Dolores: And Other Poems


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Reprint of the original, first published in 1883.




Dolores


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Estilo


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Poetry. Literary Nonfiction. Latino/Latina Studies. Women's Studies. Translated from the Spanish by Jen Hofer. Dolores Dorantes's STYLE is a prose book in which a plural feminine voice narrates the vicissitudes of a war designed to suppress that voice. A voice that represents the war on the Mexico-U.S. border? Guerilla adolescents taking their revenge? Enslaved girls who appear in order to combat a macho presidential figure linked to our current-day Central America? Latin America advancing on a fascist- capitalist government? These are some of the questions that might arise from STYLE. The book was written in 2011, in some dark place in Texas, during the first three months Dorantes was awaiting political asylum.




American Yard


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Horace and Morris Join the Chorus (but what about Dolores?)


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Horace and Morris, but mostly Dolores, are back again for another uproarious adventure. When the three best friends decide to try out for the school chorus together, they're shocked when Dolores (who can only sing notes that no one has ever heard before) is the only one who doesn't make the cut. After all, they've always done everything together. Once Horace and Morris start chorus practice, they're so busy that they don't have time to go exploring or climb trees with Dolores anymore. Feeling left out and alone, Dolores decides to take matters into her own hands. But can she prove to Moustro Provolone that there's a place for every kind of voice in the chorus?




Our Lady of Pain


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Our Lady of Pain is the first selection of Swinburne's poetry to focus precisely on what his early readers found most objectionable: erotic passion, in both its 'normal' and 'perverse' varieties. Swinburne's treatment of physical passion, and the varieties of passion about which he chose to write, retain the power to shock.




Animals at the End of the World


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Animals at the End of the World begins with an explosion, which six-year-old Inés mistakes for the end of the world that she has long feared. In the midst of the chaos, she meets the maid’s granddaughter, Mariá, who becomes her best friend and with whom she navigates the adult world in her grandparents’ confined house. Together, they escape the house and confront the “animals” that populate Bogotá in the 1980s. But Inés soon realizes she cannot count on either María or her preoccupied and conflicted parents. Alone, she must learn to decipher her outer and inner worlds, confronting both armies of beasts and episodes of domestic chaos. In the process, she also learns what it means to test boundaries, break rules, and cope with the consequences. The first novel by Colombian author Gloria Susana Esquivel, Animals at the End of the World is a poetic and moving coming-of-age story that lingers long after its final page.




Christina Rossetti


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Christina Rossetti was considered the ideal female poet of her time. Her poetry was devotional, moral, and spoke of frustrated affection. Dolores Rosenblum presents a fresh reading of Rossetti's works and places them in the context of her life. Rosenblum shows that what was ostensibly devotional, moral, and loveless, was actually what Luce Irigaray calls "mimetism," a subtle parody and diversion of the male tradition of literature. Rossetti's work was unified, Rosenblum argues, because she was a deliberate poet, and by accepting the "burden of womanhood," she played out what men only symbolized as female in their art. By her mimicry and revision of the male tradition of literature, Christina Rossetti engaged the patriarchal tradition in ways that make it usable for the female experience, and that provide a critique of the male objectification of women in art. -- From publisher's description.




The Overland Monthly


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