Editora Moinhos is an independent publishing house that aims to publish books in the most diverse genres. The proposal includes the rescue of great classics of Brazilian and foreign literature, seeking to make viable works still unpublished in Brazil and to deliver a quality work to the reader.
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Book of poems winner of the Literary Prize "Hermanos Loynaz" in 2020.
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In this book the artist makes an essay about the different shapes of the turtles by going around space and folding the paper. Eight turtle sculptures made of paper and created by Manuel Marín shows us by constructing step by space each piece the basics of concave or convex since they can be assembled either from outside or inside.
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Paper is not a boring surface if the chicharreta, lilibela, or totoleta wait to be detached, folded and bent to reveal their tridimensional volume, their balance and dimension in space. They allow us to reflect on and understand the role they play in the artistic creation of space and shape. It’s an experience that brings us closer to the basic elements of modern art.
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The first artist to enter the realm of fantasy was Hieronymus Bosch. He revels in the delights of pleasure. He relishes eating giant fruits, running on water and flying on top of a fish. He is joyful without even realizing it. Bosch is also aware that serenity and calmness let things be seen as they are. No one before had ever seen our feelings as we get lost in the madness of invisible realities.
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Life seeks the most simple ways toward efficiency. In this case, these lizards are a cylinder with variations. The form translates into volume, which in its variations presents itself as Figures. Every figure has volume that has height, width, and length, all which interact together. Form, figure, volume, simplicity, variation, variables. The combination of all of this helps us to appreciate the beauty in animals’ bodies. 10 paper cut- out sculptures to assemble the lizards.
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This book is an allegory of flat strokes, whose slopes reveal tridimensional bugs, blissful to show us their transparent shapes. A reading that goes beyond the visual and takes us away from these tiny beings whose geometry increases before our eyes. The line takes us through their folds and extensions, and over to the pages which will be swarming with bugs!
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Who is it that is painted? Who is it that sees what is painted? They can be the artist and his portrait, the viewer and the person portrayed.
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“José Clemente Orozco realized that objects and animals see us with other faces, and he drew the sensations produced by these gazes, as seen in his sketches in this book,” says Marín. Orozco paints objects, shows that they are useful artifacts for seeing things like sensations. They are rare, and their uses aren’t what they should be.
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Overzealous and indiscriminate use of many synthetic pesticides during recent decades in the control of plant pests has resulted in a number of environmental and toxicological problems. Reducing the release of synthetic chemicals into the environment requires that alternative sources of chemicals are developed that can be used safely in the management of plant pests. Botanical antimicrobials derived from plants are currently recognised as biodegradable, systemic, eco-friendly and non-toxic to mammals and are thus considered safe. Their modes of action against pests are diverse. Natural compounds are well suited to organic food production in industrialised countries and can play greater roles in the protection of food crops in developing countries Some plant based antimicrobials (e.g. neem products, pyrethoids and essential oils) are already used to manage pest populations on a large scale. Plant scientists and agriculturists now devote significant attention to discovery and further development and formulation of novel plant products with antimicrobial activity.This book is the first to bring together relevant aspects of the basic and applied sciences of natural pesticides and discussed modern trends in the use of natural products in pest management.
In the historical context of the Austro-Hungarian Empire and the height of the Romantic era, the 19th century, Anton Bruckner, the famous Austrian composer and organist, falls in love with the imposing Countess Henriette. She had been appointed lady-in-waiting to Princess Charlotte of Belgium, the wife of Prince Maximilian of Habsburg, to attend to her during the couple's Mexican endeavor. They had been named Emperor and Empress of Mexico and would embark on a journey to America for this mission. Bruckner meets the countess by chance at the funeral of Maximilian, who had been assassinated in Querétaro in 1867, during the so-called Second Mexican Empire. On the recommendation of a musician friend of Henriette's, who sees him at the funeral, she takes piano lessons with Bruckner. When she tells him that she had accompanied the empress to Mexico, the composer becomes enchanted. He admired Maximilian and was passionate about Mexico; he had even wanted to accompany the emperor. Ultimately, the only trips he made were to give organ concerts in London and another at Notre Dame in Paris. Between classes, the countess tells him of the Atlantic crossing, the arrival in Veracruz, and the entrance to Mexico City. Gradually, they grow closer. In one of his concerts, Bruckner meets Franz Liszt, who was a patron of Maximilian's empire in Mexico. Meanwhile, the countess and the organist plan a Requiem, which will be the turning point between them.
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MEKSIKANER TEMES.Admiration and attachment for the new homeland, receptive and poetical, isMeksikaner Temes –Temas mexicanos-- text of Moisés Rubinstein Badash .Written no long after his arrival to the new land, from the now a days Bielorus, theautor absorbes with a Sharp and loving look, the contrasts of the country. Hediscovers the Mexico of the 30’s and the 40’s of past century, as a caressing andsimultaneously agressive; he signalizes the paradox of its enormous wealth andits luxuriant and desastrous poverty. A new homeland powerful andsimultaneously miserable.Rubinstein Badash writes in yiddish, the milenarist lenguage of the askenazi jews,the lenguaje close to their feelings. In yiddish he describes the fascination of thenew comers, dazzles by the “splendor of a pair of beatiful black eyes, of a heartfull of kindness, and infinite desires to live”. With talent and humor, the autorshares variable anecdotes about the streets of Mexico city, its colorfulness, itsmusic, about its inhabitants and its polititian. He even shows deep admiration forPresident Cárdenas.Now a days, in the whole world we witness waves of massive migration, rejectedand vexation, is enriching to witness the gratefullness of the migrants of the past,which arrived to Mexico, and being respected their desires and believes. Thelanguage barrier caused of the scarcity of publication, who may show theimpression of the first generations of mexican jews.. Today, thanks the acurrateand precise translation from yiddish tu spanish, yhe multi- awarded poet, writer andjournalist Becky Rubinstein , we can access this fascinating text, published byEdiciones del Lirio. Shulamit Goldsmit MEKSIKANER TEMES. Admiración y amor por la nueva patria es lo que destila, de manera abierta ypoética, el texto de Moisés Rubinstein Badash en su libro Meksikaner Temes(Temas mexicanos). Escrito a poco tiempo de haber arribado a esta nueva tierra,desde la hoy Bielorrusia, el autor absorbe con mirada aguda y amorosa loscontrastes del país. Percibe al México de los años 30 y 40 del siglo xx como una nación acariciadora y agresiva; señala la paradoja de sus enormes riquezas y suapabullante pobreza. Una nueva patria poderosa y miserable a la vez.Rubinstein Badash escribe en idish, el idioma milenario de los judiosashkenazis; lalengua que le es cercana y en la que se siente capaz de volcar sus sentimientos. Enidish describe la fascinación de muchos de los recién llegados, deslumbrados por elfulgor esplendoroso de unos ojazos negros, de un corazón colmado de bondades ycon infinitas ganas de vivir. Con talento y humor, el autor relata anécdotas diversassobre las calles de la Ciudad de México, su colorido, su música, sobre sus habitantesy sus gobernantes. Muestra abiertamente su admiración por el presidente Cárdenas.Actualmente, que en el mundo entero se vive una oleada de migraciones masivas,rechazadas y vejadas, resulta enriquecedor escuchar el reconocimiento de aquellosque llegaron a un México receptor y respetuoso de sus anhelos y creencias. Labarrera del idioma ha sido causante de la escasez de publicaciones de muestren allector mexicano la impresión que aquel país en ciernes causó a las primerasgeneraciones de judíos mexicanos. Hoy, gracias a la atinada y feliz traducción quehace del idish al español la multipremiada poeta, escritora y periodista BeckyRubinstein, tenemos a nuestro alcance este entrañable texto, publicado porEdiciones del Lirio. Shulamit Goldsmit
With a rhythmic irregularity that breaks its own voice, this work contains a deceptive but measured movement, as if it were the footwork of a boxer, which gradually envelops the reader. There is a singular back-and-forth in this collection of poems: scenarios described through sensations, through immaterial elements; and sensations exposed through physical ingredients. There is bebop. Words are left behind. And then they come back on their own, lashing out. It is not surprising, then, that inside this book there is a reference to Thelonious Monk, an expansive creator who took harmony to its ultimate consequences. As the author himself puts it, this book is a horse on the prairie.
Fleeing was the most beautiful thing we had is a book that deals with exile as a I, an extraordinary text on the “dépaysement" (change of scenery) that is inherited from one generation to the next. It’s written by Marta Marín-Dòmine, who was born in Barcelona and now traches Literature and Memory Studies at the Wilfrid Laurier University of Waterloo (Canada). The book was originally published in Catalan by Club Editor and it reached best sellers lists for some weeks. It was awarded an special mention at the 2019 Catalan Booksellers Award and was awarded the 2019 Barcelona Award. The Spanish translation will be published by Galaxia Gutenberg this October 2020. In Fleeing was the most beautiful thing we had, the author pays tribute to her father, a boy of the war, one of many who lived the Spanish Civil War when they were teenagers and who, in 1939, went to exile and sought refuge in France, where they were interned in refugee camps. A boy who lived bombings, exile, the return and humiliation of returning to a pro-Franco Barcelona, a city that he does not recognize as his own and makes him feel like an exile in his own country. The narrator regularly packs her suitcases and goes to a new country where maybe she will end up feeling like home. But no: an instinct pushes her to refuse sedentary life. She seems to flee away. But from what? Based on texts from his father's unpublished memoir, Marin-Dòmine reflects on the impact of war, exile and repression in thousands and thousands of lives, and she does so with such stinging words that the reader’s heart shakes. We can imagine it, almost feel it. In addition, the author uses the description of photographic images of the time, some of them iconic, which impose themselves with all harsh: Children, teenagers and images of the refugee camp of Argelers (in France). But the book does not only tell of the memory of the Spanish Civil War, it talks about all the wars, about all the refugees, about all the exiles ... and it tells all this through the eyes of the exiles’ offspring, who somehow have collected the inheritance of those parents who had to leave. Fleeing was the most beautiful thing we had is a tribute to all the exiles, and a trip from Barcelona to Toronto, looking for traces of nomadic lives. Marta-Marín-Dòmine follows them with the sensitivity of a hunter and focuses on a bewildering truth: that the remembrances of others - what we call memory - are the country where we live. In dark times like today's, this is a reading to reflect on the importance of the values and the ravages of hatred, repression and lies.
