In order to do so, he had to break the linearity of rational discourse and introduce eccentric and distorted usages of language that may confuse and frustrate the unprepared reader in his apprehension of the poem as a whole. Furthermore, there is the need to acknowledge the fact that Roethke was working within the poetic complex of the human mind: As it will be noticed further on, these uncanny moments of uncertainty in relation to meaning are not present in all the poems in the series. However, this same absence is to be considered a qualitative feature of individual compositions that are inscribed within a sequence of formal and thematic concurrence.
The analysis will follow a dispositional order, as it is the one left by the same poet. On the one hand, although the poems enact a passage through the halls of memory towards a reconstituted sense of self, the journey is discontinuous and not just backwards. In this sense, it is true that there is a movement towards self- realization but one must be aware of the complexities therein.
This philosophical idea had a great impact in the late music of Robert Schumann. From on, the patterns of annihilation and redemption became an obsession for the German musician who was locked up in a mental institution and his works became a testimony of this primordial phenomenon Goethe had conceived. Enriched by the new formal discoveries of the latter,5 he developed what has been subsequently called the leitmotiv structure.
Conforming to this method, Wagner divided his operas into a series of themes that suffered various transformations along with the action of the drama, that is, with time. The idea is exposed, annihilated and then resurrected in a cyclic swing across the dark waters of time. Eliot studied the works of Wagner and tried to recreate the cycle of transformations and variations he had observed in his two most important books, The Waste Land and Four Quartets Hunting along the river, Down among the rubbish, the bug-riddled foliage, By the muddy pond-edge, by the bog holes, By the shrunken lake, hunting, in the heat of summer.
The shape of a rat? The lyrical persona establishes a dramatic situation at a crossroads of experience wood, bridge, river. After this, there is a violent break in the structure and in the narrative: It is useful to turn to Roethke for explanatory claims: A word or two about habits of mind or technical effects peculiar to this sequence. Much of the action is implied or, particularly in the case of erotic experience, rendered obliquely. Disassociation often precedes a new state of clarity. Nonetheless, the function of this passage is still to be elucidated and explained in detail.
In this sense, what this linguistic construct will do is to conceal and foreshadow the urges and anxieties of the adolescent world that pulses behind the rhymed bars of the stanza. On the other hand, from the point of view of structural function, the introduction of this kind of discourse could be interpreted as a return to an infantile state of mind. It is because of the contraposition of the pre-symbolic semiotic articulation with the conventional linguistic structures that the signifying process is made possible.
From this point of view, while infancy would be a time when the semiotic energy is much stronger and the subject is beginning to internalize the symbolic structures of his language, adolescence would represent the traumatic space of the crash between these two modalities. Nevertheless it is more gradual and less violent: A waiting ghost warms up the dead Until they creak their knees: So up and away and what do we do But barley-break and squeeze.
At this stage the lyric persona is not prepared to endure the company of the dead and protects himself against them with a different type of discourse. Nevertheless, the sexual tensions that haunt the self at this moment are not completely sublimated in a full regressive turn.
One could even consider this fragment as a dance, a musical transition that permits the regressive movement to the last stanza of the part, which expresses a change from an egotistic perspective to the curious questioning of the child that avoids individualization. Even in this last transition from adolescence to childhood, there seems to be a certain correspondence between the different states of mind and their linguistic counterparts.
I recognize that listener, Him with the platitudes and rubber doughnuts, Melting at my knees, a varicose horror. My nerves knew you, dear boy. In contrast with the other examples, the warmth the poet mentions might refer in this case to the prenatal state of the womb, from which the self is trying to be released: What more will the bones allow? In this way, the poem moves from the distress of the unborn to the impersonal nature of childhood. The rhythm is accelerated and the line is lengthened to a point where poetic form acquires the hues of interior monologue.
At this moment, the poem abandons any particular design or rhetoric and is overtaken by the fears and terrors of a mind that abandons itself to nightmare. Entrapped in these moors that extend over a deceptive and distorted past, the lost son encounters his father and is again unable to cope with its presence. He escapes through a viaduct and reaches a rock where he listens to a song: Pleasure on ground Has no sound, Easily maddens The uneasy man.
In this case, the interior drama in the previous stanza is contrasted with a song and an unknown presence pours over the troubled brow of the lost son. Who waits at the gate? From a psychological perspective, the powerful drives of the id are mirrored in the mesmerizing language of the song. A distinct linguistic deviation brings the reader close to tempos and moods of infancy and game. The poem enacts the already-known circular journey through infancy and adolescence. Due to this change, the language of the song loses its sharpness and becomes supportive and playful.
Even when the literal meaning of the lines remains inaccessible, it is because of the melodious character of its language that the self seems to take a decision: However, they maintain a dialogue with the past experiences of the poet. Theodore Roethke himself published his most important and autobiographical work, The Lost Son and Other poems, in Thus, the function of writing will depend of the use it is made of.
The Ringers in the Tower. Studies in Romantic Tradition. University of Chicago Press, The Philosophy of Literary Form. University of California Press, Revolution in Poetic Language. Columbia University Press, University of Massachusetts Press, On Poetry and Craft. Copper Canyon Press, The Collected Poems of Theodore Roethke.
El canto de las sirenas. The works selected in order to highlight the expression of this element in different cultures and literatures are: The enchanted portrait was adopted by the Romantics as a sign of their interest in the duality inherent in human beings, which they discovered. Hoffmann, Poe, magical, portrait, sinister, common. El retrato encantado The Grove El retrato del it. Hoffmann Los elixires del diablo y en el cuento William Wilson de E. El retrato animado es, por tanto, uno de esos elementos que ponen en duda hasta la consistencia del lector.
El inicio de estas dos historias parece estar movido por una aparente casualidad, pues en Poe el herido visitante llega en mitad de la noche a un misterioso castillo abandonado donde busca refugio. Por tanto, en ambos casos encontramos dos historias: Este ideal trasciende en cada una de sus creaciones, que lucen un brillo y resplandor inigualables. Una vez que la mujer ideal es alcanzada, su presencia se torna nefasta, pues como asevera Berthold: Aunque expuesto desde puntos de vista dispares, ambas obras nos revelan la incompatibilidad del Arte y la Vida, del ideal y la realidad que lo anula.
En ambos autores encontramos dos aspectos capitales del tema: El URL de este documento es: The Picture of Dorian Gray. Universitat Jaume I I quadri viventi di E. El protagonista se enamora del retrato de una joven vestida a la usanza medieval alemana. El artista se la lleva y la casa con un magistrado.
Trama y fondo 15 Hoffmann in the Tales of Edgar Allan Poe. Estudio comparado de su narrativa breve. Universidad de Castilla-La Mancha, Celia y Rafael Lupiani. El hombre de la arena, trece historias siniestras y nocturnas. Jourde, Pierre y Paolo Tortonese. Lecciones de literatura universal. Being tired of serving them, though, he does not hesitate to offer his service to Trinculo right after his arrival and will remind his willingness to serve Trinculo throughout the play.
Caliban wants Prospero dead and the newcomer is only expected to kill him in exchange for his joyful service. Ferdinand, on the other hand, is also forced to serve Prospero and his daughter Miranda soon after his arrival and until he falls in love with the lady. He is pleased with his new role as a love servant despite his noble origins. And as such, both Ferdinand and Caliban end up happily playing the role of the slave-in-exchange-for-joy despite their initially differentiated social positions.
In this sense, they both follow the same classical model pointed out in Eclogue II by Virgil which, at the same time, blurs the possible differences separating them. Caliban se ve forzado a servir a The Grove Por tanto, Ferdinand y Caliban terminan siendo esclavos a cambio de jugosas recompensas a pesar de sus posiciones inicialmente alejadas. Contradictorily enough, Prospero is an exiled, a refugee who takes the island for a place for tyranny. He reproduces there the same patterns of control that he is supposed to have left behind through exile. I must eat my dinner.
All the charms Of Sycorax, toads, beetles, bats light on you! He rules the climate and spirits of the air, Ariel included, and his magic has the power to negate anything that the eyes may see. Yet Prospero wants his daughter Miranda to get her lost in exile courtly position back through her marriage to Ferdinand, heir to the throne of Naples and recently arrived in the island through shipwreck Greenblatt, Ferdinand is son to King Alonso. But he falls in love with Miranda soon after his arrival, being that the reason why he is always pleased with the idea of serving her and her father despite his noble condition: Despite the differences pointed by Prospero and Miranda, though, the audience can now perceive Caliban and Ferdinand as two young heirs forced into slavery for love reasons.
Ferdinand is so in love with Miranda that he is happy to serve her and her father in exchange for her love favours. Caliban has been turned into a slave after he showed his intentions to marry Miranda openly. Both of them are young heirs turned into love slaves then. This means Caliban and Ferdinand and their love for Miranda. A given element in the generic space maps onto paired counterparts in the two input spaces. That is to say: In Blending Theory, structure from two inputs mental spaces is projected to a new space, the blend, here consisting of coincidental features characterizing both Caliban and Ferdinand.
They both are young heirs turned into love slaves. His noble condition given, Ferdinand wooes and worships Miranda as if he was at court despite the wilderness and the isolation of the island. She comes from court in spite of having been rised by Prospero in the island. As he tells his daughter: He does even show his willingness to serve her in exchange for her favour according to the Servitium amoris —Love service— convention: There be some sports are painful, and their labour Delight in set off; some kinds of baseness Are nobly undergone; and most poor matters Point to rich ends.
I must remove Some thousands of these logs and pile them up, Upon a sore injunction. In exchange, he only expects him to kill Prospero and get relieved from his oppression. In fact, he feels such a need for freedom that his speech resembles that of an insistent lover trying to convince his beloved to go with him and be his love: A plague upon the tyrant that I serve!
Wilt thou go with me? Come hither, lovely boy!
Description
My own hands will gather quinces, pale with tender down, and chestnuts, which my Amaryllis loved. Waxen plums I will add —this fruit, too, shall have its honour. You too, O laurels, I will pluck, and you, their neighbour myrtle, for so placed you blend sweet fragrance. Despite his desperate invitation and his catalogue of offerings, Trinculo cannot avoid thinking of him in terms of the money that he could make in case that he took him to England with him: There would this monster make a man- any strange beast there makes a man. When they will not give a doit to relieve a lame beggar, they will lay out ten to see a dead Indian.
I do now let loose my opinion, hold it no longer: Corydon concludes Eclogue II with the words: They do not only follow the same classical model despite their different cultural and social backgrounds. Prospero is to be killed so that Caliban can get the freedom he craves for. Trinculo always refers to Caliban throughout the play as: Ferdinand, on the other hand, is actually a courtly man in love with Miranda. His words can easily adopt the common structure of a love speech because the beloved is learned enough and ready for courtship despite her isolated life in the island.
But this speech works only as long as Miranda answers positively to his service and courtship and allows him to obtain her favour: I am, in my condition, A prince, Miranda; I do think a king- I would not so! Hear my soul speak: O heaven, O earth, bear witness to this sound, And crown what I profess with kind event If I speak true; if hollowly, invert What best is boded me to mischief: They both follow the same classical model pointed out in Eclogue II by Virgil when they try to get relieve and joy through service.
This author provides a whole bibliographical list con- cerning the relations of Virgil and The Tempest. The New Cambridge Shakespeare: Cambridge University Press, Harvard University Press, The Way We Think: A Study in Literary Pragmatics. Mouton de Gruyter, Oxford University Press, Shakespeare Quarterly 55 Sostengo que hay un papel para la literatura en los estudios sobre la discapacidad. I had begun, in short, to colour in the map of the world with the hues and tints of literature.
Which does two things at least. The other is to tell you about societies, countries, classes, ways of living. A bad book cannot tell you about people — only about the author. She has tackled many socio-political issues in a variety of literary genres, and in The Diary of a Good Neighbour she produced a text which deals with the questions of ageing and the treatment of the elderly in our Western society, without resorting to sentimentality and pathos. In this novel, Lessing addresses the situation of some very elderly women in London, suffering from varying degrees of age- related disability.
But what does the term mean? The social model of disability locates the changing character of disability, which is viewed as an important dimension of inequality, in the social and economic structure and culture of the society in which it is found, rather than in individual limitations. Nonetheless, she is convinced of the rightness of disability studies being applied to literature. One obvious area of overlap between these two areas is that literature can encourage empathy, by enabling readers to understand different points of view.
Rather than focusing on sociology or social policy, as much of UK disability studies writing has done, a critical disability studies involves reconnecting with social science and humanities disciplines. It offers a means of moving beyond tired debates for and against the social model, while still recognising the debt owed to the activism of disabled people. Cheyne Clearly, there is a battle going on within disability studies, and the question of the role of literature within this discipline is being debated.
However, within literature, writers may contribute to the aims of this movement despite being able-bodied themselves. Where the physical impairment and societal disability linked with old age are concerned, novelists like Lessing who are concerned with social issues can draw on the personal experiences of their friends and family as well as their awareness that most of us will experience these problems in the future, if we live long enough. If the Young Knew Shortly before it goes to press, she realises that there are no images of old women and shocks her female editor by mentioning this omission.
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Then she, as it were, switched herself off, became vague, and her eyes turned away from me. As we shall see, the pathos and sentiment inherent in this story are diverted into a text within a text, The Milliners of Marylebone, which is the novel that Janna writes, rather than being exploited within The Diary of a Good Neighbour. The social model claims that people are not disabled by some inherent mental or physical impairment, but rather that they are oppressed by societal barriers.
Davis 54 She quotes Tom Shakespeare as making the point that, despite the political force of stressing the similarities between the disabled and other oppressed groups, this approach can lead to a refusal to acknowledge the range of impairments that people may suffer, not all of which can be solved by social and physical arrangements. Also, it is a truism that although nobody can avoid getting old, the ageing process is likely to be harder for elderly people who are also impoverished, living in sub- standard housing and without access to quality care.
No doubt this is true, but in she asserted that there was also another reason: Speaking of herself and a friend, Julia, she writes: We had both sailed through our forties with very little awareness of growing older. We had each buried a parent; she had shed a husband, but we had both remained at the centre of the life that we had built. Suddenly something was slipping away so fast that we had not had time quite to register what it might be. Middle-age and old age are both portrayed in The Diaries of Jane Somers, in which Lessing writes about four years in the life of Janna a.
Jane Somers, a forty-nine-year-old journalist, after she befriends a woman in her nineties, called Maudie Fisher, who is living in poverty and is suffering from increasing frailness and an inability to cope unaided. Presumably, the same would be true for Doris Lessing and her elderly friends. Virginia Tiger and Gayle Greene both discuss the ways in which Lessing used her own mother as a model for the characters of Janna and Maudie, and the extent to which Lessing seems to be reassessing her mother from a more positive standpoint than she did in youth and middle age.
Greene Certainly, as the author ages, she seems more able to empathise with her mother, who provided her with certain traits for the characters of Janna as well as Maudie. No, Jane Somers is not my mother, but thoughts of women like my mother did feed Jane Somers. On the other hand, Janna is aware of being emotionally barren despite her professional success. She has no life outside her work and most of her memories lead to a regretful reassessment of her past. She failed her husband and her mother when they needed her and now recognises that she has never really grown up emotionally.
Her life has been a series of tragedies, and yet her tales of the past tend to focus on discrete moments which were happy: On the other hand, she also reveals how ephemeral each of these moments was and how precarious her happiness. These stories serve to furnish Janna with ideas for her journalism and a burgeoning career as a novelist.
One could argue that, at the beginning of the novel, while Maudie is impaired and disabled in the physical and social senses, Janna is emotionally impaired.
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It is this aspect which brings the novel into the area of disability studies. Relevant to the question of disability studies is the fact that Lessing lived with the presence of physical disability throughout her childhood and adolescence. Later on, he suffered from diabetes. Lessing has said that she wanted to use the narrative voice of somebody like Janna Somers because she needed it to be written: It has become more and more tiring for her to do the shopping, look after her home and care for herself.
It is a minor quibble, as it is true that their living conditions do serve to emphasise all their differences, but in fact, they are neighbours, and so do not live in the West and East end respectively. The houses have also fallen on hard times. In fact, the houses are a metaphor for the aging process. This also relates to the fact that the young and healthy of today will be the disabled elderly of tomorrow. Maudie has no bathroom, just a cold toilet at the end of the corridor. She can no longer keep herself clean, or wash her clothes, so her skin becomes grimier and grimier, while she shoves clothes back into the drawers unwashed, wearing them again another day.
However, she resolutely refuses to be re-housed or to have the Social Services send in a Home Help. Here, of course, is the crux of Disability Studies. A physical disability renders the sufferer physically powerless and subject to the humiliation of having to depend on others. Maudie is willing to accept help from Janna because she is her friend, neither a paid helper nor a representative of the Medical and Social Services establishment. In effect, Janna has become her family. Also, the younger woman comes to understand how important it is for Maudie to stay in her home: I am housed, says she, cough, cough, cough from having to go out at the back all weathers in the freezing lavatory, from standing to wash in the unheated kitchen.
But why do I say this? Women of ninety who live in luxury cough and are frail. There is no bathroom, so the old woman must stand in the living-room, leaning heavily against the table for support while she is washed. Moreover, if we enjoy good health we rarely stop to consider how fragile the line is between our mobility and possible immobility.
Janna discovers this when she suffers from lumbago. The QOL Quality Of Life study was based on several indicators such as the Barthel Index6 which measures self-care and mobility skills , income, age, marital status, activity and a Life Satisfaction questionnaire in order to discover which variables were the most accurate in predicting the QOL of the elderly disabled. This is unsurprising, but the following comment merits some attention: Although functional capacity is not a good predictor [of QOL] among young, able-bodied persons who take good health and high capacity for granted, it is an important factor among the disabled.
One of the biggest problems is that we often fail even to notice the presence in our society of these social groups. Old men, too, but mostly old women. They walked slowly along. They stood in pairs or groups, talking …I had not seen them. That was because I was afraid of being like them. Ignorance and fear give rise to a willingness not to see, not to become involved and even to be cruel. In this way, Lessing immediately addresses an important issue for the elderly and the disabled: The question of medication is also raised in the account of another elderly lady who is battling with illness, Eliza Bates, whose Home Help is: Although the nurses and social workers are all female in this book, the doctors are male and, often, overbearing in their treatment of the elderly.
Despite her having said that Maudie was not prepared to be examined in front of students, this is what the doctor tries to impose on her. Large many-windowed room, the table of Authority, the big doctor, the many students. She is told that she is suffering from a stomach ulcer, although really it is cancer. An undercurrent of the novel is the theme of how much to tell the sick and their carers.
The nurse is angry. Her discipline makes it impossible for her to exchange a glance with me, but we vibrate with understanding. Because, of course, it is the nurses who monitor, the changes of need, of mood, of the patients, and the doctors appear from time to time, issuing commands. It is a question that, implicitly, other characters ask Janna, as they fail to understand her interest in or affection for Maudie or for the other elderly women she later befriends. By extension, it can be applied to all of those people who suffer from some kind of disability that marginalises them.
One way to develop these recalibrated measures, she suggests, is by initiating new circuits of reciprocal exchange across the perceived boundaries of generation and class.
Fumagalli Historia Completa Cuento Macabro pag 4
Port One could add, the boundaries between the able-bodied and the disabled, carers and non-carers. People who work in Disability Studies are usually activists for a fair deal for the disabled, and the role of literature can be both a vehicle for information and a means of helping us empathise with others. Lessing makes the point that disability not only affects the elderly whose place we shall take, if we live long enough but also the young like paralysed Hilda Brent and the middle-aged who take their able-bodied condition for granted, until some accident incapacitates them.
In The Diary of a Good Neighbour, Lessing opens a window on the lives of both the disabled and of their carers. As a result, both the young and the not so young may know a little more. In both novels were published together in one volume: It is this edition which is referred to in this article. Both deal with the use of medication to control those who are believed to be subversive in some way: One of her key themes is this constant inquiry as to how things really work, who is really in charge.
It crops up in her analysis of the functioning of the magazine that Janna is editor of, and also appears with reference to the Social Services in The Diary of a Good Neighbour. She is clearly arguing for more understanding and better resources for social workers, but also compares the conditions of the s very favourably with the dire poverty and neglect of earlier periods. Journal of Literary and Cultural Disciplinary Studies 3.
Hastings Center Report Mar-Apr. University of Tennessee The Diaries of Jane Somers. Penguin Books, Doris Lessing Newsletter Textualizing the Phases of Life Ed. Journal of Gerontology American Literary History Spiritual Exploration in the Works of Doris Lessing. This blend of the historical and the aesthetic is one of the many amalgamations that are achieved in his texts.
In terms of both form and ideology his work is characterized by syncretism. In form, all novels he has published to date overstep the boundaries among genres, as well as the gulf between academic and popular culture; in ideology, Reed supports multiculturalism as an expression of the plurality that constitutes US society. Voodooism incorporates the language, mythologies, rituals, folklore, and knowledge of many cultures that came to the New World as a result of the slave trade.
Yet, although most of its symbols and images originated in western Africa, it is actually a phenomenon characteristic of the Americas. The Haitian voodoo pantheon is divided into two classes of deities: According to Hurston , Rada deities come from Dahomey and are benevolent gods commanded by Damballah the supreme mystery whose symbol is the serpent. Petro gods, conversely, are said to come from the Congo and have the power of evil.
The most popular Petro deities are the three Barons: Unlike other religions, voodoo lacks a complex hierarchy of celebrants. Offerings generally consist of food, alcohol, and animals that are given to the loas to appease them and win their favors. Dances are performed in the center of the temple to the rhythm of drums.
As a result of the slave trade, voodooism arrived in the United States through New Orleans. The form practiced in North America is known as hoodoo, and it reached its peak during the s. Because it adds elements of North American culture to the already hybrid Haitian rites, hoodoo represents one more step in the syncretic tradition of voodoo. Its center, New Orleans, is also a multicultural paradigm, since its cultural personality was formed by the blend of French, Spanish, North American, and African American traditions. In spite of the secretive character of its practices, hoodoo pervades the culture and folklore of the city, from its gastronomy to its music, as well as its festive carnivals.
Indeed, they have survived under new forms, one of which is Neo-HooDoo. With this label, Reed refers to the contemporary manifestations of hoodoo that are the result of the blending of its beliefs and practices with US popular culture. In music, Charlie Parker is, for Reed, a prime example of the Neo-HooDoo artist as an innovator and improviser; to his name Reed adds a long list of jazz, blues, and rock-and-roll musicians.
The Neo-HooDoo world view, in contrast, values dissension and syncretism on all possible levels. In opposition to the Western manipulation of the environment, Neo-Hoodoism advocates absolute respect for Nature. If there is one single element that clearly stands out in this early narrative experiment, it is the use of satire and parody. At this early stage of his career, Reed focuses on a satiric portrayal of nineteen- sixties US history and literature. From a historical point of view, the satirical component of the novel is aimed at two main targets: US political institutions, and certain sectors of the black community.
As a satire of political power, Pallbearers criticizes the monolithic power structures embodied by Harry Sam, who rules omnipotent over a wasteland. Spellman, a veiled allusion to what Reed considers the repressive power of writing codes. However, unlike Pallbearers, which takes place in the sixties, in Radio the action is set in the far West during the nineteenth century. The work presents the adventures of Loop Garoo Kid, a black cowboy initiated into the secrets of voodoo, who must confront the aggression of tyrannical landowner Drag Gibson and his underlings in the army Field Marshal and in Congress Pete the Peek.
Radio valorizes, for example, the presence of blacks in the expansion of the US frontier and the importance of African heritage in the cultural tradition of the Americas. Reed contrasts the tolerant syncretism of African American culture with the exclusive and authoritarian ideology of the US establishment, represented in the novel by capitalism and Christianity. You are given to fantasy and are off in matters of detail. No one says a novel has to be one thing. It is in his following novel, Mumbo Jumbo , that Reed systematizes his historical view of the black world.
Through a complex detective plot, Mumbo Jumbo allegorizes the search for a genuinely African American aesthetics. Literary elements coexist alongside an array of visual paratextual materials, such as photographs, posters, drawings, graphics, symbols, Tarot cards, telegrams, party invitations, headlines, and newspaper clippings. Mumbo Jumbo conveys the impression of an interdisciplinary collage and, in this way, informs the reader that the novel does not only refer to the literary tradition, but also includes a multifarious cultural context.
The bulk of the novel is framed by a prologue chapter 1 and an epilogue. After this false beginning, the novel lists its credits and provides a group of epigraphs that announce future events. Toward the end, it closes with an epilogue in which the action returns to the time when the novel was written, and several of the central motifs are recapitulated. Tot Books July 4, Publication Date: July 4, Sold by: Not Enabled Enhanced Typesetting: Enabled Amazon Best Sellers Rank: Share your thoughts with other customers.
Write a customer review. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers. Learn more about Amazon Giveaway. Los cuentos sin censura Ilustrados y con anotaciones: Macabros cuentos de hadas Spanish Edition. Set up a giveaway. There's a problem loading this menu right now. Learn more about Amazon Prime. Get fast, free shipping with Amazon Prime. Born and raised in Puerto Rico, his native language is Spanish. Developed an affinity for English as he discovered the worlds of literature and film.
Resided in Los Angeles for fifteen years before returning to the Pittsburgh area, where he lives with his wife and two children. The characters of his fiction inhabit familiar and strange places—places of his early years, places he has been through, bright expanses of earth and darkened corners of a universe that remains a mystery.
People mingle with monsters and robots and apparitions, converging, crashing, going off to discover new things on their own. His characters haunt him and give him joy. In return, he rummages inside of his mind as often as he can, attempting to expose what is in his heart, exploring life and death and love and hate, seeing what may come from a wanderer living in a still-strange environment far from his geographic home Tony has contributed to Resonancias, an online Spanish literary magazine out of France.