Talk:Leyendas de Guatemala

Books for Bibliography
Hey group! Here are several books that we should consider using in order to improve this article. They are all available in the UBC library. --Sezekiel (talk) 02:28, 17 January 2010 (UTC)

Alvarez, Luis López. Conversaciones Con Miguel Angel Asturias. Madrid: Emesa. 1974

Giacoman, Helmy F, Ed. Homenaje a Miguel Angel Asturias; variaciones interpretativas en torno a su obra. New York. 1972?

Leon Hill, Eladia. Miguel Angel Asturias; lo ancestral en su obra literaria. New York: Eliseo Torres. 1972

Pilon de Pacheco, Marta. Miguel Angel Asturias; Semblanza para el Estudio de su Vida y Obra, con una seleccion de poemas y prosas. Guatemala Cultural Centroamericana, Librería Proa. 1968

Sáenz, Jimena. Genio y Figura de Miguel Angel Asturias. Buenos Aires : Editorial Universitaria de Buenos Aires. 1974

Sierra Franco, Aurora. Miguel Angel Asturias en la Literatura. Guatemala Editorial Istmo. 1969

Verdugo, Iber. El Carácter de la Literatura Hispanoamericana y la Novelística de Miguel Angel Asturias. Guatemala Editorial Universitaria. 1968

Hi Guys, I have a book from Koerner:

Asturias, Miguel Angel. Cuentos y leyendas edicion critica, Ed. Mario ROberto Morales. Coleccion Archivos. 2000.

and this book has a bunch of essays by and about Asturias. For example:

Barnabe, Jean-Philippe. "La escritura de la levenda asturiana: fragmentos de un historial." En cuentos y leyendas. Coleccion Archivos. 2000.

Brotherson, Gordon. "La herencia maya y mesoamericana en Leyendas de Guatemala." En cuentos y leyendas. Coleccion Archivos. 2000.

Lienhard, Martin. "Nacionalismo, modernismo y primitivismo tropical en las Leyendas de 1930." En cuentos y leyendas. Coleccion Archivos. 2000.

Morales, Mario Roberto. "Miguel Angel Asturias: la estetica y la politica de la interculturalidad." En cuentos y leyendas. Coleccion Archivos. 2000.

Prieto, Rene. "La figuracion del surrealismo en las Leyendas de Guatemala." En cuentos y leyendas. Coleccion Archivos. 2000.

Arias, Arturo. Quetzalcoatl, la hibridacion y la identidad indigena: Leyendas de Guatemala como laboratorio etnico.

Arredondo, Isabel. "¡Abróchense los cinturones!: el viaje inconsciente en las Leyendas de Migues Angel Asturias." En cuentos y leyendas. Coleccion Archivos. 2000.

Anadeli Bencomo. "Leyendas de Guatemala: una aproximacion a la heterogenidad cultural en Miguel Angel Asturias." En cuentos y leyendas. Coleccion Archivos. 2000.

Solares-Larrave, Francisco. "El discurso del mito: respuesta a la modernidad en Leyendas de Guatemala." En cuentos y leyendas. Coleccion Archivos. 2000.

Mejia, Jose. "Complejidad y riqueza cultural del mundo mestizo en la obra de Asturias." En cuentos y leyendas. Coleccion Archivos. 2000.

Prieto, Rene. "The tales that now no one believes: Leyendas de Guatemala." En cuentos y leyendas. Coleccion Archivos. 2000.

Millares, Selena. "El agua de los suenos: las Leyendas de Miguel Angel Esturias." En cuentos y leyendas. Coleccion Archivos. 2000.

Bellini, Giuseppe. "Introduccion al mundo mitico: Leyendas de Guatemala." En cuentos y leyendas. Coleccion Archivos. 2000.

OKAY so yeah that is a lot. It's approx. 400 pages of articles. So I am willing to share :) If anyone is in search for sources and has access to a photocopier then you can take whichever article (unless I'm already reading it / have read it). So yes - you can photocopy the article from me. Please don't recall the library book. That would be mean. Cheers,

--Rekarrr (talk) 18:21, 17 January 2010 (UTC) --Rekarrr (talk)

Hi, so this what I have found so far, I'm gonna work on it a little more tonight and then place them down below:

Book Miguel Angel Asturias's archaeology of return (View details) René Prieto Cambridge England ; New York, NY, USA : Cambridge University Press 1993 Available at KOERNER LIBRARY stacks (PQ7499.A75 Z83 1993 ) (GetIt)

Journal articles: Review: [untitled] Isabel Arredondo Reviewed work(s): Miguel Angel Asturias's Archeology of Return by René Prieto Hispania, Vol. 77, No. 3 (Sep., 1994), p. 448 Published by: American Association of Teachers of Spanish and Portuguese Stable URL: http://www.jstor.org/stable/344960

The Presence of Mayan Literature in "Hombres de Maíz" and Other Works by Miguel Ángel Asturias Gordon Brotherston Hispania, Vol. 58, No. 1 (Mar., 1975), pp. 68-74 Published by: American Association of Teachers of Spanish and Portuguese Stable URL: http://www.jstor.org/stable/338886

Review: [untitled] Gordon Brotherston Reviewed work(s): Miguel Angel Asturias's Archeology of Return by René Prieto MLN, Vol. 111, No. 2, Hispanic Issue (Mar., 1996), pp. 430-432 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/3251540

Artificio y naturaleza en las obras de Miguel Angel Asturias Nahum Megged Hispania, Vol. 59, No. 2 (May, 1976), pp. 319-328 Published by: American Association of Teachers of Spanish and Portuguese Stable URL: http://www.jstor.org/stable/339512

Two Paths to the Boom: Carpentier, Asturias, and the Performative Split Stephen Henighan The Modern Language Review, Vol. 94, No. 4 (Oct., 1999), pp. 1009-1024 Published by: Modern Humanities Research Association Stable URL: http://www.jstor.org/stable/3737234

Review: [untitled] Andrés Iduarte Revista Hispánica Moderna, Año 14, No. 3/4 (Jul. - Oct., 1948), p. 294 Published by: University of Pennsylvania Press Stable URL: http://www.jstor.org/stable/30206686 --Kylabl (talk) 01:24, 20 January 2010 (UTC)

Bibliography Final List for January 20, 2010
Hi again. I'll be reading the relevant sections from the following five books. Add the sources you'll be reading to this list once you decide! --Sezekiel (talk) 03:45, 19 January 2010 (UTC)

Alvarez, Luis López. Conversaciones Con Miguel Angel Asturias. Madrid: Emesa. 1974

Giacoman, Helmy F, Ed. Homenaje a Miguel Angel Asturias; variaciones interpretativas en torno a su obra. New York. 1972?

Preble-Niemi, Oralia. Cien Anos de Magia: Ensayos criticos sobre la obra de Miguel Angel Asturias. 2006.

Sáenz, Jimena. Genio y Figura de Miguel Angel Asturias. Buenos Aires : Editorial Universitaria de Buenos Aires. 1974

Sierra Franco, Aurora. Miguel Angel Asturias en la Literatura. Guatemala Editorial Istmo. 1969

Considering we are supposed to have 2-4 books and 6-24 articles on this shortlist I'm going to pick 10 of mine and add/subtract as necessary after everyone has written something here. Until then here's my top 10:

Brotherson, Gordon. "La herencia maya y mesoamericana en Leyendas de Guatemala." En cuentos y leyendas. Coleccion Archivos. 2000.

Lienhard, Martin. "Nacionalismo, modernismo y primitivismo tropical en las Leyendas de 1930." En cuentos y leyendas. Coleccion Archivos. 2000.

Prieto, Rene. "La figuracion del surrealismo en las Leyendas de Guatemala." En cuentos y leyendas. Coleccion Archivos. 2000.

Arias, Arturo. Quetzalcoatl, la hibridacion y la identidad indigena: Leyendas de Guatemala como laboratorio etnico.

Arredondo, Isabel. "¡Abróchense los cinturones!: el viaje inconsciente en las Leyendas de Migues Angel Asturias." En cuentos y leyendas. Coleccion Archivos. 2000.

Solares-Larrave, Francisco. "El discurso del mito: respuesta a la modernidad en Leyendas de Guatemala." En cuentos y leyendas. Coleccion Archivos. 2000.

Mejia, Jose. "Complejidad y riqueza cultural del mundo mestizo en la obra de Asturias." En cuentos y leyendas. Coleccion Archivos. 2000.

Prieto, Rene. "The tales that now no one believes: Leyendas de Guatemala." En cuentos y leyendas. Coleccion Archivos. 2000.

Millares, Selena. "El agua de los suenos: las Leyendas de Miguel Angel Esturias." En cuentos y leyendas. Coleccion Archivos. 2000.

Bellini, Giuseppe. "Introduccion al mundo mitico: Leyendas de Guatemala." En cuentos y leyendas. Coleccion Archivos. 2000.

BTW if anyone wants to do the articles I dropped (refer to list in above section) I am happy to share. Cheers. --Rekarrr (talk) 04:46, 20 January 2010 (UTC)

Arredondo, Isabel. "Reviewed work(s): Miguel Angel Asturias's Archeology of Return by René Prieto." Hispania 77.3 (1994): 448. Web. 20 Jan 2010. .

Brotherston, Gordon. "The Presence of Mayan Literature in "Hombres de Maíz" and Other Works by Miguel Ángel Asturias." Hispania 58.1 (1975): 68-74. Web. 20 Jan 2010. .

Brotherston, Gordon. "Reviewed work(s): Miguel Angel Asturias's Archeology of Return by René Prieto." MLN 111.2 (1976): 430-432. Web. 20 Jan 2010. .

Henighan, Stephan. Assuming the Light, the Parisian Literary Apprenticeship of Miguel Angel Asturias. Oxford: European Humanities Research Centre of the University of Oxford, 1999. 124-148. Print.

Henighan, Stephan. "Megged, Nahum. "Brotherston, Gordon. "Reviewed work(s): Miguel Angel Asturias's Archeology of Return by René Prieto." MLN 111.2 (1976): 430-432. Web. 20 Jan 2010. .." Hispania 59.2 (1976): 319-328. Web. 20 Jan 2010. .." Modern Language Review 94.4 (1999): 1009-1024. Web. 20 Jan 2010. .

Iduarte, Andrés. "Review: [untitled]." Revista Hispánica Moderna 3.4 (1948): 294. Web. 20 Jan 2010. .

Prieto, René. Miguel Angel Asturias's archaeology of return. Cambridge, England: Cambridge University Press, 1993. Print.

Megged, Nahum. "Brotherston, Gordon. "Reviewed work(s): Miguel Angel Asturias's Archeology of Return by René Prieto." MLN 111.2 (1976): 430-432. Web. 20 Jan 2010. .." Hispania 59.2 (1976): 319-328. Web. 20 Jan 2010. . --Kylabl (talk) 07:32, 20 January 2010 (UTC)

Miguel Angel Asturias, lo ancestral en su obra literaria. New York: Eliseo Torres & Sons, 1972. 35-70. Print.

Jaeger, Frances: Cien años de magia: Ensayos críticos sobre la obra de Miguel Angel Asturias. Contains the article “El sujeto indígena y la modernidad en Leyendas de Guatemala y El espejo de Lida Sal”.

Alvarez, Luis López. Conversaciones Con Miguel Angel Asturias.

Barnabe, Jean-Philippe. "La escritura de la levenda asturiana: fragmentos de un historial." En cuentos y leyendas. Coleccion Archivos. 2000.

Anadeli Bencomo. "Leyendas de Guatemala: una aproximacion a la heterogenidad cultural en Miguel Angel

Asturias." En cuentos y leyendas. Coleccion Archivos. 2000.

Morales, Mario Roberto. "Miguel Angel Asturias: la estetica y la politica de la interculturalidad." En cuentos y leyendas. Coleccion Archivos. 2000. —Preceding unsigned comment added by Liloljeffy (talk • contribs) 06:42, 21 January 2010 (UTC)

FINAL FINAL BIBLIOGRAPHY

Books:

'''Alvarez, Luis López. Conversaciones Con Miguel Angel Asturias. Madrid: Emesa. 1974'''

'''Giacoman, Helmy F, Ed. Homenaje a Miguel Angel Asturias; variaciones interpretativas en torno a su obra. New York. 1972?'''

The pages in this book (41-45) that speak directly about Leyendes de Guatemala reflects the layering of indigenous and colonial cultures and histories that the legends reveal. Asturias' background and studies as an anthropologist are discussed as a significant influence in his interest in writing Leyendas. Asturias is described as a "poet-author" and his unique and personal literary abilities are acknowledged. After the book's publication in 1930 it was translated into French and won the Sylla Monsegur award and the introduction and admiration of Valery. The section entitled "Guatemala" refers to the indigenous and colonial cities of Guatemala, the countries geography and the magical ("maravilloso") role of Cuco de los Suenos. In "Ahora de que me recuerdo" ASturias lends his narrative voice to Cuero de Oro, a fictional character. This portion talks about the layering of indigenous and colonial cities upon each other. In "Los brujos de la tormenta primaveral" Asturias is seen as recognizing the evolution of Guatemala in a way that crosses the lines of a poem, story, legend or work of prose. Overall Leyendas is considered a work of many heterogenous influences that reveals a unique identity. --Sezekiel (talk) 08:16, 8 February 2010 (UTC)

'''Henighan, Stephan. Assuming the Light, the Parisian Literary Apprenticeship of Miguel Angel Asturias. Oxford: European Humanities Research Centre of the University of Oxford, 1999. 124-148. Print.'''

Henighan’s main argument is the Leyendas de Guatamala is the product of the “divided self” of Asturias. Henigham states the book is written for a European audience, therefore claims Asturias conforms to the European expectations and uses Guatemalan exoticisms. Henighan then dissects Leyendas de Guatemala in order to show how Asturias tailors the book to a French audience. Henighan claims that Asturias in “Guatemala” writes to alienate himself from Guatemala and that Asturias has a conceited outlook of Guatemala. Then in “Ahora que me acuero” Asturuas” outlines his “unresolved crisis of an absence of connection with that homeland’s cultural source” (133). Henighan argues that the five legends that follow serve  as a “warring of the narrators halves” (134).

Henighan critics Prieto in her analysis of Leyendas de Guatemala, saying that the book cannot solely be read as a transcription of Mayan mythology and an on incorporation of the surrealist movement, because his use of Mayan images and juxtapositions are techniques used to perpetuate the evolution of Asturias double identity. Henighan goes on to show how in each leyenda, “syncretism, doubleness, heterogeneity, are portrayed as inevitable human conditions.”  And that together the stories show the “impossibility of maintaining a purity of identity” (145)  and thus confirming the need for mestizaje. Ultimately, Henighan concludes that in “Leyenda del tesoro del lugar florido” Asturias cultural divided is no longer equal, and “the Maya have come to an end” and hence Asturias has accepted his Parisian identification and therefore accepts his estrangement from his Indian culture. —Preceding unsigned comment added by Kylabl (talk • contribs) 22:55, 7 February 2010 (UTC)

'''Hill, Eladia L.. Miguel Angel Asturias, lo ancestral en su obra literaria. New York: Eliseo Torres & Sons, 1972. 35-70. Print.'''

The first part on Leyendas de Guatemala in Chapter 1, “Lo ancestral en función estética” is useful for our paper. In this part of the book, Hill describes Asturias goals in writing Leyendas de Guatemala. Hill also analyzes Asturias writing style, examining Asturias use of reality, imagination, myths, the ancestral, and the exotic. The rest of the chapter summarizes the content in Leyendas de Guatemala and compares the content to other sources. The chapter especially focuses on studying the language Asturias uses, the symbols he employs in his writing. Asturias use of onomatopoeia, metaphors and repetition. Hill begins by giving an overarching review how Leyendas de Guatemala is divided: two introductory stories, five legends, and finally the drama-play, “”Cuculcán Serpiente-envuelta-en-plumas.” Hill then breaks down each section of the book, highlighting references and influences from Mayan literature, especially the Popol-Vuh, and culture.

'''Preble-Niemi, Oralia. Cien Anos de Magia: Ensayos criticos sobre la obra de Miguel Angel Asturias. 2006.'''

Pages 159-176 pertain to Leyendas de Guatemala in a section called "The Indigenous Subject and Modernity in Leyendas de Guatemala and El Espejo de Lida Sal". According to this section, Leyendas de Guatemala exemplifies how knowledge of myths of the past serve to invent the Guatemalan nation and identity. Lois Parkinson Zamora considered Leyendas de Guatemala to be a work that shows the "anxiety of origins". By this she means that the contemporary writer (ie Asturias) feels the need to fill the void that exists about indigenous culture by looking to the past. This anxiety is also dealt with by creating a complex narrative full of detailed language that includes the complexity and paradoxes represented by indigenous cultural origins. Zamora further believes that authors such as Asturias' work demonstrates cultural conflicts and influences in Guatemala as a fact of history instead of trying to resolve them in his writing. According to Jaeger, Asturias' Leyendas demonstrates the European and indigenous worldviews that compose Guatemala in an attempt to outline identity. There is detailed discussion of the nation and the portrait Asturias paints about the relationship of cultures and races that compose it.--Sezekiel (talk) 18:05, 8 February 2010 (UTC)

'''Prieto, René. Miguel Angel Asturias's archaeology of return. Cambridge, England: Cambridge University Press, 1993. Print.'''

This book looks at the rapid evolution in Asturias’ writing from his dissertation where Auturias argues the need for foreign immigration to improve the Indian breed, the “mal indio” to Leyendas de Guatemala in which “the myth he creates involves a portrayal of himself as spokesman for and emblem of Indian culture” (26). Prieto analyzes Asturias’ childhood and upbringing to understand his identification with his Indian heritage and the rejection of his criollo side. Prieto also looks at events, movements and inspirational people that influenced Asturias writing and changed his viewpoint of Indian culture while he was in Paris; especially the classes he took and the French based Latin Press Agency which concentrated on the revitalization of Latin power as economic relief after WWI. Prieto studies the role of surrealism in Leyendas de Guatemala, and highlights his use of unnatural juxtapositions; Prieto stresses that Asturias uses surrealism to “mirror the somewhat magical and primitive mentality of the Indians” (34). Prieto describes Asturias writing as “neo-Indigenismo,” where he defends the Indians by increasing awareness of their fundamental beliefs and making sure to portray their culture as entirely separate. Asturias concentrates his writing on describing Indian culture and tradition in order to validate the Indian heritage. Prieto also explains and compares Asturias writing with other attitudes and defensive strategies and techniques. An important point for Prieto, is that Asturias in combining “Western techniques and thematic and stylistic elements borrowed from the native American literatures” (40). Prieto then analyzes each part of the book to reveal Asturias overall messages and the themes of the book. In her analysis of each part, Prieto also points out influences from Mayan literature and surrealism. Leyendas de Guatemala begins with two introductory stories, the first is a “tale of loss, the second heralds the restitution of the past and the rehabilitation of waylaid traditions” (51). Prieto goes on to say that the reader then learns that destruction is always followed by rebirth in “Leyenda del Volcán.” “Leyenda del Cadejo” teaches that one can overpower the forces that oppress them and through “Leyendas de la Tatuana and del Sombrerón” the reader learns the means to overcome these forces are always feasible. And the last legend shows that “the past - the buried treasure of our ancestors - lies intact under the watchful and protective guardianship of nature itself” (64). Therefore Prieto concludes that the meaning of the book is that “the country’s cultural patrimony is not lost but neglected” (64-54). Finally Prieto looks at the additions Asturias later added to Leyendas de Guatemala, “Los brujos de la tormenta primaveral “ and “Cucuclán” and how they add to the meaning of the book. Prieto stresses the influence of the Popul Vuh on these last pieces.

'''Sáenz, Jimena. Genio y Figura de Miguel Angel Asturias. Buenos Aires : Editorial Universitaria de Buenos Aires. 1974'''

Pages 57-90 mentions the European cultural and literary influence that Asturias experienced in Paris, the location where he wrote the Leyendas. This portion of Saenz's book then provides a summary of each legend by Asturias and mentions the literary, linguistic, cultural and/or historical characteristics of them. --Sezekiel (talk) 08:16, 8 February 2010 (UTC)

'''Sierra Franco, Aurora. Miguel Angel Asturias en la Literatura. Guatemala Editorial Istmo. 1969'''

The relevant pages in this book (52-55) note the importance of Valery's introduction and repeats it in its entirety. Leyendas de Guatemala is praised a beautiful work that is dedicated to Asturias' mother and her influence of story telling. Asturias' poetic writing style is mentioned as is his deep knowledge of the geography and feel of Guatemala. Leyendas was the first book of Asturias that won international recognition and it was published in a variety of languages soon after its publication. The legends that Asturias has recorded come from an oral tradition and contain many indigenous Maya elements. --Sezekiel (talk) 08:16, 8 February 2010 (UTC)

'''Journal articles:

'''Alvarez, Luis López. Conversaciones Con Miguel Angel Asturias.'''

'''Bencomo, Anadeli. "Leyendas de Guatemala: una aproximacion a la heterogenidad cultural en Miguel Angel. Asturias." En cuentos y leyendas. Coleccion Archivos. 2000.''' This article analyzes how “Leyendas de Guatemala” with its indigenous flavour, finds a place amid the single-mindedness of Latin American vanguardism and its effects from regional and global points of view. Bencomo discusses the consequences of the inclusion of popular culture into the literary field. Thanks to many writers during the 1920’s having a socio-political conscience, Bencomo finds interesting the fact that the indigenous peoples’ culture was embedded in the venture of discovering a national identity, and because of this multi-faceted approach, Asturias’ writing style developed aspects of heterogeneity. This article is very dense and academic. The information presented here is only useful as a tertiary source, as it is extremely specific. --Liloljeffy (talk) 17:11, 8 February 2010 (UTC)

'''Arredondo, Isabel. "¡Abróchense los cinturones!: el viaje inconsciente en las Leyendas de Migues Angel Asturias." En cuentos y leyendas. Coleccion Archivos. 2000.' Arredondo focuses on the theoretical plans Asturias had for Leyendas'', as well as how he implemented these, and compares Asturias’ interest in the Guatemalan legends with that of other figures in his time. She poses the question : Why was Asturias so interested in discovering and re-writing legends? Folklorists were interested in categorizing the legends by theme and motifs, anthropologists in the identities of the cultural communities, and writers each had their own interests. Yet generally a preoccupation with the question of identity was the most dominant push towards the study of legends. For Asturias, a legend is a cultural artifact in a state of constant change. Wanting to be part of this change, Asturias took popular and well-known legends and modified them, combining elements, and morphing some parts beyond recognition. For example, in order to introduce the world of desire, in Leyenda de Sombrerón he creates a duality between the boy and the devil, which was absent from the original story. Arredondo analyzes similar examples, then moves on to describe the intellectual climate of the 1920s and 1930s. She then explores the connections between Asturias and the unconscious – and the inability to categorize him as a surrealist. Arredondo cites Paul Valéry in saying Leyendas is a collection of stories-dreams-poems. She explains that through the rhythm of words, allusions to sensations, and associations, the prose of Asturias creates a hallucination-like experience. Overall Arredondo tells us to hang on and enjoy the ride. Possible wiki categories: intellectual or historical or literary context – deviation from traditional folklore – relation to traditional legends – textual analysis – literal analysis --Rekarrr (talk) 06:52, 8 February 2010 (UTC)

'''Arias, Arturo. Quetzalcoatl, la hibridacion y la identidad indigena: Leyendas de Guatemala como laboratorio etnico.''' This article focuses on Asturias’ recognition that Quetzacóatl was able to construct one of the greatest of all American myths, and more specifically on how Leyendas provides a hybrid identity for the Guatemalan subject. Asturias wrote Leyendas in order to reinvent a Guatemalan identity. Arias analyzes Ahora me acuerdo in great detail, distinguishing the elements of Mayan myth from those of Spanish colonial influences. He further discusses the hybrid nature of the text, introducing the figure of the “mal ladrón” in order to reevaluate initially marginalized subjects. Other examples of hybridity are presented, for example how the narrator, Cuero de Oro, sings and dances, but he sings a-e-i-o-u – the vocals of the Latin alphabet. He claims Leyendas deviates from Popol Vuh(original legends) in that it is something more sad, more violent, an origin story for the Mestizo, which came out of the conquest by Spain, an act which was bloody and violent in nature. Arias then describes the myth of Quetzalcóatl in its traditional form, and then contrasts it with the interpretations of Asturias. He also talks about a psychotic breakdown within the text in which the boundaries of real and not-real are blurred to the point where reality is lost. This breakdown results in seeing the world in a sensual, instinctive, and subjective way (ojos infantiles, el perro, etc). Basically he claims that the tension resulting from the vacillation of the hybrid subject is what is most powerful within Leyendas. In the end, Arias also explores sexuality that is present throughout the legends and how that ties in with this overarching theme of duality. Possible wiki categories: historical or literal context – hybridity in Leyendas – identity – Guatemalan identity – social factors – sexuality in Leyendas.--Rekarrr (talk) 06:52, 8 February 2010 (UTC)

'''Barnabe, Jean-Philippe. "La escritura de la levenda asturiana: fragmentos de un historial." En cuentos y leyendas. Coleccion Archivos. 2000.'''

This article explains how Asturias’ first voyage to Europe (England, and later France) planted the seeds for Asturias to develop a unique ideology. Asturias was very impressed with Paris. Barnabe gives a wide but general overview of the events in Asturias life from 1924 when he gradually ceased to pursue a career as a lawyer, and fervently developed his writing. A short description ensues regarding the content of Asturias’ research notes during the writing of Leyendas of Guatemala, as well as the manner of the layout, the strength of ink used, the looseness of the sheets, and other info (examples are reproduced). In summary, this article gives a short history of events leading up to the writing of Leyendas, then goes into detail about the physical, practical methods of how Asturias logged his ideas onto paper, as well as various peripheral stimulus and events that may have contributed to his inspiration.--Liloljeffy (talk) 17:45, 8 February 2010 (UTC)

'''Bellini, Giuseppe. "Introduccion al mundo mitico: Leyendas de Guatemala." En cuentos y leyendas. Coleccion Archivos. 2000.''' Bellini starts by putting Asturias’ childhood in the context of Guatemala’s history and a rise of a dictator which influenced his family, and how this lead to his political activism and artistic creativity in the future, making him a defender of his spiritually rich world; Asturias expresses man’s supreme aspiration for freedom and justice within his works. He was also involved in a fight against illiteracy in his youth. It was the violent climate of Guatemala in 1921-23 that led his parents to send him to Europe to study. Bellini (as well as some of the afore mentioned articles) emphasizes the relationships he made there, especially with his professor Raynaud, and surrealists, activists, and other authors of his time, both Latin American and European. Bellini also analyzes Leyendas through the foreword for the French edition by Paul Valéry, a text that is very important in the analysis of Leyendas. He also emphasizes the influence of Popol Vuh on Leyendas, as it brings the nostalgia and the theme of intimate contact with Gods and Nature that characterize each legend. He also analyzes the permanent presence of demons, and links that with colonial elements in the stories. He cites several textual examples form each legend and traces literary and contextual analyses and comparisons through them. He focuses a lot on imagery and the poetic atmosphere. Possible wiki categories: background on Asturias – background on Leyendas – literary context – historical context – influences – magical realism – literary analysis. --Rekarrr (talk) 06:52, 8 February 2010 (UTC)

'''Brotherson, Gordon. "La herencia maya y mesoamericana en Leyendas de Guatemala." En cuentos y leyendas. Coleccion Archivos. 2000.''' Brotherston talks about Asturias’ sources and inspirations. He claims that Asturias draws much from Popol Vuh, the collection of the stories and legends of the Quiché Kingdom. Later in the article Brotherston delves further into the topic of the impact of Mesoamerican texts on Asturias and Leyendas, such as Anales de los cakchiqueles, the legends (and creation myth) of kaquchikel. He also talks about Asturias’ European influences, and the effect that the years which he spent away from Guatemala had on the development of Leyendas. It also runs through a comparative analysis of earlier and later editions of Leyendas, with a particular focus on the illustrations that accompanied earlier editions but not later ones. Brotherston later also addresses the distinctions between the first half of Leyendas and “Los brujos de la tormenta primaveral” and “Cuculcan”, assessing the stylistic variances between them, but also finding sufficient similarities to reconcile them into the unity of Leyendas. The article then goes on to talk about the impact and significance of Leyendas in Latin American literature, influencing things such as later representations of time, of identity, and inspiring countless future writers to follow similar patterns. Possible wiki page categories: Asturias’ sources or inspirations – context – history – textual analysis – impact or significance. --Rekarrr (talk) 06:52, 8 February 2010 (UTC)

'''Jaeger, Frances: Cien años de magia: Ensayos críticos sobre la obra de Miguel Angel Asturias. Contains the article “El sujeto indígena y la modernidad en Leyendas de Guatemala y El espejo de Lida Sal”.'''

'''Leal, Anabella Acevedo. "De las Leyendas de Guatemala a El Espejo de Lida Sal: El recorrido de una experiencia estetica." En cuentos y leyendas. Coleccion Archivos. 2000'''

Here the article author, Leal, is drawing many comparisons and similarities between “Leyendas de Guatemala” – a very early work, and “El Espejo de Lida Sal” – one of the last published books by Asturias. Mainly the author is trying to show an evolution of literary style, and not so much an evolution of ideology, although the two are inextricably fused and dependent on each other. Both works reveal Asturias’ lifelong interest in illuminating a “realidad mestiza” and experimentation with language, however whereas the earlier work deals more with a mere presentation of ideas and their implications, the latter work is more of an argument, and uses a more realistic, anecdotal narrative. An analysis of “Leyendas” in regards to Asturias’ written manipulation of the duality of time and space is offered, as well as simple interpretations of the stories. —Preceding unsigned comment added by Liloljeffy (talk • contribs) 04:44, 8 February 2010 (UTC)

'''Lienhard, Martin. "Nacionalismo, modernismo y primitivismo tropical en las Leyendas de 1930." En cuentos y leyendas. Coleccion Archivos. 2000.' This article approaches Leyendas'' from a bit of a critical perspective. Lienhard addresses Asturias’ earlier essay, “El problema social del indio” and compares his attitude to that in Leyendas via this lens of the “problema indigena”. He then addresses the issue of nationalism, which presents itself in Leyendas, saying that the formation of a Guatemalan national identity was his main goal for the novel. He analyzes this attempt of Asturias to save a country through its culture. After this discussion of the political context, Lienhard tackles the artistic context in which Leyendas was formed. He talks about the tropical atmosphere, and a recreation of the “poetica indigena” or the native forms of poetry. Also, a list of inspirations and friendships with authors, artists, and translators appears, as well as a re-examination of Asturias’ use of Popol Vuh and Anales de los cakchiqueles from a much more critical perspective. This is followed by a close reading and critical analysis of each legend, where Liehard ties in certain themes to its western literary or Mayan parallel. He also analyzes the stylistic techniques of Asturias’ writing, as well as the literary qualities of Leyendas within the context of the specific tales, and this mythical world of fluidity and magic. Possible wiki categories: political or historical context – Asturias’ inspirations or sources – literary analysis – links with Mayan culture – criticisms. --Rekarrr (talk) 06:52, 8 February 2010 (UTC)

'''Mejia, Jose. "Complejidad y riqueza cultural del mundo mestizo en la obra de Asturias." En cuentos y leyendas. Coleccion Archivos. 2000.' Mejia explores the culture that lives within Leyendas''. Structurally he describes Leyendas as a fusion between poetry and prose. Thematically he discusses the intermingling of traditional Guatemalan culture and post-colonial elements. He makes a distinction between the legends in which Asturias takes well-known tales and those which he creates by taking various elements from folklore and forming new stories. He claims that Asturias is actually forming the origin stories of a Mestizo country, and therefore emphasizes the hybrid qualities of his stories. He explores the fluidity of time and space and of the imagery used in the stories. Mejia poses the question of why there are two introductions to the legends themselves, Guatemala and Ahora me acuerdo, and seeks the answer in the process of easing the reader into the different logical framework that the legends work within. For the overall structure of the book and the relations between each legend, Mejia proposes a concentric circular model of structure. He also claims that Leyendas is indeed the first work in which elements of magical realism appear (vs. Solares-Lavarre). He uses further analysis of the content of the legends as well as literary devices such as repetition used by Asturias to illustrate this claim. Possible wiki categories: structural analysis – literary analysis – hybridity – fluidity of time and space – magical realism --Rekarrr (talk) 06:52, 8 February 2010 (UTC)

'''Millares, Selena. "El agua de los suenos: las Leyendas de Miguel Angel Esturias." En cuentos y leyendas. Coleccion Archivos. 2000.' Millares analyzes the magical and dreamlike qualities of Leyendas''. She contrasts it with surrealism using the metaphor of reflections: if surrealism is like viewing the world through a concave mirror or a broken mirror, then Asturias’ style of writing is like seeing the world through reflections on water – emphasizing the natural qualities of his writing. The legends portray an atavistic lucidity, which further employs this magical and natural style. She analyzes the character of the great trickster in Cuculcán as he explicitly questions the truth of fiction and the falsity of reality. Millares elaborates on literary devices such as juxtaposition of what the natives describe as words that have never met before. She also touches on El espejo de Lida Sal, a continuation of Leyendas. The dominant characteristics of the indigenous paradigm that Asturias works within are: the main role of nature and natural forces, the genetic power of words, the mytheme of metamorphosis, and the pertinence of the dream-world and material imagination. Millares then traces these elements through each legend in Leyendas. Possible wiki categories: magical realism – aboriginal elements in Leyendas – literary analysis. --Rekarrr (talk) 06:52, 8 February 2010 (UTC)

'''Morales, Mario Roberto. "Miguel Angel Asturias: la estetica y la politica de la interculturalidad." En cuentos y leyendas. Coleccion Archivos. 2000''' In this article, the author, Morales conducts a thorough analysis of Asturias’ writing style and investigates the political and social settings that fostered Asturias’ development. Morales speaks of the differences between literature and oral tradition, and endeavours to validate the writing of Asturias as authentic in the formulation of transcultural identity. Morales gives a synopsis of the political oligarchy that was brewing in Latin America as a result of European vanguardism. Morales gives an account of the social context in Paris during the time that Asturias was there studying Mayan mythology and being exposed to surrealism in art. Asturias is quoted in describing his and other writer’s methods to writing at this time. Morales describes in lengthy detail the extreme racism that existed (still exists?) towards indigenous people in Guatemala and how Asturias’ political views in this manner had a profound effect on his writing style. There is a thorough analysis of all the stories in Leyendas, comprised of many opinions by leading academics. In summary, this article analyzes the socio/political background that motivated Asturias to gestate certain revolutionary ideas that led to his developing a unique writing style, which had a strong influence in fostering a national identity for Guatemala. --Liloljeffy (talk) 01:54, 8 February 2010 (UTC)

'''Prieto, Rene. "La figuracion del surrealismo en las Leyendas de Guatemala." En cuentos y leyendas. Coleccion Archivos. 2000.''' Prieto starts by defending Asturias from the public’s reactions to certain political stands taken by him as she attempts to negate this “leyenda negra” that exists around his persona. She further analyzes him through this political lens, for example via an interpretation or the messages carried within each legend in Leyendas. She then explores Asturias’ possible inspirations, focusing on a series of congresses he took part in, between 1925 and 1932, which all focused on the goal of a reunification of Latin American forces. On this thread to auto-identification Asturias was lead to explore the origins of Guatemalan culture and identity. Prieto also talks about Asturias’ inspirations, friendships, and travels, all as factors that lead him in the direction of writing Leyendas. She mentions Asturias’ publications of early versions of the legends in El Imparcial, a Guatemalan newspaper. She then analyzes each legend in Leyendas within its own internal context, analogizing the fictions with facts; for example she explores the truth behind the statement that Guatemala was constructed over buried cities. Preito finally claims that Asturias conveys his message through the contrasts between the techniques and the themes of Leyendas. She calls his mingling of native and Spanish elements, the past and the present, and the real and the exaggerated, “neoindigenista”. Possible wiki categories: political or historical context – literary analysis – literary themes – technique – message - Asturias’ inspirations or sources – defense against criticisms. --Rekarrr (talk) 06:52, 8 February 2010 (UTC)

'''Solares-Larrave, Francisco. "El discurso del mito: respuesta a la modernidad en Leyendas de Guatemala." En cuentos y leyendas. Coleccion Archivos. 2000.' Solares-Lavarre argues that in Leyendas'', Asturias puts up a resistance and a form of criticism against modernity. His dualities of written versus oral, rational versus intuitive, homogenization versus singularity, all form a response against the rationalization and modernization of Hispano-America. He separates Leyendas from the traditional form of a legend and instead labels it as “mito crítico”, or critical myth; something that takes up the structural characteristics of a myth, but uses the stark language of modernity creating a strange sensation of surrealism. He emphasizes the importance of the mythical discourse throughout Latin American literature as a form of resistance to the assimilating forces of modernization. Solares-Lavarre makes a point of stating that he is not reading Leyendas through an analysis of magical realism, since he believes that Asturias is presenting the reality of the magical as the origin of Guatemalan identity, as this mythical thought process is what keeps the culture alive. Overall he concludes that Leyendas belongs in the genre of “mito crítico” rather than “realismo mágico”. He then presents a more in-depth analysis of specific stories, such as Guatemala in terms of the three above-mentioned categories of resistance to modernity. He also later contrasts the magical qualities of myth and scientific qualities of modernity in Asturias’ writing techniques and vocabulary, emphasizing detailed imagery and the vocal nature of his writing. He then moves on to an analysis of the content of each story in Leyendas discussing the topics of the magical logic and fluidity of faith, versus rationality, He also explores Asturias’ opposition to positivism, and how he embraces a hybrid identity without trying to assimilate and individualize. He presents the Mestizo as a solution to the clash of the Spanish and the native, which according to Solares-Lavarre represents his embracing of homogeneity over the singularity prescribed by modernism. Possible wiki categories: textual or literal or contextual analysis – rebellion against modernity – hybridity in Leyendas – mito critico – criticism of magical realism. --Rekarrr (talk) 06:52, 8 February 2010 (UTC)

Conversation?
Hey guys - so we are all pretty much listing the sources we found on this page - but realistically is any of us going to read the x hundred pages of writing that we are each listing? Why don't we pool these together and see what's most relevant, maybe divide topics, or sections or just initiate some kind of conversation. I mean do we want to do this as groupwork and divide stuff up? or do we each want to do our own thing and add whatever we find on our own to the wiki article and work individually? I'm okay with either one, but we should probably decide early on. Btw I have no idea how this wiki talk stuff works so I made this conversation thing: maybe we can all [edit] this and use it kind of like a forum? I'm going to now go and spam all of you's walls. --Rekarrr (talk) 04:20, 20 January 2010 (UTC)

Hey, thanks for starting this, i think it would be most productive if we divide things up and work as a group, I think the end productive will also be more coherent and better this way, but I'm flexible too. Do you think we can all talk tomorrow after class. I tried to find articles since you guys had already looked at the books in the library, but we should divide the work more evenly, I will help read the books and you guys can read some of these shorter articles too. Ok well, see you guys in class tomorrow, --Kylabl (talk) 06:16, 20 January 2010 (UTC)

Hey team! So about them articles/ books/ whatever. I asked Dr. Murray about selections and he said:

"At a quick glance, I'd say that it's the critical edition (with all the associated essays) that's the most important. That's These are articles that are almost all directly about Leyendas de Guatemala.  You should divide them up between your group. Meanwhile, [there are also] a whole bunch of articles that are not directly about the book (and may be more about his more famous books such as Hombres de maiz), but may mention it in passing.  These can probably be skimmed later."
 * Asturias, Miguel Angel. Cuentos y leyendas edicion critica, Ed. Mario Roberto Morales. Coleccion Archivos. 2000.

So maybe someone should really adopt the 5 articles I left out from this final list of the bibliography? Maybe I'll give up even more articles? I am also down for meeting after class, except I don't know who anyone is so if you guys do maybe flag me down or something? Thanks. --Rekarrr (talk) 16:29, 20 January 2010 (UTC)

Wow - I thought we were going to meet up after class today, especially since Jon let us out early...I really think we need to have a meeting to sort out the readings. Communicating via this talk page has an incredible time lag. So have a great weekend everyone! :) --Liloljeffy (talk) 20:48, 22 January 2010 (UTC)

So it looks like all the articles from the anthology have been covered which is good! Do you guys still support the idea of me reading the relevant sections of the 5 books that I've checked out from the library (which are listed at the top of the Final Bibliography section)? Thanks. And yes let's meet on Monday Jan 25th after class to sort things out. I remember who you guys are so I'll try my best to flag you down--Sezekiel (talk) 23:27, 23 January 2010 (UTC)

I have a class after that class, but I can try to stay for 5 mins. And sure you going through those 5 books sounds good. --Rekarrr (talk) 04:08, 25 January 2010 (UTC)

I can stay for an hour after class on Monday or Friday, but maybe we can get together outside of school on on weekend if needed? Otherwise I could meet Tuesday or Friday afternoons...--Liloljeffy (talk) 07:52, 25 January 2010 (UTC)

HEY I didn't know the class was cancelled for Friday, so I finished scanning the articles from the big Morales book. I brought it, I'm here at UBC until 11am (at the music building), so I hope someone from the team comes, and then I can trade off the book to them. Anyway, thank you for lending the book (I have alot of pages to read)and if no one comes today then I guess I will leave the book in my locker and bring it again to class on Monday - - HAVE A GREAT WEEKEND ALL!! --Liloljeffy (talk) 18:05, 29 January 2010 (UTC)

Hi all,

Sorry I have been bad about replying to messages on here, I have started reading the sources I checked out and will start t write the annotated bibliography for them tonight hopefully. Lets see so far i have read sections from "Assuming the light" (pgs 125-146 are good) and pgs 35-70 from "Miguel angel Asturias, lo ancestral en su obra literario." i also have one more book, and there is about 60 more pages for me to read in that, are you guys reading around the same number of pages as me? I never took any articles from the anthology but I certainly can if you need me to. I also had found a few journal articles that I can also read and write up. And for the annotated bibliography should I just add paragraphs down below? —Preceding unsigned comment added by Kylabl (talk • contribs) 00:40, 1 February 2010 (UTC)

--Kylabl (talk) 00:41, 1 February 2010 (UTC)

OK HI again, so I just posted a more organized final bibliography of everyones combined sources separated by book and journal articles and ordered alphabetically. If I forgot any of them just add them in. Also I left out the journal articles I found on jstor because we seem to have a lot of sources and I am reading the books instead. We can add them if we want later I figured also. K see you guys tomorrow. —Preceding unsigned comment added by Kylabl (talk • contribs) 01:15, 1 February 2010 (UTC)

WOW Thanks Kylabl for updating the bibliography list - looks good! I'm not sure we will actually be reading all that though - for instance, I'm only reading 4 articles (although the total number of pages are about 170), but we'll see as we go along. I'm still unsure of exactly what people are going to read. For now I would like to put the titles of the sources under each person's name, and write the annotation just under each source in smaller font, that way we see exactly what each team member is doing in case we need to go to one another for specific info. Great that you've started reading for the project already - I'm trying to finish the Carpentier novel first, although I realize that this project is kinda the priority! :) I will get on it this week (I better cuz I have no choice!) --Liloljeffy (talk) 06:08, 1 February 2010 (UTC) Good job on the re-assortment of the bibliography list! If you guys would like I am down to have a group meeting sometime this week if we need to discuss anything. I am happy to buy us a pitcher and some wings at koerner's pub or something under the cause of wiki-project-group-work. Let me know how you all feel. --Rekarrr (talk) 07:21, 1 February 2010 (UTC)

Hey guys. I was just thinking, if anyone feels like taking on more articles, maybe we should also use the prologue by Paul Valery? I mean we talked a lot about it in class so maybe it's important. Just putting that out there. --Rekarrr (talk) 21:46, 7 February 2010 (UTC)

Hey so I just posted my parts on the books I read for the annotated bibliography. I bolded the citations because I dont know how to do indentations and spacing here on wiki... if anyone knows how can you let me know! So i guess you guys should add your paragraphs under the citation as well. I was thinking, if I added any citatins to articles or books you are no longer reading, just delete them off the list. Ok see you all tomorrow,--Kylabl (talk) 23:02, 7 February 2010 (UTC)

Heya. I agree that we should mention the introduction by Valery in our wikipedia article. Definitely an important aspect of the book! Two of my books (Miguel Angel Asturias en La Literatura and Conversaciones con Miguel Angel Asturias) mention the importance of Valery's introduction as a legitimization of the work. Anyways, my part of the annotated bibliography will be up shortly! --Sezekiel (talk) 00:06, 8 February 2010 (UTC)

Yeah, a bunch of mine mention it too! So yeah, putting the summaries here is a good call! We can have them all together. :) But how are we supposed to "hand it in"? I forget if he mentioned it in class - was that the put on your user page thing? SO do we put our whole annotated bibliography on our user page? Or do we have to hand in a hard copy? I have no idea how i missed this or forgot it but do you guys remember ??? --Rekarrr (talk) 00:15, 8 February 2010 (UTC)


 * Hi -- just a note to say that if you need to ask Jon about the assignment, you can just post a note to his talk page. He will reply there, and may also post to your talk pages.  That way you can get an answer fairly quickly. Mike Christie (talk) 01:26, 8 February 2010 (UTC)
 * thanks, i followed your advice. --Rekarrr (talk) 01:36, 8 February 2010 (UTC)

I'm going to remove one of the books (Conversaciones con Miguel Angel Asturias) that I originally assigned myself to read. The information concerning Leyendas in it has already been covered in the other sections of the books I've read. Shall I take on an article from the anthology or research another useful source? Let me know! --Sezekiel (talk) 18:10, 8 February 2010 (UTC)

OMG guys I just edited. Hopefully I didn't F anything up, but it's pretty time consuming... anyways see yous all wednesday. --Rekarrr (talk) 04:00, 16 March 2010 (UTC)

Heya, I've also started contributing. I'm thinking we should set a deadline for finishing additions so that we will have time to edit what we've all written. We should probably give ourselves at least a week to edit/perfect it :). What do you all think? --Sezekiel (talk) 23:01, 22 March 2010 (UTC)

BTW guys, I'm changing "Indian", in what you wrote. I'm a sociology major, and for me saying that isn't okay.--Rekarrr (talk) 01:18, 12 April 2010 (UTC)

Finding Articles
How oh how did you guys find all these sources?? I've been at the library for a couple hours, with help of the librarian and can not find very much. There are many articles, but there is no access to them. I'm using the MLA bibliography guide and using "Asturias" or "Leyendas de Guatemala" as a search topic. I had several articles pertaining to the topic, but when I tried to access them, it said NO FULL TEXT FOUND, then when I cross referenced with UBC catalogue, it indicated that not available in print format nor online. The librarians are very helpful and doing alot of the work for me, but still no results...apart from 7 books (already mentioned in your list and signed out by you folks?)

So I guess I will use some of the sources already found by the 3 of you. I do not understand what it is I should choose from the list. I will try to decipher your previous messages, but basically it's all Greek to me... BTW I can meet after class on Friday Jan 22 to discuss/delegate/ANYTHING no problem lol! Please help me figure a way I can pull my weight here!

Book: Jaeger, Frances: Cien años de magia: Ensayos críticos sobre la obra de Miguel Angel Asturias. Contains the article “El sujeto indígena y la modernidad en Leyendas de Guatemala y El espejo de Lida Sal”.

Alvarez, Luis López. Conversaciones Con Miguel Angel Asturias.

Asturias, Miguel Angel. Cuentos y leyendas edicion critica, Ed. Mario Roberto Morales

--Liloljeffy (talk) 00:31, 21 January 2010 (UTC)

Hey, So these articles I am not using:

Barnabe, Jean-Philippe. "La escritura de la levenda asturiana: fragmentos de un historial." En cuentos y leyendas. Coleccion Archivos. 2000.

Anadeli Bencomo. "Leyendas de Guatemala: una aproximacion a la heterogenidad cultural en Miguel Angel Asturias." En cuentos y leyendas. Coleccion Archivos. 2000.

Morales, Mario Roberto. "Miguel Angel Asturias: la estetica y la politica de la interculturalidad." En cuentos y leyendas. Coleccion Archivos. 2000.

So you can include them in your bibliography list. Also you should probably write your list (whatever you found, like the stuff you just mentioned above) plus these 3 i just wrote here in the "Bibliography Final List for January 20, 2010" section, so we have them all there, and I think you need to do that to get the marks also. Hope that helps! Cheers --Rekarrr (talk) 05:09, 21 January 2010 (UTC)

Great! Thank you so much!--Liloljeffy (talk) 06:45, 21 January 2010 (UTC)

plot summary parts
What is Guatemala? A country? A chapter? A bird? Please say. Maybe have a look at Candide. --Ettrig (talk) 21:33, 24 March 2010 (UTC)

Thanks for your recommendation! We have a question for you. We would like to include an image on our page but we don't want to break any copyright laws. Could you give us some advice? Thanks. --Sezekiel (talk) 22:35, 7 April 2010 (UTC)


 * This is a good guide to what's in copyright and what's not. You can use copyrighted images under fair use policy, though; it depends on whether the usage is really fair use, or just decorative.  What are you thinking of using? Mike Christie (talk) 23:49, 7 April 2010 (UTC)


 * SO the picture I put in the main-title-info-box-thing is copyrighted, but the article for Asturias, and the one for El señor presidente both have fair use right to use it. So can i use it here too, or do we have to declare something, or ask permission from someone, or how does this work? thanks for any help. --Rekarrr (talk) 06:26, 17 April 2010 (UTC)

Refs fixed
(I left this note at Kylabl's talk page too.) I just fixed the refs error I saw here; I hope that was helpful. If you're not clear what the problem was let me know and I can explain -- basically you have to finish a ref with " ", not " ". The slash is important. Mike Christie (talk) 02:19, 11 April 2010 (UTC)

Submissionnnnnn time (i think? yes yes)
Hey Dude and Dudettes! I proofred the ENTIRE freakin article, edited, added more info where we needed to fill in holes, added little sections (like see also and related reading or whatever) that the good article criteria requires, added an info box and some photos. I'm thinking lets send her off to good article consideration land? I dont know how to do that but im sure i can wiki it (ha-ha-ha). So edit or add whatever you guys still want, or let me know if youre ok to send it, but in either case if no one replies to me by saturday night im sending it. Sounds like a plan? Let me know what you all think. It looks pretty sweet tho. go team...bot... (btw im gna copy paste to your talk pages for extra awareness purposes) --Rekarrr (talk) 05:46, 17 April 2010 (UTC)

HOLY COW
whoever did this has got to be sexy. —Preceding unsigned comment added by 96.49.138.141 (talk) 22:35, 18 April 2010 (UTC)

pictures
Just to let everyone that edits this page, there is a public domain picture of the author on wikicommons as well as a photo of his grave. | here you go! --Found5dollar (talk) 13:13, 20 April 2010 (UTC)