Podcast appearances and mentions of Alfonso Reyes

Episode Notes On E431, Andrew has a candid conversation with content creator and self-proclaimed "Muscular Dystrophy Warrior", Alfonso Reyes. We talk about everything from making content to needing care 24/7 + what it's like when people have misconceptions of your disability + so much more. Enjoy! Please go support Alfonso's Youtube here: www.youtube.com/@MDW1999 Episode Sponsors  Buy the new novella Descent here Are you looking for attendant care when you need it at your convenience? Check out your team, on tap www.whimble.ca Get 15% off your next purchase of sex toys, books and DVDs by using Coupon code AFTERDARK at checkout when you shop at trans owned and operated sex shop Come As You Are www.comeasyouare.com Order Notes From a Queer Cripple and hire him to speak on it by e-mailing andrew@andrewgurza.com US: https://us.jkp.com/products/notes-from-a-queer-cripple Canada: https://www.ubcpress.ca/notes-from-a-queer-cripple Support the show with a donation: https://patreon.com/disabilityafterdark This podcast is powered by Pinecast. This podcast is powered by Pinecast.

Elena Poniatowska, Mexico's most celebrated journalist and one of the most significant literary voices in the Spanish-speaking world, argues in this conversation that the crisis of contemporary journalism is inseparable from the collapse of critical reading—and that both are symptoms of a deeper cultural abandonment. Born in Paris in 1932 to a French-Polish father and Mexican mother, Poniatowska contends that her formation as a writer was shaped by displacement, by learning to listen to those rendered voiceless by history, and by understanding that journalism must be an act of solidarity before it is anything else. Widely credited with helping to establish the genre of testimonio in Latin American letters, she transformed the voices of the marginalised into literature that forced an entire nation to confront its own silence. She maintains that her landmark work La Noche de Tlatelolco was not a journalistic achievement but a moral obligation, and reflects on her decision to refuse the Xavier Villaurrutia Prize, asking who would award the dead. Poniatowska insists that the greatest threat to literature and journalism today is not artificial intelligence but the disappearance of patience—the willingness to sit with a text, a story, or a life long enough for meaning to emerge. At 94, she affirms her belief in the innate goodness of human beings as not a sentiment but a necessity.Elena Poniatowska, la periodista más célebre de México y una de las voces literarias más significativas del mundo hispanohablante, sostiene en esta conversación que la crisis del periodismo contemporáneo es inseparable del colapso de la lectura crítica—y que ambos son síntomas de un abandono cultural más profundo. Nacida en París en 1932 de padre franco-polaco y madre mexicana, Poniatowska afirma que su formación como escritora estuvo marcada por el desplazamiento, por aprender a escuchar a quienes la historia había silenciado, y por comprender que el periodismo debe ser ante todo un acto de solidaridad. Ampliamente reconocida por haber contribuido a establecer el género del testimonio en las letras latinoamericanas, transformó las voces de los marginados en literatura que obligó a una nación entera a confrontar su propio silencio. Sostiene que su obra emblemática La Noche de Tlatelolco no fue un logro periodístico sino una obligación moral, y reflexiona sobre su decisión de rechazar el Premio Xavier Villaurrutia, preguntando quién iba a premiar a los muertos. Poniatowska insiste en que la mayor amenaza para la literatura y el periodismo hoy no es la inteligencia artificial sino la desaparición de la paciencia—la disposición a permanecer con un texto, una historia o una vida el tiempo suficiente para que emerja el significado. A los 94 años, reafirma su creencia en la bondad innata de los seres humanos no como un sentimiento sino como una necesidad.English transcript:SAVAGE MINDS — Elena PoniatowskaJulian Vigo (00:00:15):Welcome to Savage Minds.Julian Vigo (00:00:26):I am your host, Julian Vigo.Julian Vigo (00:00:30):Today's guest is Elena Poniatowska Amor,Julian Vigo (00:00:33):daughter of a French father of Polish origin, Jean E.Julian Vigo (00:00:37):Poniatowski, and Mexican mother Paula Amor.Julian Vigo (00:00:41):She was born in Paris in 1932.Julian Vigo (00:00:46):She has practiced journalism since 1953 at the newspapers El Día, Excélsior, Novedades, and La Jornada.Julian Vigo (00:00:57):She is the first woman to receive the National Journalism Prize.Julian Vigo (00:01:02):Among her works is La Noche de Tlatelolco,Julian Vigo (00:01:05):a classic since its publication, for which she was awarded the Xavier Villaurrutia Prize,Julian Vigo (00:01:12):which she refused, asking who was going to award the dead.Julian Vigo (00:01:17):Her novels and stories include La Flor de Lis,Julian Vigo (00:01:20):De Noche Vienes and Tlapalería,Julian Vigo (00:01:24):Paseo de la Reforma,Julian Vigo (00:01:26):Hasta No Verte Jesús Mío,Julian Vigo (00:01:28):The Life of a Mexican Soldadera,Julian Vigo (00:01:31):Querido Diego Te Abraza Quiela, Tinísima, winner of the Mazatlán Prize in 1992, La Piel del Cielo,Julian Vigo (00:01:40):winner of the Alfaguara Novel Prize in 2001, and El Tren Pasa Primero,Julian Vigo (00:01:48):about the lives of Mexican railway workers,Julian Vigo (00:01:52):winner of the Rómulo Gallegos International Novel Prize in 2007. Leonora won the Premio Biblioteca Breve Seix Barral in 2011. El Universo o Nada (2013) is the biography ofJulian Vigo (00:02:07):astrophysicist Guillermo Haro. Ondas de la Niña Mala is her first poetry collection, andJulian Vigo (00:02:14):her children's books include Boda en Chimalistac, La Vendedora de Nubes,Julian Vigo (00:02:20):El Burro que Metió la Pata, Sansimonsi, illustrated by Rafael Barajas el Fisgón, and ElJulian Vigo (00:02:27):Niño Estrellero by Fernando Robles, and El Charito Cantor by Osvaldo Hernández.Julian Vigo (00:02:34):Her most recent novel, El Amante Polaco, portrays the last king of Poland, Stanisław AugustJulian Vigo (00:02:41):Poniatowski. Translated into 20 languages. Gabi Brimmer and Las Mil y Una, the story ofJulian Vigo (00:02:48):Paulina,Julian Vigo (00:02:49):address social issues.Julian Vigo (00:02:52):After receiving honorary doctorates from UNAM and UAM,Julian Vigo (00:02:57):she was awarded them from the University of Puebla,Julian Vigo (00:03:01):Sonora, Estado de México,Julian Vigo (00:03:04):Guerrero,Julian Vigo (00:03:06):Chiapas, and Puerto Rico.Julian Vigo (00:03:09):She also received honorary degrees from the New School for Social Research in New York,Julian Vigo (00:03:13):Manhattanville College, and Florida Atlantic University in the United States, and fromJulian Vigo (00:03:19):Paris 8,Julian Vigo (00:03:19):La Sorbonne, and Pau-Pyrénées, as well as the Maria Moors Cabot Prize for Journalism atJulian Vigo (00:03:27):Columbia University, New York, in 2004, and from the Universidad Complutense, Madrid, inJulian Vigo (00:03:32):2015.Julian Vigo (00:03:34):She received the French Legion of Honour at the rank of Officer, the Gabriela Mistral Prize from Chile, and inJulian Vigo (00:03:41):2006, the Courage Award from the International Women's Media Foundation.Julian Vigo (00:03:43):In 2013 she was awardedJulian Vigo (00:03:49):the Miguel de Cervantes Prize for literature in the Spanish language, and she received theJulian Vigo (00:03:55):Belisario Domínguez Medal in 2022.Julian Vigo (00:03:58):This is the highest honour granted by the Senate of the Mexican Republic, along with theJulian Vigo (00:04:05):Carlos Fuentes International Prize for Literary Creation in the Spanish Language in 2023.(00:04:12):I welcome Elena Poniatowska to Savage Minds.Julian Vigo (00:04:19):I wanted to begin with a memory I have of you.Julian Vigo (00:04:22):In 1993,Julian Vigo (00:04:25):I think,Julian Vigo (00:04:27):or 94 —Julian Vigo (00:04:28):one of those two years —Julian Vigo (00:04:29):I was in Puebla,Julian Vigo (00:04:31):Cholula,Julian Vigo (00:04:32):teaching at the Universidad de las Américas.Julian Vigo (00:04:35):Yes.Julian Vigo (00:04:36):And you came to give a talk at an observatory — I believe it was Tonantzintla.Elena Poniatowska (00:04:44):Yes, of course.Elena Poniatowska (00:04:46):Yes, I remember it, andJulian Vigo (00:04:49):you made a great impression on me that day. But I must confess that your entire life's work made a great impression on me — not only on me. I wanted to begin with your formation, your life, because you were born in France andJulian Vigo (00:05:12):how do you remember your childhood in France, and what elements of that world did you bring with you when you arrived in Mexico in 1942?Elena Poniatowska (00:05:21):Well, thank you very much for your interest.Elena Poniatowska (00:05:29):I can tell you that I was born in 1932 in Paris, France, because my mother Paula Amor marriedElena Poniatowska (00:05:42):Juan Poniatowski, who held a noble title — that of prince —Elena Poniatowska (00:05:54):because the last king of Poland was Stanisław Poniatowski, who was, I believe, one ofElena Poniatowska (00:06:07):the lovers —Elena Poniatowska (00:06:09):one of the younger lovers of the Empress of Russia, Catherine the Great.Elena Poniatowska (00:06:21):My mother was a woman born also in Paris, of Mexican origin, who leftElena Poniatowska (00:06:32):France because of the Mexican RevolutionElena Poniatowska (00:06:36):and went to live with her parents — Pablo Amor and Elena Iturbe de Amor — inElena Poniatowska (00:06:49):Biarritz, and they later moved to Paris. My mother always spoke Spanish with a French accent. She had two sisters who also lived in France for a long time,Elena Poniatowska (00:07:07):and they were rather Frenchified. She met my father Jean Poniatowski in Paris andElena Poniatowska (00:07:20):married him, and I was born in 1932 in Paris.Elena Poniatowska (00:07:25):I would like to knowJulian Vigo (00:07:31):more about this experience, because as you probably know — especially Americans and Canadians — they think everyone wants to come to their countries. But something they don't know until they travel is that in Mexico, Honduras, and all of Latin America there is a great deal of immigration, people from every country in the world. Why not?Elena Poniatowska (00:08:01):Her mother was in France; my mother was Mexican, born in France. Her family — she had a grandmother, my mother's great-grandmother, who was Russian, and in general her father was educated in England, so they wereElena Poniatowska (00:08:29):Mexicans — Amor is a Mexican surname — but they were very closely tied to Europe. For my mother, living in Europe was very natural becauseElena Poniatowska (00:08:49):she first attended a boarding school in Switzerland, in Lausanne,Elena Poniatowska (00:08:56):and then was in Paris. At a Rothschild ball she met my father JuanElena Poniatowska (00:09:07):Poniatowski and married him in 1931,Elena Poniatowska (00:09:17):or perhaps at the beginning of 1932, because I was born on the 19th of May 1932.Elena Poniatowska (00:09:29):My sister was born in 1933.Julian Vigo (00:09:34):As a child who spoke French and had to learn Spanish, in what way did language become your first tool for survival?Elena Poniatowska (00:09:47):Well, I also know English and French. Language, for me — learning Spanish in Mexico — was obviously about communicating with people in the streetElena Poniatowska (00:09:56):and with friends at school. But French remained my mother tongue, andElena Poniatowska (00:10:03):later I dedicated myself to speaking Spanish with the people at home, with the MexicansElena Poniatowska (00:10:14):I met at school.Elena Poniatowska (00:10:23):Curiously, I attended an English school called the Windsor School, but I learned SpanishJulian Vigo (00:10:38):in the street — one always learns Spanish better in the street. You learn so much from people in Mexico. I found people very warm and open. On the other hand, for Mexicans in my country, it's not the same at all.Julian Vigo (00:10:59):What was the first moment you felt that writing was the only possible way to understand the Mexico around you?Elena Poniatowska (00:11:11):Well, I would never say it was the only possible way.Elena Poniatowska (00:11:17):I think that at twenty,Elena Poniatowska (00:11:22):twenty-one years old, returning from studying at a convent of nuns, I had theElena Poniatowska (00:11:30):good fortune to be able to start writing at a newspaper called, at that time,Elena Poniatowska (00:11:42):Excelsior.Elena Poniatowska (00:11:43):They asked me to submit a daily article,Elena Poniatowska (00:11:48):an interview,Elena Poniatowska (00:11:51):a chronicle, and I did so with enormous enthusiasm and great pleasure, because it allowed meElena Poniatowska (00:12:00):to know Mexico much better, and also to meet great figures of Mexico such asElena Poniatowska (00:12:09):Diego Rivera,Elena Poniatowska (00:12:11):José Clemente Orozco, actresses like Dolores del Río and María Félix, architects likeElena Poniatowska (00:12:20):Luis Barragán, and writers — even writers of my own generation, or slightlyElena Poniatowska (00:12:31):older than me — such as Juan Rulfo,Elena Poniatowska (00:12:38):Rosario Castellanos, Carlos Fuentes, and of course Octavio Paz.Julian Vigo (00:12:46):What a rich life! María Félix — what a figure!Julian Vigo (00:12:52):How was your experience beginning in journalism in the early 1950s in a predominantly male environment?Elena Poniatowska (00:13:05):Well, I was truly very lucky, because people were very kind andElena Poniatowska (00:13:14):even affectionate towards me. No one ever refused me an interview. I was able to reach Alfonso Reyes, Octavio Paz,Elena Poniatowska (00:13:25):the great architect Luis Barragán, José Vasconcelos the philosopher, and all were veryElena Poniatowska (00:13:40):kind and cordial with me, as were important actors like Ignacio LópezElena Poniatowska (00:13:51):Tarso,Elena Poniatowska (00:13:52):and of course those I already mentioned — Dolores del Río, María Félix — and singers, and also many visitors who came from Europe, the United States, or Latin America to perform in Mexico.Elena Poniatowska (00:14:20):Did you know El Indio Fernández?Elena Poniatowska (00:14:23):Yes,Elena Poniatowska (00:14:24):of course —Elena Poniatowska (00:14:25):I interviewed him,Elena Poniatowska (00:14:26):I knew El Indio Fernández, who by ten in the morning was already offering me a tequila, whichElena Poniatowska (00:14:35):I did not drink, as I'm not accustomed to drinking. And also many otherElena Poniatowska (00:14:47):famous actors of that era, like the comedian Cantinflas, whoseJulian Vigo (00:14:56):real name was Mario Moreno. Cantinflas — I know his work. Wow. And you were in Mexico during the same period as Luis Buñuel?Elena Poniatowska (00:15:06):Yes, I ended up with Luis Buñuel — yes, we had a great friendshipElena Poniatowska (00:15:15):because out of affection he came to have lunch at my house several times, so I saw him on manyElena Poniatowska (00:15:24):occasions. We even went together to the prison of Lecumberri to visit, for example, aElena Poniatowska (00:15:33):Colombian who had committed an offence and was imprisoned — his name wasElena Poniatowska (00:15:42):Álvaro Mutis.Julian Vigo (00:15:45):And you have lived through and narrated great social transformations.Julian Vigo (00:15:51):Do you think that today's digital democratisation of public opinion helps social justice, or does it rather dilute real struggles into mere narratives of identity and likes?Elena Poniatowska (00:16:08):Well, I think the Mexican Revolution,Elena Poniatowska (00:16:15):led by a man like Emiliano Zapata, was extraordinary in redistributing the lands and haciendas of Mexico and in giving all MexicansElena Poniatowska (00:16:32):access to better education, better formation, a better life. I consider thatElena Poniatowska (00:16:46):Emiliano Zapata was one of the great heroes of Mexico, even though he personally took away the haciendas of my grandparents, the Amors and the Iturbes.Julian Vigo (00:17:06):What did you learn from the great intellectuals of your youth?Julian Vigo (00:17:08):You mentioned Juan Rulfo, Alfonso Reyes, and many others.Julian Vigo (00:17:15):What influenced your decision to dedicate your life to letters?Elena Poniatowska (00:17:20):No, they did not influence my decision to dedicate myself to letters.Elena Poniatowska (00:17:26):I met them later.Elena Poniatowska (00:17:30):I began as a journalist, a modest journalist, at the newspaper Excelsior in 1953 —Elena Poniatowska (00:17:42):I think 1952 or 1953. Very young. I had come from an education at a convent of nuns inElena Poniatowska (00:17:53):Philadelphia, and I decidedElena Poniatowska (00:17:57):to write chronicles and interviews to get to know Mexico better. I came to know those figures through my work as a journalist, and because I could question themElena Poniatowska (00:18:14):in the language I knew and had learned as a child — at ten years old — which is Spanish. My other languages until then had beenElena Poniatowska (00:18:22):English,Elena Poniatowska (00:18:27):and French, which is my mother tongue.Julian Vigo (00:18:32):You are known for the testimonio.Julian Vigo (00:18:36):At what exact point did you feel that traditional fiction was not sufficient to capture Mexican reality?Elena Poniatowska (00:18:47):As I mentioned, I began by engaging with many valuable MexicansElena Poniatowska (00:18:54):who received me in their homes, gave me their opinions. At the same time as I received what they wished to give me,Elena Poniatowska (00:19:04):I observed how their homes were, how they treated the people around them — their wives, their children, their servants — and all of that helped meElena Poniatowska (00:19:22):to know Mexico better. I also spent a great deal of time in the streets — that is, with the poorest people, whom I was able to reachElena Poniatowska (00:19:34):through my own nature and also with the help of a great Mexican illustrator, Alberto Beltrán. In the street he made sketches of everything the Mexicans did — the newspaper vendors,Elena Poniatowska (00:19:59):the taco sellers,Elena Poniatowska (00:20:03):the women making corn tortillas by hand,Elena Poniatowska (00:20:12):the bakeries, and then the hardware stores where everything was sold — from nails toElena Poniatowska (00:20:22):cleaning cloths — and all of that was a very vital andElena Poniatowska (00:20:32):generous apprenticeship in learning to see the lives of working Mexicans.Julian Vigo (00:20:40):But it is an art — to be able to listen to people, to their voices.Julian Vigo (00:20:53):How did you learn to listen to the voice of the other?Elena Poniatowska (00:20:58):Well, I think it is a natural inclination.Elena Poniatowska (00:21:03):It is not learned.Elena Poniatowska (00:21:05):It is not forced.Elena Poniatowska (00:21:06):It is a way of being.Elena Poniatowska (00:21:10):I am far more interestedElena Poniatowska (00:21:11):in speaking of what others do, how they do it, and who they are, than in speaking of myself, my sensations, my emotions. And I have done this from a very young age, so it has become a habit — it is part of my daily life.Julian Vigo (00:21:36):Do you believe that the testimonio is essentially an act of political resistance?Elena Poniatowska (00:21:44):I think so.Elena Poniatowska (00:21:45):It helps enormously to know the thinking of those who have no power, who are not in power, who do not consider themselves political, who are not leaders — although I did have the great privilege of interviewing leaders and very important figures in Mexico,Elena Poniatowska (00:22:14):such as, for example, the Spanish refugee of the Civil War, Luis Buñuel.Julian Vigo (00:22:26):And how was the process of gathering the voice of Jesusa Palancares?Julian Vigo (00:22:32):How long did it take you to absorb her story?Elena Poniatowska (00:22:38):Well, it was a privilege. I heard her — she was doing laundry in a popular building, a building where many Mexicans lived who had noElena Poniatowska (00:22:56):economic resources. Everything she said caught my attention enormously. I approached her and asked if I could visit her at her home,Elena Poniatowska (00:23:13):which was a very poor house, obviously far from the area where I lived. And so I went toElena Poniatowska (00:23:26):see her once a week. We became friends, and she began telling me her life. And that is howElena Poniatowska (00:23:36):the novel Hasta No Verte Jesús Mío came about. When it was published,Elena Poniatowska (00:23:43):she asked me to give her ten copies to give to her friends —Elena Poniatowska (00:23:52):the bricklayers or the people she had worked with.Julian Vigo (00:24:00):And why did she choose the testimonial genre for Hasta No Verte Jesús Mío?Julian Vigo (00:24:09):It is one of the testimonial novels because —Elena Poniatowska (00:24:16):She didn't really choose it — she didn't. It was I who gathered her words andElena Poniatowska (00:24:27):assembled them in the best way I could. But she did not choose it.Elena Poniatowska (00:24:34):She could not read or write. She did not know how to read or write. But she asked for the books, and I — the cover of the book, what goes on the outside, is the Santo Niño de Atocha, a small Christ child that she liked.Julian Vigo (00:25:08):And I saw it in the street, and so I put it there so she would be happy. But I was asking you about the testimonial genre — in 1969 it was not a common thing in literature.Julian Vigo (00:25:26):How was this novel received?Julian Vigo (00:25:30):I wonder if people were confused.Julian Vigo (00:25:32):Is it a true story or is it fiction?Elena Poniatowska (00:25:35):No, it was very well received. The book was greatly liked.Elena Poniatowska (00:25:41):Immediately many editions came out and it was translated into English and French.Julian Vigo (00:25:51):And I wonder if at that time — less so today — people were confused because they did not know if it was a completely real story or partly real. Because the novel Hasta No Verte Jesús Mío was categorised as a novel.Elena Poniatowska (00:26:16):Yes, that's right, that is what it was.Elena Poniatowska (00:26:19):It is a novel based on a character — a woman who was in the Mexican Revolution, the life of a soldadera. To what extent is Jesusa an invented character or a real woman? I have said it, I have written it many times: Jesusa is a real character. After that I wroteElena Poniatowska (00:26:49):other books about other women who were also real characters. I had the joy of knowing Jesusa in person, but for example Tina Modotti, the main character ofElena Poniatowska (00:27:08):the novel Tinísima, I did not know. And other novels about other women and other characters I also did not know.Julian Vigo (00:27:22):What lessons about the resilience of Mexican women did you learn from Jesusa that remain relevant today?Elena Poniatowska (00:27:31):All the women in Mexico whom I see and engage with and encounter in the streetElena Poniatowska (00:27:41):and who come to my house — they are women who have known how to struggle and continue to struggle. For example, one woman, Rosario Ibarra de Piedra, whose son was disappeared, and who searched all of Mexico — she is obviously one of the heroines who has most caught my attention.Julian Vigo (00:28:10):And especially in recent years — almost thirty years — the femicides and the disappearances of men and women. You are still fighting for your society, and I think literary words have the power to carry reality forward. I am thinking of La Noche de Tlatelolco — that was the first book of yours I read. It is incredible. I have no words. Thank you. It is one of the best books of the twentieth century, and I teach it. It is astonishing. Can you speak about why you began that work, and also for those listening now who do not know the history of what happened in Mexico?Elena Poniatowska (00:29:03):Well, in general I can tell you that I received letters from a prisoner in the jail — Jesús Sánchez García — and I began going to Lecumberri, which was called the Black Palace of Lecumberri. It was no palace — it was a prison with bars and cells. I asked permission from the prison director — I believe his name was Martín del Campo — and he gave it to me. That is how I went to gather life stories from men, and later, at the women's prison, from women who had nothing to do with my own life, who bore no resemblance to what I hadElena Poniatowska (00:30:03):lived or what I would go on to live.Elena Poniatowska (00:30:16):That was an enormous enrichment for me, and a knowledge of an unknown Mexico that also helped me understand MexicoElena Poniatowska (00:30:31):— a Mexico to which I owe a great deal.Elena Poniatowska (00:30:35):I think that everything I am I owe to the voice, and to the gift of their voice, that the poorest Mexicans gave me — those I was able to approach over years and years,Elena Poniatowska (00:30:52):going to the prison and sometimes going to their own very poor homes, called vecindades, which were located in the very neighbourhoods where the prisons were.Julian Vigo (00:31:11):How did you manage the pain and trauma of the testimonies you heard while assembling the book?Elena Poniatowska (00:31:22):Pain is not managed. To manage something is to seek something. Pain is simply assumed and lived. So the pain is in the words written in the book.Julian Vigo (00:31:46):And why did you choose the technique of a collage of voices rather than a linear, chronological narrative for this book?Elena Poniatowska (00:31:57):I have many other books that speak even of personal stories — books that contain much of biography.Julian Vigo (00:32:13):Yes, but it is very interesting how you wove those narratives together in this book. It is very beautiful, in fact.Julian Vigo (00:32:24):Was there any moment during the writing of La Noche de Tlatelolco when you felt fear or censorship?Elena Poniatowska (00:32:33):Well, there was always the dread of entering terrain unknown to me.Elena Poniatowska (00:32:40):Ultimately, I was educated —Elena Poniatowska (00:32:45):I spent time in the United States at a convent to be educated, not to become a nun — it was called the Sacred Heart Convent.Elena Poniatowska (00:33:03):When I came out I was speaking English. My mother tongue is French. And when I left there, my strongest desire was truly to know Mexico — the country I had arrived in at the age of ten, but in which I had received an educationElena Poniatowska (00:33:30):in both English and French, not in Spanish.Julian Vigo (00:33:36):More than fifty years later, what impact do you think that book has on the collective memory of young Mexicans today?Elena Poniatowska (00:33:48):Well, I think that is a question that should be put to them.Elena Poniatowska (00:33:55):What I can say is that I have receivedElena Poniatowska (00:33:59):a great deal of affection from young people — many come to find me at my home, and I give lectures and talks with some frequency. Remember that I am already 94 years old and have lost the use of my left eye, which prevents me from seeing well. So within my limitations,Elena Poniatowska (00:34:27):I remain in contact with the people who want to see me, which for me produces great enthusiasm and which I experience as great support.Julian Vigo (00:34:42):The book you wrote is something very specific — evidently about Mexico — but it is still a book with which everyone can identify. If we look around today, where there are acts of political repression in almost every country in the world in one form or another — and I know your books are translated into many languages — I wonder whether the power of La Noche de Tlatelolco came from the form of the narration itself, not only from the fact that you confronted the government, the police, and justice. You narrated a story of the people seeking justice, yes, but literature itself was also seeking truth within its pages. There are wars everywhere, there is too much sadness. After the lockdown — which was less bad in Mexico than here in Italy — we are living through a very difficult moment. Do you sometimes think of this book as a model for dialogue, for collaboration, for moving forward together, the people united?Elena Poniatowska (00:36:09):Well, what I love about this book is that it has so many voices — many voices gathered from mothers of families, from children of political prisoners. For me it was a great learning experience to go to the prison in Mexico and see a world I did not know, to be accepted in that world, to go frequently to hear and gather the voices of political prisoners and of young people whoElena Poniatowska (00:36:52):didn't even have strong political ideas but were imprisoned because they had stolen something in a market. It meant entering a world I was completely unfamiliar with,Elena Poniatowska (00:37:13):to which I did not belong. And it was an enormous lesson — a very generous lesson — in how the lives of others can be. That is what I have dedicated myself to over many years, because I remain a journalist and continue writing about disasters such asElena Poniatowska (00:37:39):not only the massacre of the 2nd of October, but what the earthquake of 1985 meant for Mexico and the loss, for many Mexicans, of their families and their homes.Julian Vigo (00:37:59):Yes. You documented the earthquake of ‘85 — a moment when the Mexican government was completely paralysed and it was civil society that took control to rescue the city.Julian Vigo (00:38:15):Do you believe that peoples are still alone in the face of tragedy, or is that organic solidarity you described an invincible force?Elena Poniatowska (00:38:29):Yes,Elena Poniatowska (00:38:29):of course.Elena Poniatowska (00:38:30):I believe — that is why I believe in the invincible force of Mexicans, who help and support each other, who run to answer a cry for help. They are the ones who save themselves by saving others. I believe in that truth. It is a truth I lived, that I witnessed,Elena Poniatowska (00:38:57):and for me it is a lesson, a way of life.Julian Vigo (00:39:03):Does it reflect the structural abandonment of the seamstresses, the inhabitants, those who live in vecindades, and the poorest?Julian Vigo (00:39:13):How did you manage, in the midst of the chaos, the dust, and the mourning of those days, to earn the trust of people so that they would share their most painful and raw testimonies?Elena Poniatowska (00:39:30):Well, I have two physical advantages.Elena Poniatowska (00:39:32):I am small in stature. I frighten no one. No one is afraid of me. I can go anywhere. I am not someone who imposes anything at all, and I know how to listen. So by listening to others' voices, I gather them, I keep them, I memorise them,Elena Poniatowska (00:40:03):and then I put them on paper.Elena Poniatowska (00:40:06):That is the most solitary and difficult moment — writing about what happens to others,Elena Poniatowska (00:40:21):their sorrows,Elena Poniatowska (00:40:22):their joys,Elena Poniatowska (00:40:24):their defeats and also their triumphs —Elena Poniatowska (00:40:28):and making books and articles from them. Because I am also a journalist sinceElena Poniatowska (00:40:38):1953. I am now 94 years old.Julian Vigo (00:40:47):You're listening to Savage Minds.Julian Vigo (00:40:49):If you're enjoying the show, take a second to subscribe at savageminds.co.Julian Vigo (00:40:54):Feel free to comment below or drop us a line to share your thoughts.Julian Vigo (00:40:59):Support independent media today.Julian Vigo (00:41:01):Now, let's get back to it.Julian Vigo (00:41:15):Many consider that the earthquake of ‘85 not only brought down buildings but also toppled the myth of the Mexican State's absolute control — marking the true birth of modern citizenship in the country.Julian Vigo (00:41:33):From your perspective as a chronicler —Elena Poniatowska (00:41:40):I think Mexicans have always had enormous character and enormous capacity to defend themselvesElena Poniatowska (00:41:49):in spite of their own poverty, or in spite of the total absence of outside help.Elena Poniatowska (00:42:02):There was in Mexico a Mexican Revolution,Elena Poniatowska (00:42:08):a country conquered by very cruel conquerors, and yet the country has continued to forge ahead and has continued to demonstrate its bravery and courage in allElena Poniatowska (00:42:28):circumstances — one of which was, for example, the earthquake, in which the neighbours themselvesElena Poniatowska (00:42:37):helped each other before the State or the so-called government did anything.Elena Poniatowska (00:42:46):So I think it is a country with many very brave men, women, and children who save themselves, who know how to look after themselves.Elena Poniatowska (00:43:03):Of course there are people who don't know how to do it, and there are people who sometimes end upElena Poniatowska (00:43:12):in prison or in hospital. But in general Mexico is a country of very solidary people, people who help each other and defend themselves.Julian Vigo (00:43:31):What I love about your books in general is that you give voice — you shed light on the lives that are forgotten.Julian Vigo (00:43:42):Do you feel that in this book, for example, or in Nadie Me Verá Llorar, the author's voice becomes more present or closer to her characters than in your earlier works?Elena Poniatowska (00:43:56):No,Elena Poniatowska (00:43:57):I think that element is present in all my works — in Hasta No Verte Jesús Mío, in the book about the 2nd of October, in the earthquake — and it is always present in everything I still do at the newspaper where I work. I am in a certain way a chronicler and aElena Poniatowska (00:44:21):participant in the lives of other Mexicans.Julian Vigo (00:44:27):And I also notice that many of your works are about women — Tinísima, the life of Tina Modotti, a woman who lived so many lives in one. Leonora. And I wanted to ask — before we get to those books — about Querido Diego Te Abraza Quiela. Why did you choose that subject? Not only Diego Rivera but his first wife.Elena Poniatowska (00:44:59):I was moved to learn that in Paris, Angelina Beloff had gone to Mexico to seeElena Poniatowska (00:45:12):Diego Rivera, whom she had supported in Paris. He had lived with her and had livedElena Poniatowska (00:45:22):off her, because she was the one with a salary. He was a very young painter withoutElena Poniatowska (00:45:33):money, without resources. She helped him. And when she went to Mexico, she had also hadElena Poniatowska (00:45:42):the only male child that Diego Rivera ever had, who died of cold in Paris. And when she decided to go to Mexico — in a sense, to get to know the country of her lover — she decided to go to the Palacio de Bellas Artes because she knew that heElena Poniatowska (00:46:11):would be there. And he walked right past her — past the seat, one of those red velvet seats in the Palacio de Bellas Artes, called butacas, in which she was sitting — he walked past and did not even recognise her.Elena Poniatowska (00:46:40):That story struck me deeply, and that is why I decided to write the small book —Elena Poniatowska (00:46:55):it is not a very long book —Elena Poniatowska (00:46:58):called Querido Diego, Te Abraza Quiela.Julian Vigo (00:47:00):In Tinísima, what was it that drew you to the life of Tina Modotti?Elena Poniatowska (00:47:08):In reality it came from a request to make a film. The cinematographerElena Poniatowska (00:47:17):Gabriel Figueroa told me that a film was going to be made about Tina Modotti, the Italian woman who had been in Mexico. So I began interviewing all the people who had knownElena Poniatowska (00:47:38):Tina Modotti. And even when I was invited to France for a conference, I had theElena Poniatowska (00:47:47):opportunity to go to Udine in Italy to meet and get to know the siblings of Tina Modotti —Elena Poniatowska (00:48:00):to see them, interview them, speak with them.Elena Poniatowska (00:48:05):Then when I was told that the film about Tina Modotti in Mexico was no longer going to be made because there was no money, I — who had gone at my own expense to that conference in France and another writers' conference inElena Poniatowska (00:48:37):Italy — decided to launch into writing the novel called Tinísima, because I hadElena Poniatowska (00:48:48):interviewed many old communists whom I had gone to visitElena Poniatowska (00:48:56):in their various homes — generally very modest, very poor homes.Elena Poniatowska (00:49:03):I did not want to let them down, and so the novel Tinísima was published.Julian Vigo (00:49:10):And to what extent does Tina Modotti represent the struggle of the woman artist in the twentieth century?Elena Poniatowska (00:49:19):To the extent that she commits herself —Elena Poniatowska (00:49:23):she takes photographs of Mexico alongside Edward Weston, and then goes alongsideElena Poniatowska (00:49:33):Commander Carlos of the Fifth Regiment to Spain — she goes to the Spanish Civil War and becomes a nurse, caring evenElena Poniatowska (00:49:52):on the ground for the bodies that had fallen on the earth before taking them to the Red Cross — giving them first aid and dedicating herself to saving lives,Elena Poniatowska (00:50:08):or helping to save lives. I believe that many soldiers did not die thanks to the care of this womanElena Poniatowska (00:50:19):who was in the trench following the doctors.Julian Vigo (00:50:25):You have said that the writer must be a bridge.Julian Vigo (00:50:29):Between what worlds do you think it is most necessary to build bridges — or should we be breaking bridges today?Elena Poniatowska (00:50:38):No, I think one should never break a bridge, for anything.Elena Poniatowska (00:50:42):I think one mustElena Poniatowska (00:50:45):communicate — that the most important thing in the life of any human being is dialogue. Peoples too must dialogue with others in order to know each other. I think Mexico must have a dialogue with the United States, and that many Mexicans who have returned fromElena Poniatowska (00:51:09):the United States because TrumpElena Poniatowska (00:51:12):did not want to receive them, has rejected them — well, they nevertheless had, with another nation or with the inhabitants of another nation, knowledge and dialogue.Elena Poniatowska (00:51:28):And that I believe is what is called,Elena Poniatowska (00:51:34):within Catholicism if you like, or within any religion by whatever name it may be called — that is human fraternity. The otherElena Poniatowska (00:51:50):is the one who exists and who awaits you and whom you must help, because perhapsElena Poniatowska (00:51:58):one day you will need him to extend a hand to you.Julian Vigo (00:52:05):Trump is certainly a character, but I see the situation as too tragic for Americans — the United States, still my country — because the reality is that a large part of the Western world has absolutely no idea of the immense cultural, intellectual, and spiritual richness of Mexico.Julian Vigo (00:52:30):For me, it's not only Trump —Julian Vigo (00:52:32):but Americans, Canadians, etc.Julian Vigo (00:52:35):know nothing about the sharpest chroniclers of this country. If you had to open the eyes of an international audience completely unaware of Mexico's depth, what would you say is the most valuable treasure of Mexican identity that the rest of the world is missing?Elena Poniatowska (00:53:01):Well, I must say that many North Americans have come and written about Mexico — anthropologists and sociologists. We have Oscar LewisElena Poniatowska (00:53:17):and many others who have written about the poorest Mexicans, starting in Tepoztlán, a city near Mexico City, following them to the vecindades in the city where they took refuge and found very modest work. So yes, there have been North AmericansElena Poniatowska (00:53:44):who have written about the richness and beauty of Mexico, and their books areElena Poniatowska (00:53:53):translated into Spanish and are admired and appreciated by Mexicans who are grateful that attention is paid to them. So one cannot say that no one who has come from outside has cared about Mexico — in archaeology, in anthropology, as well as figures like Frances Toor, who was a North American woman who created a magazineElena Poniatowska (00:54:39):called Mexico Today and wrote extensively about Mexican customs and lived in Taxco.Elena Poniatowska (00:54:41):For example, a certain William Spratling enriched himself personally but helped many Mexicans inElena Poniatowska (00:54:51):Taxco to learn how to work silver and sell silver. And still today many foreigners and tourists go to buy silver objectsElena Poniatowska (00:55:10):that come from a mine discovered by foreigners — and clearly alsoElena Poniatowska (00:55:20):plundered, one might say, by foreigners.Julian Vigo (00:55:30):Because not everything is entirely good or entirely bad. But I was referring to the fact that — as you know, having been in the United States and many other countries — Trump and far too many people insufficiently educated about Mexico think that all Mexicans want to invade the United States. But the reality is otherwise. In Mexico there was a great cinematic tradition, for example. Mexican cinema has greatly influenced Hollywood — not only today but throughout history. The Oscar statuette itself was modelled on the body of El Indio Fernández. People do not know the depth of Mexican philosophy. I am thinking of Sor Juana, who contributed so much to poetry, theatre, even science — if we think of her letter to Sor Filotea, who was actually Manuel Fernández de Puebla. That dialogue was very important. Western feminists know nothing of these exchanges between those two figures. But for me Mexico has an enormous and very important force in the history of philosophy, science, and feminism. And I am thinking of Octavio Paz's book on Sor Juana Inés de la Cruz, called Sor Juana Inés de la Cruz, or The Traps of Faith. You knew Paz closely. Did you have conversations with him about his perspective on this book — especially regarding the power dynamics of the Church and the silencing she suffered as an intellectual woman?Elena Poniatowska (00:58:09):No, but I think you are mixing very many topics into one question, and it isElena Poniatowska (00:58:18):difficult to answer you because you are speaking of very diverse things that evenElena Poniatowska (00:58:27):happened in different centuries.Elena Poniatowska (00:58:30):Sor Juana — there have always been in Mexico,Elena Poniatowska (00:58:34):before Octavio Paz, people who dedicated themselves to reading,Elena Poniatowska (00:58:40):studying, and getting to know Sor Juana Inés de la Cruz.Elena Poniatowska (00:58:45):I will not add more names to those you mentioned, but there are many studies and many Sor Juana scholars in Mexico, as well as at the University of SantaElena Poniatowska (00:59:01):Barbara, California, in Paris, in France —Elena Poniatowska (00:59:04):there are many studies on the great figures of Mexico — not only The Traps of Faith by the Mexican poet Octavio Paz. So these are studies that will continue and do continue. In California, for example, Sara Poot HerreraElena Poniatowska (00:59:32):is dedicated to studying Sor Juana Inés de la Cruz, along with many other scholars — I don't know if she is still living — whose name was Rivers. All of these are studies that have been carried out in Mexico and outside Mexico.Julian Vigo (00:59:55):No, I was asking specifically about Paz's book because you knew him and —Elena Poniatowska (01:00:03):I knew him,Elena Poniatowska (01:00:04):I admired him, and I also wrote about him. I have a book about him. I admired him,Elena Poniatowska (01:00:12):I knew him, his poetry dazzled me. And he is a man whom I have admired since getting to know him, and whom I also hold with affection.Julian Vigo (01:00:29):I asked about your relationship with him because sometimes it happens to me too — with other writers — one asks or someone asks me, “Why did you do that?” It is a dialogue. Because that book, The Traps of Faith, had something very important — not only for Mexico but it placed the image of Sor Juana before the world. Many people began to ask who this nun was because it is very important. I was asking about the presentation Paz gave of her — whether you had any dialogues with Paz from your own perspective.Elena Poniatowska (01:01:20):Well, yes, of course. But there were others who also spoke at great length about Sor Juana de la Cruz — other Mexicans before Octavio Paz, other Mexicans who, for example, also concerned themselves with indigenous peoples, such as a priest — Ángel María Garibay — who was also a Sor Juana scholar. So there are many studies on Sor Juana Inés de la Cruz and there are Sor Juana scholars in Santa Bárbara, for example, such as Doctor Sara Poot Herrera and others — a woman by the name of Rivers and many more.Julian Vigo (01:02:16):You have dedicated your life to listening and giving voice to those who have none, through the chronicle and literature.Julian Vigo (01:02:26):Today,Julian Vigo (01:02:27):with social media,Julian Vigo (01:02:28):it seems that everyone has a platform for opinions.Julian Vigo (01:02:32):But are we really listening?Julian Vigo (01:02:36):What happens to the power of the word when it becomes a constant noise, as in social media?Elena Poniatowska (01:02:45):I don't know.Elena Poniatowska (01:02:46):I suppose it loses efficacy.Elena Poniatowska (01:02:49):But that depends on the activity of each human being.Elena Poniatowska (01:02:58):There are people — elderly people, for example, people already old — for whom life,Elena Poniatowska (01:03:08):even in institutions, in care homes, means turning the television on from morning until night and being entertained — that is, entertained without making the least effort of criticism or thought in front ofElena Poniatowska (01:03:29):the television.Elena Poniatowska (01:03:31):I have seen that this has been very important in keeping the elderly calm andElena Poniatowska (01:03:41):allowing them to die little by little in institutions called health facilities, where they have thisElena Poniatowska (01:03:52):constant and rather sad entertainment. ButElena Poniatowska (01:03:59):as they say in Mexico: no hay de otra — there is no other option, or no other option has been found, or there are not enough people willing to dedicate themselves to attending to and caring for others. So I see it as an end of lifeElena Poniatowska (01:04:28):for an individual who was once a thinking individual, who knew how to act,Elena Poniatowska (01:04:37):who knew how to elevate himself,Elena Poniatowska (01:04:41):to become a better human being. And I find it sad.Julian Vigo (01:04:46):Today, and for twenty years now, I have noticed as a university professor that students are reading less and less. Today, with so-called artificial intelligence — so-called because intelligence it is not — students are not reading. How can literature or journalism restore the true value and depth of words when we are in a world full of social media, opinions, and videos of a cat doing something funny?Elena Poniatowska (01:05:31):Your question is very difficult because I don't have the answer.Elena Poniatowska (01:05:37):What I can say is that ultimately it depends on the teachers.Elena Poniatowska (01:05:44):It depends on students having a good teacher,Elena Poniatowska (01:05:49):because even I have seen in classes —Elena Poniatowska (01:05:54):in different classes —Elena Poniatowska (01:05:57):that many young people continue looking at their phones while the teacher is writing onElena Poniatowska (01:06:07):the board, or speaking, or giving a class.Elena Poniatowska (01:06:13):So we shall see whether the destiny of young people will depend on what theyElena Poniatowska (01:06:21):learn from their phone. I don't have a phone —Elena Poniatowska (01:06:27):I never bought one,Elena Poniatowska (01:06:28):never got one. Or whether they will be able to go beyond themselvesElena Poniatowska (01:06:37):and beyond above all what the phone wants to give you or teach you or not teach youElena Poniatowska (01:06:46):or distract you from — because ultimately it is a distraction. Yes.Julian Vigo (01:06:53):Writing something to share — in quotation marks — they are sharing nothing in the end. I have noticed that many people are sharing articles they have not read. Young people are embracing identity politics and cancel cultureJulian Vigo (01:07:16):in the absence of any engagement with material reality today.Julian Vigo (01:07:21):That is my fear —Julian Vigo (01:07:23):that the millennials,Julian Vigo (01:07:26):this generation of thirty-year-olds,Julian Vigo (01:07:31):are fixated on pronounsJulian Vigo (01:07:36):but do nothing to help their neighbour.Julian Vigo (01:07:41):They do nothing to fight for living wages.Elena Poniatowska (01:07:46):Well, not all of them.Elena Poniatowska (01:07:49):It's a generalisation, of course.Elena Poniatowska (01:07:54):But I think you are right.Elena Poniatowska (01:07:58):It is a generalisation, because in any case there are human beings who live for others.Julian Vigo (01:08:08):We are in two camps today, because during the lockdown I noticed that many people — even on the right — were fighting for the poor in the United States, where I published. I could not publish a single article questioning the lockdown. That is when I started Savage Minds, because I was asking: what is happening? I no longer recognise this world in which the left is pushing people not to speak. We weren't talking about the lockdown, and the right was speaking very openly. And I see that politically, left and right — there is no longer that dichotomy, so to speak.Elena Poniatowska (01:09:02):Yes,Elena Poniatowska (01:09:03):I thank you greatly for your interest and I thank you enormously for this conversation. I feel animated,Elena Poniatowska (01:09:11):I feel glad to hear what you are saying.Elena Poniatowska (01:09:19):But I do feel that,Elena Poniatowska (01:09:22):as you say,Elena Poniatowska (01:09:23):the speed,Elena Poniatowska (01:09:26):the pace of all events,Elena Poniatowska (01:09:29):the television —Elena Poniatowska (01:09:32):it sets critical thinking and reflection on events to one side,Elena Poniatowska (01:09:41):because everything must be immediate, mustn't it?Elena Poniatowska (01:09:46):That is to say, everything ends in a second. Even the deepest interests sometimes last onlyElena Poniatowska (01:09:56):a few — one might even think, as we say in Mexico,Elena Poniatowska (01:10:01):un ratito — just a little while. There is no continuity in ideas orElena Poniatowska (01:10:12):even in purposes. There is something we all know called habit, and each personElena Poniatowska (01:10:21):lives according to the habits they have established in order to keep going —Elena Poniatowska (01:10:28):to keep existing, if you will. To make it to night, fall asleep, and know that you will wake the following day. Or perhaps you won't wake, because — well, for example, IElena Poniatowska (01:10:45):am a person of 94 years old and I have no certainty that I will see the following morning. ButElena Poniatowska (01:10:55):what I do believe is thatElena Poniatowska (01:10:58):I believe in the innate goodness of every human being.Elena Poniatowska (01:11:03):I have to believe in it, because I need that hope.(01:12:02): Get full access to Savage Minds at www.savageminds.co/subscribe

Alfonso Reyes no escribió sobre México…lo descifró. En Visión de Anáhuac, la tierra deja de ser paisajey se convierte en memoria, profundidad, origen.Este episodio de El Buen Cruel no es solo un homenaje:es una invitación a mirar a México como él lo hizo… con asombro, con inteligencia, con alma.

Hello beautiful people!in today's episode, Caden had the opportunity to speak with Alfonso Reyes, a.k.a @musculardystrophywarrior on social media! We discuss whis Muscular Dystrophy diagnoses, navigating public school and college, favorite video games, best friends, and what shoes Caden should by next! Learn more about Muscular Dystrophy here: www.mda.org/disease/duchenne-muscular-dystrophyFollow Alfonso on socials: Instagram: instagram.com/musculerdystrophywarrior/YouTube: youtube.com/@mdw1999 TikTok: tiktok.com/@musculerdystrophywarriorThreads: threads.com/@musculerdystrophywarriorEpisode show notes & transcripts can be found here: ⁠⁠⁠⁠www.digitalactivismpod.com/⁠⁠ ⁠⁠Follow Caden!:Caden IG:⁠⁠ ⁠⁠⁠⁠⁠instagram.com/obviously_its_caden/⁠⁠⁠⁠Caden TikTok:⁠⁠ ⁠⁠⁠⁠⁠⁠⁠tiktok.com/@wheelchair_king⁠⁠ ⁠⁠⁠⁠Caden Threads⁠:⁠ ⁠⁠⁠⁠threads.com/@obviously_its_caden⁠⁠Email Caden: ⁠cadennelmsofficial@gmail.com⁠Follow the Pod!:YouTube:⁠⁠⁠ ⁠⁠⁠⁠   / @digitalactivismproject  Pod IG: ⁠⁠instagram.com/digitalactivismpod/⁠⁠

El corsario digital con Roge y María analizan los números málditos, recomeindan películas. Hoy con Alfonso Reyes como invitado estelar

Nueva cita con La Hora de Broti y José Joaquín Brotons. Alfonso Reyes nos presenta su libro. Huevos fritos con patatas fritas: Sentido Común en la vida cotidiana y en la política. Hablamos con el periodista Siro López sobre la situación del Real Madrid Charlamos con la periodista Lorena González para hablar de racismo

Federico habla con Alfonso Reyes, que presenta 'Huevos fritos con patatas': un alegato contra el ruido y las consignas vacías desde el sentido común.

Se cumplen 50 años del estreno de la segunda versión de King Kong y les platico de la época negra de Lecumberri. ¿Trump celebrando la Guerra de México y Estados Unidos en 1847? También les recomiendo un texto de Alfonso Reyes y les traigo datos para ligar. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

María de Alva Levy radica en Monterrey, México,, desde ahí escribe sobre su estado, la historia de los personajes importantes de su historia, sobre la violencia y la represión, pero también sobre memoria y la historia familiar. Ha sido instrumental en la reconocida Cátedra Alfonso Reyes que ha recibido a escritoras que ya están en Hablemos, escritoras. Hablemos de sus libros, de sus fuentes de investigación de Pasión por la lectura. Algunos de sus libros son Un corazón extraviado y Todo lo que no sabemos.

Hoy hablaremos de cosas que, a primera vista, parecerían no tener nada que ver: el hígado, ese órgano que hemos comido, temido y cargado de simbolismos; el rey Herodes, constructor brillante y tirano enfermizo, cuya mala fama quedó pegada para siempre al relato de la Navidad; Alfonso Reyes, el “regiomontano universal” que hizo de la inteligencia mexicana un órgano vital de la cultura en español; y el fruitcake, ese pastel de frutas al que unos veneran como tesoro navideño y otros tratan como chiste malo.Vamos a cruzar historia, mito, literatura y cocina para descubrir cómo el cuerpo, el poder, la memoria y la Navidad se encuentran en nuestros platos, en nuestros libros y en nuestras fiestas.See omnystudio.com/listener for privacy information.

En este episodio comentamos la visita de Irene Vallejo al Tecnológico de Monterrey como parte de las actividades del Premio Nuevo León Alfonso Reyes, así como las ideas que planteó desde el libro como objeto, los conceptos de ciudadanía, amistad y cuidado, la importancia de las humanidades y la comunicación en el mundo de hoy y el género ensayístico como un vehículo ideal para las ideas y la poesía. 

See omnystudio.com/listener for privacy information.

Alfonso Reyes examina la independencia de México como un momento de ruptura y encuentro, donde aún resuenan las tensiones entre memoria, mito y nación.

Programa completo con Pepa Gea. Las noticias más importantes del día con Óscar Plaza y las deportivas, con Felix José Casillas. Rosana Güiza nos avanza el tiempo y también nos alerta sobre las picaduras de garrapata y la enfermedad que provocan, la de Lyme. Emilio Viciana, Consejero de Educación, Ciencia y Universidades, nos habla sobre la nueva ley de universidades. José Fernández, Delegado del área de Gobierno de Políticas Sociales, Familia e Igualdad del Ayuntamiento de Madrid, aborda el problema de las personas sin techo que están viviendo en el aeropuerto Madrid-Barajas Adolfo Suárez. Acabamos con las Crónicas de un Villano de Álvaro Anula, que nos cuenta la historia de la placa en la Calle Serrano número 58, dedicada al diplomático y escritor mejicano, Alfonso Reyes. 

Una semana más, Álvaro Anula nos cuenta una de las placas que hay colgadas por la ciudad de Madrid. Esta vez la de Alfonso Reyes. 

Nicolás y Ricardo leen el ensayo que Alfonso Reyes escribió en memoria de su padre, Bernardo, quien murió ametrallado en el Zócalo en 1913 mientras intentaba derrocar a Madero, y se preguntan sobre la cobardía de llorar en privado.

En este episodio especial, contamos con la presencia de una leyenda del baloncesto español: Alfonso Reyes. Exjugador profesional con una brillante trayectoria en equipos como Estudiantes y Real Madrid, y referente de la selección española, Alfonso ha sido mucho más que un líder en la cancha. Como presidente de la Asociación de Baloncestistas Profesionales (ABP), su influencia ha trascendido el juego, trabajando por los derechos de los jugadores y el desarrollo del baloncesto desde sus bases.Hablaremos con Alfonso sobre sus inicios en el baloncesto, recordando aquellas primeras experiencias en el deporte que marcaron su camino hacia la élite. Exploraremos cómo el baloncesto de formación fue clave en su desarrollo tanto como jugador como persona, y su visión sobre cómo esta etapa puede convertirse en una escuela de valores para las futuras generaciones.Además, profundizaremos en su labor al frente de la ABP, donde Alfonso ha liderado iniciativas para garantizar condiciones justas para los jugadores y fomentar una transición adecuada desde las canteras hasta el profesionalismo. Su compromiso con la protección de los derechos de los deportistas y la creación de oportunidades para los jóvenes demuestra su pasión por devolver al baloncesto todo lo que este deporte le ha dado. Hoy, con todos nosotros, Alfonso Reyes.Síguenos en las redes sociales y escríbenos con cualquier sugerencia que tengas y escúchanos en todas las plataformas https://tatxe.org/contactarAyuda a mantener el programa https://tatxe.org/colaborarEste podcast está patrocinado por anorta https://anorta.com En anorta damos soluciones reales a tus necesidades de marketing y tecnología.Support this podcast at — https://redcircle.com/la-maquina-del-cafe6559/exclusive-content

¿Y si leemos una fábula? Con una historia a modo de cuento para niños, el escritor, diplomático y abogado mexicano Alfonso Reyes nos invita a la mesa de la reflexión. En un lugar remoto del continente africano, las aves, mamíferos y bestias se juntan a debatir qué hacer con las personas. Las voces se dejan oír, aunque no todos fueron invitados porque también entre ellos las jerarquías cuentan. Esta historia está incluida en el libro Antología, publicado post mortem en 2001. ++++++++++++++++++++++++++++++++++ Pre producción y voz: CECILIA BONA Editó este episodio: DANY FERNÁNDEZ (@danyrap.f) para @activandoproducciones.proyecto La ilustración es de FEDERICO RAIMAN @federicoraiman ¡Ayudanos a crecer! Patrociná POR QUÉ LEER: https://porqueleer.com/patrocina Nuestras redes sociales: ⚡https://instagram.com/porqueleerok ⚡https://twitter.com/porqueleerok ⚡https://www.facebook.com/porqueleerok/

Hablando de figuras históricas como Don Eugenio Garza Sada y Alfonso Reyes. Riqueza cultural e identidad de Monterrey y más.

AVISO LEGAL: Los cuentos, poemas, fragmentos de novelas, ensayos y todo contenido literario que aparece en Crónicas Lunares di Sun podrían estar protegidos por derecho de autor (copyright). Si por alguna razón los propietarios no están conformes con el uso de ellos por favor escribirnos al correo electrónico ⁠cronicaslunares.sun@hotmail.com,⁠ nos encargaremos de borrarlo inmediatamente.  Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun  https://paypal.me/IrvingSun?country.x=MX&locale.x=es_XC  --- Send in a voice message: https://podcasters.spotify.com/pod/show/irving-sun/message

Rotterdam Press. Pedacitos de nuestra biblioteca que compartimos contigo.

En nuestro episodio 352, conversamos con un personaje fascinante, Alfonso Reyes, rector de la universidad de Ibagué, sobre:+ Cómo comprendió el valor del pensamiento abstracto.+ Automatizar laborales en el mundo del trabajo en los 80s. + Momentos de vida personal, conectados la historia reciente colombiana+ El legado de su padre y su ejemplo+ La fuerza de la razón.+ Dos competencias clave que debemos trabajar.+ Un ejemplo claro de cómo ser un articulador, una especie de conector para transformar una región.+ Conectar la educación con el talento.+ Ejecutemos y terminemos los proyectos.Abiertas las aplicaciones a la Academia Hackers del Talento LATAM, el programa de formación online en vivo para los futuros líderes de Talento Humano en la región. Conoce más acáAcá puedes conocer más sobre Hackers del Talento y Ricardo PinedaSuscríbete a nuestro newsletter Cartas al Talento donde reflexionamos sobre Talento Humano, el futuro del trabajo y la humanización

Catedra Alfonso Reyes- Mario Vargas Llosa --- Send in a voice message: https://podcasters.spotify.com/pod/show/emjulu/message Support this podcast: https://podcasters.spotify.com/pod/show/emjulu/support

¿Dónde se inventó el pudding? ¿En qué se diferencia el pudding inglés de los demás pudines? ¿Quién fue Herodes? ¿A qué país deberíamos ir si no queremos celebrar la temporada navideña? ¿Por qué es importante la obra literaria de Alfonso Reyes?En este capítulo hablamos de: Tipos de pudding, Lugares autoritarios, Memorias de cocina y bodega, La matanza de los santos inocentes, Corea del Norte, El rey de Judea,Postres americanos e ingleses, Y más en los Entremeses del Banquete del Dr. Zagal.See omnystudio.com/listener for privacy information.

Andrea Crisanti de Ascentiis"Ago Edizioni"www.agoedizioni.itNasce Ago edizioni: ricucendo il passato, tessiamo il futuro delle grandi opere del NovecentoDa ottobre 2023 in libreria con i primi due titoli: Confessione di mezzanotte di Georges Duhamel e I Condannati dell'Escambray di Norberto FuentesAgo edizioni è una casa editrice indipendente che, a partire da ottobre 2023, pubblica libri di narrativa con speciale riguardo per il patrimonio letterario del Novecento. Il progetto, sin dal titolo, intende il lavoro editoriale come essenzialmente pragmatico: Ago edizioni vuole infatti intrecciare un filo diretto con il libro e i suoi lettori, ricucendo lo strappo che ha reso introvabili capolavori della letteratura mondiale. La proposta editoriale punta, da un lato, su un numero ristretto di novità all'anno, titoli inediti e non ancora tradotti in italiano dal grande valore letterario. D'altra parte, vengono riletti, scovati e portati in libreria testi pubblicati a inizio dello scorso secolo, che meritano di trovare una nuova collocazione nel dibattito odierno. La grafica di copertina verte sullo stesso concetto: attraverso i quadri di artisti contemporanei, compone un dialogo immaginario con l'arte del presente e del passato.Ago edizioni inaugura la sua attività con Confessione di mezzanotte di Georges Duhamel tradotto da Caterina Miracle Bragantini e I condannati dell'Escambray di Norberto Fuentes, nella traduzione di Sara Gonsalez. Duhamel è noto soprattutto per l'impiego, nei suoi romanzi, di teorie esistenzialiste in seguito approfondite da Sartre e Camus. Autore impegnato nella Resistenza, nel 1950 vince, proprio con Confessione di mezzanotte, il prestigioso Grand prix des Meilleurs romans du demi-siècle. Norberto Fuentes, dissidente del regime cubano, nel 1993 fu costretto all'esilio negli Stati Uniti, dove giunse grazie all'ausilio di Gabriel Garcia Marquez e William Kennedy.Apprezzato da intellettuali come Mailer e Cortázar, nei racconti de I condannati dell'Escambray testimonia la miseria umana della guerra e lo sgretolamento delle categorie del Novecento. L'edizione è arricchita dalla prefazione di Italo Calvino, che lo paragonò a un nostrano Beppe Fenoglio.Proseguendo questa attività di recupero di grandi opere del Novecento, Ago edizioni pubblicherà, a inizio 2024, Op Oloop Di Juan Filloy. Op Oloop è romanzo provocatorio e allucinato, un assoluto inedito nell'editoria italiana: l'autore, argentino, è stato a sua volta fonte d'ispirazione per scrittori quali Julio Cortázar e Alfonso Reyes.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Ráfaga de un pasaje de La visión de Anáhuac de Alfonso Reyes sobre cómo hemos construido nuestra identidad destruyendo todo lo demás. De la serie recopilatoria Ráfagas sobre México pero está cápsula no salió al aire por Radio UNAM. Comentarios: Ernesto Priani Saisó. Producción: Ignacio Bazán Estrada. Voces: Margarita Castillo y Guillermo Henry. Controles Técnicos: Francisco Mejía.

Una reflexión sobre cómo los instrumentos modifican nuestra manera de pensar o de escribir,  a partir de una comparación entre el piano y la máquina de escribir hecha por Alfonso Reyes  en su cuento "De cómo Chamisso dialogó con un aparador holandés". De la serie recopilatoria Ráfagas sobre la tecnología que salió al aire por Radio UNAM. Comentarios: Ernesto Priani Saisó. Producción: Ignacio Bazán Estrada. Voces: Margarita Castillo y Tessa Uribe. Controles Técnicos: Miguel Angel Ferrini.

Lo Que Nos Cuenta El Cuento - La Asamblea de los Animales, Alfonso Reyes by Radiotelevisión de Veracruz

Rotterdam Chips. Pedacitos de nuestra biblioteca que compartimos contigo.

En la Feria del libro antiguo y de ocasión, en el madrileño Paseo de Recoletos, adquirí el número fundacional de la Revista de Occidente, dirigida por José O

Un día como hoy, 17 de mayo: Nace: 1794: Anna Jameson, escritora británica (f. 1860). 1845: Pedro Lira, pintor chileno (f. 1912). 1866: Erik Satie, músico francés (f. 1925). 1889: Alfonso Reyes, escritor mexicano (f. 1959). 1918: Birgit Nilsson, soprano sueca (f. 2005). Fallece: 1935: Paul Dukás, compositor francés (n. 1865). 2009: Mario Benedetti, escritor uruguayo (n. 1920). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

Con su nombre inspirado en un verso de Lorca, la editorial Cuatro lunas nace con la finalidad de publicar y recomendar libros que emocionen, que diviertan, que sorprendan y que ayuden a comprender y a transitar por la complejidad de nuestro mundo. Con un delicado y cuidado trabajo de edición, “recuperaremos obras perdidas en la vorágine del mundo editorial, y publicaremos obras inéditas de escritores y escritoras consagradas, junto con textos de nuevas autoras y autores, escogidos por su calidad literaria y por su valor simbólico”, reza la misión de esta nueva editorial que llega a los lectores de habla hispana. Su nacimiento fue bajo la luna llena del 10 de mayo de 2023 en la mítica Residencia de Estudiantes de Madrid, un espacio cultural de reconocida trayectoria y que aún hoy sigue recibiendo a autoras, autores, intelectuales y científicos y científicas de todo el mundo que llegan a la capital de España. Frente a una granada audiencia, estuvo la cantante Quesia Bernabé cantando versos de Lorca, los poetas Bernardo Atxaga y Manuel Rivas, Guillermo Gracia, editor de Cuatro Lunas, las autoras Rexina Vega y Vivian Lavín, junto al director editorial Xosé Ballesteros. No fue extraño, por tanto, que la invitación a ser parte del nacimiento de la editorial Cuatro Lunas donde uno de sus primeros cuatro libros es justamente “Canciones” de Federico García Lorca, fuera en el lugar donde se guarda su piano y donde escribió parte de su obra. Los cuatro primeros libros con los que nace la editorial Cuatro Lunas son: Canciones (1921-1924) de Federico García Lorca en la serie poesía; las novela Cardúmen de Rexina Vega y No queda nadie nadie de Brais Lamela y, Pisaremos las calles nuevamente de Vivian Lavín. La editorial nace bajo la luz de un astro mayo, como es Kalandraka, la editorial infantil de la cual Xosé Ballesteros es fundador y editor junto a Manuela Rodríguez. “Nuestro deseo es acompañar a los y las lectoras que han crecido con nuestras libros”, dice Ballesteros. “Con estos cuatro títulos iniciamos nuestra andaína en la que reivindicamos relaciones equilibradas y mestizas, donde dialogan autores consagrados con los noveles, como también de España y de América Latina ”, finaliza.. Residencia de Estudiantes La Residencia de Estudiantes es una fundación cuyo presidente de Honor es el Rey de España y lo acompañan en su tarea ministros de gobierno e intelectuales de la más alta talla hispana. Desde su fundación, en el año 1910 por la Junta para Ampliación de Estudios y hasta 1936, fue el primer centro cultural de España y una de las experiencias más vivas y fructíferas de creación e intercambio científico y artístico de la Europa de entreguerras. En 1915 se traslada a su sede definitiva en la madrileña Colina de los Chopos, donde permanece hasta la actualidad. Fue un foco de difusión de la modernidad en España, y de entre los residentes surgieron muchas de las figuras más destacadas de la cultura española del siglo XX, como el poeta Federico García Lorca, el pintor Salvador Dalí, el cineasta Luis Buñuel y el científico Severo Ochoa. A ella acudían como visitantes asiduos o como residentes durante sus estancias en Madrid Miguel de Unamuno, Alfonso Reyes, Manuel de Falla, Juan Ramón Jiménez, José Ortega y Gasset, Pedro Salinas, Blas Cabrera, Eugenio d'Ors o Rafael Alberti, entre muchos otros. Los invitamos a escuchar al director editorial Xosé Ballesteros conversando con la autora y periodista Vivian Lavín desde los jardines de la Residencia de Estudiantes de Madrid.

Con su nombre inspirado en un verso de Lorca, la editorial Cuatro lunas nace con la finalidad de publicar y recomendar libros que emocionen, que diviertan, que sorprendan y que ayuden a comprender y a transitar por la complejidad de nuestro mundo. Con un delicado y cuidado trabajo de edición, “recuperaremos obras perdidas en la vorágine del mundo editorial, y publicaremos obras inéditas de escritores y escritoras consagradas, junto con textos de nuevas autoras y autores, escogidos por su calidad literaria y por su valor simbólico”, reza la misión de esta nueva editorial que llega a los lectores de habla hispana. Su nacimiento fue bajo la luna llena del 10 de mayo de 2023 en la mítica Residencia de Estudiantes de Madrid, un espacio cultural de reconocida trayectoria y que aún hoy sigue recibiendo a autoras, autores, intelectuales y científicos y científicas de todo el mundo que llegan a la capital de España. Frente a una granada audiencia, estuvo la cantante Quesia Bernabé cantando versos de Lorca, los poetas Bernardo Atxaga y Manuel Rivas, Guillermo Gracia, editor de Cuatro Lunas, las autoras Rexina Vega y Vivian Lavín, junto al director editorial Xosé Ballesteros. No fue extraño, por tanto, que la invitación a ser parte del nacimiento de la editorial Cuatro Lunas donde uno de sus primeros cuatro libros es justamente “Canciones” de Federico García Lorca, fuera en el lugar donde se guarda su piano y donde escribió parte de su obra. Los cuatro primeros libros con los que nace la editorial Cuatro Lunas son: Canciones (1921-1924) de Federico García Lorca en la serie poesía; las novela Cardúmen de Rexina Vega y No queda nadie nadie de Brais Lamela y, Pisaremos las calles nuevamente de Vivian Lavín. La editorial nace bajo la luz de un astro mayo, como es Kalandraka, la editorial infantil de la cual Xosé Ballesteros es fundador y editor junto a Manuela Rodríguez. “Nuestro deseo es acompañar a los y las lectoras que han crecido con nuestras libros”, dice Ballesteros. “Con estos cuatro títulos iniciamos nuestra andaína en la que reivindicamos relaciones equilibradas y mestizas, donde dialogan autores consagrados con los noveles, como también de España y de América Latina ”, finaliza.. Residencia de Estudiantes La Residencia de Estudiantes es una fundación cuyo presidente de Honor es el Rey de España y lo acompañan en su tarea ministros de gobierno e intelectuales de la más alta talla hispana. Desde su fundación, en el año 1910 por la Junta para Ampliación de Estudios y hasta 1936, fue el primer centro cultural de España y una de las experiencias más vivas y fructíferas de creación e intercambio científico y artístico de la Europa de entreguerras. En 1915 se traslada a su sede definitiva en la madrileña Colina de los Chopos, donde permanece hasta la actualidad. Fue un foco de difusión de la modernidad en España, y de entre los residentes surgieron muchas de las figuras más destacadas de la cultura española del siglo XX, como el poeta Federico García Lorca, el pintor Salvador Dalí, el cineasta Luis Buñuel y el científico Severo Ochoa. A ella acudían como visitantes asiduos o como residentes durante sus estancias en Madrid Miguel de Unamuno, Alfonso Reyes, Manuel de Falla, Juan Ramón Jiménez, José Ortega y Gasset, Pedro Salinas, Blas Cabrera, Eugenio d'Ors o Rafael Alberti, entre muchos otros. Los invitamos a escuchar al director editorial Xosé Ballesteros conversando con la autora y periodista Vivian Lavín desde los jardines de la Residencia de Estudiantes de Madrid

Esta nueva entrega es para invitarte a escuchar un podcast hermano que surge de la colección Voz Viva de la UNAM, ¿la conoces? Si es así, sabrás la relevancia de decirte que desde ahora esta colección es de acceso totalmente abierto y gratuito a través de vozviva.unam.mx. Y si no sabías de ella solo te diremos que ahí podrás escuchar las voces de grandes escritores de habla hispana de buena parte del siglo XX y hasta la actualidad: Carlos Monsiváis, Alfonso Reyes, Julio Cortazar, Inés Arredondo, Salvador Novo y Rosario Castellanos solo son algunos de los autores. Nos alegra muchísimo acercarte a este nuevo podcast de la colección Voz Viva.

En 1959, Alfonso Reyes grabó su poema "Ifigenia Cruel" y fragmentos de Visión de Anáhuac, pocos meses antes de morir. Esta grabación dio inicio a Voz Viva, la colección sonora de la UNAM que, al día de hoy cuenta con 285 títulos y más de 300 horas de grabación. ¿Cómo fue este punto de partida?, ¿quiénes estuvieron involucrados? Gloria Hernández nos cuenta todos los detalles en este primer episodio del podcast de Voz Viva. Escucha a Alfonso Reyes aquí: https://bit.ly/3IagbYf #VozVivaLate

Hablamos de Mitología de Monterrey. Desde la creación del Universo hasta Alfonso Reyes.

Una dormitada al volante del conductor de una unidad de transporte urbano ocasionó que se estrellara contra de un torre de alta tensión con saldo de 22 pasajeros lesionados, en Monterrey.El percance vial se registró poco antes de las 07:00 horas sobre la avenida Alfonso Reyes a la altura de la plaza de toros Monumental Monterrey Lorenzo Garza en la colonia Bella Vista.

El Sanedrín de 'El Larguero' charla con Alfonso Reyes, presidente de la asociación de baloncestistas profesionales, sobre la nacionalización de Lorenzo Brown. Además, José María Cruz, responsable de I+D+I del Sevilla explica la nueva tecnología anti fuera de juego que se aplicará en el Mundial. 

Jorge Vilda explica por primera vez en El Larguero cómo sucedió la lesión de Alexia, que la dejará varios meses fuera del terreno de juego. Además, profundizamos en los detalles de la lesión con el doctor Ripoll. El Sanedrín charla con Alfonso Reyes sobre la nacionalización de Brown y conoce todos los detalles de la nueva tecnología anti fuera de juego. Entrevista a Ferrero tras la eliminación de Alcaraz de Wimbledon y las Historias de Raúl Ruiz. 

Alfonso Reyes, presidente de la Asociación de Baloncestistas Profesionales, estuvo en Marcador valorando la nacionalización española de Lorenzo Brown.  See omnystudio.com/listener for privacy information.

En esta edición escucharemos y comentaremos fragmentos de una conferencia que diera en el año 2015 el escritor peruano Mario Vargas Llosa, premio nobel de literatura, en la cátedra Alfonso Reyes, sobre la vida y obra del gran escritor francés Víctor Hugo. Apoya este podcast convirtiéndote en patrocinante a través de Patreon https://patreon.com/libreriaradio. Respalda este Podcast con una pequeña donación mensual para ayudarnos a mantener el programa al aire en medio de la dura crisis que vivimos en Venezuela: obtén recompensas por su nivel de patrocinio. Con tu apoyo haremos que la literatura llegue mucho más lejos y con contenido de calidad. Escucha nuevos programas de lunes a viernes de 9 a 10 pm en los siguientes diales, todos pertenecientes, a emisoras de Fe y Alegría en Venezuela: 1390 AM y 105.7 FM en Caracas 94.3 FM en San Juan de los Morros 106.1 FM en El Nula 101.1 FM en Guasdualito 103.7 FM en San Fernando de Apure 105.5 FM en Ciudad Bolívar 103.1 FM en Ciudad Guayana 98.3 FM en Tumeremo 92.1 FM en Tucupita 105.9 FM en Maturín 92.1 FM en Cumaná 101.3 FM en Puerto La Cruz 103.9 FM en Anaco 91.3 FM en Pariaguán 940 AM y 91.7 FM en El Tigre 95.7 FM en San Cristóbal 97.5 FM en Barquisimeto 92.3 FM en Paraguaipoa 105.5 FM en Machiques 105.9 FM en Mérida 88.1 FM en Maracaibo Escucha todos los programas anteriores en nuestra página web https://libreriaradio.org Mis redes sociales: https://twitter.com/libreriaradio https://instagram.com/libreriaradio http://fb.com/poetaluisperozocervantes http://twitter.com/extremadamentep http://instagram.com/extremadamentep --- Send in a voice message: https://anchor.fm/libreriaradio/message

Juan Stack es un intérprete de textos, como él mismo se nombra. Durante más de cinco décadas su voz nos ha acercado a la cultura y la literatura de manera entrañable. En Descarga Cultura.UNAM ha puesto voz a una cantidad innumerable de autores clásicos en todos sus géneros. Puedes escucharle interpretando algunos poemas de Salvador Díaz Mirón, un cuento de Chéjov o un ensayo de Victor Hugo, igual que dando vida a algunos personajes de nuestras radionovelas o teatros en atril. Y esta charla que mantuvimos con él fue igual de versátil que su voz. Disfrútala junto con el cuento “La cena”, de Alfonso Reyes, a la que el propio Stack da lectura.Encuentra más contenido en descargacultura.unam.mx e interactúa con nosotros en redes sociales.

Nicolás Medina Mora es editor en la revista Nexos. Ha sido reportero, ensayista, traductor y editor en México y Estados Unidos. Sus crónicas, ensayos y reportajes han sido publicados en medios como Reuters, BuzzFeed News, The Nation y N+1. Hablamos sobre La diferencia entre tacos y quesadillas, Vasconcelos, la reacción subterránea, Janet Malcolm, Maximiliano y Carlota, los criollos, Monterrey, Justo Sierra, el nacionalismo revolucionario, Christopher Hitchens, las oraciones de Alfonso Reyes y las calles de Nueva York. 

¡Arrancamos temporada 2! Estamos muy contentas de empezar la nueva temporada en un nuevo espacio (Arcano, Central de Medios), y con un invitado al que admiramos enormemente: Uriel Reyes, creador de Relatos de la noche. El tema de este primer episodio es sobre eso que algunos logran ver en el cielo nocturno y que nos da la sensación de no ser los únicos en el universo, de no estar solos: OVNIS. Uriel nos platica una de las cosas más extrañas que vivió en una carretera, de noche, y que tiene que ver con un ruido extraño en el ambiente. También nos comparte una de las historias más fuertes que le han llegado a su canal sobre el tema de visitantes de otros planetas. Jannis nos comparte dos historias vividas por fotógrafos que han trabajado en medios de comunicación: Agustín Salinas y Alfonso Reyes. Ambos nos permitieron compartir las imágenes que registraron en su momento y que agradecemos enormemente. Maldo nos comparte tres historias: La vivida por Roberto (nuestro productor) en la infancia, así como dos de nuestros suscriptores: Ramsés Hernández y Osiris, ¡Gracias a ambos! En el TERROR EN CORTO Jannis nos presenta una historia contada de viva voz por el fotógrafo Juan Ignacio Ortega, sobre algo que vio en el cielo hace algunos años, y que nadie más veía por no querer voltear. En SUEÑOS MACABROS, Maldo nos cuenta de una historia que vivió mientras dormía y que parecía como de una secta muy extraña. En ARTERROR, Maldo nos cuenta sobre el álbum Everywhere at the end of Time. También hablamos un poco sobre la serie The Bluebook Project, sobre una investigación realizada durante varios años en EU para saber sobre algunos casos de avistamientos y si eran amenazas para el país. Agradecemos a Alebrijes Films por ser nuestra casa durante los programas pasados. Diseño de escenografía: Grecia Colomo Manda tus relatos a morrasmalditas@gmail.com SÍGUENOS EN REDES SOCIALES:Spotifyhttps://open.spotify.com/show/4NFj1Q4BotsQYlKXMEXS8v?si=E6wTTxH3Rg-N9iPCrY2d0g&dl_branch=1Instagramhttps://www.instagram.com/morrasmalditas/Twitterhttps://twitter.com/morrasmalditasFacebbok:https://www.facebook.com/Morras-Malditas-102395411920963--- Send in a voice message: https://anchor.fm/morras-malditas/message See acast.com/privacy for privacy and opt-out information.

LUIS GERARDO TREVIÑO, PRESIDENTE DE FORTALEZA CIUDADANA, HACE UN INTERESANTE ANÁLISIS SOBRE LA PRESENCIA DEL EJÉRCITO, MARINA Y GUARDIA NACIONAL APOYANDO LAS LABORES DEL CERCO SANITARIO, QUE DESPEJA DUDAS Y AYUDA A EVALUAR LA POSICIÓN DEL PAÍS, FORTALEZA CIUDADANA EVALÚA AL EJÉRCITO EN LAS CALLES; ALFONSO REYES HOMENAJEADO EN TODO EL MUNDO POR LA UANL GRACIAS A PLATAFORMAS DIGITALES EN UN GRAN ESFUERZO DE ROGELIO GARZA RIVERA RECTOR, Y EL DIRECTOR DE DIFUSIÓN CULTURAL, LIC ANTONIO RAMOS REVILLAS; REPORTE DESDE CANADÁ CON NUESTRA CORRESPONSAL, ANA MARIA GARCIA FERNANDEZ, DESDE BRITISH COLUMBIA; AMLO HACE MÁS POBRES A LOS POBRES MEXICANOS DICE EL EX SENADOR PANCHO BÚRQUEZ. --- Support this podcast: https://anchor.fm/franciscomanuelduranrosil/support

Tema: AMLO, Desabasto Combustible, Huachicoleros, Cartilla Moral, Maduro, Venezuela, Alfonso Reyes, Pemex, Emisión: 15/01/2019 Temporada 10 Episodio 01 Abstract: Regresamos para una décima temporada, y en nuestro programa 700 ponemos sobre la mesa la controversia entorno a qué está sucediendo realmente detrás del desabasto de combustible en México, la así como la llamada de atención de AMLO a MORENA y sus seguidores con la cartilla moral y finalmente la controversia que se vive en Venezuela con la toma de protesta de Nicolás Maduro. Mónica Maciel y Salvador Gaviño Romero los acompañan con todo el sazón en la mesa número 1 de El Ajo, Estamos en todos los moles. Suscríbete Por Favor: http://bit.do/byjsq Follow en Twitter: http://bit.do/byjqZ Like en FB: http://bit.do/byjri WEB: http://www.elajoproducciones.com Podcast Ivoox: http://bit.do/bKae7 #ElAjo