Podcasts about Piedra

Meditación sobre el Evangelio del martes de la XI semana del Tiempo Ordinario. Jesús nos anima a amar a los enemigos y rezar por los que nos persiguen. Eso es ser buen hijo de Dios, ser perfectos como nuestro Padre Celestial. Porque amar a los que nos aman es fácil, pero no suficiente. Aprender a perdonar a todos.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! A lo largo de la historia la humanidad ha erigido construcciones colosales que aún hoy desafían toda explicación racional y técnica. Este apasionante recorrido explora la arquitectura del misterio a través de edificaciones que rompen las reglas de la física y la historia, desde monumentos alineados con el cosmos hasta fortalezas diseñadas para sellar presuntas puertas al inframundo o ciudades subterráneas construidas para escapar de amenazas desconocidas. Piedra a piedra y tonelada a tonelada, estos enigmas nos obligan a replantearnos si realmente conocemos nuestro origen o si existieron civilizaciones y tecnologías perdidas en el tiempo que la ciencia actual todavía no puede comprender. #MisteriosDelMundo #ArquitecturaImposible #EnigmasHistoricos #TecnologiaPerdida #LaRuedaDelMisterio#EnigmasArquitectonicos #MisteriosDelMundo #PirámidesDeGiza #Stonehenge #CastilloDeHouska #PumaPunku #CoralCastle #Derinkuyu #HistoriaOculta #ArqueologiaMisteriosa laruedadelmisterio2010@gmail.com ®© La Rueda del MisterioEscucha este episodio completo y accede a todo el contenido exclusivo de La Rueda del Misterio. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/4754

Conversamos y exploramos cómo los cementerios se convierten en espacios privilegiados para el estudio, registro y conservación del patrimonio construido, así como su papel en las herramientas tradicionales y digitales de la documentación arquitectónica contemporánea. Invitado: Prof. Ricardo Miranda Pérez Programa original transmitido en Radio Universidad el 11.junio.2026. Este programa es auspiciado por el Colegio de Arquitectos y Arquitectos Paisajistas de Puerto Rico.  

Si en la primera entrega de “Pop y caníbales” se habló de Jeffrey Dahmer, los UK Zombie Bastards y otros antropófagos modernos, aquí nos sumergimos en las (ejem) brumas de la historia. Kiko Amat sienta proverbial cátedra sobre: el canibalismo a través de los siglos, de la Edad de Piedra a los Aztecas mesoamericanos; canibalismo in extremis (en alta mar o en tierra firme); las grandes hambrunas chinas y rusas. Benja Villegas, por su parte, larga de: la Sociedad Leopardo; los necrocanibales; Angel Vidal Mendoza comiéndose los ojos de su hijo y el usuario de Grindr que se zampó, literal, los huevos de Kevin Bacon. Y todo ello amenizado con etimología, tips nutricionales, non sequiturs gastronómicos, conexiones Pop (la cami de Cannibal Corpse, Las Colinas tienen ojos…) y más.

Nuestro podcast más viajero vuelve a Alemania con una ruta excepcional a través de cuatro ciudades del sur del país llenas de encanto y belleza. En este nuevo episodio de El Placer de Viajar, el podcast de viajes de Libertad Digital y esRadio, Carmelo Jordá y Kelu Robles nos proponen una fascinante ruta por el sur de Alemania para descubrir otras cuatro ciudades agrupadas en la asociación Historic Highlights of Germany. El viaje comienza en la encantadora ciudad de Friburgo de Brisgovia, situada a los pies de la Selva Negra. Esta localidad destaca por ser considerada la más cálida y sostenible del país, con una vibrante vida universitaria y un casco antiguo medieval repleto de calles empedradas. Kalu resalta la presencia de los Bächle, unos pequeños riachuelos medievales diseñados originalmente para combatir incendios y que hoy aportan un encanto único al paisaje urbano. Asimismo, menciona lugares indispensables como su catedral gótica de piedra rojiza, su mercado tradicional y el barrio ecológico de Vauban, un modelo de arquitectura pasiva y autogestión vecinal. A la conversación se une David Alonso para detallar la siguiente parada: Túbinga, otra pintoresca ciudad universitaria a orillas del río Neckar. A diferencia de otras urbes germanas, su centro histórico sobrevivió intacto a los bombardeos de la Segunda Guerra Mundial, conservando sus características casas con entramado de madera. El color de sus fachadas reflejaba antaño la jerarquía social de sus habitantes, siendo el dorado el estatus más alto. David resalta la visita al castillo de Hohentübingen, propiedad de la Universidad, que alberga un museo y protege una colonia de murciélagos, razón por la cual están prohibidos los conciertos allí. Para completar la experiencia, se recomienda dar un paseo en el Stocherkahn, una de las embarcaciones típicas del lugar capitaneadas por los propios estudiantes universitarios. La tercera ciudad del recorrido es Ausburgo, una de las más antiguas de Alemania, fundada por los romanos en el año 15 a.C. bajo el mandato del emperador Augusto. Ausburgo vivió una época de gran esplendor durante el Renacimiento gracias a la influyente dinastía de banqueros Fugger. Jacobo Fugger construyó en 1521 la Fuggerei, el complejo de viviendas sociales más antiguo del mundo que todavía sigue en funcionamiento, donde sus residentes pagan un alquiler simbólico anual a cambio de rezar tres veces al día por los fundadores. David también hace hincapié en el extraordinario sistema de gestión de agua de la ciudad, declarado Patrimonio de la Humanidad por la UNESCO, que cuenta con más puentes que la propia Venecia y canales que separaban el agua potable de la industrial. Carmelo se encarga de presentar la última joya alemana de la ruta: Ratisbona, ubicada a orillas del río Danubio. Esta ciudad destaca por ser el único casco antiguo medieval intacto de Alemania que se ha conservado en su totalidad, lo que le valió la declaración de Patrimonio Mundial por la UNESCO. Entre sus monumentos principales sobresale el Puente de Piedra, una colosal obra de ingeniería del siglo XII que durante siglos fue el único puente permanente en un tramo de 600 kilómetros del río. Carmelo destaca la imponente catedral de San Pedro, de estilo gótico francés, que celebra su 750 aniversario, así como las características torres medievales de las familias patricias y la histórica fábrica de salchichas Wurstkuchl, que lleva más de 500 años documentados ofreciendo comida junto al puente.Museos desconocidos de Madrid En la segunda parte del episodio de esRadio, los presentadores cambian de rumbo para centrarse en Madrid, recomendando una serie de museos menos conocidos pero de gran valor cultural que no suelen recibir la atención que merecen. El primero es el Museo del Romanticismo, situado en la calle San Mateo, que ofrece una inmersión en la vida cotidiana de la burguesía decimonónica a través de la recreación de un palacete de época. Kelu y Carmelo también elogian el Museo Cerralbo, ubicado cerca de la plaza de España, que custodia la impresionante colección de arte privada del marqués de Cerralbo, compuesta por más de 50.000 piezas que abarcan desde pinturas hasta armaduras expuestas en un palacio espectacular. La ruta artística continúa en el Museo Lázaro Galdiano, en la calle Serrano, un espacio rodeado de un precioso jardín que alberga obras maestras de gran nivel. Entre sus tesoros pictóricos se encuentran lienzos de Goya, Zurbarán, El Bosco y una obra muy especial vinculada al taller de Leonardo da Vinci. Por último, Carmelo califica a la Real Academia de Bellas Artes de San Fernando como el gran museo oculto de Madrid. Este recinto de la calle Alcalá posee una de las mejores colecciones de Goya del mundo, incluyendo sus planchas de grabado de cobre originales y lienzos icónicos como El entierro de la sardina, además de pinturas de Zurbarán, Murillo o Ribera y creadores contemporáneos como Picasso, Canogar o Zóbel. Para cerrar este bloque dedicado a la capital de España, Kelu propone una visita única a la estación de Chamberí, conocida popularmente como la estación fantasma del Metro de Madrid. Diseñada por el célebre arquitecto Antonio Palacios y clausurada en 1966, la estación ha sido rehabilitada como museo para mostrar cómo era el suburbano madrileño a principios del siglo XX. El espacio conserva las taquillas originales, antiguos carteles publicitarios de cerámica de los años veinte y los tornos de acceso de la época. Es una parada obligatoria para quienes desean comprender el desarrollo de la ciudad y disfrutar de la historia viva del transporte público madrileño. Escríbenos, explícanos qué te gusta más y si hay algo que no te gusta tanto de El Placer de Viajar, dinos de qué destinos quieres que hablemos y si quieres que tratemos algún tema y, por supuesto, pregúntanos lo que quieras en el correo del programa: elplacerdeviajar@libertaddigital.com.

Esta semana tenemos en el podcast al mejor corredor sub-23 del planeta. Thibaut François, número 1 del ranking sub-23 de Copa del Mundo, campeón de España, primer español en ganar un Short Track en Copa del Mundo y con un inicio de 2026 que está siendo una auténtica locura.Hablamos de todo: de sus orígenes, de por qué eligió correr con la bandera española siendo francés de nacimiento, de cómo empezó a montar en bici después del Covid con su madre como entrenadora, de sus victorias en Chelva, Banyoles y Nove Mesto, del susto con la clavícula antes de Corea, de cómo vive las carreras teniendo a sus padres en el equipo y de qué tiene en la cabeza cuando se habla de Los Ángeles 2028.También hablamos de las 32 pulgadas en Copa del Mundo, de si se ve con una bici así algún día, del efecto placebo del material aerodinámico y de cuánto mueve en vatios por kilo. Spoiler: da miedo.Y en la segunda parte del episodio, noticias de la semana: el campeonato de España de Short Track con Jofre Cullell y Marta Cano, la victoria de Rosa Vandoor en Ranxo Gravel con Mads Würtz Schmidt arrasando otra vez, Roberto Bou pulverizando el récord en Gigante de Piedra y la nueva Orbea Oiz. Además, nuestra experiencia en Gigante de Piedra por relevos y todo lo del Madrid Gravel Tour by Gobik que arranca esta semana.Síguenos, comenta y deja tu opinión en el podcast. Cada comentario nos ayuda enormemente a que más gente nos descubra y a seguir trayendo invitados de este nivel.Sigue a Thibaut en Instagram: https://www.instagram.com/thibaut__francois/Sigue a Thibaut en Strava: https://www.strava.com/athletes/40265560Síguenos en Instagram: https://www.instagram.com/bici_labSuscríbete al canal de YouTube: https://youtube.com/@bicilabÚnete al Club BCLB y a toda la comunidad en: https://www.bicilab.es/

Embosquecerse - Piedra by Radiotelevisión de Veracruz

Gator Nation are you ready for a LIVE Monday edition of PodUp with Matthews in the Morning?! Stay Tuned for a full show hosted by Florida Gators HoF QB ~ Shane Matthews! First half we're joined by Elio Piedra - covering the World Cup for WRUF! Second half we'll be joined by Our Good Friend JC!

Ep. 437 - RPDR All Stars 11x06 - Too Many DaddiesHost: Sandy y JayCo-host: Piedra con su nueva palabra “Gagadia”Diseño Gráfico: Diego Madrigal

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

Nuestro Insólito Universo ¦¦ Piedra Solar , En los cinco minutos de duración que tiene este programa se narran historias asombrosas referentes a cualquier tema.La primera transmisión de este programa se realizó por la RadioNacional de Venezuela el 4 de agosto de 1969 y su éxito fue tal que, posteriormente, fue transmitido también por Radio Capital y, actualmente, se mantiene en la Radio Nacional (AM) y en los circuitos Éxitos y Onda, de Unión Radio (FM), lo cual le otorga una tribuna de red AM y FM que cubren todo el país, uno de los programas radiales más premiados y de mayor duración en la historia de la radio de Venezuela.

Hace 6,000 años — mucho antes de las pirámides — constructores antiguos en España crearon algo que todavía deja a los ingenieros sin palabras. El Dolmen de Menga es un monumento de piedra masivo tan precisamente construido que nadie está seguro de cómo lo lograron con herramientas de la Edad de Piedra. Es una puerta al conocimiento de personas que entendían la Tierra, las estrellas y la piedra como pocos lo han hecho. Descubramos la ingeniería imposible detrás de esta maravilla prehistórica. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hoy escucharemos al @jobregong compartir su reflexión sobre el evangelio del día según San Marcos 12, 1-12 Podcast producido por New Fire (@benewfire).

Conocemos la actualidad del mañana la mano de El Mundo Today

Conocemos la actualidad del mañana la mano de El Mundo Today

1 de junio 2026 - Marcos 12,1-12 - Jesús es la piedra angular by Javeriana919fm

La Piedra de Molino-Pastor Gustavo PadillaIglesia de Cristo Ebenezer Hosanna Tegucigalpa

Conocemos la actualidad del mañana la mano de El Mundo Today

Pepe Baynat señala un IBEX 35 que sigue mostrando una gran fortaleza relativa dentro de Europa. Los índices europeos han dado síntomas de debilidad y han reaccionado rápidamente al alza y ahora vuelven a enfrentarse a una zona clave: los máximos históricos. El selectivo español está trabajando bien la resistencia y el comportamiento técnico invita a pensar que podría intentar superarla en próximas sesiones. La sensación general es positiva. El mercado español está consolidando niveles después de las fuertes subidas acumuladas y, lejos de deteriorarse, mantiene una estructura sólida que favorece nuevos ataques alcistas. Superar esa franja de máximos históricos sería una señal muy importante para el conjunto del mercado europeo. El DAX alemán presenta una situación muy similar. El índice germano también se encuentra muy cerca de sus máximos históricos, en la zona de los 25.500 puntos, manteniendo igualmente una estructura técnica favorable. Lo mismo ocurre con el EuroStoxx 50, que se aproxima a la resistencia clave de los 6.220 puntos. En conjunto, Europa se encuentra “a tiro de piedra” de romper máximos históricos de forma coordinada. La idea que maneja el mercado es que, si finalmente se produce esa ruptura, probablemente llegará al mismo tiempo en los principales índices europeos, reforzando así la sensación de fortaleza global en la renta variable. Eso sí, bajo la superficie del mercado hay una realidad algo diferente. No todos los valores están acompañando estas subidas. De hecho, muchas compañías siguen mostrando debilidad, algunas acumulan caídas importantes y otras son incapaces de recuperar tendencia alcista. El comportamiento de los índices está siendo sostenido principalmente por los grandes valores de mayor capitalización, que son los que realmente están liderando el mercado y empujando a las bolsas hacia máximos.

En este Breve Espacio mi deseo e interés, se centra siempre en que los temas les provea elementos importantes para Reflexión

Conversamos con Javier Piedra Fierro, director ejecutivo de la Fundación Energía para Todos, sobre su estudio comparativo de precios sobre costos de calefacción residencial, ad portas del alza en las cuentas de la luz, y también considerando el alza de los combustibles.

…a través del pensamiento.

REFLEXIÓN DEL DÍA Piedra de Tropiezo - Smaily Rosario by #radiocristiana #versiculodeldia #deultimominuto #emisoracristiana©️ Radio Ebenezer RDConviértete en un supporter de este podcast: https://www.spreaker.com/podcast/radio-ebenezer-rd--3279340/support.ESCUCHAR RADIO 

REFLEXIÓN DEL DÍA Piedra de Tropiezo - Smaily Rosario by #radiocristiana #versiculodeldia #deultimominuto #emisoracristiana©️ Radio Ebenezer RDConviértete en un supporter de este podcast: https://www.spreaker.com/podcast/musica-cristiana--4958188/support.

REFLEXIÓN DEL DÍA Piedra de Tropiezo - Smaily Rosario by #radiocristiana #versiculodeldia #deultimominuto #emisoracristiana©️ Radio Ebenezer RDConviértete en un supporter de este podcast: https://www.spreaker.com/podcast/meditacion-del-dia--4064350/support.ESCUCHAR RADIO 

REFLEXIÓN DEL DÍA Piedra de Tropiezo - Smaily Rosario by #radiocristiana #versiculodeldia #deultimominuto #emisoracristiana©️ Radio Ebenezer RDConviértete en un supporter de este podcast: https://www.spreaker.com/podcast/tu-historia-preferida--4231678/support.ESCUCHAR RADIO 

REFLEXIÓN DEL DÍA Piedra de Tropiezo - Smaily Rosario by #radiocristiana #versiculodeldia #deultimominuto #emisoracristiana©️ Radio Ebenezer RDConviértete en un supporter de este podcast: https://www.spreaker.com/podcast/noticias-en-espanol--3690946/support.ESCUCHAR RADIO 

El director de Más de uno ha analizado el el auto del juez Calama contra José Luis Zapatero al mismo tiempo que ha repasado las declaraciones que hizo en la entrevista que le concedió en este programa.

¡Se acabó el silencio! Tras vencer a las sombras que intentaron apagarlo, Santiago Segovia reaparece con una salud envidiable y más fuerte que nunca en los estudios de Campus. No llegó solo: el legendario Josué Velázquez viajó exclusivamente para ser testigo de esta recuperación que muchos llaman "milagrosa". "Te ves mucho mejor, el semblante te cambió por completo", confesó Josué al verlo retomar el micrófono con la misma pasión de siempre. En este capítulo electrizante, ambos investigadores analizan los ataques que Santiago superó y lanzan una advertencia a quienes celebraron su caída: Santiago Segovia tiene para rato y la verdad apenas comienza a salir. ¡Mira las imágenes exclusivas de la convivencia con el equipo y descubre por qué este regreso tiene temblando a más de uno en el mundo de lo oculto! Hosted on Acast. See acast.com/privacy for more information.

En los albores de la civilización no había dos escrituras como se suele creer. Había tres. Esta tercera y misteriosa escritura, conocida por los expertos como «protoelamita», apareció en la meseta del antiguo Irán exactamente al mismo tiempo que las otras dos daban sus primeros pasos. Sin embargo, este sistema, que ha sido inexplicablemente ignorado por casi todo el mundo desde su descubrimiento en 1899 en la antigua ciudad de Susa, podría haber sido el más avanzado de los tres. Tan avanzado, de hecho, que representa un salto evolutivo espectacular en la historia de la humanidad, pero desapareció casi tan rápido como surgió. Los investigadores de la Universidad de Oxford, que llevan más de un cuarto de siglo enfrascados en digitalizar las 1.700 tablillas protoelamitas que existen, señalan que esta misteriosa 'tercera' escritura pudo haberse inspirado en el cuneiforme primitivo de la vecina Mesopotamia, a apenas unos cientos de kilómetros de distancia. No obstante, otros especialistas, como los de la Universidad de Reading en el Reino Unido, nos advierten de que esto no es tan sencillo. Ellos proponen algo aún más fascinante: que las tres escrituras nacieron de forma independiente y paralela, heredando símbolos de sistemas más rudimentarios de la Edad de Piedra, símbolos prehistóricos que ya circulaban por el suroeste de Asia. Ninguna copió a la otra; todas bebieron de un ancestro común. Además, todo apunta a que el protoelamita era un silabario avanzado. Si aceptamos que la verdadera escritura es aquella que codifica el habla, entonces los antiguos iraníes inventaron la primera escritura real de la humanidad.

Descubramos el misterio de la Piedra de Cochno, una roca grabada de 5,000 años de antigüedad en Escocia cubierta con Intricadas espirales y figuras de taza y anillo que nadie comprende por completo. Descubierta hace más de un siglo, ha sido calificada como uno de los mayores hallazgos arqueológicos de Gran Bretaña, sin embargo, curiosamente, los científicos decidieron volver a enterrarla tras desenterrarla. ¿Por qué esconderían una pieza de historia tan notable? ¿Fue para protegerla o hay algo más misterioso bajo la superficie? Únete a nosotros mientras exploramos la historia, el simbolismo, y las teorías detrás de esta antigua obra maestra. Learn more about your ad choices. Visit megaphone.fm/adchoices

Descubramos el misterio de la Piedra de Cochno, una roca grabada de 5,000 años de antigüedad en Escocia cubierta con Intricadas espirales y figuras de taza y anillo que nadie comprende por completo. Descubierta hace más de un siglo, ha sido calificada como uno de los mayores hallazgos arqueológicos de Gran Bretaña, sin embargo, curiosamente, los científicos decidieron volver a enterrarla tras desenterrarla. ¿Por qué esconderían una pieza de historia tan notable? ¿Fue para protegerla o hay algo más misterioso bajo la superficie? Únete a nosotros mientras exploramos la historia, el simbolismo, y las teorías detrás de esta antigua obra maestra. Learn more about your ad choices. Visit megaphone.fm/adchoices

REFLEXIÓN DEL DÍA Piedra de Tropiezo - Smaily Rosario by #radiocristiana #versiculodeldia #deultimominuto #emisoracristiana©️ Radio Ebenezer RDConviértete en un supporter de este podcast: https://www.spreaker.com/podcast/radio-ebenezer-rd--3279340/support.ESCUCHAR RADIO 

REFLEXIÓN DEL DÍA Piedra de Tropiezo - Smaily Rosario by #radiocristiana #versiculodeldia #deultimominuto #emisoracristiana©️ Radio Ebenezer RDConviértete en un supporter de este podcast: https://www.spreaker.com/podcast/musica-cristiana--4958188/support.

REFLEXIÓN DEL DÍA Piedra de Tropiezo - Smaily Rosario by #radiocristiana #versiculodeldia #deultimominuto #emisoracristiana©️ Radio Ebenezer RDConviértete en un supporter de este podcast: https://www.spreaker.com/podcast/meditacion-del-dia--4064350/support.ESCUCHAR RADIO 

REFLEXIÓN DEL DÍA Piedra de Tropiezo - Smaily Rosario by #radiocristiana #versiculodeldia #deultimominuto #emisoracristiana©️ Radio Ebenezer RDConviértete en un supporter de este podcast: https://www.spreaker.com/podcast/tu-historia-preferida--4231678/support.ESCUCHAR RADIO 

La industria del mountain bike está en uno de esos momentos que marcan época. Nuevos lanzamientos, cambios de estrategia y una pregunta que lo condiciona todo: ¿estamos a las puertas de la revolución de las 32 pulgadas?En este episodio nos metemos de lleno en uno de los debates más calientes del momento. Analizamos a fondo lo que hay detrás de bicicletas como la Specialized Epic 9, la Canyon Lux World Cup CFR o la Giant Anthem Advanced SL, y tratamos de entender por qué las marcas están abandonando la segmentación entre XCO, XCM y Trail para volver a un modelo único, más versátil y más eficiente.Pero lo realmente interesante va más allá del producto.Hablamos largo y tendido de la posible llegada de las ruedas de 32 pulgadas, repasando todas las señales que apuntan a un cambio inminente: desarrollos de marcas, movimientos en competición, decisiones de la UCI y primeras victorias en carreras de máximo nivel. ¿Estamos ante otro cambio de paradigma como el que vivimos con las 29”? ¿O todavía queda camino por recorrer?Además, en este episodio:• Nos metemos en el barro con lo ocurrido en la primera prueba de la Copa del Mundo de XCO en Korea, una carrera atípica que ha generado muchas críticas dentro del pelotón.• Hacemos la previa de la Copa del Mundo de XCM en Capoliveri, una de las citas más importantes del calendario.• Analizamos todo lo sucedido en Traka (Girona), uno de los eventos más grandes del gravel mundial, con polémicas incluidas y declaraciones de Nino Schurter sobre la seguridad en carrera.• Os contamos nuestro calendario de carreras hasta final de temporada, con todo lo que se viene en BiciLAB.Y además, tenemos dos conversaciones muy especiales con organizadores de carreras que sentimos muy nuestras:Charlamos con Álvaro, de Wineland Cycling, para conocer desde dentro uno de los eventos que más está creciendo en el panorama nacional.

Vivir el mes de mayo como un tiempo de cercanía con la Virgen María, no solo como tradición, sino como relación viva. Acudir a María es un camino hacia Cristo, que podemos concretar en pequeños actos diarios de confianza y oración. Con apoyo en la Biblia y tradiciones mexicanas, ofrecer cada día como una “piedra preciosa” para la corona de María al final del mes.

Antes del milagro… hay una acción.En este episodio descubrirás que hay obstáculos que Dios no removerá por ti. Tu obediencia prepara el terreno para lo que Él quiere hacer.Si sabes que hay algo que necesitas cambiar,este mensaje es para ti.

Repasamos la victoria del Rayo Vallecanos sobre el Estrasburgo, que les sirve para llegar a la vuelta con la mínima ventaja. 

En este episodio de El Café de la Lluvia exploramos la fascinante historia del Templo de Debod, uno de los monumentos más singulares de Madrid y testigo de más de dos mil años de historia. Desde su origen en la Baja Nubia, donde fue erigido por el rey meroíta Adijalamani, hasta su dedicación a los dioses Amón de Debod e Isis de Filae, recorremos su evolución: de santuario egipcio a espacio cristianizado, refugio caravanero y lugar cargado de simbolismo. Analizamos también el momento clave de su historia: la amenaza de desaparición bajo las aguas tras la construcción de la gran presa de Asuán en los años 50. Gracias al llamamiento de la UNESCO y la participación de la Misión Arqueológica Española en Nubia, dirigida por Martín Almagro, el templo pudo ser salvado. Piedra a piedra, desmontado, numerado y trasladado a Madrid, el templo fue inaugurado en 1972, convirtiéndose en un símbolo de cooperación internacional. Finalmente, abordamos los retos actuales de conservación: el impacto del clima, la contaminación y el turismo, así como el debate sobre su necesaria musealización. Un viaje apasionante entre arqueología, historia y patrimonio. ☕ Hazte socio/a de El Café de la Lluvia y forma parte de nuestra comunidad: https://elcafedelalluvia.com/hazte-socio-a-de-el-cafe-de-la-lluvia/ Escúchanos y léenos en nuestra web: https://elcafedelalluvia.com/ ▶️ Suscríbete a nuestro canal de YouTube: https://www.youtube.com/c/ElCafédelaLluvia Recibe nuestros contenidos en tu correo: https://elcafedelalluvia.com/suscripcion-newsletter/ Síguenos en redes sociales: Twitter: https://twitter.com/cafelluvia Instagram: https://www.instagram.com/elcafedelalluvia/ Facebook: https://www.facebook.com/Cafedelalluvia Tu apoyo nos ayuda a seguir dando voz a la cultura, la literatura y el pensamiento crítico. Gracias por acompañarnos ☕✨

Sarah Wortman has always loved to travel and long dreamed of buying a home and retiring in Italy. When she and her husband, Lahab, began searching for a property in Tuscany, they repeatedly came up empty-handed. After one particularly disappointing attempt, Lahab reminded Sarah that he actually preferred Spain—a country she had never visited. To help her explore the idea, Lahab arranged for Sarah to travel to Spain with her best friend, with an agreement: if she liked it, they would shift their home search there. It didn't take long for Sarah to fall in love with Spain. During the trip, she began touring properties, and despite Lahab not being there in person, the couple ultimately decided to purchase one. They will soon be making the move. Learn more about how Sarah's dream retirement took an unexpected turn from Italy to Spain on Episode 225 of Retire There with Gil & Gene. #retiretherepodcast #fuentedepiedra #andalucia #spain #lagunadefuentedepietra #fuentedepiedralagoon #flamingos #retirewhere #retireabroad #retirehere #wheretoretire Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Conocemos la actualidad del mañana de la mano de El Mundo Today

Conocemos la actualidad del mañana de la mano de El Mundo Today

Sus habitantes dormían en los tejados. Pasaban el día metidos en agua. Pero aquella isla pérsica y de calor infernal era la garita del mundo, la aduana de 1580.

¿Es el final de la diplomacia? ¿El inicio de un conflicto global? ¿O el último farol del presidente estadounidense? El ultimátum de

La periodista de Más de uno ha señalado cómo las amenazas del presidente de Estados Unidos para hacer "volver a la Edad de Piedra" al país persa no coinciden con su promesa de liberarlos que hizo al comenzar la guerra.

Host Ron Estefan talks with Trial Lawyers College grads Andy Delaney and Jack De La Piedra about their March 2026 Florida trial: an 87-year-old nursing-home resident's preventable decline, the family's loss, and a $6M jury verdict. They break down the case-building choices that made jurors care — immersive openings, surgical cross-examination, and a short, human closing — and share practical TLC-inspired lessons for trying cases where dignity at the end of life is on the line.

El discurso de Trump del miércoles pasado, lejos de ofrecer claridad sobre la guerra contra Irán, mostró a un hombre confuso, contradictorio e incapaz de articular un objetivo coherente. Durante diecinueve minutos soporíferos, el se repitió, perdió el hilo y hasta estuvo a punto de pronunciar mal el nombre del Estrecho de Ormuz. Nada de lo que dijo resulta gracioso, porque lo que está en juego es demasiado serio. Las contradicciones son de manual. Trump proclamó que ya se han alcanzado los objetivos de la guerra y que en Irán se ha producido un «cambio de régimen», pero al mismo tiempo anunció unas semanas más de bombardeos para llevar al país «a la Edad de Piedra». Mientras tanto, Teherán controla el Estrecho de Ormuz con más firmeza que antes de que empezaran los ataques, y EEUU no parece tener respuesta para ello salvo fingir indiferencia. El equipo que rodea al presidente no ayuda. Rubio ha abandonado cualquier instinto moderador para limitarse a repetir la belicosidad del jefe, llegando al extremo de dar lecciones a Irán sobre el gasto en armamento sin advertir que la misma crítica aplica a Estados Unidos. Hegseth, por su parte, es la encarnación del fanfarrón siempre dispuesto a adular al presidente a costa de reducir el margen de maniobra del país. El daño acumulado es considerable. Trump ha alienado a los aliados, dinamitado la OTAN, amenazado a Canadá y Groenlandia y humillado públicamente a socios como Japón y Arabia Saudí. Ahora les pide que vengan a limpiar el desastre que él ha creado. Lo que en otro tiempo pudo venderse como la «teoría del hombre loco» se revela hoy por lo que probablemente siempre fue: simple incapacidad. Un líder impulsivo y vanidoso que erosiona aceleradamente la legitimidad de Estados Unidos y empuja al mundo hacia una era de mayor violencia y menor orden. · Canal de Telegram: https://t.me/lacontracronica · “Contra el pesimismo”… https://amzn.to/4m1RX2R · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #trump #iran Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Hoy escucharemos al Padre @pjuanruizjlc compartir su reflexión sobre el evangelio según San Lucas 1,26-38. Podcast producido por New Fire (@benewfire).¡Te invitamos al congreso de masculinidad “FEARLESS” en Guadalajara, MX del 17 al 19 de abril, no te quedes fuera! Código de descuento: QUEHARIAJESUSwww.fearlessmasculinity.com