Elizabeth Horan | Arizona State University (original) (raw)

Books by Elizabeth Horan

Preciadas Cartas: Correspondencia entre Gabriela Mistral, Victoria Ocampo y Victoria Kent, 2019

Prólogo general y selección breve incluída. El prólogo cuenta unos resultados de una investigació... more Prólogo general y selección breve incluída. El prólogo cuenta unos resultados de una investigación de muchas años, multi archival, que resulta en este libro sobre la amistad, a lo largo de cinco décadas, entre las tres mujeres más ilustres de la lengua española en el siglo XX. Comienza poco después de los primeros encuentros de sus protagonistas en el Madrid de la Segunda República. Termina en 1979, poco después de la muerte de Ocampo. Gabriela Mistral (1889-1957), Victoria Ocampo (1890-1979) y Victoria Kent (1882-1987) proceden de tres distintos países, pero encarnan un mismo interés común en el desarrollo político y social de las sociedades que transitaron. La correspondencia supera las barreras del tiempo y del espacio debido a distancia física sufrida como resultado de guerras, enfermedades, exilio y encarcelamiento. Un libro imprescindible para establecer la historia LGBTQ y revelar cómo el género y las identidades sociales se entretejieron en las redes humanitarias durante la guerra civil española y el posterior franquismo. En la primera persona, expone nueva luz sobre aspectos más desconocidos, cubiertos de las tres mujeres: el amor entre Louise Crane y Victoria Kent; la intervención Kent para “corregir” el Registro Civil de Barcelona para aportar el cuento improbable sobre los origines del “sobrino” de Mistral; la salud de Ocampo y su liderazgo en el mundo cultural. Muchas cartas previamente inéditas. ISBN 978-84-17950-37-8

Preciadas Cartas: Correspondencia entre Gabriela Mistral, Victoria Ocampo y Victoria Kent, 1932-1979, 2019

b i b l i o t e c a d e l a m e m o r i a La presente colección de cartas representa la amistad... more b i b l i o t e c a d e l a m e m o r i a

La presente colección de cartas representa la amistad de tres mujeres excepcionales a lo largo de cinco décadas. Comienza poco después de los primeros encuentros de sus protagonistas en el Madrid de la Segunda República y termina en 1979 con la muerte de Ocampo. Las autoras del epistolario son Gabriela Mistral (1889-1957), Victoria Ocampo (1890-1979) y Victoria Kent (1882-1987). Proceden de tres distintos países, pero encarnan un mismo interés común en el desarrollo político y social de las sociedades que transitaron. La correspondencia supera las barreras del tiempo y del espacio debido a la distancia física sufrida como resultado de guerras, enfermedades, exilio y encarcelamiento. La relación de amistad transatlántica evidenciada a lo largo de las cartas abarca un amplio recorrido. Un libro imprescindible para establecer la historia LGBTQ y reve-lar cómo el género y las identidades sociales se entretejieron en las redes humanitarias durante la Guerra Civil española y el posterior franquismo. Gabriela Mistr al Se consideró «mestiza de vasco». Maestra desde los 14 años en escuelas rurales de Chile. Colaboró en la reforma educacional de México. Poeta, periodista y diplomática, fue galardonada con el Premio Nobel de Literatura en 1945. Sus escritos incluyen todo el mundo hispanoparlante y sus seductivas cartas revelan la astu-cia política y la eficaz conciencia moral detrás de las maniobras para salvar vidas y proteger niños. Victoria ocaMpo Gran mecenas argentina, es reconocida por la fundación de la revista y la editorial Sur y los textos autobiográficos publicados en Testimonios y Autobiografías. Su corres-pondencia permite entrever la relación con los intelectua-les y el funcionamiento de Sur. Estas cartas constituyen un cambio de paradigma al iluminar su intimidad con Mistral y Kent y sus intervenciones políticas. Victoria Kent Fue una distinguida abogada y política durante la II República. Ocupó el cargo de Directora General de Prisiones y trabajó activamente en favor de los presos republicanos durante la Guerra Civil. En el exilio fue editora de Ibérica, revista para los republicanos exilia-dos. Su correspondencia con Mistral y Ocampo mues-tra su preocupación por los derechos humanos.

Cuadernos de Literatura 42 by Elizabeth Horan

Este trabajo rastrea archivos epistolares de Gabriela Mistral, poniendo especial énfasis en las m... more Este trabajo rastrea archivos epistolares de Gabriela Mistral, poniendo especial énfasis en las marcas que sitúan a emisores y destinatarios en tiempos y espacios queer. Concentrada en la etapa inicial de su carrera, la pesquisa demuestra cómo Mistral ensaya estrategias retóricas que le permiten escenificar un tipo de amistad queer (amistad viril) y cómo, a partir de ellas, establece relaciones de intercambio afectivo (queer sociability) con intelectuales de las Américas; en especial, Alberto Nin Frías, su primer amigo diplomático y abiertamente homosexual.

Papers by Elizabeth Horan

The Emily Dickinson Journal, 1996

Garcia, Ramon. Other Countries: Poems. Los Angeles: Glass Table Collective-What Books, 2010. 82 p... more Garcia, Ramon. Other Countries: Poems. Los Angeles: Glass Table Collective-What Books, 2010. 82 pp. ISBN: 9780-9823-5426-1. Our guide to the landscape surveyed in this volume of poems is, from the epigraph's quotation of Ruben Dario, a "caminante" through "ese pais incognito que suenas." We're motored into the human crossroads of the San Joaquin Valley, defined by the menacing combination of subtopia, racism, and big agriculture. Then we're ushered into the visual pleasures of queer Los Angeles, with its "ashes of architecture and lust." Postmodern fairytales lure us into the "realismo sucio" of borderlands, whose poet-narrator is a fusion of modern Arthur Rimbaud, a shyer John Rechy and the wordlessly smiling outsider artist, Martin Ramirez. He'll linger wherever he finds comfortable companions, observing the ratlike "masters of survival" in downtown Los Angeles, or watching from the sidelines in "El Jalisco,&qu...

Portugal marks a turning point in the literary and consular careers of Gabriela Mistral. During h... more Portugal marks a turning point in the literary and consular careers of Gabriela Mistral. During her eighteen months in Lisbon, Gabriela Mistral collaborated from a vantage that reoriented her towards America and increased the visibility of her work. Identifying and setting her writings into chronological order reveals how she recovered from the failure of her fi rst two consular positions. The outbreak of the Spanish Civil War added to her diplomatic work. She worked from Lisbon with a group devoted to evacuating academics, artists, and doctors from Spain. Her actions broadly impacted the Americas by way of the emigrants who arrived at the universities and other institutions in Mexico, the United States,

Cuadernos de Literatura, Dec 29, 2017

estudios de género y traducción, con énfasis en la producción de/ sobre Gabriela Mistral. Entre o... more estudios de género y traducción, con énfasis en la producción de/ sobre Gabriela Mistral. Entre otros volúmenes de su autoría, destacan Motivos: The Life of San Francis (Bilingual,

Chasqui, Nov 1, 2013

Krippner, James. Paul Strand in Mexico. Historical essay by Alfonso Morales Carrillo, with additi... more Krippner, James. Paul Strand in Mexico. Historical essay by Alfonso Morales Carrillo, with additional texts by Katherine Ware, Leo Hurwitz and David Alfaro Siqueros. Process notes by Anthony Montoya. Including an archive catalog. New York: Fundacion Televisa/Aperture, 2011. 356 pp. ISBN: 9781-5971-1137-9 The Aperture Foundation's publication of this gorgeous volume documents how Paul Strand's contributions as a major modernist photographer emerged from his pathbreaking documentation in a Mexican film industry that he helped to establish. As the first and most significant of Strand's two residences in Mexico ocurred 1932 through 1934, these stand at the center of the historical and aesthetic essays that this volume prints along with the complete archive of Strand's Mexican stills and negatives, which Televisa has subsequently acquired. Strand's work is set in the context of Mexico's political and aesthetic history, including a film industry that invariably includes references to Pancho Villa's famed engagement of Hollywood-based camera crews to film battles that his troops obligingly refought at the lighting crews' request. A new direction came with the end of the armed phase of the Mexican Revolution in 1921: Alfonso Morales Carrillo's essay acknowledges the irony of employing artists and intellectuals from other latitudes to construct or recover authentic "Mexican" culture (244). By the late 1920s, a steady stream of travelers between New York and Mexico fueled what the New York Times termed "the enormous vogue of all things Mexican." That nation's image as a focus of social change and artistic innovation drew art photographers and international filmmakers such as Sergei Eisenstein and Paul Strand in the early 1930s. The volume documents how these two years in Mexico, prefaced by his work in Taos, transformed Strand's career. The move to Mexico let Strand expand on his nascent and developing themes in Southwestern landscape, architecture, and portraiture. These all contributed, in turn, to Strand's work on the film "Redes" (1935), a classic in the history of Mexican cinema, released in English as "Waves" in 1936: a DVD of "Redes," with English subtitles, accompanies the book's text. In the volume's lead essay, James Krippner skillfully weaves socio-political and cultural history with aesthetic theory to reveal how Paul Strand, the New York-born only child of Bohemian Jewish immigrants, became a "romantic antimodernist" who first headed West and then South. Biography and social relationships get their due: the well-regarded "art" photographer began as a hobbyist during his final years in the Upper West Side's Ethical Culture School, followed by involvement with The Camera Club in New York. When Jacob Strand, a salesman, profitably sold the family business, the young artist had funds enough to combine business with art. Initially a close associate of Alfred Stieglitz and Georgia O'Keefe, Strand broke with both of them, and divorced his wife Rebecca following a 1929 trip to Taos, where the preciousness of the clique then surrounding Mabel Dodge Luhan impressed Strand not at all. His was a curious figure even in that rarefied air. Much like the clockwork that modernist photography later celebrated, one anecdote recalls how Strand treated photography as a job to which he drove off, every day, in the morning, and likewise back, at night. This work ethic coupled with obsessive devotion to craft seems to have attracted equal measures of admiration and annoyance to Strand, who picked up a female traveling companion and her eighteen year-old son as he departed Taos by auto in late 1932. The three crossed the border into Mexico, following or pursuing (it's not clear which) an invitation from Strand's friend, the composer Carlos Chavez, then employed by the "Marxist Minister" Narciso Bassols who led Mexico's Secretaria de Educacion Publica (SEP). Chavez mobilized two artists within the SEP (Roberto Montenegro and G. …

Chasqui, Nov 1, 2012

Garcia, Ramon. Other Countries: Poems. Los Angeles: Glass Table Collective-What Books, 2010. 82 p... more Garcia, Ramon. Other Countries: Poems. Los Angeles: Glass Table Collective-What Books, 2010. 82 pp. ISBN: 9780-9823-5426-1. Our guide to the landscape surveyed in this volume of poems is, from the epigraph's quotation of Ruben Dario, a "caminante" through "ese pais incognito que suenas." We're motored into the human crossroads of the San Joaquin Valley, defined by the menacing combination of subtopia, racism, and big agriculture. Then we're ushered into the visual pleasures of queer Los Angeles, with its "ashes of architecture and lust." Postmodern fairytales lure us into the "realismo sucio" of borderlands, whose poet-narrator is a fusion of modern Arthur Rimbaud, a shyer John Rechy and the wordlessly smiling outsider artist, Martin Ramirez. He'll linger wherever he finds comfortable companions, observing the ratlike "masters of survival" in downtown Los Angeles, or watching from the sidelines in "El Jalisco," a bar plastered with posters of Marilyn and Liz, where immigrant men buy each other beers, while the winners, blessed with mobility, easy jobs, a great place to live and a "happy, mischievous boy's smile," know that money and sex reasonably substitute for camaraderie. The cartography of the three sections of Other Countries moves, roughly, through the San Joaquin Valley ("The Son"), hunkers into downtown Los Angeles ("Prodigal Cities") and engage fantasies of leaving ("The Other"). Unsentimental examinations of childhood's end produce several of the volume's best poems, in dialogue with one another. "Generations" pays homage to Oscar Zeta Acosta as a local boy who made good on the promise to leave, while the sad, compassionate and hilarious "Holiday Inn" develops that ever-useful dramatic situation, "my least favorite job." The poet's busboy work in the summer after high school graduation presents a Darwinian cast of characters and world divided into those who will stay in Modesto and those who will leave. The former do well, jockeying to make a buck from passing motorists, while the poet in his black and white polyester uniform, "skinny, brown and shy," hovers near the pecking order's lowest rungs. Elderly wealthy white guests proposition him. Long-time workers like the Chinese Ida and more recent arrivals like "Cindy, the new hostess ... from a cold state with lots of snow" succeed in stealing his tips. Cindy, over thirty and unmarried, turns tricks in the parking lot. "She pretends not to see me as I step inside my car." Surveying the tenuous territory of late childhood and adolescence enables the "good son," the promising child of Mexican immigrants the landscape for representing the dimwits whose malevolence and white privilege heap further barricades against him in a land of orchards, grapevines, fruit fields and factories that roll past on Highway 99, where tract houses are sandwiched between "ranches that don't look like ranches" and "pastured assembly line corrals/crowded together, heavy with the patient/storing of slaughter" ("Golden Highway"). School, the striver's zone por excelencia, seems the place where the immigrant child's "idylls come to an end." Such is confirmed in the boy's unironic purchase of a poster "from catalogues the teacher gave us." Affixed between posters of "KISS" and "Blondie" to the walls of the bedroom shared by two brothers, the school-sanctioned image depicts a scene known as "the End of the Trail:" "a dead Indian collapsed upon/a horse's back, an arrow piercing/his spine ... a sunset/blazed as if pumped with blood." The ideologies that accompany this silent testimony to "Kill the Indian, Save the Man" are more openly articulated in "Horses," where a xenophobic and racist teacher carps on Communist Cubans flooding into Miarei. She reserves her sole show of affection for the framed photographs of her three horses, perched on her desk, which the speaker rightly rejects, not least for their "weird white girl names." Inviting us into "this melancholy tableau/of the West," the poet develops (human) comic relief in scenarios that detail yet distance us from the disciplinary apparatus of the school. …

Studies in American Indian Literatures, 2013

ElizabEth Rosa hoRan y luis VaRgas saaVEdRa usos dE los aRchiVos digitalEs: El caso… tallER dE lE... more ElizabEth Rosa hoRan y luis VaRgas saaVEdRa usos dE los aRchiVos digitalEs: El caso… tallER dE lEtRas n° 43: 35-45, 2008

Austin: U of Texas P, 2003

THIS AMERICA OF OURS Tfoe Letters of Gabriela Mistral and Victoria Ocampo EDITED AND TRANSLATED B... more THIS AMERICA OF OURS Tfoe Letters of Gabriela Mistral and Victoria Ocampo EDITED AND TRANSLATED BY ELIZABETH HORAN AND DORIS MEYER e (2 • -trf © ... THIS AMERICA OF OURS This One CPGT-15N-EN36 ... THIS AMERICA OF OURS The Letters of Gabriela ...

English Prologue to "Valued Letters: Correspondence between Gabriela Mistral, Victoria Ocampo and Victoria Kent, 1932-1979" and translations of selected letters, 2019

This is the English translation of the Prologue to "Preciadas Carta" followed by translations of ... more This is the English translation of the Prologue to "Preciadas Carta" followed by translations of a selection of letters.

Preciadas Cartas, Prólogo general y selecciones, 2019

Prólogo general y selección breve incluída. El prólogo cuenta unos resultados de una investigació... more Prólogo general y selección breve incluída. El prólogo cuenta unos resultados de una investigación de muchas años, multi archival, que resulta en este libro sobre la amistad, a lo largo de cinco décadas, entre las tres mujeres más ilustres de la lengua española en el siglo XX. Comienza poco después de los primeros encuentros de sus protagonistas en el Madrid de la Segunda República. Termina en 1979, poco después de la muerte de Ocampo. Gabriela Mistral (1889-1957), Victoria Ocampo (1890-1979) y Victoria Kent (1882-1987) proceden de tres distintos países, pero encarnan un mismo interés común en el desarrollo político y social de las sociedades que transitaron. La correspondencia supera las barreras del tiempo y del espacio debido a distancia física sufrida como resultado de guerras, enfermedades, exilio y encarcelamiento. Un libro imprescindible para establecer la historia LGBTQ y revelar cómo el género y las identidades sociales se entretejieron en las redes humanitarias durante la guerra civil española y el posterior franquismo.

Preciadas Cartas: Correspondencia entre Gabriela Mistral, Victoria Ocampo y Victoria Kent, 2019

Prólogo general y selección breve incluída. El prólogo cuenta unos resultados de una investigació... more Prólogo general y selección breve incluída. El prólogo cuenta unos resultados de una investigación de muchas años, multi archival, que resulta en este libro sobre la amistad, a lo largo de cinco décadas, entre las tres mujeres más ilustres de la lengua española en el siglo XX. Comienza poco después de los primeros encuentros de sus protagonistas en el Madrid de la Segunda República. Termina en 1979, poco después de la muerte de Ocampo. Gabriela Mistral (1889-1957), Victoria Ocampo (1890-1979) y Victoria Kent (1882-1987) proceden de tres distintos países, pero encarnan un mismo interés común en el desarrollo político y social de las sociedades que transitaron. La correspondencia supera las barreras del tiempo y del espacio debido a distancia física sufrida como resultado de guerras, enfermedades, exilio y encarcelamiento. Un libro imprescindible para establecer la historia LGBTQ y revelar cómo el género y las identidades sociales se entretejieron en las redes humanitarias durante la guerra civil española y el posterior franquismo. En la primera persona, expone nueva luz sobre aspectos más desconocidos, cubiertos de las tres mujeres: el amor entre Louise Crane y Victoria Kent; la intervención Kent para “corregir” el Registro Civil de Barcelona para aportar el cuento improbable sobre los origines del “sobrino” de Mistral; la salud de Ocampo y su liderazgo en el mundo cultural. Muchas cartas previamente inéditas. ISBN 978-84-17950-37-8

Preciadas Cartas: Correspondencia entre Gabriela Mistral, Victoria Ocampo y Victoria Kent, 1932-1979, 2019

b i b l i o t e c a d e l a m e m o r i a La presente colección de cartas representa la amistad... more b i b l i o t e c a d e l a m e m o r i a

La presente colección de cartas representa la amistad de tres mujeres excepcionales a lo largo de cinco décadas. Comienza poco después de los primeros encuentros de sus protagonistas en el Madrid de la Segunda República y termina en 1979 con la muerte de Ocampo. Las autoras del epistolario son Gabriela Mistral (1889-1957), Victoria Ocampo (1890-1979) y Victoria Kent (1882-1987). Proceden de tres distintos países, pero encarnan un mismo interés común en el desarrollo político y social de las sociedades que transitaron. La correspondencia supera las barreras del tiempo y del espacio debido a la distancia física sufrida como resultado de guerras, enfermedades, exilio y encarcelamiento. La relación de amistad transatlántica evidenciada a lo largo de las cartas abarca un amplio recorrido. Un libro imprescindible para establecer la historia LGBTQ y reve-lar cómo el género y las identidades sociales se entretejieron en las redes humanitarias durante la Guerra Civil española y el posterior franquismo. Gabriela Mistr al Se consideró «mestiza de vasco». Maestra desde los 14 años en escuelas rurales de Chile. Colaboró en la reforma educacional de México. Poeta, periodista y diplomática, fue galardonada con el Premio Nobel de Literatura en 1945. Sus escritos incluyen todo el mundo hispanoparlante y sus seductivas cartas revelan la astu-cia política y la eficaz conciencia moral detrás de las maniobras para salvar vidas y proteger niños. Victoria ocaMpo Gran mecenas argentina, es reconocida por la fundación de la revista y la editorial Sur y los textos autobiográficos publicados en Testimonios y Autobiografías. Su corres-pondencia permite entrever la relación con los intelectua-les y el funcionamiento de Sur. Estas cartas constituyen un cambio de paradigma al iluminar su intimidad con Mistral y Kent y sus intervenciones políticas. Victoria Kent Fue una distinguida abogada y política durante la II República. Ocupó el cargo de Directora General de Prisiones y trabajó activamente en favor de los presos republicanos durante la Guerra Civil. En el exilio fue editora de Ibérica, revista para los republicanos exilia-dos. Su correspondencia con Mistral y Ocampo mues-tra su preocupación por los derechos humanos.

Este trabajo rastrea archivos epistolares de Gabriela Mistral, poniendo especial énfasis en las m... more Este trabajo rastrea archivos epistolares de Gabriela Mistral, poniendo especial énfasis en las marcas que sitúan a emisores y destinatarios en tiempos y espacios queer. Concentrada en la etapa inicial de su carrera, la pesquisa demuestra cómo Mistral ensaya estrategias retóricas que le permiten escenificar un tipo de amistad queer (amistad viril) y cómo, a partir de ellas, establece relaciones de intercambio afectivo (queer sociability) con intelectuales de las Américas; en especial, Alberto Nin Frías, su primer amigo diplomático y abiertamente homosexual.

The Emily Dickinson Journal, 1996

Garcia, Ramon. Other Countries: Poems. Los Angeles: Glass Table Collective-What Books, 2010. 82 p... more Garcia, Ramon. Other Countries: Poems. Los Angeles: Glass Table Collective-What Books, 2010. 82 pp. ISBN: 9780-9823-5426-1. Our guide to the landscape surveyed in this volume of poems is, from the epigraph's quotation of Ruben Dario, a "caminante" through "ese pais incognito que suenas." We're motored into the human crossroads of the San Joaquin Valley, defined by the menacing combination of subtopia, racism, and big agriculture. Then we're ushered into the visual pleasures of queer Los Angeles, with its "ashes of architecture and lust." Postmodern fairytales lure us into the "realismo sucio" of borderlands, whose poet-narrator is a fusion of modern Arthur Rimbaud, a shyer John Rechy and the wordlessly smiling outsider artist, Martin Ramirez. He'll linger wherever he finds comfortable companions, observing the ratlike "masters of survival" in downtown Los Angeles, or watching from the sidelines in "El Jalisco,&qu...

Portugal marks a turning point in the literary and consular careers of Gabriela Mistral. During h... more Portugal marks a turning point in the literary and consular careers of Gabriela Mistral. During her eighteen months in Lisbon, Gabriela Mistral collaborated from a vantage that reoriented her towards America and increased the visibility of her work. Identifying and setting her writings into chronological order reveals how she recovered from the failure of her fi rst two consular positions. The outbreak of the Spanish Civil War added to her diplomatic work. She worked from Lisbon with a group devoted to evacuating academics, artists, and doctors from Spain. Her actions broadly impacted the Americas by way of the emigrants who arrived at the universities and other institutions in Mexico, the United States,

Cuadernos de Literatura, Dec 29, 2017

estudios de género y traducción, con énfasis en la producción de/ sobre Gabriela Mistral. Entre o... more estudios de género y traducción, con énfasis en la producción de/ sobre Gabriela Mistral. Entre otros volúmenes de su autoría, destacan Motivos: The Life of San Francis (Bilingual,

Chasqui, Nov 1, 2013

Krippner, James. Paul Strand in Mexico. Historical essay by Alfonso Morales Carrillo, with additi... more Krippner, James. Paul Strand in Mexico. Historical essay by Alfonso Morales Carrillo, with additional texts by Katherine Ware, Leo Hurwitz and David Alfaro Siqueros. Process notes by Anthony Montoya. Including an archive catalog. New York: Fundacion Televisa/Aperture, 2011. 356 pp. ISBN: 9781-5971-1137-9 The Aperture Foundation's publication of this gorgeous volume documents how Paul Strand's contributions as a major modernist photographer emerged from his pathbreaking documentation in a Mexican film industry that he helped to establish. As the first and most significant of Strand's two residences in Mexico ocurred 1932 through 1934, these stand at the center of the historical and aesthetic essays that this volume prints along with the complete archive of Strand's Mexican stills and negatives, which Televisa has subsequently acquired. Strand's work is set in the context of Mexico's political and aesthetic history, including a film industry that invariably includes references to Pancho Villa's famed engagement of Hollywood-based camera crews to film battles that his troops obligingly refought at the lighting crews' request. A new direction came with the end of the armed phase of the Mexican Revolution in 1921: Alfonso Morales Carrillo's essay acknowledges the irony of employing artists and intellectuals from other latitudes to construct or recover authentic "Mexican" culture (244). By the late 1920s, a steady stream of travelers between New York and Mexico fueled what the New York Times termed "the enormous vogue of all things Mexican." That nation's image as a focus of social change and artistic innovation drew art photographers and international filmmakers such as Sergei Eisenstein and Paul Strand in the early 1930s. The volume documents how these two years in Mexico, prefaced by his work in Taos, transformed Strand's career. The move to Mexico let Strand expand on his nascent and developing themes in Southwestern landscape, architecture, and portraiture. These all contributed, in turn, to Strand's work on the film "Redes" (1935), a classic in the history of Mexican cinema, released in English as "Waves" in 1936: a DVD of "Redes," with English subtitles, accompanies the book's text. In the volume's lead essay, James Krippner skillfully weaves socio-political and cultural history with aesthetic theory to reveal how Paul Strand, the New York-born only child of Bohemian Jewish immigrants, became a "romantic antimodernist" who first headed West and then South. Biography and social relationships get their due: the well-regarded "art" photographer began as a hobbyist during his final years in the Upper West Side's Ethical Culture School, followed by involvement with The Camera Club in New York. When Jacob Strand, a salesman, profitably sold the family business, the young artist had funds enough to combine business with art. Initially a close associate of Alfred Stieglitz and Georgia O'Keefe, Strand broke with both of them, and divorced his wife Rebecca following a 1929 trip to Taos, where the preciousness of the clique then surrounding Mabel Dodge Luhan impressed Strand not at all. His was a curious figure even in that rarefied air. Much like the clockwork that modernist photography later celebrated, one anecdote recalls how Strand treated photography as a job to which he drove off, every day, in the morning, and likewise back, at night. This work ethic coupled with obsessive devotion to craft seems to have attracted equal measures of admiration and annoyance to Strand, who picked up a female traveling companion and her eighteen year-old son as he departed Taos by auto in late 1932. The three crossed the border into Mexico, following or pursuing (it's not clear which) an invitation from Strand's friend, the composer Carlos Chavez, then employed by the "Marxist Minister" Narciso Bassols who led Mexico's Secretaria de Educacion Publica (SEP). Chavez mobilized two artists within the SEP (Roberto Montenegro and G. …

Chasqui, Nov 1, 2012

Garcia, Ramon. Other Countries: Poems. Los Angeles: Glass Table Collective-What Books, 2010. 82 p... more Garcia, Ramon. Other Countries: Poems. Los Angeles: Glass Table Collective-What Books, 2010. 82 pp. ISBN: 9780-9823-5426-1. Our guide to the landscape surveyed in this volume of poems is, from the epigraph's quotation of Ruben Dario, a "caminante" through "ese pais incognito que suenas." We're motored into the human crossroads of the San Joaquin Valley, defined by the menacing combination of subtopia, racism, and big agriculture. Then we're ushered into the visual pleasures of queer Los Angeles, with its "ashes of architecture and lust." Postmodern fairytales lure us into the "realismo sucio" of borderlands, whose poet-narrator is a fusion of modern Arthur Rimbaud, a shyer John Rechy and the wordlessly smiling outsider artist, Martin Ramirez. He'll linger wherever he finds comfortable companions, observing the ratlike "masters of survival" in downtown Los Angeles, or watching from the sidelines in "El Jalisco," a bar plastered with posters of Marilyn and Liz, where immigrant men buy each other beers, while the winners, blessed with mobility, easy jobs, a great place to live and a "happy, mischievous boy's smile," know that money and sex reasonably substitute for camaraderie. The cartography of the three sections of Other Countries moves, roughly, through the San Joaquin Valley ("The Son"), hunkers into downtown Los Angeles ("Prodigal Cities") and engage fantasies of leaving ("The Other"). Unsentimental examinations of childhood's end produce several of the volume's best poems, in dialogue with one another. "Generations" pays homage to Oscar Zeta Acosta as a local boy who made good on the promise to leave, while the sad, compassionate and hilarious "Holiday Inn" develops that ever-useful dramatic situation, "my least favorite job." The poet's busboy work in the summer after high school graduation presents a Darwinian cast of characters and world divided into those who will stay in Modesto and those who will leave. The former do well, jockeying to make a buck from passing motorists, while the poet in his black and white polyester uniform, "skinny, brown and shy," hovers near the pecking order's lowest rungs. Elderly wealthy white guests proposition him. Long-time workers like the Chinese Ida and more recent arrivals like "Cindy, the new hostess ... from a cold state with lots of snow" succeed in stealing his tips. Cindy, over thirty and unmarried, turns tricks in the parking lot. "She pretends not to see me as I step inside my car." Surveying the tenuous territory of late childhood and adolescence enables the "good son," the promising child of Mexican immigrants the landscape for representing the dimwits whose malevolence and white privilege heap further barricades against him in a land of orchards, grapevines, fruit fields and factories that roll past on Highway 99, where tract houses are sandwiched between "ranches that don't look like ranches" and "pastured assembly line corrals/crowded together, heavy with the patient/storing of slaughter" ("Golden Highway"). School, the striver's zone por excelencia, seems the place where the immigrant child's "idylls come to an end." Such is confirmed in the boy's unironic purchase of a poster "from catalogues the teacher gave us." Affixed between posters of "KISS" and "Blondie" to the walls of the bedroom shared by two brothers, the school-sanctioned image depicts a scene known as "the End of the Trail:" "a dead Indian collapsed upon/a horse's back, an arrow piercing/his spine ... a sunset/blazed as if pumped with blood." The ideologies that accompany this silent testimony to "Kill the Indian, Save the Man" are more openly articulated in "Horses," where a xenophobic and racist teacher carps on Communist Cubans flooding into Miarei. She reserves her sole show of affection for the framed photographs of her three horses, perched on her desk, which the speaker rightly rejects, not least for their "weird white girl names." Inviting us into "this melancholy tableau/of the West," the poet develops (human) comic relief in scenarios that detail yet distance us from the disciplinary apparatus of the school. …

Studies in American Indian Literatures, 2013

ElizabEth Rosa hoRan y luis VaRgas saaVEdRa usos dE los aRchiVos digitalEs: El caso… tallER dE lE... more ElizabEth Rosa hoRan y luis VaRgas saaVEdRa usos dE los aRchiVos digitalEs: El caso… tallER dE lEtRas n° 43: 35-45, 2008

Austin: U of Texas P, 2003

THIS AMERICA OF OURS Tfoe Letters of Gabriela Mistral and Victoria Ocampo EDITED AND TRANSLATED B... more THIS AMERICA OF OURS Tfoe Letters of Gabriela Mistral and Victoria Ocampo EDITED AND TRANSLATED BY ELIZABETH HORAN AND DORIS MEYER e (2 • -trf © ... THIS AMERICA OF OURS This One CPGT-15N-EN36 ... THIS AMERICA OF OURS The Letters of Gabriela ...

English Prologue to "Valued Letters: Correspondence between Gabriela Mistral, Victoria Ocampo and Victoria Kent, 1932-1979" and translations of selected letters, 2019

This is the English translation of the Prologue to "Preciadas Carta" followed by translations of ... more This is the English translation of the Prologue to "Preciadas Carta" followed by translations of a selection of letters.

Preciadas Cartas, Prólogo general y selecciones, 2019

Prólogo general y selección breve incluída. El prólogo cuenta unos resultados de una investigació... more Prólogo general y selección breve incluída. El prólogo cuenta unos resultados de una investigación de muchas años, multi archival, que resulta en este libro sobre la amistad, a lo largo de cinco décadas, entre las tres mujeres más ilustres de la lengua española en el siglo XX. Comienza poco después de los primeros encuentros de sus protagonistas en el Madrid de la Segunda República. Termina en 1979, poco después de la muerte de Ocampo. Gabriela Mistral (1889-1957), Victoria Ocampo (1890-1979) y Victoria Kent (1882-1987) proceden de tres distintos países, pero encarnan un mismo interés común en el desarrollo político y social de las sociedades que transitaron. La correspondencia supera las barreras del tiempo y del espacio debido a distancia física sufrida como resultado de guerras, enfermedades, exilio y encarcelamiento. Un libro imprescindible para establecer la historia LGBTQ y revelar cómo el género y las identidades sociales se entretejieron en las redes humanitarias durante la guerra civil española y el posterior franquismo.

5 ensayos sobre la figura histórica del artista Laura Rodig para el catálogo de la exhibición en ... more 5 ensayos sobre la figura histórica del artista Laura Rodig para el catálogo de la exhibición en el Museo Nacional de Bellas Artes, Santiago de Chile, enero 2020

Cuadernos de Literatura XXI: 42 (2017) pp. 119-144. , 2017

Arizona; PhD, UC Santa Cruz. Especialista en escritura de mujeres, estudios de género y traducció... more Arizona; PhD, UC Santa Cruz. Especialista en escritura de mujeres, estudios de género y traducción, con énfasis en la producción de/ sobre Gabriela Mistral. Entre otros volúmenes de su autoría, destacan Motivos: The Life of San Francis (Bilingual, 2013), Esta América nuestra: correspondencia de Gabriela Mistral y Victoria Ocampo (Cuenco de Plata, 2007), This America of Ours: The Letters of Gabriela Mistral and Victoria Ocampo (University of Texas P, 2003, coeditado con Doris Meyer); House of Memory: Stories by Latin American Jewish Writers (The Femenist Press at CUNY, 1999, con Marjorie Agosín); The Subversive Voice of Carmen Lyra: Selected Writings (UP of Florida, 2000) y Gabriela Mistral: An Artist and her People (OAS, 1994). Correo electrónico: elizabeth.horan@asu.edu Artículo de reflexión Texto inédito escrito en inglés y traducido al español por Cristián Opazo. La autora agradece los aportes bibliográficos sobre Nin Frías, conservados en la Biblioteca Nacional del Uruguay, que le facilitó Carla Giaudrone. A ella le agradece, también, la generosidad demostrada en conversaciones e intercambios de ideas. Documento accesible en línea desde la siguiente dirección: http://revistas.javeriana.edu.co

In Árboles y Rizomas1:2 (July-Dec., 2019), pp. 1-17. Universidad de Santiago de Chile, ISSN 07199805, 2019

Este ensayo aplica una síntesis feminista de la teoría de la retórica y cultura material a la nov... more Este ensayo aplica una síntesis feminista de la teoría de la retórica y cultura material a la novela de José Donoso, El obsceno pájaro de la noche (1970). La novela describe la costura como una práctica retórica comunitaria entre personajes femeninos dentro de comunidades cerradas. Cosen, bordan y zurcen. Siguiendo a Goggin y Tobin sobre costura como práctica retórica (2002, 2009a, 2009b), investigamos la costura de mujeres, contextualizando referentes históricos y culturales del trabajo textil en Chile, incluyendo la estética epidérmica de Halart (2017). Los actos de coser y zurcir proporcionan el trasfondo de los monólogos que ocurren en los círculos de costura del convento de La Chimba. La puntada de cada mujer representa venganza por el continuo desplazamiento y confinamiento a los espacios domésticos del hogar /convento. Este ensayo argumenta que las viejas desarrollan y reclaman una voz comunitaria través de sus labores de costura con el monstruo mudo y maneado del imbunche y convierten el tejido en su expresión polivocálica. En la costura los personajes femeninos participan en una retórica táctil que precede al discurso verbal y óculo céntrico, enfatizando el sentido inmediato y relacional del tacto. Nuestra investigación es feminista porque reevalúa a las mujeres en la novela y muestra como sus maquinaciones y manipulaciones de materiales representan una agencialidad negada por un discurso e identidad que priorizan la expresión visual y verbal. Al hacerlo, alentamos una revisión feminista de los estudios Donosianos centrada más en las comunidades de mujeres y el proceso que el individuo y producto.

This study reveals the strategies behind Gabriela Mistral's literary and consular activities in B... more This study reveals the strategies behind Gabriela Mistral's literary and consular activities in Brazil during the two and a half year period leading up to that nation's declaring war against the Axis (Germany and Italy) in August of 1942. Mistral's allies within Itamaraty helped make her a public representative of anti-fascism during this time. They facilitated the translation and publication of her work in Brazil, and her addresses to the Brazilian academies and contacts with other writers, where the Chilean writer shows a clear understanding of Brazil's importance to the war's outcome. At the same time as Mistral's wartime discourse in Brazil decisively influenced her successful Nobel Prize candidacy, her correspondence registers her increasingly acute estrangement from Chile, including strained relations with Pedro Aguirre Cerda amid her grave concern for Chile's wartime foreign policy. To counter the atmosphere of mistrust and the documented insecurity of her wartime correspondence, Gabriela Mistral systematically expanded her already immense social network. She moved from the fishbowl or Río to the stronghold of Petrópolis, where she made her homes into way-stations for debriefing anti-fascist travelers in the circuit to and from Washington D.C. In all, during Mistral's residence in Brazil she served multiple masters and uniquely bridged otherwise non-overlapping, outlying nodes of writer-diplomats, war refugees, translators, performers, and more.

Becoming Julia de Burgos meets substantial challenges. Listing them will show the range of skills... more Becoming Julia de Burgos meets substantial challenges. Listing them will show the range of skills and strategies to chronicling such a figure. The first challenge, crucial to poets, involves working across languages by developing creative and intelligent cultural and linguistic translations that familiarize readers with how Julia de Burgos emerges in the early 20 th century intellectual history of Puerto Rico. Julia de Burgos rejected the nationalistic stress on the land that poets of the 1930s expressed via an aesthetic of insularismo, which represented the countryside as a place of safety and of origen, a word that Pérez Rosario has interestingly and rightly translated as "source."