Uno de los grandes problemas de la infinidad que existe, referente a la escasa cultura de la lectura en México es la poca promoción de actividades de sensibilización a la lectura. Me refiero desde luego a las instituciones oficiales que por antonomasia le corresponde realizar todo lo referente a esta área. Por lo mencionado a priori, al no existir espacios o escaparates donde los niños y jóvenes puedan dar a conocer su gran creatividad e imaginación, simple y sencillamente la sociedad deja de evolucionar para quedar en el oscurantismo, como en el Medioevo. En esa patética pasividad, a los niños se les coarta la posibilidad de seguir desarrollando a su máxima capacidad su creatividad. Una vez analizado profundamente durante muchos años y como docente de la Primaria "Josefa Ortiz de Domínguez", de Palenque, Chiapas; México; vi que existía la necesidad imperiosa de hacer realidad todas las actividades del gran proyecto cultural visionario, pero cultura en el amplio sentido de la palabra; que inicié hace aproximadamente veinte años, y precisamente la publicación de la presente obra que contiene las producciones literarias de alumnos de primaria y secundaria, solo es uno de los elementos cristalizados del proyecto. Pero enfatizo algo, no solo es suficiente realizar todo lo mencionado a priori, sino debe existir la necesidad imperiosa de ser filántropo para realizar todo aquello que para la gran mayoría de los entes lo tienen concebido como imposible, es decir; su chip ya se lo programaron para que piensen y actúen como tal. Es nuestra responsabilidad evitar a toda costa que esto le ocurra a las nuevas generaciones.

La Loca de Gandoca caused a national outcry in Costa Rica when it was published in 1992. It blew the whistle on a secret plot by government officials and private investors to develop the Gandoca-Manzanilla Wildlife Refuge, which is one of the most biologically diverse sites in the world and supposedly protected by the Costa Rican constitution. The novel is the largely autobiographical account of Anacristina Rossi's attempt to save the refuge from destruction.

Throughout Scripture, God promises the impossible to those who believe. For many Christians, the promises of God have lost their power. Deemed as irrelevant or simply misunderstood, God's promises—of triumph, abundance, redemption, and countless blessings—are often ignored, forgotten, and seemingly unfulfilled. However, for Charles H. Spurgeon, God’s promises were timeless. In fact, they seemed to grow in power and hope over the course of his life. In Faith’s Checkbook, Spurgeon shares his personal experience testing and proving Scripture’s promises and his ongoing discovery of a relentlessly good, kind and faithful God. He urges believers to treat God’s promises as they would a check—to receive them, endorse them and actively "cash them in." Charles Spurgeon (1834-1892), renowned 19th century Baptist preacher, is best known for his 1866 publication Morning and Evening. Over 20 years later, Spurgeon wrote Faith’s Checkbook, a yearlong devotional that inspires believers to see and experience God’s goodness. Written near the end of his life, in the depths of a season marked by incredible loneliness, spiritual controversies and health complications, Faith’s Checkbook is full of honest, heartfelt and mature hope. Spurgeon’s breathtaking sincerity and provoking thoughts will encourage believers to: Study and engage God’s promises throughout Scripture Expect these promises to be fulfilled in their daily life Participate by receiving God’s promises and praying for their fulfillment Glimpse God’s boundless goodness and faithfulness Discover a renewed, child-like trust in Him In Faith’s Checkbook, the reader will encounter God’s outstretched hand—through promises of provision, wisdom, fruitfulness, presence and much more—and be invited to respond with hopeful anticipation.

The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-François Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.

(abridged and revised) This reference grammar offers intermediate and advanced students a reason ably comprehensive guide to the morphology and syntax of educated speech and plain prose in Spain and Latin America at the end of the twentieth century. Spanish is the main, usually the sole official language of twenty-one countries,} and it is set fair to overtake English by the year 2000 in numbers 2 of native speakers. This vast geographical and political diversity ensures that Spanish is a good deal less unified than French, German or even English, the latter more or less internationally standardized according to either American or British norms. Until the 1960s, the criteria of internationally correct Spanish were dictated by the Real Academia Espanola, but the prestige of this institution has now sunk so low that its most solemn decrees are hardly taken seriously - witness the fate of the spelling reforms listed in the Nuevas normas de prosodia y ortograjia, which were supposed to come into force in all Spanish-speaking countries in 1959 and, nearly forty years later, are still selectively ignored by publishers and literate persons everywhere. The fact is that in Spanish 'correctness' is nowadays decided, as it is in all living languages, by the consensus of native speakers; but consensus about linguistic usage is obviously difficult to achieve between more than twenty independent, widely scattered and sometimes mutually hostile countries. Peninsular Spanish is itself in flux.