El Álamo

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La batalla de El Álamo representó para México una victoria sin trascendencia en la guerra contra los colonos rebeldes que buscaban la independencia de Texas. Para Estados Unidos se trata de la piedra angular que daría un nuevo sentido a su concepto de nación y al imperio en el que se convertiría. ¿Qué ocurrió realmente?, ¿por qué una batalla sin mayor importancia concentra el corazón negro del imperio norteamericano? Paco Ignacio Taibo II reconstruye minuciosamente los hechos y nos cuenta cómo se mintió, se engañó, se fabricaron heroicidades y se omitieron flaquezas en pos de la leyenda. El Álamo pretende abrir la puerta del debate sobre un hecho que hasta ahora había sido una minúscula nota de pie de página en una historia que se ha decretado como olvidada en México. Porque lejos de la retórica estadounidense de «lucharon para darnos libertad, eso es todo lo que necesitamos saber», es mucho lo que necesitamos saber. Mucho más.
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On June 23rd, 1914, the legendary División del Norte, commanded by General Francisco “Pancho” Villa, defeated the forces of then-president Victoriano Huerta and took the city of Zacatecas. After the decisive battle, the federales were unable to recover. The path to Mexico City—and ultimate victory—was clear for Villa and the revolutionaries. As Colonel Montejo, the narrator of Paco Taibo’s epic tale, says, “We broke their spine in Zacatecas. The rest was just a march south.”
In this remarkable graphic novel, Paco Ignacio Taibo II (a.k.a. PIT)—the prolific historian, biographer of Che Guevara and Pancho Villa, as well as the founder of Mexican neopolicial fiction—brings his tremendous storytelling skills to bear, united with stunning illustrations by the artist Eko that evoke traditional Day of the Dead imagery and the etchings of legendary Mexican printmaker José Guadalupe Posada. Pancho Villa Takes Zacatecas not only depicts one of the most decisive moments of the revolution, it also profiles, in glorified action, one of the most beloved heroes of contemporary Mexico.
Now translated into English and seamlessly adapted to ebook format, Pancho Villa Takes Zacatecas is an unforgettable paean to the dramatic story of the Mexican Revolution that will fascinate history buffs, avid readers, and graphic novel enthusiasts alike.
Praise for Pancho Villa Takes Zacatecas
"Like never before, maverick Mexican novelist, Paco Ignacio Taibo II, and visual virtuoso, Eko, bring to kinetic life a pivotal moment in Villa’s against-the-odds, David-Goliath battles with sitting oppressors—one that returned the power to the Mexican people. Extraordinarily energetic woodcut-art and a nimble narrative voice make this history showing and telling at its best!"—Frederick Luis Aldama, author of Your Brain on Latino Comics.
“It’s impossible to review [Taibo II’s] literary work without painting an ideological portrait. He’s probably the writer on the left with the proudest lineage of all those I’ve read.”—Christopher Domínguez Michael, Letras Libres
“Eko is in many ways a Renaissance artist who through archetypical characters and his work showing them to us recovers the essence (and drives) of humanity, and he shows them without objection.”—Jorge Rueda, Replicante
Paco Ignacio Taibo II, or PIT, was born in Gijón, Spain in 1949, before fleeing Franco’s dictatorship with his family in 1958. He has resided in Mexico City ever since, where he’s built a career as a writer, journalist, historian, biographer of Pancho Villa and Che Guevara, and, perhaps most crucially, a founder of the neopolicial fiction genre in Latin America. His books have been published in 29 countries and translated into nearly as many languages. In addition to being a prolific writer, he is an active member of the international crime writing community and organizes Semana Negra or “Noir Week” in his native Gijón. He has won the Latin American Dashiell Hammett Prize three times, as well as the Mexican Premio Planeta, and several other awards for international crime fiction.
Eko, born in Mexico in 1958, is a cartoonist, engraver, and painter. His wood etchings, often erotic in nature and the focus of controversial discussion, are part of a broader tradition in Mexican folk art popularized by José Guadalupe Posada. He has collaborated on projects for The New York Times, the Frankfurter Allgemeine Zeitung, and the Spanish daily El País, in addition to having published numerous books in Mexico and Spain.
Nina Arazoza is a recent graduate of Tufts University’s International Relations Program and an aspiring translator and publishing professional. Her enthusiasm for Latin American culture, history, and politics led her to Restless Books and Pancho Villa Takes Zacatecas.
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Additional Information

Publisher
Grupo Planeta Spain
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Published on
Mar 8, 2012
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Pages
245
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ISBN
9786070710612
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Language
Spanish
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Genres
Fiction / Historical / General
Social Science / Sociology / General
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Content Protection
This content is DRM protected.
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Un clásico de la literatura del siglo XX.

«Dispara a todos los grajos que quieras, si puedes acertarles, pero recuerda que es pecado matar a un ruiseñor.»

Este es el consejo que da a sus hijos un abogado que está defendiendo al verdadero ruiseñor del clásico de Harper Lee: un hombre de color acusado de violar a una joven blanca. Desde la mirada de Jem y Scout Finch, Harper Lee explora con humor y una honestidad insobornable la irracional actitud que en cuestiones de raza y clase social tenían los adultos del Sur profundo de los años treinta.

Harper Lee está de plena actualidad por el redescubrimiento de la novela original, rechazada por sus editores en su momento y una de cuyas tramas secundarias es la que dio origen a la novela Matar a un ruiseñor y a las películas homónima ganadora de varios Oscar.

Jean Louise Finch evoca una época de su infancia en Alabama, cuando su padre, Atticus, decidió defender ante los tribunales a un hombre negro acusado de violar a una mujer blanca. Novela de iniciación, Matar a un ruiseñor muestra una comunidad, la del sur de Estados Unidos durante la década de 1930, dominada por los prejuicios raciales, la desconfianza hacia lo diferente, la rigidez de los vínculos familiares y vecinales, así como por un sistema judicial sin apenas garantías para la población de color.

Reseña:
«Una ópera prima de tan insólita calidad que, sin duda, hará que muchos lectores quieran leerla despacio para disfrutar más plenamente su sencilla excelencia [...]. Una novela de capital importancia para la historia contemporánea de la nación.»
Chicago Tribune

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