Pacheco's works translated into English include City of Memory and Other Poems (City Lights, 1997), translated by Cynthia Steele and David Lauer; Battles in the Desert and Other Stories (New Directions, 1987), translated by Katherine Silver; and Don’t Ask Me How the Time Goes By: Poems 1964−1968 (Columbia University Press, 1978), translated by Alastair Reid. He has received a Guggenheim fellowship and numerous awards for Spanish-language literature including the Mexican Literature Prize.
The Cervantes Prize, established in 1976 and given annually by the Spanish Ministry of Culture, has generally been awarded in alternating years to Spanish and Latin American writers. Among the previous recipients are Octavio Paz, Jorge Luis Borges, and Mario Vargas Llosa. Here's a short video of the prize ceremony and a few remarks by Pacheco:
Dear Authors, Illustrators, Photographers, Editors & Publishers,
The Colorado Humanities & Center for the Book is now accepting entries for the 2010 Colorado Book Awards. We invite you to enter your qualified book(s) for a 2010 Colorado Book Award.
To be eligible for a 2010 Colorado Book Award, the primary contributor to the book must be a Colorado writer, editor, illustrator or photographer, and the entry must have a 2009 publication date. Current Colorado residents are eligible, as are individuals engaged in ongoing literary work in the state and contributors whose personal history, identity, or literary work reflect a strong Colorado influence. A contributor not currently a Colorado resident who feels his or her work is inspired by or connected to Colorado should submit a letter with his/her entry describing the connection. Final eligibility determinations will be made by the Colorado Book Awards Advisory Committee.
Additional entry guidelines are available on our website. The Colorado Book Awards program celebrates the accomplishments of Colorado's literary community and promotes their work to Colorado readers.
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By: msedano,
on 11/10/2009
Blog: La Bloga (Login to Add to MyJacketFlap)
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Michael Sedano
In an era of ebooks and Kindles, iPhones, Blackberries and all manner of text-delivering digital device, Literary El Paso seems a throwback to an earlier
era and a substantial reminder why one enjoys reading printed books in a cozy chair. Undeniably, portability is one advantage electronic devices have over the printed page. Whip out that iPhone while waiting for the bus and read to your heart’s content. Your heart. Me, I’m sure if I haul around this volume I either will forget my reading anteojos at home, or remember the lentes but set the book down somewhere and forget it. They say the memory’s the second thing to go and I do not remember the first.
Texas Christian University Press printed Literary El Paso’s 572 pages, plus xxiv front material, on a 7” x 10” page, giving the volume a comfortable heft and a shape that opens just right to fit a reader’s lap. The serifed font-- is it “Centaur” so highly praised in Carl Hertzog’s essay on page 9?-- is uncomfortably tiny for my eyes, but the typesetter’s justification spreads out individual letters so none touch neighbors (except in a couple of spots), and generous line spacing spreads the text across and down the page creating ample white space for maximal legibility. Once you’ve gotten hands on your own copy of Daudistel’s collection, you’ll likely agree Literary El Paso qualifies as a Morris Chair book.
Upon scanning Literary El Paso’s table of contents and paging serendipitously through the volume, readers will discover the editor’s liberal sense of “literary” as encompassing a wide variety of writing, from poetry to journalism to footnoted historical writing to fiction to essay. Indeed, Daudistel observes in her Introduction that “all writing coming out of a region is, in fact, the literature of that region” and that's what she's included, a rich potpourri of flavors.
Given such a cafeteria plan, readers may elect to browse the collection, not read it at a sitting. Daudistel’s made that easy by assembling her material into three themes. It’s a sensible organization that lends itself to part-by-part enjoyment. Part I, “The Emergent City / La Ciudad Surge”, opens with a cowboy fragment and features historians and journalists. Part II, calls itself “The People, La Gente”, and features a preponderance of Latina Latino writers, and fiction. Part III, “This Favored Place / Lugar Favorecido”, features poets and essays. The collection includes unpublished works from John Rechy, Ray Gonzalez and Robert Seltzer.
Given the pedo that erupted last Tuesday in Sergio Troncoso’s essay, Is the Texas Library Association excluding Latino writers?, Seltzer’s apologia for his father, Chester Seltzer AKA “Amado Muro” constitutes a mixed bag of biography and sympathetic character assassination, but not a defense for Seltzer père’s cultural appropriation--perhaps “reverse assimilation”-- of a Mexicano identity and his subsequent lionizing as a Chicano writer. Literary El Paso is silent about the controversy—see Manuel Ramos’ 2005 column for a usef