Pedro

A novel about love's labors lost at once hilarious and heartrending, "Loving Pedro Infante" unravels the fictions people weave to justify loving the wrong mate, and confirms Denise Chvez's reputation as one of the most vibrant Chicana storytellers.

A memoir by the World Series champion pitcher describes his youth in the Dominican Republic, hardscrabble days in the minor leagues and legendary run with the Red Sox. 100,000 first printing.

Beseeched by his dying mother to locate his father, Pedro Paramo, whom they fled from years ago, Juan Preciado sets out for Comala. Comala is a town alive with whispers and shadows--a place seemingly populated only by memory and hallucinations. 49 photos.

First published in 1967

Pedro Pascal is a Chilean-American actor who has gained fame for his roles in television shows and movies. He was born on April 2, 1975, in Santiago, Chile. Pascal grew up in Orange County, California after his family fled the political turmoil in Chile. He attended the Orange County School of the Arts and later studied at New York University's Tisch School of the Arts, where he trained in acting. Pascal's breakthrough role was in the hit Netflix series Narcos, where he played the role of DEA agent Javier Peña. He has also had notable roles in television shows such as Game of Thrones, where he played Prince Oberyn Martell, and The Mandalorian, where he played the titular character. Pascal has also appeared in movies such as Kingsman: The Golden Circle, The Great Wall, and Wonder Woman 1984. Pascal has received critical acclaim for his performances and has been nominated for several awards, including a Primetime Emmy Award for his role in The Mandalorian.

A collection of interviews that documents the 22-year long cinematic career of the most internationally celebrated Spanish art-film director since Luís Buñuel

Rasmus Vangshardt offers an original interpretation of one of the most famous images of literary history, the theatrum mundi. By applying methods of comparative literature, hispanic studies, and theology, he reconsiders the world theatre’s historical peak in early modern Europe in general and the Spanish Golden Age in particular. The author presents a new close reading of Pedro Calderón’s El gran teatro del mundo (c. 1633–36) and outlines the historical and systematic framework for a theatrum mundi of celebration. This concept entails using art to justify human existence in the face of changing conceptions of the cosmos: an early modern aesthetic theodicy and a justification of the world in that liminal space between drama and ritual. By discussing historiographical theories of early modern Europe, especially those of Hans Blumenberg and Bruno Latour, and through conversations with Shakespearean drama and Spanish Golden Age classics, Vangshardt also argues that the theatrum mundi of celebration questions traditional assumptions of great divides between the Middle Ages and Early Modernity and challenges theories of a European-wide early modern sense of crisis.

The inner biographical sketch of a man deeply united to God, free under the sovereignty of the spirit and attentive to the needs of his contemporaries. Pedro Poveda simply sought a way of living the 'sacred' amid the desacralized and profane, in the manner of the early Christians. He and his work represent a renewal and a model for the evangelizing presence of believers today.