Here are 100 books that Gertrude Blom fans have personally recommended if you like
Gertrude Blom.
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I've taught Latin American literature for many years and in many different ways, but there's one thing that has never changed. I always combine our study of literature with relevant works of visual arts, and particularly with paintings and photographs. Don’t we all move naturally among different media—different forms of expression, different ways of seeing—to understand our world? An interdisciplinary approach allows us to explore the many ways that we imagine and represent reality. Photography is a wide-ranging way to know Latin America. For this reason, I recommend that you pay close attention to the rich traditions of Latin American photography. Mix and match media, and you’ll understand the world in new and different ways.
Graciela Iturbide (b. 1942) is Mexico’s most important living photographer.
Her photographs document indigenous and mestizo groups on the isthmus of Tehuantepec, including photos of Frida Kahlo dressed in the blouses (huipiles) of the women of Tehuantepec, who are known for their strength. Her work offers insights into the daily lives and customs of the Seri, Juchitán, and Mixtec people: their exuberant fiestas, processions, and most importantly, their daily lives.
She depicts animals, birds, and plants with as much sensitivity as she does people, always callng attention to the relationship of her subjects to natural phenomena. The photographs in this book were exhibited at the Museum of Fine Arts, Boston, and there are a number of other books of Iturbide’s photographs if this one isn’t available. Her images will take your breath away.
The first book to focus on Graciela Iturbide's photographs of Mexico, capturing all of its beauties, rituals, challenges, and contradictions.
Graciela Iturbide, best known for iconic photographs of indigenous women of Mexico, has engaged with her homeland as a subject for the past fifty years in images of great variety and depth. The intensely personal, lyrical photographs collected and interpreted in this book show that, for her, photography is a way of life - as well as a way of seeing and understanding Mexico, with all its beauties, rituals, challenges, and contradictions.
I've taught Latin American literature for many years and in many different ways, but there's one thing that has never changed. I always combine our study of literature with relevant works of visual arts, and particularly with paintings and photographs. Don’t we all move naturally among different media—different forms of expression, different ways of seeing—to understand our world? An interdisciplinary approach allows us to explore the many ways that we imagine and represent reality. Photography is a wide-ranging way to know Latin America. For this reason, I recommend that you pay close attention to the rich traditions of Latin American photography. Mix and match media, and you’ll understand the world in new and different ways.
The Mexican Revolution was photographed by many photographers, foreigners as well as Mexicans, whose photographs were collected by news agencies and distributed immediately in newspapers, sometimes even as the fighting was going on. Their photos record defining moments in Mexico’s history, and offer portraits of its participants: soldiers and camp followers (women and children), as well as iconic leaders Pancho Villa and Emiliano Zapata, among others.
I love this book because it is written by a woman who lived her whole life in Mexico, experienced events of the Revolution, and knew many of its participants. Her personal account is accompanied by 184 photos that enhance her text and make events and people come alive.
The importance of this Revolution cannot be exaggerated. It engulfed much of Mexico for at least two decades (1910-1930), and claimed between 2 and 3.5 million lives. Troops advanced on horseback and trains, in dusty fields…
The Mexican Revolution began in 1910 with the overthrow of dictator Porfirio Diaz. The Wind That Swept Mexico, originally published in 1943, was the first book to present a broad account of that revolution in its several different phases. In concise but moving words and in memorable photographs, this classic sweeps the reader along from the false peace and plenty of the Diaz era through the doomed administration of Madero, the chaotic years of Villa and Zapata, Carranza and Obregon, to the peaceful social revolution of Cardenas and Mexico's entry into World War II.
I've taught Latin American literature for many years and in many different ways, but there's one thing that has never changed. I always combine our study of literature with relevant works of visual arts, and particularly with paintings and photographs. Don’t we all move naturally among different media—different forms of expression, different ways of seeing—to understand our world? An interdisciplinary approach allows us to explore the many ways that we imagine and represent reality. Photography is a wide-ranging way to know Latin America. For this reason, I recommend that you pay close attention to the rich traditions of Latin American photography. Mix and match media, and you’ll understand the world in new and different ways.
Having read The Winds that Swept Mexico and seen the amazing photographs in that book, you’ll want to know more about the photographers who risked their lives to accompany Mexican troops in battle and in haphazard camps waiting for something to happen.
This book includes many photographs, but focusses on the history of the Revolution as shown in those photographs, and the processes of photography itself: how photographers worked in the early twentieth century in the midst of war, and how their photographs were collected and published as the Revolution raged on.
John Mraz is an excellent “visual historian.” I admire the way he explains how photographers got their “shots” of mounted revolutionaries and battles and camp followers—the sweethearts and wives and children who followed the troops, cooked for them, and sometimes tended to their wounds.
Mraz also explains how their photographs became instant propaganda for particular leaders and causes—and…
The Mexican Revolution of 1910-1920 is among the world's most visually documented revolutions. Coinciding with the birth of filmmaking and the increased mobility offered by the reflex camera, it received extraordinary coverage by photographers and cineastes-commercial and amateur, national and international. Many images of the Revolution remain iconic to this day-Francisco Villa galloping toward the camera; Villa lolling in the presidential chair next to Emiliano Zapata; and Zapata standing stolidly in charro raiment with a carbine in one hand and the other hand on a sword, to mention only a few. But the identities of those who created the thousands…
I've taught Latin American literature for many years and in many different ways, but there's one thing that has never changed. I always combine our study of literature with relevant works of visual arts, and particularly with paintings and photographs. Don’t we all move naturally among different media—different forms of expression, different ways of seeing—to understand our world? An interdisciplinary approach allows us to explore the many ways that we imagine and represent reality. Photography is a wide-ranging way to know Latin America. For this reason, I recommend that you pay close attention to the rich traditions of Latin American photography. Mix and match media, and you’ll understand the world in new and different ways.
Photographs pretend to replicate the real, as do literary fictions, and yet both media also create their own “realities”.
This book explores how photographs, placed in fictional narratives, can distort and deceive characters (and the reader) or, to the contrary, illustrate and illuminate the story. Photographs in the hands of writers can create alternative “realities” within the fictional world or reveal the truth!
A primary example of the use of photography in fiction is the Argentine writer Julio Cortázar’s famous story “Blow up,” which was made into a movie—now a classic—directed by Michelangelo Antonioni. In Dan Russek’s book, we see a number of such “mixed media” fictions.
I love Latin American photography, and I love seeing how Latin American novelists engage this powerful medium for their own literary purposes.
Textual Exposures: Photography in Twentieth Century Spanish American Narrative Fiction examines how twentieth-century Spanish American literature has registered photography's powers and limitations, and the creative ways in which writers of this region of the Americas have elaborated in fictional form the conventions and assumptions of this medium. While the book is essentially a study of literary criticism, it also aims to show how texts critically reflect upon the media environment in which they were created. The writings analyzed enter a dialogic relation with visual technologies such as the x-ray, cinema, illustrated journalism, and television. The study examines how these technologies,…
I accidentally fell in love with Latin America, a love that has lasted my lifetime. When I was young, I lived in a Dominican neighborhood in New York, learning Spanish from my neighbors. After I graduated from Columbia Graduate School of Journalism I got a job covering the Cuban community in New Jersey because I spoke Spanish. Eventually I ended up living in Colombia and then Managua as a foreign correspondent. Now I edit a magazine at Harvard about Latin America. It's not just the news that interests me; I love the cadence of the language, the smell and taste of its varied cuisine, the warmth of the people, the culture, and, yes, soccer.
This book reads like a thriller. The first time I read it, I just couldn't put it down. And every time I reread it, as history unfolds in Latin America, I see how this classic book about the U.S. overthrow of the legitimately elected government in Guatemala in 1954 is actually describing the fundamental basis of intervention in the Cold War that laid the ground for so many of the region's dictatorship.
Bitter Fruit is a brilliant piece of investigation and a story well-told.
Bitter Fruit is a comprehensive and insightful account of the CIA operation to overthrow the democratically elected government of Jacobo Arbenz of Guatemala in 1954. First published in 1982, this book has become a classic, a textbook case of the relationship between the United States and the Third World. The authors make extensive use of U.S. government documents and interviews with former CIA and other officials. It is a warning of what happens when the United States abuses its power.
K. Lee Lerner is an author, editor, and producer of science and factual media, including four editions of the Gale Encyclopedia of Science and the Encyclopedia of Espionage, Intelligence, and Security. His expansive writing on science, climate change, disasters, disease, and global issues has earned multiple book and media awards, including books named Outstanding Academic Titles. An aviator, sailor, and member of the National Press Club in Washington, his two global circumnavigations and portfolio of work in challenging and dangerous environments reveal a visceral drive to explore and investigate. With a public intellectual's broad palate and a scientist's regard for evidence-based analysis, Lerner dissects and accessibly explains complex issues.
June Carolyn Erlick, editor-in-chief for ReVista, the Harvard Review of Latin America, casts a seasoned journalist’s eye on the 1980 abduction of Guatemalan journalist Irma Flaquer. Returning home, Flaquer was pulled from her car and was never seen again. Flaquer, a popular and respected journalist with an influential column, Lo Que Otros Callan or "What Others Don't Dare Write", was also the founder of the first Guatemalan Human Rights Commission. Throughout her career, Flaquer survived beatings, car bombs, and drive-by assassination attempts that did not daunt her from doing her job as a reporter to expose Guatemalan suffering at the hands of their corrupt U.S.-backed government and the cost the Guatemalan people paid as Cold War pawns.
"If I die, don't cry for me—because I was fighting for what I love."—Irma Flaquer
On a quiet October evening in 1980, Guatemalan journalist Irma Flaquer, returning to her downtown apartment after a visit with her four-year-old grandson, was dragged from her car, never to be seen again. Founder of the first Guatemalan Human Rights Commission, she was a crusading reporter who did not tolerate corruption or repression. Best known for her weekly column that ran for over twenty years in various Guatemalan newspapers—Lo Que Otros Callan or "What Others Don't Dare Write"—Flaquer criticized presidents, politicians, and the heads of…
I read bios and memoirs because I need to know what really happened. I read several bios of the same person; then piece together a sense of the truth. As a journalist, I understand that all of a person’s life won’t make it into the final story. Editors have a mission of their own; books are molded by exigent demands and social mores. That’s why The Autobiography of Malcolm X in 1965 had one view of its subject, and Manning Marable’s bio in 2011 another. I’ve read both and other accounts to formulate my own ideas about the man and his times.
I love it as a tale of heroism, youthful idealism, success, defeat, death over and over. I first read the final chapter of this book in an excerpt after which I ordered it immediately. I had been curious about the real story behind this highly intelligent icon. Disturbing and illuminating, this book shows how driven, outright murderous in the name of revolution, Che was and how this catapulted Fidel and the Cuban revolutionaries to victory over Fulgencio Batista. I had such empathy for Che as I read through his life that I couldn’t reread the final chapter about his brutal prolonged death.
Che Guevara's legend is unmatched in the modern world. Since his assassination in 1967 at the age of 39, the Argentine revolutionary has become an internationally famed icon, as revered as he is controversial. A Marxist ideologue, he sought to end global inequality by bringing down the American capitalist empire through armed guerrilla warfare - and has few rivals in the Cold War era as an apostle of change.
In Che: A Revolutionary Life, Jon Lee Anderson and Jose Hernandez reveal the man behind the myth, creating a complex portrait of this passionate idealist. Adapted from Anderson's masterwork, Che transports…
There is no easier way to have an adventure than to travel. People have a yearning for travel and adventure. For me it is in the air we breathe. I have spent a lifetime traveling to distant foreign lands and sailing the ocean. It's a good life most of the time. But more importantly, I have been fortunate to have been immersed in the sights and sounds of this magnificent world. For an experience you will not soon forget, come along on a sailing adventure in the Quest Series.
Another deeply insightful book from Paul Theroux, On the Plain of Snakes explores the cultural richness and sometimes dangerous aspects of Mexico. With a forward style and charisma, he comes face to face with narcos, police, corruption, migrants, and the sometimes frightening indigenous culture. His writings are not just all darkness and gloom. He goes to great lengths to describe the importance of family in a country with virtually no social network. He talks with the educated, the poverty-stricken, and even meets the leader of the Zapatistas. After reading On the Plain of Snakes' you will develop a new appreciation for our Mexican neighbors, particularly concerning migration and the border control issues that have dominated the US for too many years. This is a long arduous trip which Theroux makes thoroughly enjoyable.
WINNER OF THE EDWARD STANFORD AWARD FOR OUTSTANDING CONTRIBUTION TO TRAVEL WRITING 2020
The master of contemporary travel writing, Paul Theroux, immerses himself in the beautiful and troubled heart of modern Mexico
Nogales is a border town caught between Mexico and the United States of America. A forty-foot steel fence runs through its centre, separating the prosperous US side from the impoverished Mexican side. It is a fascinating site of tension, now more than ever, as the town fills with hopeful border crossers and the deportees who have been caught and brought back. And it is here that Paul Theroux…
My passion for Mexican and military history came from many sources. Wandering in my 20s in Europe and Asia honed my appreciation for the historical experience. Good friends in the Canadian military made me curious about the odd rituals and strange subcultures they inhabited. As I moved from Calgary to Vancouver to Tucson I devolved from degree to degree, studying deviance, military history, Mexican culture, and finally finishing a dissertation that combined these elements into one work. And now I happily get to inflict all of this history on my students in California.
This is a great book written by an accomplished scholar later in his career and confident in his research and writing. Telling the tale of the uprising, and crushing, of Tomochic village, Vanderwood zooms into the smaller details of village life and pans out to nation-level decisions with remarkable panache. In a highly enjoyable way, he brings the reader into the action without omitting the broader historical relevance. The reader may enter this for the critique of the dictator’s late nineteenth-century armies, but they will keep reading to find the fate of the unfortunate “town son of a bitch.”
In the early 1890's, an armed rebellion fueled by religious fervor erupted over a wide area of northwestern Mexico. At the center of the outburst were a few hundred farmers from the village of Tomochic and a teenage folk saint named Teresa, who was ministering to thousands of people throughout the area. When the villagers proclaimed, "We will obey no one but God!," the Mexican government exiled "Santa Teresa" to the United States and trained its guns and bayonets on the farmers. A bloody confrontation ensued-God against government-that is still remembered in song, literature, films, and civic celebrations.
My passion for Central American politics and history derived quite directly from the conflicts in the region from the late 1970s onwards. Previously I had worked in Bolivia, where I had studied as a doctoral student, and although many people still view Latin American countries as pretty homogenous, I quickly discovered that they are very far from being so. I had to unlearn quite a bit and acquire new skills, although luckily, indigenous languages are really only dominant in Guatemala. Now we can be rather less partisan although many injustices remain.
When McCreery’s book was published the literature on the region was overwhelmingly dominated by books on politics, with the great majority written from a left-wing perspective. Even long after the fighting has ceased, many in the global North had an unnuanced vision of rural society in which oligarchic landlords exercised feudal control over an undifferentiated ‘peasantry.’ This book shows that for decades an element of that vision was borne out in everyday life, but the volume also shows on the basis of outstanding research that rural Guatemala was dynamic, riven with class competition and negotiation, far from binary in its social structure, and possessed of a rich cultural life.
This comprehensive study of rural development in Guatemala extends from the late colonial period through the transformation of the economy by the introduction of larger-scale coffee production.
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