Patas arriba: La escuela del mundo al revés (Spanish Edition)

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Patas arriba: La escuela del mundo al revés (Spanish Edition) image
ISBN-10:

8432309745

ISBN-13:

9788432309748

Edition: 1
Released: Feb 01, 2009
Publisher: Siglo XXI
Format: Paperback, 374 pages

Description:

«Hace ciento treinta años, después de visitar el país de las maravillas, Alicia se metió en un espejo para descubrir el mundo al revés. Si Alicia renaciera en nuestros días, no necesitaría atravesar ningún espejo: le bastaría con asomarse a la ventana. Al fin del milenio, el mundo al revés está a la vista: es el mundo tal cual es, con la izquierda a la derecha, el ombligo en la espalda y la cabeza en los pies». Eduardo Galeano es uno de los más relevantes escritores latinoamericanos. Autor, entre otras obras, de Memoria del fuego (Memory of Fire), Las venas abiertas de América Latina (Open Veins of Latin America), Espejos (Mirrors), El fútbol a sol y sombra (Soccer in Sun and Shadow) y El libro de los abrazos (The Book of Embraces). De Patas arriba. La escuela del mundo al revés (Upside Down: A Primer for the Looking-Glass World) se ha escrito: "This catalog of crimes and absurdities has both the acidity of Jonathan Swift and his dark humor. Who else can make the skeletons dance the way Galeano does?"-The New Yorker "Galeano uses his craft to invade the reader's mind, to persuade him or her to surrender to the charm of his writing and the power of his idealism."-Isabel Allende "Galeano's outrage is tempered by intelligence, an ineradicable sense of humor, and hope."-The Los Angeles Times "Galeano's pages are full of empathy, candor, unsettling connections, and fresh through more than 30 years, affront at the suffering of his country-for Uruguay itself was in exile from its long traditions of tolerance. He writes in defense of his countrymen and others: the embattled Mexican Indians in Chiapas, Brazil's street children, the more than eight million children abandoned across Latin America . . . from the Internet to Interpol, from the vapidity of television to auto-itis, nothing is safe from Galeano's committed deconstructions."-Isabel Fonseca, New York Times Book Review

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