El Vaquero Real

"El Vaquero Real" is a mosaic of images, impressions and history of the life that was and hte life as it is today. It is a tribute to the vaquero -- the history, heritage, style, equipment, camaraderie and philosophy of life of these extraordinary men.

A little cowboy and his father ride horses, round up cattle, mend a fence, practice roping, cook over a campfire, and sleep outdoors in their sleeping bags. Beginning-to-Read? books foster independent reading and comprehension. Using high frequency words and repetition, readers gain confidence in independent reading. Newly revised full-color illustrations support the easy fiction text. Word list and a note to caregivers are included. Perfect for an early introduction to Spanish.

It's based on true events that happened to me as I was growing up and going to school. Then as an adult I met Juan Vargas, El Vaquero while I was recovering from a car accident in 1995.

Witches, phantoms and other spooky creatures inhabit these stories drawn from Mexican-American folklore. Star-crossed lovers mysteriously disappear; old women metamorphose into wicked owls; phantoms roam the countryside. This ebook edition contains the original Spanish versions along with the author’s English translation.

Explains the history of rodeo steer wrestling. Equipment and techniques, famous riders, animals, records, venues, and championships are highlighted.

A tie-in to the new documentary, Roy's World, directed by Rob Christopher narrated by Lili Taylor, Matt Dillon and Willem Dafoe, these stories comprise one of Barry Gifford's most enduring works, his homage to the gritty Chicago landscape of his youth Barry Gifford has been writing the story of America in acclaimed novel after acclaimed novel for the last half-century. At the same time, he's been writing short stories, his "Roy stories," that show America from a different vantage point, a certain mix of innocence and worldliness. Reminiscent of Mark Twain's Huckleberry Finn and Ernest Hemingway's Nick Adams stories, Gifford's Roy stories amount to the coming-of-age novel he never wrote, and are one of his most important literary achievements--time-pieces that preserve the lost worlds of 1950s Chicago and the American South, the landscape of postwar America seen through the lens of a boy's steady gaze. The twists and tragedies of the adult world seem to float by like curious flotsam, like the show girls from the burlesque house next door to Roy's father's pharmacy who stop by when they need a little help, or Roy's mom and the husbands she weds and then sheds after Roy's Jewish mobster father's early death. Life throws Roy more than the usual curves, but his intelligence and curiosity shape them into something unforeseen, while Roy's complete lack of self-pity allow the stories to seem to tell themselves.

A masterpiece of mood and setting, character and remembrance, The Cuban Club is Barry Gifford's ultimate coming-of-age story told as sixty-four linked tales, a creation myth of The Fall as seen through the eyes of an innocent boy on the cusp of becoming an innocent man. Set in Chicago in the 1950s and early ‘60s against the backdrop of small-time hoodlums in the Chicago mob and the girls and women attached to them, there is the nearness of heinous crimes, and the price to be paid for them. To Roy and his friends, these twists and tragedies drift by like curious flotsam. The tales themselves are koan-like, often ending in questions, with rarely a conclusion. One story, a letter from Roy to his father four years after his father's death, is written as if the older man were still alive. Indeed, throughout The Cuban Club Roy is in some doubt whether divorce or even death really exists in a world where everything seems so alive and connected. Barry Gifford has been writing his Roy stories on and off for over thirty years, and earlier Roy stories have been published in Wyoming, Memories from a Sinking Ship and The Roy Stories. But it is in The Cuban Club that he brings the form he has created in these stories to its crystallization. Indeed, to find precedents for The Cuban Club, we must look not to other story collections, but to other creation myths—to Gilgamesh, or the Old Testament, or Eduardo Galeano's Memory of Fire trilogy. Roy's age here wends back and forth between six and nineteen and back to twelve. He sees with the ageless eyes of a seer and knows not to judge the good or the bad in circumstances or people, or even to question why things are as they are, instead gathering to himself the romance of a world that teeters on catastrophe always, even as it abounds in saving graces.

Much ink has been spilled over the men of the Mexican Revolution, but far less has been written about its women. Kathy Sosa, Ellen Riojas Clark, and Jennifer Speed set out to right this wrong in Revolutionary Women of Texas and Mexico, which celebrates the women of early Texas and Mexico who refused to walk a traditional path. The anthology embraces an expansive definition of the word revolutionary by looking at female role models from decades ago and subversives who continue to stand up for their visions and ideals. Eighteen portraits introduce readers to these rebels by providing glimpses into their lives and places in history. At the heart of the portraits are the women of the Mexican Revolution (1910–1920)⁠—women like the soldaderas who shadowed the Mexican armies, tasked with caring for and treating the wounded troops. Filling in the gaps are iconic godmothers⁠ like the Virgin of Guadalupe and La Malinche whose stories are seamlessly woven into the collective history of Texas and Mexico. Portraits of artists Frida Kahlo and Nahui Olin and activists Emma Tenayuca and Genoveva Morales take readers from postrevolutionary Mexico into the present. Portraits include a biography, an original pen-and-ink illustration, and a historical or literary piece by a contemporary writer who was inspired by their subject’s legacy. Sandra Cisneros, Laura Esquivel, Elena Poniatowska, Carmen Tafolla, and other contributors bring their experience to bear in their pieces, and historian Jennifer Speed’s introduction contextualizes each woman in her cultural-historical moment. A foreword by civil rights activist Dolores Huerta and an afterword by scholar Norma Elia Cantú bookend this powerful celebration of women who revolutionized their worlds.