PALABRA in the Classroom

Introduction

*Grade school pupil at blackboard. Concho, Arizona.* 1966. Library of Congress Prints and Photographs Division.

This page features a guide for incorporating sources from the PALABRA Archive into the classroom. Depending on your teaching needs, use these materials to have students practice their auditory language-learning skills, perform literary analysis, and increase their knowledge about Hispanic cultures. Below are two collections of authors in the PALABRA Archive whose audio recordings can be streamed online, as well as some sample questions and exercises for using these works.

The first group consists of audio recordings in the PALABRA Archive by authors whose work is on the list of required texts for the AP Spanish Literature and Culture exam. Students will be able to practice required AP course skills like analysis, cultural context and connections, and comparing literary texts. This collection can be useful for teachers of any Spanish course, but they might choose to make changes to the suggested practice exercises.

The second group of selected works highlights authors in the PALABRA Archive whose writings center feminist themes. This collection will ask students to analyze and interpret each recording’s thematic content, literary devices, and stylistic choices, learning about the fundamentals of poetry and creative writing alongside aspects of Hispanic culture. Included are works in both Spanish and English in order to provide access for teachers of either language. Those teaching the Spanish language may utilize the audio recordings in Spanish to improve students’ listening skills in addition to literary analysis, while English Language Arts teachers may utilize the English recordings to teach literary analysis alone.

This collection spotlights the authors in the PALABRA Archive who also have works on the AP Spanish Literature and Culture list of required texts. In most of these recordings the authors are not reading the required text itself, but it is good practice for students to familiarize themselves with these writers and enhance their auditory comprehension. This resource is geared toward AP teachers and students, but can be beneficial for other Spanish courses as well. Have your students choose a writer from the list and listen to one reading from their recording. Or, choose one reading yourself to play for the whole class. If you are teaching auditory comprehension skills, have students listen to the audio recording without reading the written transcript. After the recording, allow them one minute to take notes and review the questions. Then play the audio once more. For suggested free response prompts, multiple-choice questions, and practice exercises, see below the list of authors’ readings.

Note that some readings contain mature themes or content which you may choose to review prior to playing recordings for your students. For longer works, you might also choose to review the recording ahead of time to select a shorter sample.

Each writer’s name is linked to their PALABRA audio recording. Below each name contains a list of all the works read in the author’s recording, with the time stamp and running time listed for easy access. An asterisk* indicates that a reading has text-specific sample questions that can be used for preparing students for the AP exam. Suggested prompts and exercises can be found below the list of authors’ readings.

Isabel Allende 1
Excerpt from La casa de los espíritus (Starts 0:30; Length 11:13).
Isabel Allende 2
1997 Interview (Starts 0:01; Length 20:07); “Epílogo” de Paula (Starts 20:07; Length 15:05)
Jorge Luis Borges
“Un soldado de Urbina”* (Starts 0:00; Length 0:48); “El tango”* (Starts 0:53; Length 03:31); “Una llave en Salónica”* (Starts 04:30; Length 0:49); “Límites” (Starts 05:21; Length 02:25); “El general Quiroga va en coche al muere” (Starts 07:51; Length 01:57); “Fundación mitológica de Buenos Aires” (Starts 09:52; Length 02:25); “Baltazar Gracián” (Starts 12:23; Length 02:20); “El Golem” (Starts 14:47; Length 04:10); “Poema conjetural”* (Starts 19:01; Length 02:40); “Página para recordar al Coronel Suárez, vencedor en Junín” (Starts 21:43; Length 02:29); “Una brújula” (Starts 24:13; Length 0:51); “La noche cíclica” (Starts 25:05; Length 02:25); “Manuscrito hallado en un libro de Joseph Conrad” (Starts 27:32; Length 0:50); “Un sajón” (A.D. 449) (Starts 28:24; Length 02:12); “Poema del cuarto element” (Starts 30:37; Length 02:28); “Un patío” (Starts 33:07; Length 0:32); “Remordimiento por cualquier defunción” (Starts 33:42; Length 0:49); “Llaneza” (Starts 34:35; Length 0:52); “Mateo XXV, 30” (Starts 35:30; Length 01:51)
Julio Cortázar
“Instrucciones para subir una escalera” (Starts 08:39; Length 02:37); “Preámbulo a las instrucciones para dar cuerda al reloj” (Starts 11:19; Length 01:38); “Instrucciones para dar cuerda al reloj” (Starts 13:06; Length 01:04); “Correos y telecomunicaciones” (Starts 14:41; Length 02:44); “Vietato introdurre biciclette” (Starts 17:47; Length 02:47); “Fin del mundo del fin” (Starts 20:46; Length 04:49); “Discurso del oso” (Starts 25:58; Length 02:58); “Viajes” (Starts 28:17; Length 01:40); “Conservación de los recuerdos” (Starts 30:00; Length 01:05); “Comercio” (Starts 32:17; Length 03:35); “Historia” (Starts 34:56; Length 0:25); “Inconvenientes en los servicios públicos” (Starts 35:25; Length 02:20); “Lo particular y lo universal” (Starts 37:48; Length 01:20); “Flor y cronopio” (Starts 39:27; Length 0:38); “Fama y eucalipto” (Starts 40:05; Length 0:50); “Tortugas y cronopios” (Starts 41:02; Length 0:28)
Carlos Fuentes
Excerpt from Terra nostra: “El prisionero del amor” (Starts 00:01; Length 29:06); “El prisionero del amor” (Starts 29:07; Length 03:28); “El prisionero del amor” (Starts 32:36; Length 10:10)
Gabriel García Márquez
Excerpts from El otoño del patriarca: Excerpt (Starts 00:20; Length 23:10); Excerpt (Starts 23:33; Length 29:50); Excerpt (Starts 53:30; Length 5:00).
Nicolás Guillén
“El son entero: Sóngoro cosongo” (Starts 0:05; Length 0:38); “La canción del bongó” (Starts 0:45; Length 01:33); “Balada de los dos abuelos”* (Starts 02:20; Length 02:40); “Sensemayá” (Starts 05:20; Length 01:18); “El abuelo” (Starts 06:41; Length 01:02); “No sé por qué piensas tú” (Starts 07:45; Length 0:58); “José Ramón Cantaliso” (Starts 08:47; Length 01:23); “Cantaliso en un bar” (Starts 10:14; Length 01:09); “Guitarra”* (Starts 11:28; 01:24); “Mi patria es dulce por fuera” (Starts 12:56; Length 2:42); “Son número 6” (Starts 15:44; Length 01:58); “Una canción en el Magdalena (Colombia)” (Starts 17:46; Length 02:00); “Elegía”* (Starts 19:51; Length 01:02); “Palma sola”* (Starts 21:00; Length 0:45); “Agua del recuerdo” (Starts 21:48; Length 01:19); “Un son para niños antillanos”* (Starts 23:10; Length 01:15); “Ácana” (Starts 24:28; Length 0:50); “Hiba yo por un camino” (Starts 25:24; Length (0:55); “Rosa tú, melancólica” (Starts 26:22; Length 01:12); “Arte poética” (Starts 27:42; Length 01:07); “Un largo lagarto verde” (Starts 28:52; Length 01:13); “Canción de cuna para despertar a un negrito” (Starts 30:09; Length 0:59); “Canción puertorriqueña” (Starts 31:12; Length 01:21)
Nancy Morejón
“Los ojos de eleggua” (Starts 0:28; Length 01:19); “La ciudad expuesta” (Starts 02:08; Length 01:22); “Los buenos días” (Starts 03:30; Length 01:10); “La cena” (Starts 04:43; Length 01:28); “Desilusión para Rubén Darío” (Starts 06:16; Length 0:55); “Mujer Negra”* (Starts 07:13; Length 02:29); “Una rosa”* (Starts 09:47; Length 0:25); “Mitologías” (Starts 10:16; Length 01:28); “El sueño de la razón produce monstruos”* (Starts 11:47; Length 01:24); “En el país de Vietnam” (Starts 13:14; Length 01:05); “Un manzano de Oakland” (Starts 14:24; Length 01:30); “Poema” (Starts 15:56; Length 0:29); “La penumbra burguesa” (Starts 16:30; Length 03:20); “En octubre y el aire” (Starts 19:52; Length 02:33); “Análisis de la melancolía” (Starts 22:28; Length 0:48); “La dama de los perros” (Starts 24:20; Length 03:50); “Parque central, alguna gente” (Starts 28:14; Length 02:52); “A dónde iremos, viaje” (Starts 31:09; Length 05:16); Untitled (Starts 36:30; Length 01:00); “Flora contempla floras” (Starts 37:48; Length 0:49); “Vagar” (Starts 38:38; Length 0:45)
Pablo Neruda
Excerpt from Canto general: “Alturas de Machu Picchu” (Starts 00:20; Length 33:00)
Juan Rulfo
Excerpt from El Llano en llamas y otros cuentos: “Luvina” (Starts 00:03; Length 17:00); Excerpt from Pedro Páramo (Starts 17:03; Length 4:00); Excerpt from Pedro Páramo (Starts 21:03; Length 6:30)

These exercises can be used to master the following skill categories: Analysis, Cultural Context and Connections, Argumentation, Language and Conventions, and Literary Discussions and Presentations. Should you choose to pair any of the materials with another text, it can also be used for the skill categories Comparing Literary Texts and Comparing Texts and Art.

An asterisk* indicates that a reading has text-specific sample questions that can be used for preparing students for the AP exam. See below for these multiple-choice questions and free-response prompts. For other readings, you may have students respond to the following more general prompts:

Summarize the text that you heard.
Identify and comment on the tone of the piece.
Describe some of the literary devices at work.
Relate this work to what you know about its sociocultural/historical/geographical context.

TEXT-SPECIFIC PRACTICE EXERCISES

For free-response prompts, choose one of the options highlighted in bold. In the multiple-choice section, correct answers are highlighted in bold text. Students should only receive the prompts and questions in Spanish.

"Un soldado de Urbina" (Starts 0:01; Length 0:48)

¿Qué busca el soldado para borrar o mitigar la saña de lo real? (What does the soldier seek to erase or mitigate the cruelty of reality?)
- Riqueza y presperidad (Wealth and prosperity)
- Fama y gloria (Fame and glory)
- El soñado (The Dream)
- Venganza y retribución (Vengeance and retribution)
¿Cómo es el tono del poema? (What is the tone of the poem?)
- Alegre y festivo (Joyful and festive)
- Melancólico y resignado (Melancholy and resigned)
- Sarcástico (Sarcastic)
- Enojado y conflictivo (Angry and conflictive)
¿Cómo son las imágenes que emplea la voz poética? (What type of imagery does the poetic voice employ?)
- Romántico (Romantic)
- Realista (Realist)
- Surrealista (Surrealist)
- Simbólico (Symbolic)
¿Qué recurso estilístico aparece más en el poema? (What literary device appears most in the poem?)
- Hipérbole (Hyperbole)
- Imaginería (Imagery)
- Simbolismo (Symbolism)
- Ironía (Irony)

“El tango” (Starts 0:53; Length 03:31)

¿Por qué Iberra mató a su hermano? (Why did Iberra kill his brother?)
- Autodefensa (Self-defense)
- Le debía dinero a Iberra (He owed Iberra money)
- Para igualar las muertes que causó (To equalize the deaths he caused)
- Celos por una amante (Jealousy over a lover)
¿Cómo son las imágenes que emplea la voz poética? (What type of imagery does the poetic voice employ?)
- Místicas (Mystical)
- Naturales (Natural)
- Románticas (Romantic)
- Urbanas (Urban)
¿Cómo es el tono del poema? (What is the tone of the poem?)
- Irónico (Ironic)
- Didáctico (Didactic)
- Melancólico (Melancholic)
- Optimisto (Optimist)
¿Qué recurso estilístico aparece en el poema? (Which literary device appears in the poem?)
- Metáfora y símil (Metaphor and simile)
- Aliteración (Alliteration)
- Ironía y sátira (Irony and satire)
- Hipérbole (Hyperbole)

“Una llave en Salónica” (Starts 04:30; Length 0:49)

¿Dónde está la casa de la que los caracteres tienen una llave? (Where is the house to which the characters have a key?)
- España
- Ciudad de México
- Toledo
- Lisbon
¿Qué representa la llave? (What does the key represent?)
- La pérdida de identidad (Loss of identity)
- La esperanza (Hope)
- La persecución (Persecution)
- El santuario (Sanctuary)
¿Cómo es el tono del poema? (What is the tone of the poem?)
- Sombrío y contemplativo (Somber and contemplative)
- Alegre (Joyful)
- Intelectual (Intellectual)
- Humorístico (Humorous)
¿Qué recurso estilístico aparece en el poema? (What literary device appears in the poem?)
- Ironía (Irony)
- Personificación (Personification)
- Alusión (Allusion)
- Metáfora (Metaphor)

“Poema conjetural” (Starts 19:01; Length 02:40)

¿Qué destino corre el narrador al final del poema? (What fate befalls the narrator at the end of the poem?)
- Logra la victoria en la batalla (He achieves victory in battle)
- Escapa a un lugar seguro en el Norte (He escapes to someplace safe in the North)
- Es víctima de un golpe mortal y una muerte inminente (He is the victim of a fatal blow and imminent death)
- Se rinde a los bárbaros (He surrenders to the “barbarians”)
¿Cómo es el tono del poema? (What is the tone of the poem?)
- Optimista y esperanzado (Optimistic and hopeful)
- Nostálgico y reflexivo (Nostalgic and reflexive)
- Ominoso y resignado (Ominous and resigned)
- Alegre y festivo (Joyful and festive)
¿Qué recurso estilístico aparece más en el poema? (Which literary device appears most in the poem?)
- Imaginería (Imagery)
- Aliteración (Alliteration)
- Repetición (Repetition)
- Oxímoron (Oxymoron)
¿Qué tipo de imágenes en el poema transmit eel viaje y el destino de la voz poética?
- Natural
- Urbano (Urban)
- Mítico (Mythical)
- Marcial (Martial/Battle)

“Balada de los dos abuelos” (Starts 02:20; Length 02:40)

Identifica al autor y la época de este fragment. Luego, explica el desarrollo del tema de [la relación entre el tiempo y el espacio/las relaciones interpersonales/las sociedades en contacto] dentro de la obra a la que pertenece. (Identify the author and time of this fragment. Then, explain the development of the theme of [the relationship between time and space/interpersonal relationships/societies in contact] within the work to which it belongs.)

“Guitarra” (Starts 11:28; Length 01:24)

¿Cuál de los siguientes eventos occure en el poema? (Which of the following events takes place in the poem?)
- La guitarra se deja en un armario (The guitar is left in a cabinet)
- La guitarra arde sola bajo la luna (The guitar burns alone under the sun)
- El guitarrista toca una canción con opio (The guitarist plays a song while using opium)
- La guitarra espera a que salga a la luna (The guitar waits for the moon to rise)
¿Cómo es el tono del poema? (What is the tone of the poem?)
- Melancólico (Melancholic)
- Apático (Detached/Apathetic)
- Irónico (Ironic)
- Moralisto (Moralist)
¿Qué recurso estilístico aparece en el poema? (Which literary device appears in the poem?)
- Irónia (Irony)
- Simbolismo (Symbolism)
- Onomatopeya (Onomatopoeia)
- Asonancia (Assonance)
¿Qué significa la “clamorosa cintura” de la guitarra? (What does the writer mean when referring to the “clamorosa cintura” of the guitar?)
- La profundidad emocional de la música (The emotional profoundness of the music)
- El peso de las expectativas sociales (The weight of social expectations)
- La resiliencia de la guitarra (The guitar’s resilience)
- El confinamiento de la expression artística (The confinement of artistic expression)

“Elegía” (Starts 19:51; Length 01:02)

¿Qué materiales son mencionan como utilizados por el hombre negro a lo largo del camino del mar? (What materials are mentioned as being used by the Black man along the path of the sea?)
- Seda y plata (Silk and silver)
- Jazmín y hierro (Jasmine and iron)
- Oro y diamantes (Gold and diamonds)
- Harina y bronce (Flour and bronze)
¿Qué recurso estilístico aparece más en el poema? (Which literary device appears most in the poem?)
- Símil (Simile)
- Aliteración (Alliteration)
- Repetición (Repetition)
- Metáfora (Metaphor)
¿Cuál es una tema prominente del poema? (Which is a prominent theme in the poem?)
- La alegría de la exploración (The excitement of exploration)
- Las consecuencias de la deslealtad (The consequences of betrayal)
- La belleza del mar (The beauty of the sea)
- La celebración de la libertad (The celebration of freedom)
¿Cómo es el tono del poema? (What is the tone of the poem?)
- Alegre y optimista (Lively and optimistic)
- Melancólico y nostálgico (Melancholic and nostalgic)
- Desafiante (Defiant)
- Sereno y contemplativo (Serene and contemplative)

“Palma sola” (Starts 21:00; Length 0:45)

¿Cuál de las siguientes respuestas NO es una descripción de la palma? (Which of the following responses is NOT a description of the palm tree?)
- Un guardián de la noche (Guardian of the night)
- Un soñador bajo el sol (Dreamer under the sun)
- Una entidad solitaria e independiente (A solitary and independent entity)
- Un cautivo del patio cerrado (Captive of the courtyard)
¿Qué recurso estilístico aparece más en el poema? (Which literary device appears most in the poem?)
- Alegória (Allegory)
- Cliché
- Personificación (Personification)
- Símil (Simile)
¿Cómo es el tono del poema? (What is the tone of the poem?)
- Animado y alegre (Animated and lively)
- Melancólico y contemplativo (Melancholic and contemplative)
- Didáctico (Didactic)
- Indiferente y distante (Indifferent and detached)
¿Qué simboliza principalmente la palma? (What does the palm tree primarily symbolize?)
- Libertad e independencia (Liberty and independence)
- Cautiverio y contención (Captivity and contention)
- Esperanza (Hope)
- Soñar bajo del sol (Dreaming under the sun)

“Un son para niños antillanos” (Starts 23:10; Length 01:15)

¿Cuál es una tema prominente del poema? (What is a prominent theme in the poem?)
- El poder de los barcos de papel (The power of paper boats)
- Los desafiós del viaje por mar (The challenges of sea travel)
- La unidad de culturas diversas (The unity of diverse cultures)
- Las dificultades de la soledad en la mar (The difficulties of loneliness at sea)
¿Cómo es el tono del poema? (What is the tone of the poem?)
- Humorístico (Humorous)
- Sombrío (Somber)
- Festivo y jubiloso (Festive and jubilant)
- Intrigante y misterioso (Intriguing and mysterious)
¿Qué recurso estilístico NO aparece en el poema? (Which literary device does NOT appear in the poem?)
- Anáfora (Anaphora)
- Metáfora (Metaphor)
- Enumeración (Enumeration)
- Rima (Rhyme)
¿Qué element específico se menciona en el poema? (Which specific element is mentioned in the poem?)
- Un faro brillante (A bright lighthouse)
- Un caballero valiente (A valient knight)
- Una luna llena (A full moon)
- Un barco de papel (A paper boat)

“Mujer Negra” (Starts 07:13; Length 02:29)

Identifica al autor y la época de este fragment. Luego, explica el desarrollo del tema de [La dualidad del ser/La relaciones socioculturales en Cuba/La esclavitud/El feminism/La construcción del género] dentro de la obra a la que pertenece. (Identify the author and time of this fragment. Then, explain the development of the theme of [The duality of being/Sociocultural relations in Cuba/Slavery/Feminism/Construction of Gender] within the work to which it belongs.)

“Una rosa” (Starts 09:47; Length 0:25)

¿En qué mes está bailando el niño? (In which month does the child dance?)
- Junio (June)
- Julio (July)
- Agosto (August)
- Septiembre (September)
¿Qué recurso estilístico aparece más en el poema? (Which literary device appears most in the poem?)
- Símil (Simile)
- Aliteración (Alliteration)
- Simbolismo (Symbolism)
- Imaginería (Imagery)
¿Cómo es el tono del poema? (What is the tone of the poem?)
- Melancólico (Melancholic)
- Alegre (Joyful)
- Serio (Serious)
- Triunfante (Triumphant)
¿Cuál es el propósito principal de la alusión a “los ojos de Abel Santamaría”? (What is the main purpose for the allusion to “the eyes of Abel Santamaría”?
- Describir un paisaje (To describe a landscape)
- Crear un tono melancólico (To create a melancholic tone)
- Hacer referencia a un personaje histórico (To reference to a historical figure)
- Simbolizar la naturaleza (To symbolize nature)

“El sueño de la razón produce monstruous” (Starts 11:47; Length 01:24)

¿Qué dice la voz poética sobre los sueños abstractos? (What does the poetic voice say about abstract dreams?)
- Son celebrados (They are celebrated)
- Han sido despreciados (They have been scorned)
- Son misteriosos (They are mysterious)
- Son atemporales (They are timeless)
¿Cómo son las imágenes que emplea la voz poética? (What type of imagery is used in the poem?)
- Realistas (Realist)
- Surrealistas (Surrealist)
- (Románticas) (Romantic)
- Naturales (Natural)
¿Cómo es el tono del poema? (What is the tone of the poem?)
- Serio (Serious)
- Juguetón (Playful)
- Romántico (Romantic)
- Solemne (Solemn)
¿Qué recurso estilístico aparece más en el poema? (What literary device appears most in the poem?)
- Alitearción (Alliteration)
- Metáfora (Metaphor)
- Encabalgamiento (Enjambment)
- Hipérbole (Hyperbole)

This collection spotlights some of the artists in the PALABRA Archive whose works contain feminist themes. This resource is geared toward Spanish-learners practicing auditory and literary analysis skills and English Language Arts students practicing literary analysis skills. Have your students choose a writer from the list and listen to one reading from their recording. Or, choose one reading yourself to play for the whole class. Have students listen to the audio recording without reading the written transcript, allowing them to take notes. Ask them to respond in short paragraph form to what they heard, using the following guiding questions:

What do you think the author wanted you to take away from her work? What did you actually take away?
What emotions does the writer elicit from you, and how? Is it the way she reads aloud, the language she uses? Comment on the literary devices at work.
Explain the theme of this text. What ties to feminism or constructions of gender do you see? What makes this medium effective in expressing this theme?
How did the experience of listening to this work differ from reading it as words on a page?

Carmen Boullosa
“Hierba” (Starts 01:23; Length 16:00); “Bebida” (Starts 19:07; Length 0:52); “Distancia” (Starts 22:26; Length 2:00); “El hilo olvida” (Starts 26:26; Length 01:37); “No eres la pluma…” (Starts 30:00; Length 0:20); “El fuego” (Starts 32:00; Length 01:48); “Carta al lobo” (Starts 33:59; Length 02:22)
Aída Cartagena Portalatín
“Que se diga” (Starts 0:32; Length 01:40); “Rechazo de tu voz” (Starts 02:15; Length 01:30); “Henri Matisse” (Starts 03:45; Length 02:05); “Una mujer está sola” (Starts 05:55; Length 01:50); “Estación de la sangre” (Starts 07:46; Length 01:20); “2000 años después” (Starts 09:17; Length 01:34); “Humilde letanía” (Starts 10:57; Length 02:05); “Sedme capáz” (Starts 13:12; Length 0:23); “Ulises, siempre Ulises” (Starts 13:40; Length 02:25)
Ana Castillo
Excerpts from So Far From God* (Starts 0:01; Length 11:22); Excerpt from Sapogonia* (Starts 12:58; Length 06:12); “Daddy With Chesterfields in a Rolled Up Sleeve”* (Starts 19:43; Length 06:07); “Entre Primavera y Otoño” (Starts 26:14; Length 01:09)
Carmen Giménez Smith
“Photo of a Girl on a Beach”* (Starts 01:22; Length 01:03); “Moonrock”* (Starts 02:29; Length 0:42); “Finding the Lark”* (Starts 03:33; Length 03:25); “Pillow Talk”* (Starts 07:20; Length 0:37); “How to Splint Things on the Run”* (Starts 08:04; Length 01:32); “Red Litany”* (Starts 09:52; Length 0:50); “Lapsarian”* (Starts 10:46; Length 04:00); “Déjà Vu”* (Starts 15:04; Length 01:22); “For about Five Minutes in the Aughts”* (Starts 17:40; Length 02:15); “The Walk”* (Starts 20:17; Length 0:43); “Museum of Lost Acquaintance”* (Starts 21:08; Length 04:00); “The City She Was”* (Starts 25:12; Length 03:00); “Bleeding Heart”* (Starts 28:30; Length 01:45); “Smaller, Quieter”* (Starts 30:27; Length 0:27); “Red Baroness”* (Starts 30:57; Length 0:33); “My Open Sesame”* (Starts 31:38; Length 0:44); “We Shall Now Hear What Happened”* (Starts 33:27; Length 02:15); “The Backstory”* (Starts 35:50; Length 01:28); “Bluebeard”* (Starts 37:28; Length 01:00); “Catastrophic Dreaming”* (Starts 38:37; Length 01:08); “Sliver Poet’s Indictment”* (Starts 39:47; Length 0:48); “Tongue-Cut Sparrow”* (Starts 40:41; Length 01:16); Excert from Bring Down the Little Birds* (Starts 42:43; Length 07:14)
Valerie Martínez
Each and Her* (Starts 02:55; Length 32:30)
Achy Obejas
“We Came All the Way From Cuba So You Could Dress Like This?”* (Starts 03:08; Length 35:15)
Josefina Plá
“La triple Tortuga” (Starts 24:30; Length 0:48); “Concepción” (Starts 25:22; Length 01:05); “Soy como el mar” (Starts 26:31; Length 0:50); “Elección” (Starts 27:29; Length 01:15); “La carreta” (Starts 29:00; Length 0:44); “El ladrón” (Starts 29:51; Length 01:23); “Estás lejos, me dicen” (Starts 31:20; Length 01:25); “Querer es” (Starts 32:54; Length 0:56); “Nacer dos veces” (Starts 33:54; Length 01:06); “La sombra” (Starts 35:05; Length 01:03); “Me visitas en sueños” (Starts 36:14; Length 02:00); “Letanía de los otros” (Starts 38:18; Length 0:52); “Perdóname” (Starts 39:16; Length 0:45); “El Doble” (Starts 40:07; Length 01:43)
Elena Poniatowska
Excerpt from Hasta no verte Jesús mío (Starts 0:14; Length 01:46); La noche de Tlatelolco [Testimony of E.P.] (Starts 02:03; Length 03:17); “El recado” (Starts 05:22; Length 06:19); La noche de Tlatelolco [Testimony of Jesús Tovar García] (Starts 11:44; Length 1:30); Excerpt from Hasta no verte Jesús mío (Starts 13:17; Length 03:30); “Las azoteas: (Starts 16:50; Length 04:17); La identidad (Starts 21:10; Length 04:37)
Mercedes Valdivieso
Excerpt from La brecha (p. 13-17) (Starts 03:09; Length 05:00); Excerpt from La tierra que les di (p. 75-77) (Starts 12:14; Length 03:06); Excerpt from Las noches y un día (p. 35-37) (Starts 17:20; Length 05:10); Las noches y un día (p. 238) (Starts 23:08; Length 01:00)
Luisa Valenzuela
“Pavada de suicidio” (Starts 0:29; Length 02:30); “Historia verdolaga” (Starts 03:05; Length 04:41); “Zoología fantástica” (Starts 07:55; Length 01:15); “Visión de reojo” (Starts 09:20; Length 01:25); “Sursum corda” (Starts 10:50; Length 01:06); “Los Menestreles” (Starts 12:13; Length 22:16); “El abecedario” (Starts 35:04; Length 01:42)

The PALABRA Archive at the Library of Congress

PALABRA in the Classroom

Introduction

Classroom Resources