February – Blog on the Hyphen
Aeneid Author: Virgil Release Date: April 3, [EBook #] Language: Latin Character set encoding: observata sequor per noctem et lumine lustro. "Reflection" is a song written and produced by Matthew Wilder and David Zippel for the Christina Aguilera singles chronology In , Aguilera recorded the Spanish version of "Reflection" titled "Mi Reflejo" which was Edyta Górniak recorded a Polish version of the song titled Lustro (Mirror) to promote the movie. Latino Singles. near you. Search Now ››. Sign Up FREE and Browse. Already a member? Log In. Brigette DianaThalia cuayisflower. tobijare. tonyton.
Over two decades would pass before another sf work would come to light: The s were years of political stability and industrialization in Colombia and, in that context, two new sf novels appeared.
Sliger, of interest now only to literary historians. The s and s marked the start of political violence and guerrilla warfare in Colombia, and most authors abandoned the emphasis on regionalism that prevailed in earlier times and adopted a more universal and experimental narrative style. For much of his life, Rebetez lived outside his native country, primarily in Mexico. His two recent collections of poetry are Los caminantes del cielo [Travelers of the Heavens, ] and El fuego de los dioses [The Fire of the Gods, ].
Science fiction has not yet managed to establish itself in Colombia as a genre in its own right, however. Nothing could better proclaim the arrival in Venezuela of the new genre of science fiction. We have no other record of Venezuelan sf until the end of the s, when the start of the space race between the US and the Soviet Union triggered in Venezuela—as it had in other Latin American countries—a prolific increase in the number of sf authors.
InJulio E. We have been able to find only sporadic and incomplete information about Venezuelan sf texts published since then.
Before changing its name in to the Venezuelan Science Fiction and Fantasy Association, Ubik organized sf film festivals, literary contests and workshops, conferences, and expos. Currently, the club not only continues with these activities but also edits three online publications: Bolivia The two earliest examples of speculative fiction in Bolivia were written by women: The next two experiments with the genre come from the s, a.
It is difficult even to find exact titles and publication dates for the few other sf stories written before the s. One of those efforts was a contest sponsored by the United Nations that resulted in an anthology of sf stories by young writers, published by Santillana in In it, Spedding, an English anthropologist who has lived in Bolivia sinceimagines her adoptive country in the year having been taken over by an indigenous revolution led by the Aymara Indian majority.
As a linguistic innovation, the novel mixes Spanish, Spanglish, and Aymara. Peru The earliest examples of science fiction written in Peru are two short stories by Clemente Palma published in the first decade of the twentieth century.
Reflection (song) - Wikipedia
Adolph and Juan Rivera Saavedra. Ironically, although Adolph is considered the primary sf author associated with Peru, he was born in Germany and only became a Peruvian citizen in His work has been translated into several languages and included in anthologies in the US, Europe, and Latin America. Saavedra uses the genre as a weapon to denounce social problems of the time, the worst being, according to him, our own loss of humanity.
The first novel recounts a trip to Glasskan, a utopian planet where human beings go to be trained in the art of achieving perfection, while the second describes how those men return to Earth to bring peace and prosperity but find no one there who deserves these gifts. Unfortunately, the growth of Latin American science fiction during the s and s to which Adolph and others contributed in Peru does not seem to have lasted very long. Peruvian readers, according to Salvo, must resign themselves to cheap second-hand copies of sf works, since powerful publishers such as the aforementioned ones offer new books at inflated prices or have stopped making them available altogether.
At the same time, Peruvian sf authors do not have access to publishing houses in their own country and must seek to publish their work abroad. Brazil In the mid-nineteenth century, Brazilian authors begin writing tales of imaginary societies and voyages into the future in the mode of Verne and Flammarion.
Beginning in the early part of the twentieth century, works of this sort address more controversial topics, such as social and agrarian reform, eugenics, and the social roles of women. Known as the GRD Generation, after Gumercindo Rocha Dorea—one of the few Brazilian publishers of the genre during this period—these authors demonstrated originality in their reworking of typical sf motifs such as space travel, alien contact, robots, and nuclear war, by filtering them through the perspective of Brazilian culture.
It could be said that these works anticipated the actual policies of modernization and development initiated by the Brazilian military beginning in Brazilian science fiction of the late s and the s can be divided into two categories: At this point, almost all of the typical motifs of science fiction disappear, except for the uncanny events of fantastic literature and the clockwork worlds of imaginary technocratic regimes.
In the s, several mainstream authors turned to dystopian fiction to avoid censorship by the regime, disguising their critiques of its policies of fast-paced economic development in their futuristic tales. Recurrent themes include governmental regulation of reproduction and sexual behavior, policies of modernization, the destruction of natural environments, and control of the media and the minds of citizens. Coinciding with the end of the dictatorship ina new generation of writers emerges and begins to write in a wide variety of sf subgenres.
Aliens are portrayed in a variety of ways, reflecting divergent attitudes towards globalization. During this period, science fiction written by women becomes more common. Although contemporary sf in Brazil expresses a global consciousness, it also generally attempts to retain its national character.
- Hispanic and Latino dating in the US: find true compatibility
- Month: February 2018
- 12 Best Free “Latino” Dating Sites (2019)
This short story, an exercise in social and urban criticism following the dicta of the French Revolution, is set in in Buenos Aires and its main character is Tremebundo, a kind of superman who makes all sorts of improvements in the city. Many sf works were written in the second half of the nineteenth century, partly because of the political stability that had been achieved after decades of unrest and partly due to the creative impulse reigning in Buenos Aires society at that time.
This novel—which Borges is said to have called perfect—explores two key topics in science fiction: Bioy Casares, winner of the Cervantes Award the Nobel Prize of Spanish lettersturned to science fiction several times, although critics did not acknowledge his affiliation with the genre for quite some time. It was also at this time that the comic El Eternauta became available. This comic, with scripts by H. During the s, sf works began appearing more frequently in anthologies, in short-story collections, and as novels.
Later, the same author would write studies about Cordwainer Smith, Philip K. Science fiction in Argentina was strengthened during the s by the publication of specialized collections and several books by Argentinian authors.
After a bloody dictatorship and decades of political instability, the sf genre began to flourish with the return of democratic governments in Numerous other publications, both professional and amateur, also appeared in connection with the magazine. Between and more Argentinian sf works were published than in the whole of the previous period. Two other periodicals that are still active began during this same period: The former started in and is the longest-running Spanish-language magazine dedicated to the genre, and the latter is an electronic publication, a pioneer in its field that began its distribution via diskette in and now appears on a very popular web site.
During the s, a downturn in the economy brought a considerable reduction in the publication of sf works. A few noteworthy novels appeared, but only sporadically, and many of the authors whose names had appeared frequently a decade earlier either abandoned the genre or remained silent.
Also worth noting is the launch of Nautilus, edited by Carlos Abrahan, the first publication in Latin America dedicated exclusively to sf criticism. Curioso viaje de un santiaguino magnetizado [From Jupiter: The Curious Voyage of a Magnetized Man from Santiago], a positivist critique of Chilean society written at a time of popular fascination with the paranormal and, in progressive circles, a belief in human perfectibility through science and technology.
Up until the late s, most Chilean sf authors paid little attention to scientific plausibility, mixing the fantastic with technological innovations to create a convenient platform from which to examine serious social issues.
They wrote for rival magazines and penned thrilling stories full of technological gadgetry and action-adventure heroics in the style of the US pulps. Writers were now less isolated from each other and from their readers, and they shared a sense of purpose in developing and promoting this new genre in Chile.
The first sf fan club was formed in the s and around this time Julio Bravo Eichkoff launched two short-lived fanzines, Sagitario and Aleph A new generation has been sustaining Chilean sf since the late s.
Vega recently compiled a comprehensive bibliography of the genre this Chronology owes a large debt to these three researchers. Jorge Baradit recently achieved a milestone in Chilean sf when his novel Ygdrasil was released by a major international publisher.
There is every reason to expect a vigorous Chilean presence on the future Spanish-language sf scene. Uruguay Uruguayan science fiction was only a collection of isolated texts until the s, when a few authors began producing a body of work identifiable within the genre. It must be noted that a significant portion of Uruguayan science fiction was published outside the country, either because the authors lived abroad mostly in Argentina or because they found better publishing conditions there than in their own country.
As a consequence, Uruguayan authors suffered from isolation and a lack of mutual influence. Piria took his utopian project seriously: Horacio Quiroga, a master of short narrative, tried his hand at every genre, including science fiction. Levrero is the central figure in Uruguayan science fiction in the second half of the 20th century, but it is difficult to state conclusively that his work fits squarely within the genre. And yet, the sense of strangeness he conveys, his surrealist landscapes and the unusual situations surrounding his characters place Levrero, like Ballard, on the edge of science fiction.
Beginning in the mids a few small groups of authors and fans have joined together to launch several short-lived science fiction magazines. There are also a number of writers, such as W. What determined the overall theme of the work? With this book, everything was different for me—the title and the concept for the whole book came before any individual poems. At the time, it felt like diabetes was the most overwhelming thing in my life and I needed to make sense of it and the way it was impacting all areas of my life.
I tried my damnedest to include as many experiences, emotions, fears, resolutions, discoveries, and reflections as I possibly could in the short span of a poetry collection.
bibliography of sf criticism
The title poem was one of the last poems I wrote because I felt that something was missing—a poem that would serve as the turning point in the movement from powerlessness to healing, from overwhelmedness to reconciliation. I wanted a poem that would contain all of the most urgent things I wanted to tell my readers—most importantly, that fear was not the road to healing or wholeness. Lara, my brother, collaborated with me not only on that poem but also on many facets of the book. His artwork is on the cover, as it is on previous covers—furia, flesh to bone, and Enduring Azucares.
For the last fifteen years, he has been an invaluable editor and my best reader. Even the order of the poems in Blood Sugar Canto was due to his input. He was diagnosed as diabetic years before I was. We have shared and discussed so many of our experiences with diabetes.
We talked about the concept of this book over and over again during the year I wrote these poems and the years I spent revising it. He suggested at least a dozen different prompts for poems. Inwe spent several months taking care of our father after he had a quadruple bypass and complications due to diabetes and a blood clot in his lungs.
During that time, the door closest to the kitchen kept opening on its own. For me, it became a meditation on silence, mortality and fear, pain and solitude. My father was a singer who never sang, a man whose frustrated creativity turned toxic. It stayed with me, how tragic it was that he turned away from something that could have had such an impact on his quality of life.
Song is emotion and beauty and alignment and creation and individuality. As I wrote in the title poem, part of healing is the work of making the discordant notes illness become part of the harmonious song living. When it came to the structure of the book, I wanted to demonstrate that work, that movement from discordant despair, fear, resentment, anger, pain to harmonious healing, reconciled, in-my-body, at peace.
For the first draft of the collection, I laid out the poems on the floor and then arranged and rearranged all the poems. With minor changes, it stayed in that order for a few years. It felt like a brand-new book to me, a more effective take on the story I wanted to tell.
There was so much going on I felt like the book needed to be broken into five parts with their own titles, all lines from a poem in that section that I felt particularly haunted by.
In my own family, we have a high incidence of an autoimmune disease that I fought to be diagnosed with at the age of The state of not being ill is a kind of freedom from burden, from knowledge, from effort, struggle, and pain.
So many people who suffer, who have suffered, and who will suffer. Whether it has to do with healing or language, I believe that you must make the most of all the tools you have at hand. Each body is different and needs different things. The work of healing takes place on many levels.
At the same time, we have to deal with the illnesses, symptoms, medications, side effects, etc.
Shame and fear are the two emotions that our society most utilize to push people to work on their health. Not self-love, not love of family or community or life. And when you stop to think about that—how can shame and fear be what lead to healing? To a healing that is concerned with the whole person and their whole life? Poetry is how we learn what vision is and how to manifest it.
You write about your relationships with your brother, mother, and family in the book. What importance do you ascribe to family relationships in the process of healing? How has coming to terms with your health issues changed your creative process and any future poetry?
The importance of family relationships depends on the quality of relationships you have with your family. If your relationships are toxic, then they cannot be of any help.
My parents are gone. I am not married and do not have children. My brother and I have seen each other through diagnoses, many, many changes in medications, symptoms, diet adjustments, and more than a decade of discussing Western medicine, our experiences with doctors, how diabetes is seen in pop culture, and how others react to our being diabetic. This past spring he was in the hospital for three months and had his right leg amputated.
But for many people, this involves many discussions and perhaps some painful redefinitions of what family is or should be. Personally, BSC helped me come to terms with my emotions, and most importantly, my fear and my anger.
Better said, it helps me, because I will always be coming to terms with my ongoing health issues. Every time I read the poems to others, it serves to remind me and buoy me and ground me in the neverending work of healing myself. I take better care of myself now. I listen to my body. I have a different understanding now about time in relationship to my writing. My systems for gathering ideas, building stories, and developing manuscripts have all changed.
In a way too, writing BSC has freed me up to write about all the ideas and stories that want out of me next. What does being a poet-curandera mean to you?
Through songs, poetry, and love do you aim to heal the soul? Disease touches the most intimate elements of family life and the soul; even taking over creative inspiration. What advice do you have for those struggling with the sweetness and bitterness of diabetes, depression, grief, their identity, disease sand health epidemics that seem to be so prevalent in this world? What do you see the effect of your work being on your audience?
That was an absolute honor.