Countdown header img desk

MAI SUNT 00:00:00:00

MAI SUNT

X

Countdown header img  mob

MAI SUNT 00:00:00:00

MAI SUNT

X

Promotii popup img

Hai la Libris Days!!

CADOURI*, REDUCERI

si Transport gratuit peste 50 lei!

Comanda acum!
Close

Latino Usa, Revised Edition: A Cartoon History

Latino Usa, Revised Edition: A Cartoon History - Ilan Stavans

Latino Usa, Revised Edition: A Cartoon History


Cultural critic and acclaimed author Ilan Stavans captures the joys, nuances, and multiple dimensions of Latino culture within the context of the English language.
Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.


Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.

Citeste mai mult

LIBRIS DAYS

-20%

transport gratuit

97.47Lei

121.84 Lei

Sau 9747 de puncte

!

Fiecare comanda noua reprezinta o investitie pentru viitoarele tale comenzi. Orice comanda plasata de pe un cont de utilizator primeste in schimb un numar de puncte de fidelitate, In conformitate cu regulile de conversiune stabilite. Punctele acumulate sunt incarcate automat in contul tau si pot fi folosite ulterior, pentru plata urmatoarelor comenzi.

Livrare in 3-5 saptamani

Descrierea produsului


Cultural critic and acclaimed author Ilan Stavans captures the joys, nuances, and multiple dimensions of Latino culture within the context of the English language.
Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.


Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called "serious literature" and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc -M uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These "clich (c)igurines" include a toucan (displayed regularly in books by Garc -M uez, Allende, and others), the beloved Latino comedian Cantinflas (known as "the Hispanic Charlie Chaplin"), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, "History, of course, is a kaleidoscope where nothing is absolute." Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.
Latino USA represents the culmination of Ilan Stavans's lifelong determination to meet the challenges of capturing the joys, nuances, and multiple dimensions of Latino culture within the context of the English language. In this cartoon history of Latinos, Stavans seeks to combine the solemnity of so-called serious literature and history with the inherently theatrical and humorous nature of the comics. The range of topics includes Columbus, Manifest Destiny, the Alamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevera, the Bay of Pigs, the Cuban Missile Crisis, Neruda, Garc�-M�uez, the Mariel Boatlift, and Selena. Stavans represents Hispanic civilization as a fiesta of types, archetypes, and stereotypes. These clich�(c)igurines include a toucan (displayed regularly in books by Garc�-M�uez, Allende, and others), the beloved Latino comedian Cantinflas (known as the Hispanic Charlie Chaplin), a masked wrestler, and Captain America. These multiple, at times contradictory voices, each narrating various episodes of Latino history from a unique perspective, combine to create a carnivalesque rhythm, democratic and impartial. For, as Stavans states, History, of course, is a kaleidoscope where nothing is absolute. Latino USA, like the history it so entertainingly relates, is a dazzling kaleidoscope of irreverence, wit, subversion, anarchy, politics, humanism, celebration, and serious and responsible history.

Citeste mai mult

Detaliile produsului

De acelasi autor

De pe acelasi raft

Parerea ta e inspiratie pentru comunitatea Libris!

Noi suntem despre carti, si la fel este si

Newsletter-ul nostru.

Aboneaza-te la vestile literare si primesti un cupon de -10% pentru viitoarea ta comanda!

*Reducerea aplicata prin cupon nu se cumuleaza, ci se aplica reducerea cea mai mare.

Ma abonez image one
Ma abonez image one