered narrative that draws from numerous first-person reminiscences. If Echevarria's prose is dry at times, it manages to cover plenty of interesting territory as he threads the game through the fabric of Cuban history, culture, and lore. <p> The island's romance with baseball has remarkable parallels and interconnections with America's embrace of the game. Ballplayers from the United States loved to barnstorm during the off-season in wide-open Havana, the Dodgers used to train there, the Cuban League--alums include Brooks Robinson, Tommy Lasorda, Don Hoak, and Don Zimmer--was a major force in the vibrant spread of baseball through the Caribbean, and, not surprisingly, several Major and Negro League standouts--Martin Dihigo, Bert Campaneris, Mike Cuellar, Luis Tiant, Minnie Minoso, Camilo Pascual, Tony Oliva, and, more recently, the Hernandez brothers--were stars in their homeland first. But there are also stunning and powerful differences, as stunning and powerful as the differences between the two countries since Castro's rise to power.<p> Castro's own obsession with the game plays prominently, though Echevarria is quick to strike out the myth that Fidel himself was once a prospect. &quot;Let it be known here,&quot; he emphasizes, &quot;that Fidel Castro was never scouted by any major-league team, and is not known to have enjoyed the kind of success in baseball that would have brought a scout's attention to him.&quot; He had to settle for the world's attention instead. <em>--Jeff Silverman</em></p></p>]]>
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  </authors>  <published>1999</published>
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  <isbn>8424927850</isbn>
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    <![CDATA[Historia de la literatura Hispanoamericana/ The Cambridge History of the Latin American Literature: Del descubrimiento al modernismo / Discovery to Modernism]]>
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    <![CDATA[Historia de la literatura hispanoamericana / The Cambridge History of the Latin American Literature: El Siglo XX / Vol 2: Twentieth Century]]>
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        <book>
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    <![CDATA[Mito Y Archivo: Una Teoria De La Narrativa Latinoamericana]]>
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  </authors>  <published>1998</published>
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    <![CDATA[The Voice of the Masters: Writing and Authority in Modern Latin American Literature (Latin American Monographs, No 64)]]>
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    <![CDATA[De donde son los cantantes]]>
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    <![CDATA[Oye Mi Son: Ensayos y Testimonios Sobre Literatura Hispanoamericana]]>
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    <![CDATA[Isla a Su Vuelo Fugitiva]]>
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