Escrita en 1603 en forma de carta, Grandeza mexicana, coloca a Bernardo de Balbuena como el primer poeta genuinamente americano. Con opulentas descripciones, claridad y riqueza anecdótica el autor, estampa y une el rompecabezas de la cultura mexicana ante el surgimiento y consolidación de la Nueva España, hoy México, en sus diversas manifestaciones artísticas desde el siglo XVI al XIX.
When the United States emerged as a world power in the years before the Civil War, the men who presided over the nation s triumphant territorial and economic expansion were largely southern slaveholders. As presidents, cabinet officers, and diplomats, slaveholding leaders controlled the main levers of foreign policy inside an increasingly powerful American state.
"This Vast Southern Empire "explores the international vision and strategic operations of these southerners at the commanding heights of American politics. For proslavery leaders like John C. Calhoun and Jefferson Davis, the nineteenth-century world was torn between two hostile forces: a rising movement against bondage, and an Atlantic plantation system that was larger and more productive than ever before. In this great struggle, southern statesmen saw the United States as slavery s most powerful champion. Overcoming traditional qualms about a strong central government, slaveholding leaders harnessed the power of the state to defend slavery abroad. During the antebellum years, they worked energetically to modernize the U.S. military, while steering American diplomacy to protect slavery in Brazil, Cuba, and the Republic of Texas. As Matthew Karp demonstrates, these leaders were nationalists, not separatists. Their vast southern empire was not an independent South but the entire United States, and only the election of Abraham Lincoln broke their grip on national power. Fortified by years at the helm of U.
S. foreign affairs, slaveholding elites formed their own Confederacy not only as a desperate effort to preserve their property but as a confident bid to shape the future of the Atlantic world."
The war is over. The battle for love has just begun. As Marines, Cal and Jim depended on each other to survive bloodshed and despair in the Pacific.
Relieved to put the horrors of war behind him, Jim went home to his apple orchard and a quiet life with his wife and children. Knowing Jim could never return his forbidden feelings, Cal hoped time and an ocean between them would dull the yearning for his best friend. But when Jim's wife dies, Cal returns to help. He doesn't know a thing about apple farming-or children-but he's determined to be there for Jim, even as the painful torch he carries blazes back to life. Jim is grateful for his friend's support as he struggles with buried emotions and dark wartime memories. Then Jim begins to see Cal in a new light, and their relationship deepens in ways neither expected. Can they build a life together as a family and find happiness in a world that would condemn them? Note: Contains scenes of violence and post-traumatic stress.
Kell is one of the last Antari—magicians with a rare, coveted ability to travel between parallel Londons; Red, Grey, White, and, once upon a time, Black. Kell was raised in Arnes—Red London—and officially serves the Maresh Empire as an ambassador, traveling between the frequent bloody regime changes in White London and the court of George III in the dullest of Londons, the one without any magic left to see.
Unofficially, Kell is a smuggler, servicing people willing to pay for even the smallest glimpses of a world they'll never see. It's a defiant hobby with dangerous consequences, which Kell is now seeing firsthand. After an exchange goes awry, Kell escapes to Grey London and runs into Delilah Bard, a cut-purse with lofty aspirations. She first robs him, then saves him from a deadly enemy, and finally forces Kell to spirit her to another world for a proper adventure.
Now perilous magic is afoot, and treachery lurks at every turn. To save all of the worlds, they'll first need to stay alive. Shades of Magic series 1. A Darker Shade of Magic 2. A Gathering of Shadows 3. A Conjuring of Light
Beyazıt Meydanı'nda on dokuz arkadaşıyla birlikte idam edilen Paramaz'ın ve Osmanlı-Ermeni devrimci hareketinin mücadelesini irdeleyen elinizdeki kitap, resmi ideolojinin ve kendisini bu ideolojinin tesiriden kurtaramamış sosyalist hareketin örttüğü bir tarihe ışık tutuyor. Kadir Akın, bu ilk kaynak niteliğindeki çalışmasında Paramaz ve arkadaşlarını anlatmakla yetinmiyor, onların mücadelesinin daha iyi kavranabilmesi için o dönemin siyasi koşullarını ve Ermenilere uygulanan soykırımı, detaylı araştırmaların ürünü olan eserlerden yararlanarak yeniden inceliyor. Türkçe kaynakların yanı sıra, sadece bu çalışma için Ermenice asıllarının ilgili bölümlerinden yapılmış çevirileri de içermesi kitabın kaynak değerini yükseltiyor. Okur, kitapta Paramaz ve yoldaşlarının serüvenini izlerken, milliyetçi diye anlatılan Ermeni devrimcilerinin aslında Türk devrimcileriyle birlikte mücadele etme çabasında olan enternas-yonalistler olduğunu görecek. Kadir Akın da bu serüveni Ermeni devrimcilerinin tarihi olarak değil, müşterek mücadele tarihimizin bir parçası olarak sunuyor, Paramazları "ötekilerin" değil, bizim kahramanlarımız, bizim devrimcilerimiz olarak sahipleniyor. (Tanıtım Bülteninden)
Originally the medieval bestiary or book of animals set out to establish safe distinctions - between them and us - but Hughes's poetry works always in a contrary direction: showing what man and beast have in common, the reservoir from which we all draw.
Alice Oswald's selection is arranged chronologically, with an eye to different books and styles, but equally to those poems that embody animals, rather than just describe them. Some poems are here because, although not strictly speaking animal, they become so in the process of writing; and in keeping with the bestiary tradition there are plenty of imaginary animals - all concentratedly coming about their business. The resulting selection is subtly responsive to a central aspect of Hughes's achievement, while offering room to some wonderful overlooked poems, and to 'those that have the wildest tunes.'