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New titles Juan de la Cuesta- María Zambrano: palabras para el mundo Edited by Madeline Cámara and Luis Pablo Ortega The roots and the echo of the words of the writer and philosopher Maria Zambrano (1904-1991) are the focus of this anthology. The essays examine Zambrano’s formative years in Spain, the lessons she took from exile, and the impact of her return to Spain. The contribution of our book lies in the fact that this is the first attempt to release a compilation of the Spanish philosopher in the United States where she is insufficiently known and translated. The book discusses the influences Zambrano received from teachers: her dialogues with Zubiri, coincidences with Paz and his disagreements with Ortega, all occurring in the critical period in Spain at the dawn of the republic but trapped in the strangling knot of fascism. We trace Zambrano’s route to an exile of forty years and pay special attention to the period she spent in Cuba where she found her pre-natal homeland and in Puerto Rico which she called the “island of hope.” Also discussed are her relationships with senior Cuban and Spanish writers that founded the artistic avant-garde with prominent women intellectuals who sought to rethink democracy in their island and mestizo cultural identity in modernity. It seems inevitable then that the anthology seeks to establish the parallel between “her Spain” and “her Caribbean.” It is precisely this renewed nature of Maria Zambrano after exile that makes her thoughts universal. The texts closing this volume attempt to place Zambrano’s influence beyond the realm of literature and offer proofs of the contemporary and universal footprint of her thought in feminist theorists, particularly those who claim the realm of “difference feminism,” as well as philosophers who use the Greek legacy to defend poetry. Participants in this volume have approached the work of Zambrano from different perspectives—philological, political, philosophical, anthropological, and feminist—indicative of the interdisciplinarity that is inherent in the object under study. To read Maria Zambrano, according to the open invitation of this anthology, it is necessary to analyze the world we inherited, and to become responsible for and reconciled with the world in which we live. Her work provides “tools,” “visions,” “guides,” writings without borders where the traditional disciplines—ontology, logic, ethics and poets—are no longer distinguished by initial capitals. It is an open invitation to a vivid dialogue. We hope the reader will also participate. ISBN: 978-1-58871-194-6 (HB), $26.95 la autobiografía espiritual de la Madre María de san José (1656-1719) Mario A. Ortiz Es justo en 1691, año en que Sor Juana Inés de la Cruz escribe su célebre Respuesta al obispo de Puebla, Manuel Fernández de Santa Cruz, cuando se estima que la mística y visionaria mexicana, la Madre María de San José, comenzó a escribir su voluminosa vida a petición del mismo obispo. Si bien ambas vidas son muy diferentes en su estilo y contenido, éstas se enmarcan dentro de la extensa y rica tradición literaria de la autobiografía espiritual femenina, uno de los pocos espacios en el que las monjas de la edad moderna temprana podían expresarse por medio de la pluma. Los escritos de la Madre María de San José nos narran las primeras tres décadas de su vida y los numerosos obstáculos que encontró que le impedían poder ingresar a un convento, así como los treinta y dos años que luego vivió en el claustro. Estos textos nos ofrecen un detallado retrato de la vida diaria en su hacienda y en los conventos. Como concluye Kathleen Myers en su “Introducción”: “Sus escritos llenan muchas lagunas en nuestro conocimiento de la vida novohispana cotidiana tanto en el mundo doméstico como en el conventual. [. . .] Nos abren el conocimiento a las complejidades de esas jerarquías, tanto seglar como religiosa, de las creencias culturales y espirituales de su época y de la vida colonial en sí.” Esta edición modernizada intenta hacer sus textos accesibles a una amplia audiencia de lectores modernos. Las primeras dos partes se dedican a la vida secular de la Madre María y a su vida religiosa en los conventos. La tercera parte incluye su obra devocional Las estaciones (o Via crucis), texto que la Madre María escribió como resultado de una serie de visiones que tuvo de la Virgen María. La edición incluye una “Cronología de la vida de María de San José,” una detallada sección sobre las “Fuentes manuscritas,” y una bibliografía sobre cultura conventual. ISBN: 978-1-58871-196-0, $26.95 14 Juan de la cuesta — Hispanic MonograpHs 2012 www.Juandelacuesta.coM
HIspanic Monographs Quehaceres con góngora Julio Baena New titles This book is about Góngora, famously the most difficult and enigmatic poet of the Spanish 17 th Century, but it is a book with Góngora as much as a book on his poetry. Góngora and his poetry are treated as fully our contemporary, as if Soledades were a book just published by a new author, put in a bookstore stand for the first time in 2010. The subject matter of this book, however, is not literature. It is both less and more than literature, and, in some respects, it posits itself “against literature.” Poetry—that mysterious thing much older than literature—, on one hand, is to be recovered from its kidnappers, and on the other hand it is the kidnappers that are exposed in this book for what they are, and one of the things they are is “us,” even if we are, ourselves, no more than pawns in a much bigger game (the very bloody game of History). This book is a structured set of critical thoughts—in the sense that the Frankfurt School gave to the notion of “critical thinking”—around the unique phenomenon of Góngora’s poetry. “Quehaceres”—“things to do”—is the tag that the author has pinned on each of the several undertakings that interact, or face each other dialectically, in the book. The first thing to do is entitled “Góngora a solas,” and it brings face to face two old enemies: performance and textuality, in an attempt to differentiate the use-value of poetry—of any poetry—from any exchange-value or “meaning.” This differentiation, with its concomitant pleasure, is, of course, both impossible to attain and indispensable. Only through the laborious fabrication of a silencing apparatus can it be approached. The second “thing to do” (“La soledad en construcción”) is to draw the master plan of such a silencing machine. Such a machine already exists: it is Góngora’s own poem Soledades, of which the strange title (the plurality of alone) points to the root of the problem—our—problem. Language as a problem becomes a symptom of a deeper crisis, and points to a persistent wish to “get out.” This crisis was first announced by the mystics ( John of the Cross or Teresa of Ávila), and, thus, Chapter 3 (“Quehacer Tercero”) explores how can this be, given that nothing seems to be more opposite to the poetry of John of the Cross (“fábula mística”)than that of Góngora (“poesía prófuga”). A fourth section (“Otros quehaceres”) puts together several short pieces of unpublished material by the author, which illuminate some of the main aspects of the book, or constitute independent points of reflection on a few Gongorine issues. There are two notes on the Polifemo (one on the dialectics of acquisition/consumption, and one on the paradox of “beautifully singing badly”). Another “quehacer” notices a strange irregularity in the rhyme of the first lines of Soledades. Another one relates two old cousins (Garcilaso and Góngora) to a third, seemingly unrelated one ( Juan Alfonso de Baena—no known relation to the author of this book either), and the final “thing to do” of the book is to simply remark that “isolation” comes from the same root as “island,” an island being a place surrounded by shore on all sides. And since “shore” is obsessively abundant in Góngora’s poetry, the book closes with a return to its opening yearn (“a solas”). Luis de Góngora las Firmezas de isabela Donald McGrady ISBN 978-1-58871-208-0 (PB) EDICIONES CRíTICAS #66, $29.95 dante’s divina comedia: linguistic study and critical edition of a Fifteenth-century translation attributed to enrique de villena Teresa M. Bargetto-Andrés This critical edition of a fifteenth-century Spanish translation of Dante’s Divina Comedia attributed to Enrique de Villena includes the Infierno, Purgatorio, and Paraíso as the texts appear in manuscript 10186 of the Biblioteca Nacional de Madrid. The Introduction lays the groundwork for a greater understanding of Villena’s work within the context of fifteenth-century translation culture in Spain. Additionally, light is cast on the most controversial arguments that surround the manuscript: problems of provenance, ownership, authorship, completion date, dictation, and hypothetical and extant manuscripts. Moreover, a carefully composed glossary of the undocumented terms found in the translation, as well as many others that provide further insight into the history of the Spanish language, illuminates our understanding of Medieval Spanish. ISBN 978-1-58871-185-4 (HB) EDICIONES CRíTICAS #58, $39.95 ISBN 978-1-58871-207-3 (PB), $29.95 order at www.aMaZon.coM Juan de la cuesta — Hispanic MonograpHs 2012 15
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Page 5 and 6: N e w t i t l e s Cuentos preferido
Page 7 and 8: GoldeN aGe Cervantes: NEW CERVANTES
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Page 31 and 32: A senior-level book for translation

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