Inca Blues

Mrs. Esperanza tells a bed story to her grandson Sasha. It is about the largest, the strongest, the fastest and the most beautiful blue whale in the world. It jumps out of an ocean and lands in another ocean, but despite its beauty and power, it has to ask for help from a super powerful man so she can live.

The hidden life of the greatest surviving work of Inca art The most celebrated Andean artwork in the world is a five-hundred-year-old Inca tunic made famous through theories about the meanings of its intricate designs, including attempts to read them as a long-lost writing system. But very little is really known about it. The Royal Inca Tunic reconstructs the history of this enigmatic object, presenting significant new findings about its manufacture and symbolism in Inca visual culture. Andrew James Hamilton draws on meticulous physical examinations of the garment conducted over a decade, wide-ranging studies of colonial Peruvian manuscripts, and groundbreaking research into the tunic’s provenance. He methodically builds a case for the textile having been woven by two women who belonged to the very highest echelon of Inca artists for the last emperor of the Inca Empire on the eve of the Spanish invasion in 1532. Hamilton reveals for the first time that this imperial vestment remains unfinished and has suffered massive dye fading that transforms its appearance today, and he proposes a bold new conception of what this radiant masterpiece originally looked like. Featuring stunning photography of the tunic and Hamilton’s own beautiful illustrations, The Royal Inca Tunic demonstrates why this object holds an important place in the canon of art history as a deft creation by Indigenous women artists, a reminder of the horrors of colonialism, and an emblem of contemporary Andean identity.

Its a mixture of two main stories. One, in modern times, occurs in the late 1960s in Chile (Arica and Santiago) and deals with teenagers/young mens adventures from school to sex. The second story deals with the Spanish conquest of the Inca Empire (Peru, 1500s) until just before 1960s and deals with the conquest, colonization, and development of a character whose future generation descendant will connect with the first story in a get-together in Arica, Chile, where these two stories interconnect smoothly through a character called Lucas the Count. It could also be read as a collection of individual tales.

The first introduction to the Incas and their myths aimed at students and general readers, bringing together a wealth of information into one convenient resource. Full of hard to find information, Handbook of Inca Mythology provides an accessible introduction to the rites, beliefs, and spiritual tales of the Incas. It provides a concise overview of Incan civilization and mythology, a chronology of mythic and historical events, and an A–Z inventory of central themes (sacrifice, fertility, competition, reversaldualism, colors, constellations, giants, and miniatures), personages (Viracocha, Manco Capac, Pachackuti Inca), locations (Lake Titicaca, Corickancha), rituals, and icons. The last Native American culture to develop free of European influence, the Incas, who had no written language, are known only from Spanish accounts written after the conquest and archaeological finds. From these fragments, a vanished world has been reborn and reintroduced into modern Andean life. There is no better way into that world and its mind-bending mythology than this unique handbook.

Eddy Ancinas and her friends set out on on a seven-day horseback trip that takes them over Peru’s rugged terrain to 20,574-foot-high Mt. Salcantay, along an ancient Inca route, and then down into the jungle. During this journey, these fifty-something travelers are challenged by events they never imagined possible: a fall from a horse that results in serious injuries, a train strike that leaves them stranded in a remote village, an eight-hour trek on railroad tracks along the Urubamba River, and a moonlight ride in the back of a truck with questionable brakes on a dirt road over a 14,000-foot pass, among others. It is a journey full of mishaps—and yet Eddy is enchanted by the culture and places she experiences along the way. As she and her fellow travelers explore Lima, Cusco, and the markets, villages, and ruins of the Urubamba Valley, they are deeply touched by the people they meet, fascinated by the clues to an ancient civilization they learn to respect and admire, and enthralled by the spectacular setting where it all takes place: Andean Peru.

THE NEW YORK TIMES BESTSELLING TRAVEL MEMOIR What happens when an unadventurous adventure writer tries to re-create the original expedition to Machu Picchu? In 1911, Hiram Bingham III climbed into the Andes Mountains of Peru and “discovered” Machu Picchu. While history has recast Bingham as a villain who stole both priceless artifacts and credit for finding the great archeological site, Mark Adams set out to retrace the explorer’s perilous path in search of the truth—except he’d written about adventure far more than he’d actually lived it. In fact, he’d never even slept in a tent. Turn Right at Machu Picchu is Adams’ fascinating and funny account of his journey through some of the world’s most majestic, historic, and remote landscapes guided only by a hard-as-nails Australian survivalist and one nagging question: Just what was Machu Picchu?

For most of the postcolonial era, the Aymara Indians of highland Bolivia were a group without representation in national politics. Believing that their cause would finally be recognized, the Aymara fought alongside the victorious liberals during the Civil War of 1899. Despite Aymara loyalty, liberals quickly moved to marginalize them after the war. In her groundbreaking study, E. Gabrielle Kuenzli revisits the events of the civil war and its aftermath to dispel popular myths about the Aymara and reveal their forgotten role in the nation-building project of modern Bolivia. Kuenzli examines documents from the famous postwar Peñas Trial to recover Aymara testimony during what essentially became a witch hunt. She reveals that the Aymara served as both dutiful plaintiffs allied with liberals and unwitting defendants charged with wartime atrocities and instigating a race war. To further combat their "Indian problem," Creole liberals developed a public discourse that positioned the Inca as the only Indians worthy of national inclusion. This was justified by the Incas' high civilization and reputation as noble conquerors, along with their current non-threatening nature. The "whitening" of Incans was a thinly veiled attempt to block the Aymara from politics, while also consolidating the power of the Liberal Party. Kuenzli posits that despite their repression, the Aymara did not stagnate as an idle, apolitical body after the civil war. She demonstrates how the Aymara appropriated the liberal's Indian discourse by creating theatrical productions that glorified Incan elements of the Aymara past. In this way, the Aymara were able to carve an acceptable space as "progressive Indians" in society. Kuenzli provides an extensive case study of an "Inca play" created in the Aymara town of Caracollo, which proved highly popular and helped to unify the Aymara. As her study shows, the Amyara engaged liberal Creoles in a variety of ways at the start of the twentieth century, shaping national discourse and identity in a tradition of activism that continues to this day.