Mercis Publishing bv is the publisher and world-wide rights holder for Dick Bruna’s books, including Miffy. Mercis Publishing has published the Dutch version of the Dick Bruna books since 1995 and coordinates the publication of all Dick Bruna books in other countries. Dick Bruna’s books have been translated into more than 50 languages. The list includes picture books, board books, bath books, novelty books and colouring & activity titles.
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Thirty-four poems, one for each of the young children (all under the age of 14) that were executed, arrested or disappeared during the Chilean dictatorship. A book dedicated to all those little Chilean victims, but also to all the children that each day suffer the consequences of violence.
En 1982 dos viajeros ingenuos llegaron a Paraguay para, como turistas, conocer al país. Por una pregunta trivial, la pareja fue detenida por la policía política bajo la sospecha oficial de ser terroristas. Fueron obligados de quedarse frente a una cámara de tortura, incomunicados, hasta lograr escaparse por un descuido de los oficiales. Siete años más tarde, el dictador Alfredo Stroessner fue derrocado mediante un golpe de estado. Sin embargo, la historia no terminaría sino hasta un cuarto de siglo después del fin de la dictadura. Fue cuando el autor logró establecer contacto con el Dr Martín Almada – el desenterrador de los Archivos del Terror. Este libro – minuciosamente investigado, y con las experiencias personales del autor integradas – documenta la turbia vida de Alfredo Stroessner, el dictador más longevo de Sudamérica durante el siglo XX. También revela la habilidad política del astuto dictador; la corrupción que fomentaba; la protección que otorgaba a nazis fugitivos y terroristas; las torturas que presenciaba; el narcotráfico bajo su supervisión; sus aberraciones sexuales; los abusos de sus secuaces; y, su participación en el pacto del Cono Sur – la Operación Cóndor.
Las fotografías de este libro guardan un doble secreto; una increíble historia de resistencia y tenacidad. Los negativos, escondidos por Aurelio en 1973 para evitar que las fuerzas represivas los destruyeran, fueron recuperados 30 años después. La humedad del escondite, en vez de estropearlos, selló las latas y los mantuvo a salvo. Ya vuelto del exilio, Aurelio los buscó en varias oportunidades en el lugar donde los había ocultado y sus alrededores, sin lograr encontrarlos. Un niño los descubrió. Jugaba con ellos sin que nadie supiera y volvía a dejarlos donde los había hallado. Un día el niño, ya grande, se encuentra con un fotógrafo, le cuenta su historia y este ata cabos. Aurelio nunca perdió la esperanza de recuperar esta porción de historia en formato de negativos que vencieron el tiempo y las dificultades. Todas estas fotografías fueron tomadas, desde 1957 a 1973, para el diario El Popular en su primera época hasta su clausura por la dictadura cívico-militar. Son imágenes que nutren la memoria colectiva sobre la historia de las peripecias de un pueblo en su lucha por lograr mejores condiciones de vida y su resistencia ante el autoritarismo.
En un futuro en el que los humanos cazan creaturas invaluables en planetas desconocidos, una de ellas cae en manos de las más altas jerarquías del imperio galáctico y es la razón de motines y desconfianza. El poder político se ve desestabilizado al nacer dentro de los gobernantes un hambriento deseo, despierto por este ser del espacio exterior, cuyo destino recuerda a las primeras historias de la humanidad. Esta novela obtuvo el Premio Calendario 2013 y el Premio Agustín Rojas de la Crítica a la mejor novela de ciencia ficción publicada en Cuba el mismo año.
This book pays tribute to a whole generation of people condemned to live through one of the most difficult and turbulent historical periods, not only in Spain but also in the rest of the world. War Lentils tells human stories of run-of-the-mill individuals who, as everybody, dreamt of a better world, conceived from very different points of view. Alternative solutions were proposed, but none of them was definitely legitimate, ending invariably in a collective failure from which the coming generations should learn. Este libro supone un homenaje a toda una generación que le tocó vivir unos años convulsos, difíciles, no solo en España sino en todo el planeta.Relata historias de gentes sencillas que ansiaban –como todos– un mundo mejor, visto desde prismas diferentes, con soluciones muy distintas que desembocaron en un fracaso colectivo del que las generaciones siguientes deberíamos aprender. Los personajes de esta novela son secundarios; podrían haber sido estos como podrían haber sido otros, escogidos entre cientos o miles de testimonios familiares que aún perviven en la memoria más secreta y callada de nuestros mayores. La verdadera protagonista es la Historia: esa, con mayúsculas, que debe ayudarnos a ser mejores personas.
La trilogía sobre la retórica del poder, que Enrique Lihn nos ha legado, fue creada bajo el signo del bufón y la podemos entender como literatura plural y abigarrada. Antonio Cornejo Polar señala en torno a estos dos conceptos: "corresponde a una especie de supradiscurso multiétnico que acumula, sin sintetizarlas, sus hondas y extensas contradicciones". En ese tenor, Enrique Lihn señala en uno de sus versos, dedicados al ocio increíble del que somos capaces: “el estilo que por lo cierto no es el hombre / sino la suma de sus incertidumbres”. En busca de la contradicción inherente, el autor chileno crea realidades ficcionales, que se apartan de lo documental y privilegia generar efectos de enmascaramiento y una comunicación que se da en términos de una combinación de estados neuróticos y paranoides. Habla que remite a un marco de censura y vigilancia, al punto de extremar el locus horridus propiciado por un poder corrupto e irrefrenable. Se trata del reino en que prevalece la palabra vacía e impotente que surge de la censura. Daniel Rojas Pachas nos entrega en este ensayo, una visión profunda y crítica de la narrativa, de uno de los escritores chilenos más importantes del siglo XX.
A catalog of misdeeds, absurd situations or violent, using sites and contexts perfectly locatable in reality, with characters from fiction in regards to feminism. In this book the resource of facing what is called objective with fiction, to show that its boundaries are much blurrier than we like to suppose.Edgar Krauss
Mujeres a la conquista de espacios es el cuarto libro del Seminario sobre Literatura y Mujer (siglos XX y XXI) y está dedicado a la representación de los espacios físicos y simbólicos de las mujeres. Hasta el siglo XIX, los espacios en la literatura eran simplemente un lugar de paso, una realidad más o menos formal, pero con los cambios sociales y los nuevos enfoques de pensamiento de los siglos XX y XXI, el espacio pasará a ser entendido desde otro punto de vista: ocupar un espacio define nuestro estar en el mundo, conseguir una realidad espacial significa ocupar un lugar en el tiempo, con todo lo que comporta ejercer algún tipo de poder o sufrir alguna pérdida.
Football is a game, a passion, a form of social gathering, a business; and, therefore, also an effective tool for controlling the masses. Thanks to its unrivaled ability to create myths and to the intrinsic epic of the game, this sport has been exploited since its dawn as mean of ideological propaganda as well as, more recently, for commercial uses. The first ones to realize its immense power of suggestion were perhaps the totalitarian regimes of the 20th century, who, in their eagerness to cut across all strata of society, used this popular discipline as a rudimentary but also powerful instrument of political marketing. These pages bring together the most meaningful episodes of this disturbing symbiosis between football and fascist dictatorships; anecdotes, feats —some tragic and others downright bizarre— in which football has been used as a blindfold to cover the eyes of the masses. It worked perfectly as a vehicle for indoctrination, fitting into the delirious propaganda designs conceived by the tyrants of those times. The book is divided into three parts: Mussolini's Italy and Hitler's Germany, Franco's Spain and Salazar's Portugal, as well as some Latin American dictatorships.
Cuando sale la luna (When the moon rises) is an anthological selection of poetry and a play by the great Spanish writer Federico García Lorca. This selection has been specially designed to bring his poetry and drama closer to the world of children and young people, making it accessible to a greater number of boys, girls and young people so that they can discover his work, get to know it and enjoy it. Precisely because of this, some modifications have been made that seek to avoid macho expressions (socially accepted at the time the book was written) and to bring the characters of the play closer to children and young people today. The beautiful illustrations play with the poet’s words, bringing imagination and humor.
Work that represents a visual testimony of the social outbreak that was presented in Chile in October 2019, without censorship or cuts. Illustrations, vignettes and comics that in an intimate and stark way show the various experiences and points of view of young artists. Visions of social criticism, community, hope, joy, effervescence, violence and pain are presented. In this careful and attractive work, the best 86 works obtained through an open call by RRSS are compiled. It is an eminently visual book (with large, full-color illustrations and comics); trilingual (with translations into English and French); and informative (includes notes with reflections from the artists and comments from the editor). The compilation and production of the book was in charge of the publisher María Eliana Aguayo. Regarding the creation of the book, the editor comments: “We are very happy with the success of the call, we received more than 500 works from more than 150 authors from different parts of the country and abroad (…) The hardest work was selecting, ordering and systematize all this, the works, reflections and notes”.
This book gathers some of the author’s many works, selected for their interest about recent historiographical debates. They analyze the main topics that have articulated his long research career: history and theory of social movements, especially of the workers; doctrines, ideologies, myths and rhetoric; the concept of populism and the evolution of nationalist phenomena. The monograph is a good example of the best academic analysis of culture, identity and political mobilization in contemporary Spain.
Football shapes cities, and derbies turn them upside down. Two friends travel to ten European cities (Istanbul, Belfast, Belgrade, Sheffield...) to narrate and photograph them, and use football as their gateway and common thread. Because the king of sports is an instrument as effective as any other to delve into the political, social, economic and cultural reality of a place.
Many of the existing regional topics were forged in the late 19th or early 20th century. Painters, architects and international exhibitions -such as those in Barcelona and Seville- played a crucial role in the definition and visualization of the idiosyncratic character of each region. This pioneering book compares the process of building regional identities in Spain with that of France and Germany, showing that regionalist paintings, houses and pavilions were generally interpreted as a sample of (regional) diversity within the (national) unit. The culture of regionalism was therefore part of a new phase of the nationalization process, while its relations with the various regional movements were weak.
Sergio Ramiréz’s returns to the noir genre with a novel about Nicaragua and the end of the Revolution's dream. We are in the middle of the twenty-first century, in a Nicaragua in the mist of popular revolts, which are being brutally repressed by the government, backed by the sinister executive arm of the head of the secret services. Inspector Dolores Morales must confront from a distance that terri-ble being dubbed Tongolele, ultimately responsible for his exile in Honduras, and who, with coldness and cynicism and partly thanks to the divinatory advice of his mother, pulls many a string of the country's deranged politics.Sergio Ramírez’s skillful prose gradually reveals a murky network, full of secrets, betrayals and dark maneuvers that Inspector Morales will have to face, backed by the ineffable Lord Dixon, Doña Sofía Smith and the rest of his associates. For, in that never-ending convulsive Nicaragua, any misstep might result in the ultimate demise of anyone who dares confront in any manner of way, no matter how petty it might appear, the powers that be.
Dicen (And they say) is a family story crossed by Franco's repression. It tells what is not registered in notarial acts, or in newspapers, or in books, or in provincial archives. It tells a story of a day-to-day silence that became long, very long, and that has conditioned us until now. Dicen tells real events in a network of voices silenced for generations, it is not written from the political reflection, but from the poetic justice, it is the contemporary account of the Spanish postwar period. Dicen is an innovative book. It is not poetry, it is not an essay, it is not a short narrative and it is everything at the same time. Written in short sequences, it collects the intimate memory of a family and reconstructs their insignificant lives to show the terror of repression after the civil war. Conversations, poems, stories, essay references, fragmented sequences that the reader orders in a shocking story. The narration drags the reader to the end by the rhythm, the different voices, the authenticity and the gradual understanding of why that time is silenced. The author speaks of poetic justice as a way of giving life to those who did not want to be named after their death: the oppressors. This story recovers their names, their ways of acting, their personalities, their power. And it also brings back to life those who died in the ditches or lived marginalized: the victims. It is very difficult to make historical memory from politics, however, literature is its natural space. An original work, with enormous expressive force and a unique point of view discovered by Susana Sánchez Aríns, an experienced, committed voice. The book has received the Madrid Booksellers Award for Best Fiction Book 2019. (Premio de los Libreros de Madrid al Mejor Libro de Ficción)
FINALIST FOR EDHASA HISTORICAL FICTION AWARD 2020 CANTABRIA AGAINST ROMEThe year is 26 a. C. Once again, Roman Empire try to conquer the indomitable Cantabrians and Asturians, hardened warriors that mercilessly defend their impregnable lands.While fortified village of Bergida is being consumed in flames, Sekeios, Autrigon mercenary at the service of Rome, manages to flee to Roman camp after a serious incident with Gayo Antistio Veto, governos of Tarraconense province. Lost in enemy territory, he will be captured by Concan warriors, who will lead him to Aracillum, the Cantabrian resistance bastion.Governor has sworn to hunt him down. Sekeios is alone and he knows his flight means a journey of no return. So, he will have to kneel before the fearful leader Corocotta. If he wants to survive, he first will have to face the hatred and hostility of mountain people; and then, to brutal offensive of princeps Augusto’s legions, whose objective is none other than to take complete control of the Iberian Peninsula. However, between sweats, battles and the hunting of the wolf, he will know the love of Turennia ...Everything is envolved in conflict. A conflict that will test his own convictions and wishes during a battle for the survival of the last free local peoples of Hispania. A war that will change the destiny of the known world and Sekeios’ one. Until the last consequences.A magnificent and fast-paced historical fiction.
