Podcast appearances and mentions of Carlos Fuentes

La emoción del fútbol ya se vive más allá de las canchas. Con motivo de la Copa Mundial 2026, el Fut Fest se convierte en un gran punto de encuentro para aficionados, familias y visitantes que desean compartir la pasión por este deporte en un ambiente festivo y de convivencia. Más que ver un partido, el Fut Fest busca celebrar todo lo que el fútbol representa: emoción, identidad, encuentro y alegría colectiva. El fútbol tiene la capacidad de unir culturas, derribar barreras y generar conversaciones entre personas que quizá nunca se habían encontrado. Por eso, espacios como el Fut Fest se convierten en escenarios donde el deporte, el arte y la convivencia se encuentran para crear una experiencia única. En este podcast de El Expresso de las 10 te invitamos a vivir la fiesta mundialista en el Fut Fest con la compañia del Arq. José Luis Valencia Abundis, Director General del Centro Cultural Universitario, Manuel Vázquez, Coordinador de Eventos internos de la Librería Carlos Fuentes, Enrique Aguilar, Director Administrativo de la Cineteca FICG, Gilberto Llamas Director de Comunicación del Conjunto Santander de Artes Escénicas y Francisco Javier Sainz, Coordinador de la Biblioteca Contemporánea de la Biblioteca del Estado de Jalisco.

México es el único país que ha sido sede de tres Copas del Mundo: 1970, 1986 y 2026. Pero detrás de los estadios, los goles y las celebraciones existe otra historia. La de los escritores que acompañaron cada época. La de los libros que ayudaron a comprender un país en transformación. La de la memoria que convierte un partido en una historia que seguimos contando décadas después.En este episodio especial de El Buen Cruel, Manuel Chatelain y Pati Rogel recorren los tres Mundiales celebrados en México a través de la literatura, recordando a autores como Carlos Fuentes, Gabriel García Márquez, Elena Poniatowska y Juan Villoro, así como a los Premios Nobel que marcaron cada generación.Porque los Mundiales se juegan en la cancha.Pero permanecen en la memoria como las grandes novelas.⚽

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

La Librería Carlos Fuentes es una de las librerías más importantes en el occidente de México. Con su amplia oferta de programación cultural gratuita y su catálogo que incluye más de 70 mil títulos en exhibición, ofrece al público jalisciense uno de los espacios más amplios, completos y diversos del mundo editorial. Su importante vocación en la formación y fortalecimiento de redes profesionales la convierte, también, en una de las librerías más reconocidas por el sector en Iberoamérica. En este podcast de El Expresso de las 10 hacemos llegar nuestro reconocimiento a todo el equipo humano que le da vida Gracias por contribuir a la creación de una comunidad que lee, conversa y celebra con la compañía de Verónica Mendoza directora de la Librería Carlos Fuentes, el Dr. José Luis Navarrete biólogo, entomólogo y académico dedicado al estudio y divulgación de los insectos, Víctor Ortiz Partida poeta, editor y periodista cultural y María José Corrales filósofa, activista y promotora de educación popular.

We are BACK! Season 7!  Welcoming to The Chai Room for our first episode is the legendary actor Nabil Elouahabi.  Nabil's television credits span an impressive range of critically acclaimed series, including Quarter Life, FBI: International, the BAFTA-winning Blue Lights, Unforgotten, Breeders, The Tower, Time, Our Girl, His Dark Materials, Deep State, The Missing, The Night Of, 24: Live Another Day, Top Boy, and the Emmy-nominated HBO miniseries Generation Kill alongside Alexander Skarsgård. One of his most iconic early roles came in the Only Fools and Horses Christmas Day special Strangers on the Shore, where he played Rashid “Gary” Mahmoon - a fan-favourite appearance. Nabil began his screen career working with acclaimed British director Michael Winterbottom (In This World, Code 46), and has since featured in a wide range of celebrated international films including Desert Warrior, Fuze, Heavyweight, The Way of the Wind, Fatum, The Outrun, Hoard, Infinite, Sand Castle, Hyena Road, Reign of the General, Zero Dark Thirty(opposite Jessica Chastain and Jason Clarke), Tower Block, Junkhearts, Blitz, Journey to Mecca, Charlie Wilson's War(with Tom Hanks), Ali G Indahouse, Deserter, and The Sum of All Fears. On stage, his theatre work includes Noura at Playwrights Horizons (New York), Oslo and Another World at the National Theatre, Fireworks at the Royal Court, Oil at the Almeida, I Call My Brothers and The Nightmares of Carlos Fuentes at the Arcola, and Love Your Soldiers in Sheffield.   Topics breakdown:  Spiritualisim and work on self belief- in an industry where you have to be so Malleable and almost be in the peaks and valleys. How do you maintain the love and belief in your craft as an actor and a storyteller?  Can you have a viable career as an actor, financially and creatively? Brand building in today's digital society from an acting and producing perspective. To subscribe to Patreon and become a Patron/ supporter of Chai with Rai.  Social: Myself: https://www.instagram.com/chaiwithrai_/ & https://twitter.com/chaiwithrai_ & https://www.tiktok.com/@chaiwithrai Guest : https://www.instagram.com/actornabil/?hl=en Links: Myself: https://www.raimuitfum.com/chaiwithraihomepage & https://linktr.ee/chaiwithrai_  Guest: https://www.imdb.com/name/nm1029263/?ref_=nmmi_ov_bk  Hope you all enjoyed it and Thank you for tuning in. To Subscribe, share, follow my work and everything else is listed above.

En nuestro 'Viaje al mundo en 90 libros' de esta semana, nos vamos a México, con el libro “La muerte de Artemio Cruz” de Carlos Fuentes

A 50 años de Terra Nostra, conversamos con los escritores Eloy Urroz y Pedro Ángel Palou sobre la ambición, el legado y la vigencia de la gran novela total de Carlos Fuentes. Una charla guiada por Mayra González sobre cómo una obra puede contener toda una civilización. Hosted on Acast. See acast.com/privacy for more information.

La Librería Carlos Fuentes de la Universidad de Guadalajara celebra su primer año en la Ribera de Chapala. La sede Montecarlo conmemora su aniversario con un programa cultural que reúne autores de talla internacional, talleres artísticos y actividades infantiles, donde el público podrá disfrutar de charlas, lecturas y espectáculos abiertos a toda la comunidad. Escucha en este podcast de El Expresso de las 10 las voces de la escritora mexicana-estadounidense Reyna Grande, quien nos comparte su experiencia como migrante y cómo esta vivencia ha marcado su escritura y el narrador y ensayista Álvaro Enrigue, quien comparte su visión sobre la literatura contemporánea; con quienes celebramos un año de libros de la Librería Carlos Fuentes en la Ribera de Chapala. Transmitimos desde el Hotel Villa Montecarlo con la compañía de Joel Rodríguez Flores, Director de Hoteles y club deportivo de la Universidad de Guadalajara. Felicidades a todo el equipo de la LCF y Sigamos leyendo.

(Aniversario de la Muerte de Rosario Castellanos en el Centenario de su Nacimiento) En la letra de la canción de Gabino Palomares titulada «La maldición de Malinche» —[la] «de brindar al extranjero nuestra fe, nuestra cultura, nuestro pan, nuestro dinero»—, el cantautor mexicano utiliza a la Malinche «como metáfora de la traición a la patria.... La canción remite, por supuesto, al personaje histórico de la Malinche, la mujer que sirvió de traductora [al conquistador español Hernán] Cortés, y presenta el malinchismo como una enfermedad que sufre el mexicano de ver al enemigo como amigo, de no prestar atención a la posible traición de la que se hace partícipe....» Así comienza la comunicadora social colombiana Natalia Roldán Rueda su tesis de Maestría en Literatura en 2012 de la Pontificia Universidad Javeriana en Bogotá, titulada: «Maldición de Malinche». «Pero al mismo tiempo — señala más adelante—, la Malinche ha sido identificada como la primera madre del mestizaje, con lo cual se hace imposible separarla de la descendencia actual.... »[En] El laberinto de la soledad, de Octavio Paz... la traidora se transforma... en la mujer violada, pero... responsable de las desgracias del pueblo que habita el antiguo territorio azteca.... Carlos Fuentes, [a su vez,] revisa la propuesta de [Octavio Paz] e intenta renovar la interpretación que se hace de la Malinche, pero... al final vuelve a responsabilizar a la indígena del surgimiento del mestizaje y de la destrucción del pueblo azteca. »[En cambio, la escritora mexicana Rosario Castellanos, en] la obra de teatro El eterno femenino... y su poema “Malinche”... plantea que la atribución de rasgos negativos a la Malinche no se debe simplemente a su papel como traductora, informante, amante o madre, sino a su posición como mujer.... »Mientras que Paz y Fuentes se instalan cómodamente en las interpretaciones tradicionales de la indígena, Castellanos revisa, con ironía, de dónde vienen esas interpretaciones y cómo estas señalan la posición [machista] del mexicano frente a la mujer.... La Malinche... deja de ser considerada la responsable de todas las desgracias del pueblo mexicano.... [Ella] no sólo piensa, actúa y es capaz de contradecir al hombre, sino que tiene un pasado que oculta una historia dramática en la que esa mujer conocida como la traidora de México en realidad fue traicionada y, en esa medida, ella es la víctima de la historia, no la victimaria», concluye la periodista colombiana.1 Gracias a Dios, si bien todos, sin excepción, nacimos bajo la maldición del pecado y vivimos actualmente bajo esa maldición y su consecuencia, que es la muerte misma, tenemos la esperanza de vida plena y eterna si clamamos a Dios pidiéndole perdón por nuestros pecados y ponemos nuestra fe en su Hijo Jesucristo.2 Pues según el apóstol Pablo, cuando Cristo murió en la cruz por nosotros, «nos rescató de la maldición de la ley haciéndose maldición por causa nuestra, porque la Escritura dice: “Maldito todo el que muere colgado de un madero.”»3 Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Natalia Roldán Rueda, «Maldición de Malinche: Visiones y reivindicaciones de la Malinche en la obra de Octavio Paz, Carlos Fuentes y Rosario Castellanos», Tesis de Maestría en Literatura en la Facultad de Ciencias Sociales de la Pontificia Universidad Javeriana, Bogotá, Colombia, 6 agosto 2012, pp. 1,3,16,17,18,107 En línea 19 febrero 2025. 2 Dt 21:23; Sal 51:5; Jn 3:16; 10:10; Ro 3:23; 6:23; 1Jn 1:9 3 Gá 3:13 (DHH)

FULL HOUR on Philip II, Terra Nostra by Carlos Fuentes, Go Down Moses by Faulkner, The Venerable Bede, Julian of Norwich, Margery Kempe, eviction, BLAST 2 TENETS: https://www.patreon.com/c/1storypod HAROLD ROGERS and SEAN THOR CONROE on 31 JULY 2025 in NYC.

Los funerales de la Mamá Grande congrega algunos de los primeros cuentos de Gabriel García Márquez, y deja ver las primeras imágenes literarias de Macondo. Es, además, uno los primeros libros que fraguan la amistad entre Gabo y Cortázar. Habla de ello un invitado de excepción: Carlos Aguirre, profesor de Historia de la Universidad de Oregón y co-editor de “Las cartas del boom”, epistolario entre Carlos Fuentes, Mario Vargas Llosa, Gabriel García Márquez y Julio Cortázar.  

A sus 75 años, Ángeles Mastretta nos regala una conversación íntima, lúcida y profundamente conmovedora sobre lo que significa ser escritora, envejecer con la palabra, cambiar con los años y seguir leyendo la vida como si fuera una novela abierta. Desde que publicó Arráncame la vida, convirtió el deseo femenino, la libertad y la mirada de las mujeres en temas centrales de la literatura latinoamericana. Su voz —audaz, auténtica, feroz, divertida— marcó generaciones, y sigue siendo un referente que influyó en millones de lectores en todo el mundo En este episodio, hablamos de sus libros (Arráncame la vida, Mujeres de ojos grandes, Mal de amores) , de su historia personal, de los años compartidos con Gabriel García Márquez, Juan Rulfo y Carlos Fuentes, y también de lo que queda tras la pérdida, el duelo y el tiempo. Hablamos de cómo las prioridades cambian, de por qué la escritura ya no busca lo mismo, y de cómo la lectura puede sostenernos cuando todo lo demás se cae.

¿Qué tienen en común un chile disfrazado de bandera, un pescado a la veracruzana con pasaporte español, una fiesta donde el muerto nunca cena solo y una poetisa que mandaba callar a los hombres en verso? ¿Qué significa realmente “Tajín” ? ¿Qué herencia cultural representa la comida de toda la República Mexicana? ¿Qué costumbres culinarias han llegado hasta nuestros días? En este capítulo hablamos de: El chile en nogada, La cocina veracruzana, Costumbres jarocha, Sor Juana, Agustín Lara, Carlos Fuentes, Y más datos deliciosos, festivos y jarochísimos en el Banquete del Doctor Zagal.See omnystudio.com/listener for privacy information.

Desde su inauguración en 2018, la Librería Carlos Fuentes de la Universidad de Guadalajara se ha consolidado como un referente cultural en Jalisco. Ubicada en la planta baja de la Biblioteca Pública del Estado Juan José Arreola, en el Centro Cultural Universitario de Zapopan, este espacio rinde homenaje al destacado escritor mexicano Carlos Fuentes. Además de su función como librería, es un centro de actividades culturales y académicas que se desarrollan en una gran diversidad de formatos: talleres, exposiciones de arte, presentaciones de libros, cafés filosóficos, cantinero científico, charlas, mesas de diálogo, sesiones de cuentacuentos, espectáculos, clubes de lectura, ente otros. En este podcast de El Expresso de las 10 celebramos el séptimo aniversario de LCF con la presencia de Carla Escoffié, Abogada, Maestra en Derechos Humanos y Democratización, Autora del libro “Anarquismo Jurídico”. Suzette Celaya Aguilar, Maestra en Ciencias Sociales, comunicóloga y escritora. Autora de “Nosotras” y Sergio de Régules, quiene es Físico con más de 30 años de experiencia como divulgador de la ciencia, Autor de “Y sin embargo te mueve”, en compañía de Verónica Mendoza su directora.

Nicolás y Ricardo leen una de las obras maestras del más grande de los modernos mexicanos, reflexionan sobre la luz histórica y la oscuridad natural y la penumbra que se esconde entre ambas, cuestionan las afinidades que se les imputan  falsamente y concluyen que la vida es sueño.

In memoriam. En el año 2010 cuando recibió el Premio Nobel de Literatura, Mario Vargas Llosa, revivía el hecho que marcó su vida: haber aprendido a leer a los cinco años le despertó su pasión por convertirse en un escritor. Y fue precisamente para que se olvidara de esa fijación que su papá lo internó en una academia militar en Lima a los 14 años, donde lejos de apartarse de su vocación, la reforzó aún más dedicándose a la tarea de escribir las cartas de amor a las novias de sus compañeros. Con todo, tuvo que complacer al progenitor estudiando derecho. Luego cruzó el Atlántico para hacer realidad su sueño. Mientras daba clases de Literatura Española en la Universidad de Londres, la afamada editora Carmen Balcells, lo convenció de mudarse a Barcelona a vivir como escritor de tiempo completo; así llegó al puerto catalán ya con cuatro novelas escritas: La ciudad y los perros (1962), La Casa Verde (1965), Los cachorros (1967) y Conversación en La Catedral (1969). Y es gracias en gran medida a esa decisión que Vargas Llosa dejó como legado 20 novelas, un libro de cuentos, 10 obras de teatro, 14 libros de ensayo, dos de crónicas y uno de memorias. Una vida dedicada, con pasión, con rigurosidad y con estudio a las letras, aunque tuvo tiempo también para otra fuerte inclinación suya que fue la política. Incluso fue candidato presidencial en 1990 y perdió la carrera frente a Alberto Fujimori. Los estudiosos de su obra indican que leer a Mario Vargas Llosa es leer a Perú y a América Latina, con su historia, su política y sus problemas estructurales, pero también leer sus amores y sus experiencias más íntimas, con comicidad y con sátira. Reconoció que en Gustave Flaubert se encontró como escritor y adoptó la metodología que implica la precisión y la perfección de buscar la palabra más adecuada. Junto con Gabriel García Márquez, Julio Cortázar, Carlos Fuentes y Alejo Carpentier conformó el “boom latinoamericano”, que internacionalizó nuestra literatura. Mario Vargas Llosa, fallecido el recién pasado 13 de abril a sus 89 años, representa, por tanto, el fin de una generación excepcional. Para repasar su vida y su obra conversaremos con el escritor Carlos Cortés.

Platicamos con Carlos Fuentes, quien ha sido cobrador y analista en casetas de cobro. Charly nos cuenta todo lo que puede suceder en una plaza de cobro, desde los cobros equivocados hasta los robos en las tarjetas IAVE y otros sistemas de Telepeaje.

Desde las profundidades del cosmos llega Mutant From The Nebula, una banda de Guadalajara que fusiona Metal Progresivo, Deathcore y Djent para crear una experiencia sonora única ⚡. Conformada por Abel Silva (Belial), Fernando Cortés, Mario Díaz, Carlos Fuentes y Mauricio González, esta agrupación trae un concepto narrativo que nos transporta a un futuro postapocalíptico . En este episodio exploramos su próximo EP - "Mutant Neuronal Reprograming", un viaje de seis canciones que relata la lucha de la humanidad tras una invasión alienígena . Desde la supervivencia hasta la batalla final contra el mutante "Vortiouss", cada tema es un capítulo de esta historia épica. Prepárate para un episodio donde la música y la ciencia ficción colisionan en una explosión de brutalidad y técnica. ¡Escúchalo ya en La Galería Nocturna! GothProds Links Apple Podcast — https://podcasts.apple.com/mx/podcast/goth-prods/id1606324255?l=en Amazon Music — https://music.amazon.com.mx/podcasts/d10f63b6-f4f3-4a91-b21d-d98c2b08ca01/goth-prods?ref=dm_sh_xBGgYoDaqnREmWm0IoJu5r4kd Audible — https://www.audible.com/pd?asin=B09Q9YY6PF&source_code=ASSORAP0511160006&share_location=podcast_show_detail Facebook — https://www.facebook.com/Goth-Prods-104237088306624/ Instagram — https://www.instagram.com/goth_prods/​ TikTok - https://www.tiktok.com/@goth_prods

durée : 00:29:34 - Les Nuits de France Culture - par : Christine Goémé - Par Ugne Karvelis - Carlos Fuentes (écrivain mexicain) - réalisation : Virginie Mourthé

El frustrado fichaje de Thomas Heurtel por un Barça en serios apuros deportivos y entrevista con Carlos Fuentes, de la Universidad de Columbia.

Puertas entrevista a Carlos Fuentes, 'graduate assistant' de la Universidad de Columbia.

Latino USA: A Cartoon History, Revised Edition (Hachette Book Group, 2024) escrito por Ilan Stavans e ilustrado por Lalo Alcaraz, enfrenta los desafíos de capturar las alegrías, los matices y las múltiples dimensiones de la cultura latina dentro del contexto del idioma inglés. En esta historia en forma de caricatura, Stavans busca combinar la solemnidad de literatura y la historia con la naturaleza inherentemente teatral y humorística de los cómics. Los temas abarcan a Colón, el Destino Manifiesto, el Álamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevara, Neruda, García Márquez, el éxodo del Mariel y Selena, entre otros. Entrevista realizada por Jeffrey Herlihy-Mera, Catedrático de Humanidades, Universidad de Puerto Rico-Mayagüez y Annette Martínez-Iñesta, coordinadora del grupo focal de lenguaje del Instituto Nuevos Horizontes. Temas, estudiosos, libros y otros recursos mencionados en esta conversación: Para leer al pato Donald. Comunicación de masas y colonialismo y Heading South, Looking North: A Bilingual Journey por Ariel Dorfman. Spanglish: The Making of a New American Language por Ilan Stavans. Una Tanovic, Universidad de Massachusetts. Heidi Landecker, Chronicle of Higher Education. Baruch Vergara, artista, Universidad de Puerto Rico-Mayagüez. La Teagle Foundation apoya a actividades realizadas en español. La Mellon Foundation hace lo mismo, y recibe propuestas y realiza revisión a pares en español. Alan Lightman, Einstein's Dreams (conversaciones en español e inglés). UPR-M, Jewish on Campus / Cultura judía en Puerto Rico y el Caribe. Ceremonia para la Calle Luis Bravo Pardo, Mayagüez (“los primeros judíos no conversos en entrar a territorio español”). El judío mayagüezano: vida y obra de Luis Bravo Pardo, por Héctor Bravo Vick. Italo Calvino, Ciudades Invisibles. Uso de “X” en español e inglés. Academic Imperialism, por Jeffrey Herlihy-Mera y Héctor José Huyke. El inglés-centrismo en la cultura universitaria en EE.UU. Héctor José, Huyke, Gloria Anzaldúa, Cormac McCarthy. Reflexiones sobre la crítica de Natalia Bustos. Carlos Fuentes. Dante. Leonardo Sciascia. Lo que se puede contar con imágenes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Latino USA: A Cartoon History, Revised Edition (Hachette Book Group, 2024) escrito por Ilan Stavans e ilustrado por Lalo Alcaraz, enfrenta los desafíos de capturar las alegrías, los matices y las múltiples dimensiones de la cultura latina dentro del contexto del idioma inglés. En esta historia en forma de caricatura, Stavans busca combinar la solemnidad de literatura y la historia con la naturaleza inherentemente teatral y humorística de los cómics. Los temas abarcan a Colón, el Destino Manifiesto, el Álamo, William Carlos Williams, Desi Arnaz, West Side Story, Castro, Guevara, Neruda, García Márquez, el éxodo del Mariel y Selena, entre otros. Entrevista realizada por Jeffrey Herlihy-Mera, Catedrático de Humanidades, Universidad de Puerto Rico-Mayagüez y Annette Martínez-Iñesta, coordinadora del grupo focal de lenguaje del Instituto Nuevos Horizontes. Temas, estudiosos, libros y otros recursos mencionados en esta conversación: Para leer al pato Donald. Comunicación de masas y colonialismo y Heading South, Looking North: A Bilingual Journey por Ariel Dorfman. Spanglish: The Making of a New American Language por Ilan Stavans. Una Tanovic, Universidad de Massachusetts. Heidi Landecker, Chronicle of Higher Education. Baruch Vergara, artista, Universidad de Puerto Rico-Mayagüez. La Teagle Foundation apoya a actividades realizadas en español. La Mellon Foundation hace lo mismo, y recibe propuestas y realiza revisión a pares en español. Alan Lightman, Einstein's Dreams (conversaciones en español e inglés). UPR-M, Jewish on Campus / Cultura judía en Puerto Rico y el Caribe. Ceremonia para la Calle Luis Bravo Pardo, Mayagüez (“los primeros judíos no conversos en entrar a territorio español”). El judío mayagüezano: vida y obra de Luis Bravo Pardo, por Héctor Bravo Vick. Italo Calvino, Ciudades Invisibles. Uso de “X” en español e inglés. Academic Imperialism, por Jeffrey Herlihy-Mera y Héctor José Huyke. El inglés-centrismo en la cultura universitaria en EE.UU. Héctor José, Huyke, Gloria Anzaldúa, Cormac McCarthy. Reflexiones sobre la crítica de Natalia Bustos. Carlos Fuentes. Dante. Leonardo Sciascia. Lo que se puede contar con imágenes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Además, Matías Rivas y Arturo Fontaine recomendaron "Shogun", la serie que se alzó como la gran vencedora de los premios Emmy 2024 de televisión, que obtuvo 18 estatuillas de 25 nominaciones y el libro "Andrés Bello" de Iván Jaksic.

Además, Matías Rivas y Arturo Fontaine recomendaron "Shogun", la serie que se alzó como la gran vencedora de los premios Emmy 2024 de televisión, que obtuvo 18 estatuillas de 25 nominaciones y el libro "Andrés Bello" de Iván Jaksic.

Durante 6 años la Librería Carlos Fuentes ha sido de todos. Sus visitantes, sin importar su etapa lectora o libros preferidos han disfrutado de un espacio que se vuelve íntimo y personal. En ella han emergido los sueños, el conocimiento, las ideas, los deseos de tener, de saber y de conocer. Ahora la librería Carlos Fuentes de la Universidad de Guadalajara abre una nueva sede en Chapala, dentro de las instalaciones del Hotel Villa Montecarlo que se convertirá en el punto de encuentro de la comunidad de la Ribera. En este podcast de El Expresso de las 10 escucha nuestra transmisión en vivo desde el Hotel Villa Montecarlo como parte de la celebración de inauguración de la sede Chapala de la Librería Carlos Fuentes, donde contamos con las voces de la Lic. Verónica Mendoza Urista, Directora de la LCF; Lic. Joel Rodríguez, Director de Hoteles y del Club Deportivo de la UdeG. El Escritor de novelas históricas, Francisco Martín Moreno y el Poeta, narrador y editor León Plascencia Ñol; el Chef Franco Alva Hurtado; además contamos con la presencia del Lic. Alejandro Aguirre Curiel, Presidente municipal de Chapala y de su Director de cultura, Lic. Jesús Escamilla. En Radio Universidad reconocemos al equipo humano de la LCF y celebramos el entusiasmo de llevar a Chapala, la oportunidad de contar con un espacio para acercar las letras y la cultura a toda la comunidad de la rivera y sus visitantes. La librería Carlos Fuentes, orgullo UDG

Joe and Mike welcome Carlos Fuentes, student in the incoming class for Columbia's Sports Management Graduate Program. Carlos talks about his unique basketball journey including playing for FC Barcelona when he was 13 and traveling to the USA alone to play basketball when he was 15. He expands on his successful high school career and the adversity he faced to play at Denver. Carlos talks about his passion for NIL, the challenges for international athletes in the US with NIL, and how he was the first student-athlete to broker deals for his fellow teammates. Lastly, Carlos speaks about his love for basketball and the game's future in Europe, as well as the potential of NBA Europe. The CUSP Show is a production by the faculty of Sports Management at Columbia University. You can get in touch with the program on Twitter @CU_SPS_Sports and Instagram @cu_sps_sportsmanagement. The CUSP Show is hosted by Joe Favorito (@Joefav) and Tom Richardson (@ConvergenceTR). The show is produced by Mike Schretter'25 (@mikeschrett1), LJ Holmgren (@LJ_Holmgren), and Danny Hagenlocher (@DhColumbiaSPS), with Mike Schretter'25 and Lissa Ruiz managing social media efforts.   Links:  https://www.instagram.com/carlos.f.e/ https://www.linkedin.com/in/carlos-fuentes-esteve/   Sports Management Conference: https://www.eventbrite.com/e/2024-columbia-university-sports-management-conference-registration-942111369467?discount=EBStudent24  

Across Oregon, county and city leaders say they don't have the money to maintain their streets and sidewalks. In the Portland area, a pair of mega transportation projects years in the making remain unfinished and drastically underfunded. All the while, the Oregon Department of Transportation says will require an annual $1.8 billion boost to meet a growing list of transit needs throughout the state. The agency's director recently said the entire system is “hemorrhaging.” On the latest Beat Check, reporters Shane Dixon Kavanaugh and Carlos Fuentes discuss Oregon's transportation woes, attempts by state leaders to address them and the messy politics in the middle of it all. Read More: Oregon lawmakers want to fix roads and beef up transit. Where will they find the money? ODOT pumps brakes on two major freeway projects amid budget crisis, tolling pause Gov. Tina Kotek shelves plans for I-5, I-205 tolls in Portland area Learn more about your ad choices. Visit megaphone.fm/adchoices

LIBRERÍA CARLOS FUENTES 6 AÑOS DE LIBROS - El Expresso de las 10 - Vi. 07 Jun 2024La @libreriacf es de todos. Sus visitantes, sin importar su etapa lectora o libros preferidos disfrutan de un espacio amplio que, a la vez, se vuelve íntimo a través del descubrimiento de un rincón de lectura favorito, de una cafetería acogedora, de alguna exposición temporal o de un espectáculo. Celebra su sexto aniversario y lo hace con un programa de actividades que incluye literatura, ciencia, arte y filosofía. Hoy en #ElExpressoDeLas10 traemos para ti a los protagonistas de algunas de las actividades que forman parte de esta celebración. La @libreriacf es de todos. Sus visitantes, sin importar su etapa lectora o libros preferidos disfrutan de un espacio amplio que, a la vez, se vuelve íntimo a través del descubrimiento de un rincón de lectura favorito, de una cafetería acogedora, de alguna exposición temporal o… pic.twitter.com/7uEYXf4vDr— Radio Universidad de Guadalajara (@RadioUdeG) June 7, 2024

Join host Cheryl Gleason for an engaging conversation with Carlos McMillan Fuentes, a versatile pianist, composer, singer-songwriter, and music educator. He has performed with the Sacramento Philharmonic & Opera, Symphony d'Oro, Camellia Symphony Orchestra, and Camerata California. We'll delve into his acclaimed recent suite City Portraits, commissioned to celebrate Rancho Cordova's 20th anniversary. Inspired by local stories and landmarks, City Portraits features movements like "The Woman at Mills Station," "Pioneers of Sky and Space," inspired by the pioneers in the aerospace industry and the military members who have contributed so much to our country and the community of Rancho Cordova, and "Toccata Koreana," inspired by the people who visit the commercial innovation that is Koreana Plaza. Tune in to explore Fuentes's musical journey and creative process!

El cuento del escritor Carlos Fuentes en que se unen la magia y las religiones es no solamentente intercultural sino más que nada intrahistórico. Disfrútalo. --- Send in a voice message: https://podcasters.spotify.com/pod/show/john-kennedy98/message

Jordi Soler es hijo y nieto de la de republicanos catalanes que llegaron a México. Hoy ha entrado en la Biblioteca de Hoy por Hoy con su última novela "En el reino del toro sagrado" (Alfaguara) , una historia de nuestro tiempo con la mitología griega y mexicana de fondo.  Es una novela muy marcada por tres elementos: el poder, la belleza y el deseo. De sus equilibrios y desequilibrios dependen su desarrollo y su final. Apasionante y brutal que diría Antonio Martínez Asensio que también no ha traído sus tres libros relacionados con la actualidad: "La conjura de América" de Philip Roth (Random House) que  la relaciona con la imparable carrera de Donald Trump en las primarias,  "El año del desierto" de Pedro Mairal (Libros del Asteroide) que recomienda para entender (o no) las primeras decisiones de Milei en Argentina, y "Frankenstein o el moderno Prometeo" de Mary Selley (Random House) porque se escribió bajo los efecto climáticos de un volcán reactivado en el siglo XIX como ahora se ha reactivado el Popocatepet. Jordi Soler, además de regalarnos su nueva novela, ha donado otros dos títulos a La Biblioteca de Hoy por Hoy  "Los ejércitos" de Evelio Rosero (Tusquets) y "Agua quemada" de Carlos Fuentes (Alfaguara). Las novedades del empleado Pepe Rubio fueron "Los aerostatos" de Amelie Nothmb (Anagrama) y "Baumgartner" de Paul Auster (Seix Barral) . Pascual Donate rescató entre los libros perdidos en la redacción de la SER uno de fotografía,  "Tierra de sueños" de Cristina García Rodero (Editado por Fundación La Caixa) . Asensio también nos dejo "La tribuna" de Emilia Pardo Bazán (Cátedra) que será su libro semanal del programa "Un libro, una hora". Y por último recibimos las donaciones de los oyentes que han sido este viernes "Nosotros en la noche" de Kent Haruf (Random House),  "Amar lo que es" de Byron Katie (bookspocket4) y "El perro de Terracota" de Andrea Camilleri (Salamandra) 

The Oregon Legislature's 2024 session is underway, and even though lawmakers' work is constitutionally limited to just 35 days, they plan to take on some of the state's biggest issues. On this week's episode of Beat Check with The Oregonian, state government reporter Carlos Fuentes runs down lawmakers' top priorities and how a state Supreme Court ruling could affect the dynamic in Salem. Plus, public safety reporter Noelle Crombie on lawmakers' proposals to roll back parts of Measure 110, the drug decriminalization law approved by voters in 2020. (Crombie recently appeared on Beat Check to discuss Measure 110 and policymakers' trip to Portugal, whose drug laws in part inspired the Oregon measure.) Learn more about your ad choices. Visit megaphone.fm/adchoices

El periodo de mejor exportación de talento literario se dio en Latinoamérica en los 1960s. Una mezcla de política, arte, controversia y letra crearon este movimiento donde sus máximos exponentes: Gabriel García Márquez, Mario Vargas Llosa, Carlos Fuentes y Julio Cortazar, llevaron la marca latinoamericana por el mundo. El autor del libro "De Gabo a Mario" que documento este periodo, se sienta a discutir y contarnos la historia.

El periodo de mejor exportación de talento literario se dio en Latinoamérica en los 1960s. Una mezcla de política, arte, controversia y letra crearon este movimiento donde sus máximos exponentes: Gabriel García Márquez, Mario Vargas Llosa, Carlos Fuentes y Julio Cortazar, llevaron la marca latinoamericana por el mundo. El autor del libro "De Gabo a Mario" que documento este periodo, se sienta a discutir y contarnos la historia. Learn more about your ad choices. Visit megaphone.fm/adchoices

Oregon has long been awash in cash when it comes to state elections and political races. One big reason? It's among just a small handful of states that do not limit how much money candidates can accept from individuals, political groups, corporations, unions or any other entity. But that could change this year, as Oregon voters will likely face a pair of similar-looking — yet markedly different — ballot measures, each of which would limit how much individuals and groups can donate to candidates. On the latest Beat Check, Oregonian/OregonLive reporters Shane Dixon Kavanaugh and Carlos Fuentes, dig into these dueling proposals. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lídia Jorge é uma das mais internacionais escritoras portuguesas. A sua obra de ficção conta com dezenas de títulos, incluindo os romances O Dia dos Prodígios (1980) -- o primeiro livro --, A Costa dos Murmúrios (1988), O Vento Assobiando nas Gruas (2002) e, mais recentemente, Misericórdia (2022). A sua escrita destaca-se pela originalidade, diversidade de temas (com atenção às mudanças sociais e políticas por que passa o mundo e o país) e por um estilo inconfundível. Os seus livros estão publicados em diversas línguas e têm sido amplamente premiados, quer em Portugal quer no estrangeiro.  -> Ouve A Queda de Ingonish aqui. _______________ Índice: (3:32) Misericórdia: de onde veio o livro e o que explica a recepção que tem tido? (18:13) Como a literatura nos prepara para enfrentar os grandes desafios. Livro: Se Isto é um Homem de Primo Levi | Como a literatura nos ajuda a compreender os outros | Alain de Bottom: a literatura transmite-nos bondade, sabedoria e sanidade  (35:59) Qual a diferença entre a literatura e outras formas de Arte? Le Livre à venir, de Maurice Blanchot (38:29) Literatura vs cinema e séries? | Filósofo Byung-Chul Han (45:13) Os escritores, ao contrário dos cientistas, fazem os seus melhores trabalhos quando são mais velhos? (49:23) Perguntas do público. Livro Ver O Invisível. Sobre Kandinsky, de Michel Henry. Carlos Fuentes e a Literatura como “estrela de três pontas” | Importância dos editores _______________ (Esta conversa foi gravada ao vivo durante o Festival Utopia, em Braga, um evento organizado pela The Book Company. Realizado entre 2 e 12 de novembro, o festival contou com o apoio da Câmara Municipal de Lisboa e o Festival Literário 5L. Para os interessados, recomendo visitar o site do festival e seguir as suas redes sociais. O Utopia já tem data de regresso: novembro de 2024, novamente em Braga.) Foi um privilégio gravar este episódio com Lídia Jorge, uma das mais internacionais entre os escritores portugueses, autora de obras marcantes como "O Dia dos Prodígios", "A Costa dos Murmúrios" e "O Vento Assobiando nas Gruas". Na nossa conversa, falámos sobre o seu romance mais recente, "Misericórdia", e sobre o papel da literatura na sociedade e na nossa vida.  Em apenas um ano, ”Misericórdia" ganhou inúmeros prémios (que eu enumero no início da conversa) e tornou-se já uma obra de referência. A obra narra o último ano de vida de uma mulher idosa num lar de terceira idade. Inspirado num pedido da mãe da autora (em quem a personagem principal é inspirada), o livro apresenta personagens ricas e complexas, que desafiam visões da terceira idade e da vida nos lares como desinteressantes. É um livro simultaneamente sobre a natureza humana - universal - e sobre o desafio actual (para os próprios e para quem cuida deles) de lidar com a longevidade nas sociedades pós-industriais. E, conjuntamente, deve ser isto que explica o sucesso que tem tido. Para quem ainda não leu o livro, um pequeno aviso: embora discutamos alguns detalhes da obra, não revelamos nada que possa diminuir o prazer da leitura. Além disso, a nossa conversa estendeu-se para temas mais amplos, sobre o papel da literatura (tal como outras formas de arte) em fazer-nos olhar o mundo, os outros e nós próprios de forma diferente.  A visão de Lídia Jorge sobre este aspecto foi particularmente enriquecedora. No final, abrimos espaço para perguntas do público, e escolhi incluir a última pergunta (a cujo autor agradeço), pois encaixa bem nos temas que abordámos durante a conversa. ______________ Obrigado aos mecenas do podcast: Francisco Hermenegildo, Ricardo Evangelista, Henrique Pais João Baltazar, Salvador Cunha, Abilio Silva, Tiago Leite, Carlos Martins, Galaró family, Corto Lemos, Miguel Marques, Nuno Costa, Nuno e Ana, João Ribeiro, Helder Miranda, Pedro Lima Ferreira, Cesar Carpinteiro, Luis Fernambuco, Fernando Nunes, Manuel Canelas, Tiago Gonçalves, Carlos Pires, João Domingues, Hélio Bragança da Silva, Sandra Ferreira , Paulo Encarnação , BFDC, António Mexia Santos, Luís Guido, Bruno Heleno Tomás Costa, João Saro, Daniel Correia, Rita Mateus, António Padilha, Tiago Queiroz, Carmen Camacho, João Nelas, Francisco Fonseca, Rafael Santos, Andreia Esteves, Ana Teresa Mota, ARUNE BHURALAL, Mário Lourenço, RB, Maria Pimentel, Luis, Geoffrey Marcelino, Alberto Alcalde, António Rocha Pinto, Ruben de Bragança, João Vieira dos Santos, David Teixeira Alves, Armindo Martins , Carlos Nobre, Bernardo Vidal Pimentel, António Oliveira, Paulo Barros, Nuno Brites, Lígia Violas, Tiago Sequeira, Zé da Radio, João Morais, André Gamito, Diogo Costa, Pedro Ribeiro, Bernardo Cortez Vasco Sá Pinto, David , Tiago Pires, Mafalda Pratas, Joana Margarida Alves Martins, Luis Marques, João Raimundo, Francisco Arantes, Mariana Barosa, Nuno Gonçalves, Pedro Rebelo, Miguel Palhas, Ricardo Duarte, Duarte , Tomás Félix, Vasco Lima, Francisco Vasconcelos, Telmo , José Oliveira Pratas, Jose Pedroso, João Diogo Silva, Joao Diogo, José Proença, João Crispim, João Pinho , Afonso Martins, Robertt Valente, João Barbosa, Renato Mendes, Maria Francisca Couto, Antonio Albuquerque, Ana Sousa Amorim, Francisco Santos, Lara Luís, Manuel Martins, Macaco Quitado, Paulo Ferreira, Diogo Rombo, Francisco Manuel Reis, Bruno Lamas, Daniel Almeida, Patrícia Esquível , Diogo Silva, Luis Gomes, Cesar Correia, Cristiano Tavares, Pedro Gaspar, Gil Batista Marinho, Maria Oliveira, João Pereira, Rui Vilao, João Ferreira, Wedge, José Losa, Hélder Moreira, André Abrantes, Henrique Vieira, João Farinha, Manuel Botelho da Silva, João Diamantino, Ana Rita Laureano, Pedro L, Nuno Malvar, Joel, Rui Antunes7, Tomás Saraiva, Cloé Leal de Magalhães, Joao Barbosa, paulo matos, Fábio Monteiro, Tiago Stock, Beatriz Bagulho, Pedro Bravo, Antonio Loureiro, Hugo Ramos, Inês Inocêncio, Telmo Gomes, Sérgio Nunes, Tiago Pedroso, Teresa Pimentel, Rita Noronha, miguel farracho, José Fangueiro, Zé, Margarida Correia-Neves, Bruno Pinto Vitorino, João Lopes, Joana Pereirinha, Gonçalo Baptista, Dario Rodrigues, tati lima, Pedro On The Road, Catarina Fonseca, JC Pacheco, Sofia Ferreira, Inês Ribeiro, Miguel Jacinto, Tiago Agostinho, Margarida Costa Almeida, Helena Pinheiro, Rui Martins, Fábio Videira Santos, Tomás Lucena, João Freitas, Ricardo Sousa, RJ, Francisco Seabra Guimarães, Carlos Branco, David Palhota, Carlos Castro, Alexandre Alves, Cláudia Gomes Batista, Ana Leal, Ricardo Trindade, Luís Machado, Andrzej Stuart-Thompson, Diego Goulart, Filipa Portela, Paulo Rafael, Paloma Nunes, Marta Mendonca, Teresa Painho, Duarte Cameirão, Rodrigo Silva, José Alberto Gomes, Joao Gama, Cristina Loureiro, Tiago Gama, Tiago Rodrigues, Miguel Duarte, Ana Cantanhede, Artur Castro Freire, Rui Passos Rocha, Pedro Costa Antunes, Sofia Almeida, Ricardo Andrade Guimarães, Daniel Pais, Miguel Bastos, Luís Santos _______________ Esta conversa foi editada por: Hugo Oliveira

This week's publisher episode focuses on one of our very favorites: Dalkey Archive. Founded nearly 40 years ago, Dalkey specializes in “lesser-known and often avant-garde works.” Trevor and Paul each share a few of their favorite titles and announce an exciting Dalkey giveaway. Be sure to share your favorite for a chance to win!Giveaway DetailsWe are excited to give away three Dalkey Archive books to a lucky listener with a U.S. address*.Please send us an email (or dm on Instagram or Twitter) telling us your interest in The Dalkey Archive! That's it! We recommend getting these to us by the end of day Friday, December 15 because we will be drawing the winner early the next day!*Unfortunately, due to high shipping costs, this giveaway is limited to U.S. addresses. We are sorry! We do love our international listeners!Shownotes* Basic Black with Pearls, by Helen Weinzweig* The Woman Who Borrowed Memories, by Tove Jansson, translated by Thomas Teal and Sylvester Mazzarella* The Summer Book, by Tove Jansson, translated by Thomas Teal* Fair Play, by Tove Jansson, translated by Thomas Teal* The True Deceiver, by Tove Jansson, translated by Thomas Teal* Joseph and His Brothers, by Thomas Mann, translated by John E. Woods* Afterword, by Nina Schuyler* Christmas at Thompson Hall: And Other Christmas Stories, by Anthony Trollope* A Christmas Carol, by Charles Dickens* The Life and Adventures of Santa Claus, by L. Frank Baum* A Merry Christmas: And Other Christmas Stories, by Louisa May Alcott* The Night Before Christmas, by Nikolai Gogol, translated by Konstantin Makovsky* The Nutcracker, by E.T.A. Hoffmann, translated by Joachim Neugroschel* The Warden, by Anthony Trollope* Can You Forgive Her?, by Anthony Trollope* The Brothers Karamazov, by Fyodor Dostoevsky, translated by Michael R. Katz* Red Comet: The Short Life and Blazing Art of Sylvia Plath, by Heather Clark* Vlad, by Carlos Fuentes, translated by E. Shaskan Bumas and Alejandro Branger* Miss MacIntosh, My Darling, by Marguerite Young* Atagony, by Luis Goytisolo, translated by Brendan Riley* Götz and Meyer, by David Albahari, translated by Ellen Elias-Bursac* Bottom's Dream, by Arno Schmidt, translated by John E. Woods* At Swim-Two-Birds, by Flann O'Brien* The Dalkey Archive, by Flann O'Brien* Reticence, by Jean-Philippe Toussaint, translated by John Lambert* Europeana: A Brief History of the 20th Century, by Patrik Ouredník, translated by Gerald Turner* Suicide, by Edouard Levé, translated by Jan Steyn* Through the Night, by Sting Sæterbakken, translated by Seán Kinsella* Autoportrait, by Edouard Levé, translated by Lorin Stein* Trilogy, by Jon Fosse, translated by May-Brit Akerholt* Demolishing Nisard, by Eric Chevillard, translated by Jordan Stump* Eros the Bittersweet, by Anne CarsonAbout the PodcastThe Mookse and the Gripes Podcast is a book chat podcast. Every other week Paul and Trevor get together to talk about some bookish topic or another.Please join us! You can subscribe at Apple podcasts or go to the feed to import to your favorite podcatcher.Many thanks to those who helped make this possible! If you'd like to donate as well, you can do so on Substack or on our Patreon page. Patreon subscribers get regular bonus episode and early access to all episodes! Every supporter has their own feed that he or she can use in their podcast app of choice to download our episodes a few days early. Please go check it out! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit mookse.substack.com/subscribe

Filiberto acaba de morir. El comportamiento extraño que tuvo en el último tiempo de vida inquieta a los amigos. El narrador está embarcado junto al féretro y allí se aventura a abrir los cuadernos personales del difunto. La sorpresa es total: una debacle pormenorizada que involucra deidades precolombinas y hechos sobrenaturales. El cuento Chac Mool -cuyo título refiere al dios azteca de la lluvia- fue publicado en Los días enmascarados (1954), el primer libro del autor mexicano Carlos Fuentes. +++++++++++++++++++++++++++ Qué es POR QUÉ LEER Por qué leer es un proyecto multiplataforma que promueve el placer por la lectura. La idea es contagiar las ganas de leer mediante recomendaciones, reseñas y debates. ¡Cada vez somos más! CECILIA BONA Soy periodista, productora y creadora de contenidos. Trabajé en radios como MITRE, VORTERIX y CLUB OCTUBRE. Amo leer desde pequeña, incentivada especialmente por mi mamá. En Por qué leer confluyen muchas de mis pasiones -la radio, la edición de video, la comunicación- y por eso digo que está hecho con muchísimo amor. Editó este episodio: DANY FERNÁNDEZ para Activando producciones Sus redes: https://www.instagram.com/danyrap.f/ https://www.instagram.com/activandoproducciones.proyecto/ ++++++++++++++++++++++++++++++++++ ¿Te gustaría patrocinar POR QUÉ LEER? ALIAS BANCARIO: porqueleerok PATREON: http://bit.ly/patreonporqueleerok ALIAS MERCADO PAGO: porqueleerok PayPal: https://paypal.me/porqueleerok SUSCRIBITE A LAS MEMBRESÍAS MENSUALES Y APOYÁ EL PROYECTO $500: https://bit.ly/xqlmembresia500 $1000: https://bit.ly/xqlmembresia1000 $2000: https://bit.ly/xqlmembresia2000 $3000: https://bit.ly/xqlmembresia3000 $4000: https://bit.ly/xqlmembresia4000 $5000: https://bit.ly/xqlmembresia5000 ¡Gracias por todo!

Mexican Literature as World Literature (Bloomsbury, 2022), editado por Ignacio Sánchez Prado, es una colección histórica que, por primera vez, estudia las principales intervenciones de la literatura mexicana en torno a las redes literarias mundiales desde el siglo XVI en adelante. Este volumen es una colección de ensayos que dialogan con los principales teorías y críticas del concepto de la literatura mundial. Los autores muestran cómo la llegada de los conquistadores y sacerdotes españoles, el surgimiento de las academias mexicanas, la cultura de la Revolución Mexicana y el neoliberalismo mexicano, entre otros temas, forman una parte clave en la formación de las estructuras literarias mundiales. El libro examina cómo la literatura mexicana abarca y dialoga con movimientos como el modernismo y la contracultura, destacando perspectivas sobre la obra de autores importantes de México, incluyendo Sor Juana, Carlos Fuentes, Octavio Paz, y Juan Rulfo, entre otros. Estos ensayos amplían y enriquecen la noción de la literatura mexicana como literatura mundial, mostrando las muchas formas significativas en las que México ha sido un centro para los circuitos literarios mundiales. Presentan Jeffrey Herlihy-Mera. Learn more about your ad choices. Visit megaphone.fm/adchoices

Gilbert M. Joseph and Timothy J. Henderson's book The Mexico Reader: History, Culture, Politics (Duke UP, 2022) is a vivid and comprehensive guide to muchos Méxicos—the many varied histories and cultures of Mexico. Unparalleled in scope, it covers pre-Columbian times to the present, from the extraordinary power and influence of the Roman Catholic Church to Mexico's uneven postrevolutionary modernization, from chronic economic and political instability to its rich cultural heritage. Bringing together over eighty selections that include poetry, folklore, photo essays, songs, political cartoons, memoirs, journalism, and scholarly writing, this volume highlights the voices of everyday Mexicans—indigenous peoples, artists, soldiers, priests, peasants, and workers. It also includes pieces by politicians and foreign diplomats; by literary giants Octavio Paz, Gloria Anzaldúa, and Carlos Fuentes; and by and about revolutionary leaders Pancho Villa and Emiliano Zapata. This revised and updated edition features new selections that address twenty-first-century developments, including the rise of narcopolitics, the economic and personal costs of the United States' mass deportation programs, the political activism of indigenous healers and manufacturing workers, and the impact of the COVID-19 pandemic. The Mexico Reader is an essential resource for travelers, students, and experts alike. Rachel Grace Newman is a historian of modern Mexico with particular interests in migration, childhood and youth studies, and social inequality. She is Assistant Professor of History at Colgate University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Gilbert M. Joseph and Timothy J. Henderson's book The Mexico Reader: History, Culture, Politics (Duke UP, 2022) is a vivid and comprehensive guide to muchos Méxicos—the many varied histories and cultures of Mexico. Unparalleled in scope, it covers pre-Columbian times to the present, from the extraordinary power and influence of the Roman Catholic Church to Mexico's uneven postrevolutionary modernization, from chronic economic and political instability to its rich cultural heritage. Bringing together over eighty selections that include poetry, folklore, photo essays, songs, political cartoons, memoirs, journalism, and scholarly writing, this volume highlights the voices of everyday Mexicans—indigenous peoples, artists, soldiers, priests, peasants, and workers. It also includes pieces by politicians and foreign diplomats; by literary giants Octavio Paz, Gloria Anzaldúa, and Carlos Fuentes; and by and about revolutionary leaders Pancho Villa and Emiliano Zapata. This revised and updated edition features new selections that address twenty-first-century developments, including the rise of narcopolitics, the economic and personal costs of the United States' mass deportation programs, the political activism of indigenous healers and manufacturing workers, and the impact of the COVID-19 pandemic. The Mexico Reader is an essential resource for travelers, students, and experts alike. Rachel Grace Newman is a historian of modern Mexico with particular interests in migration, childhood and youth studies, and social inequality. She is Assistant Professor of History at Colgate University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

‘Novelas y política'. Nuevo especial de Patricia del Río dedicado a la política en la literatura, y cómo este interés de los seres humanos por abordar temas coyunturales que deciden el destino de su país y de la sociedad en la que se desenvuelven son recogidos por muchos autores y autoras en diversos formatos y géneros: libros, música, cine… Esta vez, conoceremos algo más de la trama de estos títulos imprescindibles: ‘La sinfonía de la libertad' (Antoni Batista); ‘El Gatopardo' (Giuseppe Tomasi di Lampedusa); ‘Conversación en la Catedral', ‘La fiesta del chivo' (Mario Vargas Llosa); ‘El Sexto' (José María Arguedas), ‘Grandes miradas' (Alonso Cueto); ‘Abril rojo' (Santiago Roncagliolo); ‘La nueva novela Latinoamericana', ‘La silla del águila' (Carlos Fuentes); ‘El recurso del método' (Alejo Carpentier); ‘Yo el Supremo' (Augusto Roa Bastos); ‘El otoño del patriarca' (Gabriel García Márquez); ‘Corazones perdidos' (Celeste Ng); ‘Sumisión' ‘Aniquilación' (Michel Houellebecq). ‘Borgen', serie danesa que puede verse por la plataforma de Netflix. La invitada de la semana es la guionista y escritora argentina Ariana Harwickz, autora de ‘Mátame amor', ‘La débil mental', y ‘Precoz', libros que conforman la ‘Trilogía de la pasión'. Como lo señala Patricia durante la conversación, la escritura de Harwick es visceral, casi instintiva y al mismo tiempo cuidada y preciosa. Ella no planea lo que va a escribir va botando lo que la embarga. Sus libros los encuentran en la FIL Lima y en librerías. Finalmente, la música en este especial juega un papel importante, ya que los temas escogidos están también relacionados con contextos políticos en la historia de la humanidad: ‘Nabuco, Act III: Chorus of the hebrew slaves', ‘Va pensiero sull alí dorate', Giuseppe Verdi, London Philarmonic; Verdi: Aida, Act 2: Marcia trionfale', Giuseppe Verdi, Riccardo Muti, trumpeters of the Royal Military School, New Philarmonia Orchertra; ‘Aida: Act II: Gloria all'Egitto', Giuseppe Veri, Maria Dragoni, Kristjan Johansson, Barbara Dever, Marck Rucker; ‘Solo le pido a Dios', Mercedes Sosa y León Gieco; ‘Las torres', remix de Josh Gomez; ‘Mala madre', Tiaré Scanda; ‘Gimme tha power', Molotov; ‘Clandestino', Manu Chao; y ‘All apologies', Sinéad O'Connor. Letras en el tiempo, sábados y domingos a las 19:00 horas por RPP Noticias. Escúchanos también por rpp.pe, podcast del programa y en las diversas plataformas. Edición de audio: Andrés Rodríguez ||| Episodio 26 – Cuarta temporada 2023.

‘Novelas y política'. Nuevo especial de Patricia del Río dedicado a la política en la literatura, y cómo este interés de los seres humanos por abordar temas coyunturales que deciden el destino de su país y de la sociedad en la que se desenvuelven son recogidos por muchos autores y autoras en diversos formatos y géneros: libros, música, cine… Esta vez, conoceremos algo más de la trama de estos títulos imprescindibles: ‘La sinfonía de la libertad' (Antoni Batista); ‘El Gatopardo' (Giuseppe Tomasi di Lampedusa); ‘Conversación en la Catedral', ‘La fiesta del chivo' (Mario Vargas Llosa); ‘El Sexto' (José María Arguedas), ‘Grandes miradas' (Alonso Cueto); ‘Abril rojo' (Santiago Roncagliolo); ‘La nueva novela Latinoamericana', ‘La silla del águila' (Carlos Fuentes); ‘El recurso del método' (Alejo Carpentier); ‘Yo el Supremo' (Augusto Roa Bastos); ‘El otoño del patriarca' (Gabriel García Márquez); ‘Corazones perdidos' (Celeste Ng); ‘Sumisión' ‘Aniquilación' (Michel Houellebecq). ‘Borgen', serie danesa que puede verse por la plataforma de Netflix. La invitada de la semana es la guionista y escritora argentina Ariana Harwickz, autora de ‘Mátame amor', ‘La débil mental', y ‘Precoz', libros que conforman la ‘Trilogía de la pasión'. Como lo señala Patricia durante la conversación, la escritura de Harwick es visceral, casi instintiva y al mismo tiempo cuidada y preciosa. Ella no planea lo que va a escribir va botando lo que la embarga. Sus libros los encuentran en la FIL Lima y en librerías. Finalmente, la música en este especial juega un papel importante, ya que los temas escogidos están también relacionados con contextos políticos en la historia de la humanidad: ‘Nabuco, Act III: Chorus of the hebrew slaves', ‘Va pensiero sull alí dorate', Giuseppe Verdi, London Philarmonic; Verdi: Aida, Act 2: Marcia trionfale', Giuseppe Verdi, Riccardo Muti, trumpeters of the Royal Military School, New Philarmonia Orchertra; ‘Aida: Act II: Gloria all'Egitto', Giuseppe Veri, Maria Dragoni, Kristjan Johansson, Barbara Dever, Marck Rucker; ‘Solo le pido a Dios', Mercedes Sosa y León Gieco; ‘Las torres', remix de Josh Gomez; ‘Mala madre', Tiaré Scanda; ‘Gimme tha power', Molotov; ‘Clandestino', Manu Chao; y ‘All apologies', Sinéad O'Connor. Letras en el tiempo, sábados y domingos a las 19:00 horas por RPP Noticias. Escúchanos también por rpp.pe, podcast del programa y en las diversas plataformas. Edición de audio: Andrés Rodríguez ||| Episodio 26 – Cuarta temporada 2023.

‘Días de feria'. Especial de Patricia del Río con las novedades nacionales e internacionales que la Feria Internacional del Libro de Lima, FIL, nos trae en esta versión 27. Este año, la temática ferial está inspirada en el universo del poeta César Vallejo, uno de los escritores más queridos de nuestra patria. Además, habrá conversatorios, actividades lúdicas, cuentacuentos, musicales y presentaciones de libros relacionados con el autor de ‘Trilce'. Entre otras actividades, se presentarán algunos libros: ‘Francisca Pizarro, la princesa del Perú', de Alonso Cueto; ‘Cien cuyes', de Gustavo Rodríguez; ‘El camarada Jorge y el Dragón', de Rafael Dumett; ‘El peso inevitable de las palomas', de Carlos Yushimito; ‘El tiempo es nuestro. Cuentos peruanos post 2000', antología de la editorial Seix Barral; ‘Días de prueba. Esperando a Paradise', cuentos ganadores del Premio Copé; ‘La chica más pop de Miami Beach', de Pedro Medina León; ‘Agua', de Lucero de Vivanco; ‘El norte ya no existe', de Alina Gadea; ‘Asesinatos en verso', de Lorenzo Helguero; ‘Enteramente y eternamente: cartas (1958-1963), comunicaciones escritas del poeta Javier Heraud a su madre; y ‘Julio Cortázar, Carlos Fuentes, Gabriel García Márquez, y Mario Vargas Llosa. ‘Las cartas del Boom'. Y la lista es larga… el invitado de la semana es Alejandro Zambra, uno de los escritores chilenos más importantes de su generación que presenta ‘Literatura infantil', donde el autor reflexiona sobre su condición de padre. La música ‘Intensidad y Altura' (feat César Vallejo), Patricia Oliart y Carlos Espinoza; ‘Los libros de la buena memoria', Lito Vitali y Gustavo Cerati; ‘Cuéntame un cuento', Celtas cortos; ‘Contamíname', Ana Belén y Víctor Manuel; ‘Merengue de cuna', Juan Luis Guerra; ‘Los heraldos Negros' en ritmo de rap, Ricardo Herrera; ‘Tragicomedia', Los acústicos y Estopa; y ‘Muñequita linda', Diosdado Gaitán Castro. Letras en el tiempo, este domingo a las 19:00 h en RPP Noticias. Escúchanos también por rpp.pe y podcast del programa en las diversas plataformas. Edición de audio: Andrés Rodríguez ||| Episodio 25 – Cuarta temporada 2023.

‘Días de feria'. Especial de Patricia del Río con las novedades nacionales e internacionales que la Feria Internacional del Libro de Lima, FIL, nos trae en esta versión 27. Este año, la temática ferial está inspirada en el universo del poeta César Vallejo, uno de los escritores más queridos de nuestra patria. Además, habrá conversatorios, actividades lúdicas, cuentacuentos, musicales y presentaciones de libros relacionados con el autor de ‘Trilce'. Entre otras actividades, se presentarán algunos libros: ‘Francisca Pizarro, la princesa del Perú', de Alonso Cueto; ‘Cien cuyes', de Gustavo Rodríguez; ‘El camarada Jorge y el Dragón', de Rafael Dumett; ‘El peso inevitable de las palomas', de Carlos Yushimito; ‘El tiempo es nuestro. Cuentos peruanos post 2000', antología de la editorial Seix Barral; ‘Días de prueba. Esperando a Paradise', cuentos ganadores del Premio Copé; ‘La chica más pop de Miami Beach', de Pedro Medina León; ‘Agua', de Lucero de Vivanco; ‘El norte ya no existe', de Alina Gadea; ‘Asesinatos en verso', de Lorenzo Helguero; ‘Enteramente y eternamente: cartas (1958-1963), comunicaciones escritas del poeta Javier Heraud a su madre; y ‘Julio Cortázar, Carlos Fuentes, Gabriel García Márquez, y Mario Vargas Llosa. ‘Las cartas del Boom'. Y la lista es larga… el invitado de la semana es Alejandro Zambra, uno de los escritores chilenos más importantes de su generación que presenta ‘Literatura infantil', donde el autor reflexiona sobre su condición de padre. La música ‘Intensidad y Altura' (feat César Vallejo), Patricia Oliart y Carlos Espinoza; ‘Los libros de la buena memoria', Lito Vitali y Gustavo Cerati; ‘Cuéntame un cuento', Celtas cortos; ‘Contamíname', Ana Belén y Víctor Manuel; ‘Merengue de cuna', Juan Luis Guerra; ‘Los heraldos Negros' en ritmo de rap, Ricardo Herrera; ‘Tragicomedia', Los acústicos y Estopa; y ‘Muñequita linda', Diosdado Gaitán Castro. Letras en el tiempo, este domingo a las 19:00 h en RPP Noticias. Escúchanos también por rpp.pe y podcast del programa en las diversas plataformas. Edición de audio: Andrés Rodríguez ||| Episodio 25 – Cuarta temporada 2023.

Vancouver has between 250 to 400 units available to rent for short stays through Airbnb, VRBO and other sites, according to data collected by city officials. Most of them, however, are operating illegally because of zoning restrictions on short-term rentals, a period of stay that the city defines as less than 30 days, in residential neighborhoods. As a recent article in The Columbian reveals, Vancouver city officials are now attempting to bring short-term rentals into compliance by proposing new regulations, including a $250 operating permit which owners of the units would need to apply for. Carlos Fuentes is the city and federal reporter for The Columbian. He joins us to talk about this issue.

Jorge F. Hernández es escritor, columnista y doctor en Historia por la Universidad Complutense de Madrid. Cómo profesor ha estado en la UNAM, el ITAM, la Universidad Anáhuac y el Centro Cultural Helénico. Ha publicado diversos ensayos y artículos sobre historia de México y tiene un libro titulado “La soledad del silencio. Microhistoria del Santuario de Atotonilco”, con el cual obtuvo el Premio Nacional «Atanasio G. Saravia» de Historia Regional BANAMEX con mención honorífica. También recibió el Premio Nacional de Cuento Efrén Hernández con el relato «Noche de ronda», incluido en su segundo libro de relatos Escenarios del sueño. Además ha publicado diversos ensayos como: Antología de entrevistas con Carlos Fuentes, Las manchas del arte y el misterio de la insinuación; Espejo de historias y otros reflejos  y Signos de admiración. Su novela, «La Emperatriz de Lavapiés» quedó finalista en el Premio Internacional de Novela Alfaguara en 1997, y ha sido reeditada en varias ocasiones. Su antología «Sol, piedra y sombras. Veinte cuentistas mexicanos de la primera mitad del siglo XX» ha sido elegida para el programa de lectura del gobierno de los Estados Unidos, como libro de The Big Read del National Endowment for the Arts. Fue conductor de la sección «Golpe de dados» en Noticias 22, noticiero cultural de la televisión mexicana durante 2010 y colaborador de Leo Zuckerman y Julio Patán en el programa «Artículo Sexto» de Radio Fórmula en 2012 y 2013 Ha colaborado en las revistas Vuelta de Octavio Paz, Artes de México, FMR, Matador y en los periódicos Novedades, Reforma y El País de España donde es colaborador fijo desde octubre de 2015. Nota: Este episodio solo lo podrás encontrar en formato de audio. Regístrate al SietedeSiete, un newsletter semanal donde puedes encontrar los mejores recursos, videos, artículos y herramientas que te ayudan a abrir la mente y llevar tu vida al siguiente nivel. DEMENTES Podcast: @dementespodcast Diego Barrazas: Instagram & Twitter