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¿Existen medios de izquierdas y de derechas?¿Es posible un periodismo completamente imparcial?¿Por qué algunos medios parecen cambiar de discurso cuando cambia el gobierno?En el episodio 215 de ¡Qué Pasa! nos sentamos con Clara de la Flor, periodista profesional y directora de la prestigiosa revista Punto y Coma, para adentrarnos en uno de los temas más polémicos, complejos y fascinantes de la sociedad actual: los medios de comunicación y el periodismo en España.En esta conversación analizamos cómo funciona realmente el ecosistema mediático español, qué líneas editoriales siguen los principales periódicos, radios y televisiones, cómo se financian los medios y hasta qué punto la política influye en la información que consumimos cada día.Hablamos de:

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

Esta historia es una experiencia vivida por uno de nuestros seguidores.Conviértete en un supporter de este podcast: https://www.spreaker.com/podcast/leyendas-e-historias-de-terror-la-habitacion-de-mexico--5763709/support.Escuchanos en nuestra web lhm.jrdev.com.mxCada episodio abre un nuevo expediente: crímenes olvidados, encuentros paranormales, relatos urbanos y testimonios reales tan inquietantes que se resisten a quedar en el pasado. 

En este episodio de Había una vez by Naran Xadul, te contamos la leyenda maya de la Flor de Loto, una historia llena de amor, naturaleza y magia en el corazón de la selva del Mayab.Acompaña al príncipe Chacdziedzib y a Nicté-Há en un cuento sobre el amor verdadero, los cenotes sagrados y las decisiones que pueden cambiarlo todo. Una narración ideal para niños y familias que buscan cuentos infantiles, leyendas mexicanas y relatos llenos de valores como el amor, la valentía y la esperanza.Perfecto para escuchar antes de dormir o en cualquier momento del día, este cuento te transportará a un mundo de tradición maya, donde cada amanecer guarda una historia.Dale play y deja volar tu imaginación. Hosted on Acast. See acast.com/privacy for more information.

Podcast del Instituto Centroamericano de Extensión de la Cultura (ICECU) En este episodio: 1. ¿Cómo vencer la ansiedad? 2. ¿Cómo fue el final del hombre más radioactivo en toda la historia, el operario de una planta nuclear, Hisashi Ouchi? 3. ¿A qué se debe que en la actualidad, la mayoría de las personas tienen la enfermedad renal y pasan por el proceso de hemodiálisis? 4. ¿Qué relación tiene la Iglesia católica con la brujería? 5. ¿Cuánto dura la flor de itabo para que esté seca? 6. ¿De dónde salieron los cerros en Río San Juan que tienen volcanes de piedras en formas de pilar de diferentes tamaños?

Población - 8.682 habitantes | Reclamo - la iglesia prerrománica de Santa Cristina de Lena | Otras cosas típicas - son la puerta de Asturias, están rodeados de senderismo para hacer caza y pesca, también son destino ciclista, la vía romana de La Carisa, la cena de callos de las Ferias y la fiesta de La Flor con bollo preñao y sidrina.

durée : 00:01:01 - La flor Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Apple estrenó sus nuevos gadgets como la MacBook Neo, Sonos tiene una nueva bocina portátil y Xbox nos da más detalles de la futura consola

Hablando de nuestros espíritus..

Hablando con nuestros espíritus

Este cuento infantil habla sobre autoestima, amistad y amor propio, ideal para celebrar el Día del Amor y la Amistad (San Valentín).Conocerás la historia de Gazania, una flor diferente que aprende que no necesita cambiar para ser querida, y de una libélula luminosa que le muestra que ser único también es una forma de brillar.Este cuento para niñas y niños fomenta la seguridad emocional, el respeto por las diferencias y la importancia de aceptarnos tal como somos. Perfecto para escuchar antes de dormir, en momentos de calma o como herramienta para hablar con los pequeños sobre autoestima, empatía y amistad. Hosted on Acast. See acast.com/privacy for more information.

Este cuento infantil habla sobre autoestima, amistad y amor propio, ideal para celebrar el Día del Amor y la Amistad (San Valentín). Conocerás la historia de Gazania, una flor diferente que aprende que no necesita cambiar para ser querida, y de una libélula luminosa que le muestra que ser único también es una forma de brillar.Este cuento para niñas y niños fomenta la seguridad emocional, el respeto por las diferencias y la importancia de aceptarnos tal como somos. Perfecto para escuchar antes de dormir, en momentos de calma o como herramienta para hablar con los pequeños sobre autoestima, empatía y amistad. Hosted on Acast. See acast.com/privacy for more information.

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Daniel 4:3“¡Cuán grandes son sus señales y cuán potentes sus maravillas! Su reino, reino sempiterno; su señorío, de generación en generación”.Un tipo de virus muy extraño, que algunos científicos ni siquiera creen que es un virus, depende de una avispa parasitoide para su existencia. Sin la avispa ni siquiera puede reproducirse. Asimismo, ni la avispa puede reproducirse sin el virus.La avispa se llama una avispa parasitoide porque mata a su anfitrión, mientras que un verdadero parásito no mata a su anfitrión. Este drama empieza casi inadvertido por una oruga que es picada por una pequeña avispa. Luego de 10 días la oruga deja de moverse pero se mantiene pegada a cualquier planta donde se encuentra. Luego, los huevos que la avispa inyectó con su aguijón empiezan a nacer y los pequeños críos empiezan a comer su salida de la oruga. La pregunta es, ¿por qué el sistema inmunológico de la oruga no destruyó los huevos? Porque junto con los huevos, la avispa también inyectó un virus inusual que clausura el sistema inmunológico de la oruga. El único lugar donde el virus se puede reproducir es dentro de la avispa, donde no hace ningún daño. De hecho, la relación entre el virus y la avispa es tan cercana que su ADN se ha convertido en parte de la estructura genética de la avispa.La relación entre la avispa y el virus es tan cercana que es obviamente creado. La evidencia para esto es especialmente clara ya que el virus es genéticamente dependiente de la avispa.Oración: Señor, Tus maravillas son sobreabundantes, especialmente la maravilla de Tu plan de salvación a través de Tu Hijo. Amén.Ref: Science News, David Shiga, “Poisonous Partnership.” Imagen: Ophrys speculum orchid, Hans Stieglitz, CC BY-SA 3.0, Wikimedia Commons. To support this ministry financially, visit: https://www.oneplace.com/donate/1235/29?v=20251111

Hoy Cayetano Gómez nos presenta a Juan de Dios Cano, de La Carreta, una tienda online de conservas que comenzó como respuesta necesaria al frenazo de la pandemia y se ha consolidado en una propuesta de gastronomía murciana de alta calidad. Juan de Dios ha rescatado la histórica marca La Flor de Murcia para ofrecer productos de cercanía y elaboración artesanal, como el tomate de pera empacado a mano o las alcachofas del Campo de Cartagena.La oferta de la casa destaca por un equilibrio singular entre la tradición, representada por su producto estrella, el "asadillo de la yaya" hecho a la brasa, y una constante innovación que incluye creaciones como la mermelada de fresa con sabor a queso vegana, el licor de paparajote o el vermú 0,0. Con la vista puesta en el futuro, el negocio familiar continúa explorando nuevos mercados con el próximo lanzamiento de especias probióticas para el desayuno, reafirmando su compromiso con la salud y el sabor auténtico de la región.

Disfrutamos de un episodio con marcado espíritu olímpico junto a Rodrigo Germade, medallista en los Juegos Olímpicos de 2020 y 2024 en la modalidad de piragüismo de aguas tranquilas, con quien conversamos sobre deporte, esfuerzo y constancia. Benito Villegas nos acerca a las herramientas esenciales para el fumador de Habanos y las claves para una correcta fumada. Viajamos hasta Alhaurín de la Torre, en Málaga, para descubrir tres restaurantes con mucha personalidad: Cienfuegos, La Flor y 1920. Encendemos Juan López Cincuenta y cuatro Edición Regional, un habano de carácter firme y elegante, en los Planes os proponemos visitar durante el mes de marzo la feria de arte contemporáneo Art Madrid y finalizamos el episodio con la música de Alexia.

King Carlos y La Flor Magica by Ximena by 826 Valencia

Flor de Pascua: historia, cuidados y simbología.

In this episode of ¡Cuéntame!, listeners travel to Argentina as the podcast continues its series of legends from the Spanish-speaking world. Marta tells the beautiful and inspiring legend of the ceibo flower, a powerful national symbol of Argentina.The story takes place before the conquest of the Americas and centers on Anahí, a young Indigenous woman who loved her land, her people, and her community. Through her courage, voice, and resilience, the legend explains why the bright red flower of the ceibo tree became a symbol of love for the land, strength, and remembrance. Transcript here!¡Cuéntame! is a listener-supported podcast. If you enjoy the show, please consider rating and reviewing the podcast, and sharing it with friends, students, or fellow Spanish learners. You can also support the podcast by using Buy Me a Coffee, joining the Facebook group, and following ¡Cuéntame! on TikTok and Instagram.Listeners are invited to connect with the show by email or by sending a voice message in Spanish or English to 1-920-361-3329. Messages may be featured in a future episode.Click here if you want info on my virtual classes!

Salmos 105:5“Acordaos de las maravillas que él ha hecho, de sus prodigios y de los juicios de su boca...”¿Puede usted imaginar una planta que se mueve tan rápido que la ciencia no sabía lo que estaba haciendo sino hasta recientemente? La planta es una flor silvestre del bosque que se encuentra en Norte América y que se llama Cornus canadensis.Unos pocos botánicos habían notado un extraño “puf” asociado con la planta, pero nadie sabía lo que estaba pasando. Los investigadores del Williams College en Williamstown, Mass., estaban estudiando la planta cuando experimentaron un “puf”. Ellos querian ver lo que la planta estaba haciendo, y consiguieron una cámara de video de alta velocidad que puede tomar 1,000 recuadros por segundo. Sorprendentemente, esa cámara era demasiado lenta para atrapar claramente lo que la planta estaba haciendo. Así que consiguieron una cámara de mayor velocidad que podía tomar 10,000 recuadros por segundo. Cuando revisaron el video, descubrieron que la flor estaba soltando polen a una velocidad sorprendente. Ellos calcularon que la fuerza gravitacional del polen cuando es liberada es de 800 veces aquella fuerza que los astronautas resisten cuando salen al espacio. Esta maravilla se consigue por los pétalos muy elásticos de la flor que son parte de un diseño que parece un trebuchet; una catapulta medieval.Las asombrosas maravillas de la creación de Dios nos deben llevar a alabarle incesantemente, algo que la creencia en la evolución no permite. Aún si usted intenta añadir a Dios a la evolución, la casualidad y las fuerzas naturales todavía reciben el crédito.Oración: Te alabo Padre, por todas las maravillas de Tu creación. Ayuda que mi vida también te alabe delante de los demás. Amén.Ref: Science News, “World's Fastest Plant Explodes with Pollen.” To support this ministry financially, visit: https://www.oneplace.com/donate/1235/29?v=20251111

Este episodio está dedicado a la vida de María Cano, una de las mujeres más inspiradoras de Colombia. Fue condecorada con el título de la "Flor del Trabajo" gracias a la admiración que despertó entre sus congéneres, y su papel como pionera en el socialismo, el activismo obrero, y el feminismo en los años 20 y 30 fue crucial. Mucho falta por explorar acerca de su legado intelectual y la historia de su pensamiento, pero es un hecho que sin ella el nacimiento del movimiento de izquierda y las luchas por los derechos laborales en Colombia hubiese sido muy diferente. Te invitamos a compartir y explorar la vida de esta mujer de carne y hueso, que vivió en uno de los momentos más claves para la historia social de nuestro país, y cuyo legado la convirtió en ícono. Notas del episodio  Te recomendamos una de las mejores biografías sobre la vida de María Cano, escrita por Beatriz Helena Robledo,  La Virgen Roja. Si tienes ganas de explorar el pensamiento de este ícono colombiano, te invitamos a consultar el libro María Cano, 1887-2007 "Una voz de mujer les grita", de la Escuela Nacional Sindical si lo que buscas es comprender la relación que María Cano tuvo con la lectura y la educación, te invitamos a consultar el artículo académico "María Cano y su múltiple relación con el libro" de Luis Ignacio Sandoval Moreno, del Libro "Levántate y Marcha". Si quieres comprender su legado político y su papel en el establecimiento del poder femenino, consulta el Artículo académico "María Cano, un ejemplo a seguir", de Piedad Gallor. Revistas Javeriana. Si quieres ver uno de los trabajos biográficos más recientes hechos en su conmemoración, consulta el Artículo académico de la revista Huellas, de la Universidad del Norte. "María Cano: escritura y revolución".    Sigue mis proyectos en otros lugares:  YouTube ➔ youtube.com/@DianaUribefm  Instagram ➔ instagram.com/dianauribe.fm Facebook ➔ facebook.com/dianauribe.fm Sitio web ➔ dianauribe.fm Twitter ➔ x.com/DianaUribefm  LinkedIn ➔ www.linkedin.com/in/diana-uribe    Gracias de nuevo a nuestra comunidad de patreon por apoyar la producción de este episodio. Si quieres unirte, visita www.dianauribe.fm/comunidad  

En la Historia Sonora de hoy con Ana Francisca Vega por MVS Noticias: Biólogo llora al encontrar la flor más rara del mundo en IndonesiaSee omnystudio.com/listener for privacy information.

Alba Flores, Elena Molina e Isaki Lacuesta nos traen el documental Flores para Antonio, un retrato íntimo del artista inmenso que fue Antonio Flores. Cuando cumplió 33 —la edad que tenía Antonio al morir—, Alba hizo una celebración especial. Necesitaba pedirle permiso para hacerse mayor que él, para sobrevivirle. La necesidad de entender a su padre es el germen de un documental que recorre la vida y también la muerte de Antonio Flores, el pequeño de una de las familias artísticas más conocidas, queridas y mediáticas de nuestro país. Un programa en el que contamos además con una banda sonora de excepción: la cantante Marina Carmona, hija de Antonio Carmona, gran amigo de la familia Flores, y que sabe muy bien lo que es venir de una familia con la música en las venas. Más información aquí: https://bit.ly/FloresCC1582 Haz posible Carne Cruda: http://bit.ly/ProduceCC

CDMX permite tramitar en línea copia certificada de acta de defunciónDetienen en Tijuana a presunto jefe del Cártel de los Beltrán LeyvaColombia autoriza venta de flor de cannabis en farmacias para uso médicoMás información en nuestro podcast 

Halloween in Mexico isn't quite what you'd expect! In this episode, we explore how the holiday has grown in popularity, how Mexican families have added their own twist to it, and the big differences between Halloween and Día de Muertos. From funny stories about homemade costumes and trick-or-treating adventures to deeper reflections on cultural meaning, this conversation blends laughter and learning. Whether you've celebrated one, both, or neither, you'll come away with a better understanding of how these traditions coexist — and how we're passing them on to our son, Santi.Key Takeaways:Halloween celebrations in Mexico are becoming more common and creative.Día de Muertos and Halloween are distinct holidays with different purposes.Traditions may change, but their cultural meaning remains deeply rooted.Relevant Links And Additional Resources:240 – La Flor de Cempasúchil – Historia, Cultura y Leyendas | The Cempasúchil Flower – History, Culture and Legends187 – Día de Muertos: Una Perspectiva Local | Day of the Dead: A Local Perspective136 – Xoloitzcuintle, Perro Sagrado | Xoloitzcuintle, Sacred Dog029 – Calaveritas de Azúcar: Origen y Tradición | Sugar Skulls: Origin and Tradition028 – Día de Muertos: Lo Que Tienes Que Saber | Day of the Dead: What You Need to KnowLevel up your Spanish with our Podcast MembershipGet the full transcript of each episode so you don't miss a wordListen to an extended breakdown section in English going over the most important words and phrasesTest your comprehension with a multiple choice quizSupport the show

INSTAGRAM: @elcanaldemomo TIKTOK: @elcanaldemomo FACEBOOK: El canal de Momo X: @ElcanaldeMomo _________________________ Distribuido por: Genuina Media Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

In “The Flower of Promises”, a magical bloom appears each spring—but only when someone truly keeps their word. This is the story of Sol, a determined girl who promises to make a kite for her little brother. As spring passes, her failures pile up, but she doesn't give up. In the end, it's not the perfect kite that matters, but the love and commitment behind it. A quiet tale about persistence, honesty, and the magic of following through.Want the full transcript, vocabulary list, and printable story bundle? Join our monthly membership to support the podcast on Patreon: patreon.com/spanishstoriesforkids.Have a story you'd like us to read? Email us at spanishstoriespodcast@gmail.com—we'd love to feature it!___________________________________En “La Flor de Las Promesas”, una flor mágica florece cada primavera—pero solo cuando alguien cumple de verdad su palabra. Esta es la historia de Sol, una niña decidida que promete hacerle una cometa a su hermanito. A pesar de muchos intentos fallidos, no se rinde. Al final, no es la cometa perfecta lo que importa, sino el amor y la constancia con que fue hecha. Un cuento suave sobre la persistencia, la honestidad y la magia de cumplir lo que prometemos.

Samara Joy con 'Flor de lis', Catina Deluna y Otmaro Ruiz con 'Passarim', 'Choro das águas', 'Águas de março', 'Mar e lua' y 'Requebre que eu dou um doce'), Jeff Goldblum & The Mildred Snitzer Orchestra con 'Cantaloupe island' y 'Bouncing with Bud' y João Bosco, Mestrinho, Jaques Morelenbaum y Vanessa Moreno con 'Incompatibilidade de gênios' y 'Corsário'. Escuchar audio

Palabras, sólo palabras, quizás demasiadas, teniendo en cuenta la multiplicación de posibilidades de hacerlas llegar. Cosa bien distinta que estemos mejor comunicados. Si hablamos de poesía quizás debiéramos referirnos al "marketing de la poesíe”, como Alain Chamfort, si de prosa a "terrorismo semántico”, si de comunicacion a mera propaganda. Difícil de creer pero hubo un tiempo en el que las palabras expresaban su significado originario, en canciones que podían hablar de los sueños de alguien con una guitarra en las manos ( "Johnny B. Goode)”, de delicados sentimientos ( “Under my Skin “) o mujeres de encanto y tronio como “La Flor de la Canela” o “Clara”. Sólo palabras pero, al menos uno podía confiar en ellas. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

LA HISTORIA OFICIAL DE LA FLOR MÁGICA DE CASAR DE PALOMERO Y ¿SOMOS COBAYAS DE LOS DIOSES? CON SALVADOR FREIXEDO TEMPORADA 31 DE LA LUZ DEL MISTERIO SPECIAL SUMMER MYSTERY Vive el Misterio... Pasa, ponte cómodo y disfruta... FROM LONDON: Una experiencia única de comunicación de La Luz del Misterio esta seamana nos lleva a hablar de las declaraciones y el estudio del Astronomo Avi Loed sobre: Por qué el objeto interestelar que se acerca al Sol podría ser una nave alienígena. Un nuevo estudio argumenta que las características inusuales, órbita retrógrada y proximidad a la Tierra de 3I/Atlas pueden apuntar a que sea una nave o sonda de una civilización interestelar. Luego conoceresmos la La historia oficial De la flor mágica del Casar de palomero. A principios del mes de agosto de 1985 algo insólito ocurrió en el pueblo y es que una flor había nacido misteriosamente en el Nicho de Josefa, brotando de la comisura de la lápida sepulcral. Y cerraremos el viaje de esta semana de La Luz del Misterio homenajeando al investigador Salvador Freixedo recordando su paso por el programa y hablado sobre el lado más controvertido de la ufología y de cuando las experiencias con estos seres que desconocemos su procedencia son de una implicación negativa. Como diría en propio Frixedo, aunque creamos que la marcha de la historia de la humanidad se debe a los gobernantes de todos los tiempos, la triste realidad es que han sido solo unos inconscientes juguetes de estos entrometidos visitantes del espacio, y por desgracia lo siguen siendo.En este libro el autor nos presenta varios ejemplos de esta innegable intromisión de los seres que tripulan los ovnis en las vidas de los humanos; ejemplos que tienen más de negativo que de positivo, contra el parecer de los ingenuos que todavía creen que los «extraterrestres» son los que nos van a ayudar a solucionar nuestros problemas. Un viaje apasionante hacia la historia de ser humano que puedes conocer a través de La Luz del Misterio en London Radio World y sus plataformas. ——————————————————— Síguenos a través de: edenex.es ZTR Radio.online London Radio World En Ivoox Itunes Spotify Amazon YouTube Si deseas apoyarnos: https://www.ivoox.com/ajx-apoyar_i1_support_29070_1.html Más información: laluzdelmisterioradio.blogspot.com laluzdelmisterio@gmail.com

Long before I met the women of La Flor Farm, I met their gorgeous flowers. For the past three years, mom Michele and daughter Chantelle have supplied customers (like me) who shop at the Seattle Wholesale Growers Market with a breathtakingly beautiful selection of the highest quality flowers – from tulips in time for Valentine's […] The post Episode 727: A tour of La Flor Farm's dahlia fields, where four generations grow exquisite blooms for the Seattle Wholesale Growers Market and local florists appeared first on Slow Flowers Podcast with Debra Prinzing.

Welcome to a special concert edition of Live N' Local featuring the La Flor De Lis performing live as our pre-show entertainment as part of our Film Works Alfresco program on June 9, 2025.

Mafalda, la rebelde preguntona llegó a Estados Unidos de la mano de Elsewhere Editions por primera vez en más de 60 años de existencia, luego de estar traducida en unos 30 idiomas y ser un éxito internacional. Pero, ¿estarán preparados para la mirada ácida de la niña consentida de Quino? Mafalda, la niña que odiaba la sopa, pisa por primera vez suelo estadounidense en inglés, de la mano de la editorial Elsewhere Editions con una colección de cinco volúmenes lista para causar el furor que tuvo en América Latina y algunos países de Europa. La obra fue traducida incluso al mandarín, pero no al inglés. De hecho, en Estados Unidos es una casi desconocida. Kuki Miller, directora de Ediciones de La Flor, la casa editorial de Mafalda, y amiga de Joaquín Salvador, su autor, más conocido como Quino, se pregunta si Estados Unidos ahora sí estará preparado. “Me encanta que se haya concretado, por supuesto, porque nosotros mucho tiempo intentamos y contestaban que no era para Estados Unidos. Incluso una de las editoriales grandes: primero dijeron que sí, después que había ido a los subsectores y los lectores habían opinado que no era posible hacerlo. Te estoy hablando de hace muchos años”, recuerda Miller. Leer tambiénMafalda, la niña rebelde, llega para sacudir los Estados Unidos de Trump “Entonces, la mujer de Quino, que era la que tenía particular interés, y se le había expuesto que había que publicarlo en inglés. Ella no hablaba de Estados Unidos, sino del idioma, insistió con nosotros. Hasta que finalmente dijo: ‘Y si no se puede hacer afuera, lo hacemos aquí'. Entonces hicimos nosotros en la Argentina una edición en inglés, pero se vendía aquí en colegios de habla inglesa, a muchos turistas, con la curiosidad de saber qué era este personaje tan famoso preferían llevárselo en inglés. Obviamente se exportaba, pero es muy pequeñas cantidades. Así que si esto tiene éxito, me parecería fabuloso”, dice. Kuki Miller destaca los valores universales que hacen de Mafalda toda una sensación internacional.  “Es humanista, es pacifista en este momento y en cualquier otro. Realmente, los problemas continúan iguales. Le tapás Vietnam y le ponés Gaza, y sigue siendo el mismo problema, ¿no?, es la base del pensamiento de Mafalda”, opina. Personajes como Manolito, Susanita y Felipe representan las corrientes ideológicas y sociales que agitaron la política argentina e internacional en la década de los 60 y 70, pero que, a su vez, siguen vigentes, pues ya en los años 90 Quino atribuye el éxito de su obra a que la sociedad no ha cambiado. 

¡Ay de los que se resisten a creer e impiden que otros puedan llegar al conocimiento de la Verdad!

¡Banda! En este episodio nos aventamos un análisis sin pelos en la lengua del Nu Metal Revolution Vol. 2, un festival que viene cargado de poder… pero también de polémica . Tras el exitazo del 2024, todo apuntaba a que esta segunda edición sería un golpe certero al alma nu-metalera de México. Sin embargo, el camino ha estado plagado de obstáculos: cambios de fecha, alineaciones tambaleantes, y hasta esos ya clásicos anuncios para anunciar anuncios que nos dejaron con más dudas que certezas . El Velódromo Olímpico de la CDMX será testigo de esta revolución sonora, comandada por los titanes de Machine Head, que vienen a prender fuego con su maquinaria de riffs y brutalidad sin concesiones . Les acompañan pesos pesados como los imparables Nonpoint, el groove salvaje de ANIMAL, y por supuesto, el talento nacional que no se queda atrás con Here Comes The Kraken, La Flor del Lingo y más bandas que siguen dejando el nombre del metal mexicano en alto . Platicamos sobre lo que ha funcionado y lo que no, el sentir de la comunidad, el poder del nu metal como movimiento vigente y el reto que implica organizar un festival de esta magnitud en tierras aztecas. ¿Sobrevivirá el Nu Metal Revolution Vol. 2 a sus propias turbulencias? ¿Valdrá la pena el aguante? 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

Protagonistas como pregoneros de la presente Feria del Libro de León, los cocineros Yolanda León y Juanjo Pérez, del restaurante Cocinandos, siguen sumando éxitos y muestras de reconocimiento como referentes de la gastronomía de nuestra provincia. En nuestra conversación mensual con Yolanda, no sólo nos da cuenta de algunos de sus nuevos proyectos, sino que, además, nos habla de las posibilidades culinarias de la flor del saúco. A partir de este ingrediente, nos cuenta cómo preparar unas irresistibles "Tartaletas de queso al horno con albaricoque y esferificación de saúco".

La calma no es pereza, es presencia.

Ana Gamero, originally from Peru and now living in Australia for 17 years, made the bold transition from construction to welding while undertaking an Engineering Fabrication Apprenticeship. In this conversation, she shares her journey in the trades, the invaluable support from her colleagues, and the guidance of Courteney Munn, Project Manager at AMWU, who helped her navigate the challenges she faced. Through the union, Ana discovered a powerful sense of community and support.The song in the intro is Marinera Norteña - La Trujillana. The song at the end is La Flor de la Canela, by Chabuca Granda and interpreted by Eva Ayllon en vivo en Buenos Aires, Argentina. Both songs are gems of Peruvian musical heritage. Special thanks to Ana Gamero for the interview.This episode was presented by Ximena Jimenez and produced on the unceded lands of the Wurundjeri People of the Kulin Nation, in what is now known as Melbourne. We pay our respects to their Elders past, present, and emerging, and acknowledge their ongoing connection to land, waters, and culture.

Hacer click aquí para enviar sus comentarios a este cuento.Juan David Betancur Fernandezelnarradororal@gmail.comHabía una vez en las selvas de lo que hoy es Guainía  en Colombia una princesa que era hija de el cacique. La belleza de la joven era tan resplandeciente que opacaba el amanecer sobre los ríos que cruzaban aquellas tierras de agua y cielo. Dicen que su piel era tan suave como los pétalos de las flores y sus ojos reflejaban los misterios y los colores de las selva.  La princesa llamada Inírida tenía muchos pretendientes, entre ellos el viento del norte que le prometía riquezas, el viento del sur que le prometía tierras fértiles y bosques sin fin, el viento del este que le ofrecia el poder sobre los animales de la selva y el viento del oeste que le ofrecía aventuras por todos los ríos de sus tierras.  Además había allí tres hermanos poderoso que igualmente se sentían enamorados de ella, El príncipe Mavicure, el príncipe mono y el príncipe pajarito. Cada un quería hacerla esposa y pare ello hacían grandes hazanas llevándole grandes regalos y cubriéndola con lisonjas y cuidados. Desencantados los tres hermanos decidieron atraparla pero Inírida que conocía muy bien la selva se internó y los hermanos salieron a perseguirla. Inírida suplico a los dioses que la protegiera de los tres hermanos y los dioses intervinieron transformando a los tres hermanos en 3 cerros de piedras que hoy llevan el nombre de los tres hermanos Un día llego a aquellas tierras un hombre que al verla se enamoro profundamente y decidio que ella seria suya. El hombre que conocía muy bien la selva sabía que había una planta llamada puzana que le permitiría enamorar a la esquiva joven.  Con ella preparo un brebaje y se lo dio a la joven. Desafortunadamente la receta causo en la joven el efecto contrario y la princesa perdió el juicio y salió huyendo a toda prisa de su aldea.  Llevada por el éxtasis y la demencia Inírida corrió de nuevo a la selva y en su carrera llego hasta el lugar donde los tres hermanos habían sido convertidos en montanas rocosas y con agilidad subió a los alto de el cerro pajarito y allí en lo alto se desmayo.  El joven trato de seguirla pero la piedra resbalosa como el jabón evito que se acercara a la princesa. Allí al despertar Inírida vio ante sus ojos la magnitud de la selva verde a sus pies y decidio vivir para siempre allí. Y desde allí gobernar el transcurrir de aquellas tierras. Y cuentan que los dioses la veían llorar todos los días al caer la noche mientras ella miraba la oscuridad profunda de la selva desde lo alto de aquella roca gigantesca.  Y así el cerro pajarito se tiñe de plata cuando las laderas dejan caer las lagrimas de plata de la princesa solitaria. Pero una noche los dioses hicieron bajar las estrellas del firmamento y todas rodearon a la princesa triste y sus lagrimas transportaron piedra abajo las estrellas del firmamento. Y cuando llego el día en la base de la montana entre los claros que deja la espesura de aquella selva comenzó a salir una flor de color rojo en forma de estrella. Una flor que durante todo el ano permanece florecida y que va cambiando de color a medida que la princesa cambia de emociones, Siendo más brillante si ella esta alegre y más apagada si el princesa esta triste.  Y dicen los indios Puinabes habitantes de aquella que durante el anos le cantan a la princesa Inírida para que mantenga el color rojo brillante en la flor de Inírida. La más bella flor de la amazonia. 

Young vs Old. Jimmy J vs Jimmy T. Holly vs. snails. These are the epic battles of Survivor's 21st season, Nicaragua. Hold on tight to your mediallion of power, kiddos, it's time to watch the light leave Jeff's eyes every time La Flor dances their way to a challenge. **Apologies for Caroline's audio! It will be better for future eps.  About: Two new, passionate Survivor fans discuss the 20-year old reality show from the very beginning. A fun stroll down memory lane for seasoned fans or a guide for fellow newcomers through a reality classic, all through the lens of two improvisers. Hosted by Kate Hopkins & Caroline McCallum.

Un par de amigos se ven envueltos en una serie de situaciones raras que van volviéndolos locos hasta que todo parecer terminar en tragedia. Hosted on Acast. See acast.com/privacy for more information.

LOUNGE LIZARDS PRESENTED BY FABRICA 5 - Visit Fabrica005.com and use code LIZARDPOD at checkout for 10% off THE ENTIRE STORE! Free worldwide shipping from Miami on all orders over $125. See website for more information and terms.Recorded at Ten86 Lounge in Hawthorne, New Jersey, the lizards pair La Flor de Cano Elegidos with Volans Tequila Blanco. The guys discuss three new releases from Habanos, Senator and Pagoda detail their recent trip to Panama and its food/cigar scene, and they share Cuban cigars they still consider box-worthy.PLUS: La Flor de Cano History, Short Filler vs. Long Filler, "Budget Cigars" at $20+ & Carlos Camarena Tequila InfluenceJoin the Lounge Lizards for a weekly discussion on all things cigars (both Cuban and non-Cuban), whiskey, food, travel, life and work. This is your formal invitation to join us in a relaxing discussion amongst friends and become a card-carrying Lounge Lizard yourself. This is not your typical cigar podcast. We're a group of friends who love sharing cigars, whiskey and a good laugh.website/merch/rating archive: loungelizardspod.comemail: hello@loungelizardspod.com to join the conversation and be featured on an upcoming episode!cuban cigar box codes archive: loungelizardspod.com/codesinstagram: @loungelizardspodGizmo HQ: LizardGizmo.com

In this lively discussion, we share our experience celebrating Día de Muertos in Cholula, Puebla, surrounded by the beautiful cempasúchil fields and festive atmosphere. We dive into the origins and uses of the marigold in Mexico, from its practical applications in gardening and health to its presence in cuisine and legend. Discover the touching love story of Xóchitl and Huitzilin, adding deeper meaning to the flower that guides spirits back to their loved ones each year.Key Takeaways:Discover the rich cultural and historical background of the cempasúchil flower in Mexico.Learn about the practical and medicinal uses of the marigold in Mexican communities.Hear the romantic legend of Xóchitl and Huitzilin, symbolizing love that transcends life and death.Links And Additional Resources:028 – Día De Muertos: Lo Que Tienes Que Saber | Day Of The Dead: What You Need To Know029 – Calaveritas De Azúcar: Origen Y Tradición | Sugar Skulls: Origin And Tradition082 – El Pan De Muerto | Bread Of The Dead135 – Día De Muertos: Respondemos Tus Preguntas | Day Of The Dead: We Answer Your Questions136 – Xoloitzcuintle, Perro Sagrado | Xoloitzcuintle, Sacred Dog187 – Día De Muertos: Una Perspectiva Local | Day Of The Dead: A Local PerspectiveLevel up your Spanish with our Podcast MembershipGet the full transcript of each episode so you don't miss a wordListen to an extended breakdown section in English going over the most important words and phrasesTest your comprehension with a multiple choice quizIf you enjoy Learn Spanish and Go, please consider subscribing, rating, and reviewing our podcast on Apple Podcasts, Spotify, Google Podcasts, or Pandora. This helps us reach more listeners like you. ¡Hasta la próxima!Support the show

This is the exclusive audio breakdown section for episode 240 – La Flor de Cempasúchil - Historia, Cultura y Leyendas I The Cempasúchil Flower - History, Culture and Legends.Get access to the full interactive transcript, quizzes, and more for this and every episode by joining our community, La Escala, at spanishandgo.com/community.

** Ponte en presencia de Dios. Trata de hablar con Él. ** 10 minutos son 10 minutos aunque te puedas distraer. Llega hasta el final. ** Sé constante. El Espíritu Santo actúa “a fuego lento” y requiere constancia. Audios de 10 minutos que te ayudan a rezar. Un pasaje del Evangelio, una idea, una anécdota y un sacerdote que te habla y habla al Señor invitándote a compartir tu intimidad con Dios. Busca tu momento, piensa que estás con Él y dale al play. Toda la info en nuestra web: www.10minutosconjesus.org diezminutosconjesus@gmail.com Para recibir cada día tu meditación por Whatsapp pulsa aquí: http://dozz.es/nu36t