By Subcomandante Marcos
During this landmark publication, Seven tales Press offers a strong number of literary, philosophical, and political writings of the masked Zapatista spokesperson, Subcomandante Insurgente Marcos. brought through Nobel Prize winner José Saramago, and illustrated with appealing black and white photos, Our note Is Our Weapon crystallizes "the ardour of a insurgent, the poetry of a stream, and the literary genius of indigenous Mexico."
Marcos first captured international consciousness on January 1, 1994, whilst he and an indigenous guerrilla crew calling themselves "Zapatistas" revolted opposed to the Mexican govt and seized key cities in Mexico's southernmost country of Chiapas. within the six years that experience handed due to the fact that their rebellion, Marcos has altered the process Mexican politics and emerged a world image of grassroots movement-building, uprising, and democracy. The prolific movement of poetic political writings, stories, and conventional myths that Marcos has penned considering that January 1, 1994 fill greater than 4 volumes. Our note Is Our Weapon offers the simplest of those writings, lots of that have by no means been released prior to in English.
Throughout this notable booklet we listen the uncompromising voice of indigenous groups residing in resistance, expressing via manifestos and myths the common human urge for dignity, democracy, and liberation. it's the voice of a humans refusing to be forgotten the voice of Mexico in transition, the voice of a humans suffering for democracy by utilizing their observe as their basically weapon.
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Extra info for Our Word is Our Weapon: Selected Writings
For more than half a century, the cultural exchanges between the United States and Latin America have taken place less in literature, the visual arts, or traditional culture than in communications industries. But even the "high" arts undergo industrialization in keeping with market criteria and the search for mass audiences, and this massification is certainly a key dimension in the meaning of exhibitions such as the New York Metropolitan Museum of Art's blockbuster Mexico: The Splendors of Thirty Centuries, or of the novels of such best-selling authors as Isabel Allende, Laura Esquivel, and Gabriel Garcia Marquez.
Mikhail Bakhtin's insights are useful here. According to him, there is no such thing as an absolute "one's own," but rather a socially worked-out negotiation (or mismanagement) of the constraints and leeways available. "78 Taking as his point of departure a similar insight about identity and even will as a "coproduction," Garcia Canclini argues: The culturally hybrid features resulting from cross-class interaction force us to recognize that alongside struggle there is also negotiation. And negotiation does not appear as a process external to the constitution of the actors, to which they might resort on occasion for political convenience.
However, this has not been the dominant tendency in our history. And much less in this era of globalization in which it becomes more obvious that ethnic and national identities are hybrid constructions, asymmetrically interdependent and uneven. Indeed, it is in this unavoidable relation to hybridity that each group must defend its rights. Thus, artistic and intellectual movements that identify with ethnic or regional demands, such as the Zapatistas in Chiapas, construe this particular problem as a matter for debate concerning the nation and how it might be relocated within the framework of international conflicts.