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摘要
摘要
This wonderful folktale reveals some of the down-to-earth wisdom of the indigenous peoples of Chiapas. At the same time, it provides us with a fresh perspective on the struggles of the people there. They fight to conserve their culture and a vision of the world which they see as flowering with holiness--a holiness that cannot be measured in dollars or defined by politics.
The text for La Historia de los Colores is taken from the communiqué dated October 27, 1994 from Subcomandante Insurgente Marcos to the Mexican People. Originally published in Mexico with illustrations by Domitila Domínguez as La Historia de los Colores © 1996 by Colectivo Callejero, Guadalajara.
Who is Marcos?
Subcomandante Insurgente Marcos is the military strategist and spokesperson for the Zapatistas, an indigenous guerrilla movement in Mexico. It is his person, more than any other factor, that has pushed the Zapatista movement and the plight of the indigenous people in Mexico onto the international scene. Marcos continues to be the focus of media attention--in Mexico, in the States, and internationally, despite the Mexican government's attempts to discredit him.
On New Year's Day, 1994, Subcomandante Insurgente Marcos and the Zapatistas, wearing their trademark ski masks, erupted on the world scene by declaring war on the Mexican government and attacking military installations in San Cristóbal, Chiapas. Since that time, Marcos--because of his charm, intelligence and mystique--has become a post-modern revolutionary hero. In his communiqués to the Mexican people, he has often related folktales and stories that reflect the culture and wisdom of the indigenous peoples of Chiapas.
But no one seems to know who Subcomandante Insurgente Marcos is. The Mexican Government claims he is Rafael Guillen, but they're literalists. He says he's a Mexican like any other, born somewhere between the Atlantic and Pacific Oceans and between the northern and southern borders. He says he wears a ski mask because he is no longer whoever he was.
评论 (3)
《学校图书馆杂志》(School Library Journal)书评
K Up-Employing elements of both fable and indigenous pourquoi tale, this story explains the origin of colors in the world and how the macaw acquired his bright plumage. Old Antonio relates that the gods, bored with black and white, go out into the world and collect colors-red from blood, yellow from a child's laughter, etc. The colors combine and make more colors. The gods, needing a place to keep them safe, spot the macaw, and decide on his feathers. And so the bird goes "strutting about just in case men and women forget how many colors there are and how many ways of thinking, and that the world will be happy if all the colors and ways of thinking have their place." The text, colloquial and rolling in both Spanish and English, has rhythm, motion, and a sense of authenticity. Dom¡nguez's primitive forms have volume and solidity, along with a kinetic energy that gives them the sense of movement. The figures, structured on a line as pure as that of Picasso, carry the action in the black-and-white sections, but the colors as they are introduced are vibrant and fresh as if they had, indeed, just been found, newly minted. The meld of artwork and text is flawless. This said, some caveats are in order. There are several lovely, natural references to lovemaking, and the accompanying illustration shows a woman and a male god in an unmistakably sexual embrace. Within the context of the story and culture from which it derives, it speaks to a way of life in which sexuality is accepted as a natural and cotidian element. However, in our cultural context, it poses some problems of potential audience. Finally, this publication has received a lot of press because the author is a Zapatista insurgent involved in guerrilla warfare with the Mexican government. The book, however, stands alone as a lovely, integrated folktale with a meaning and message all its own, and is deserving of purchase.-Ann Welton, Terminal Park Elementary School, Auburn, WA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
出版社周刊评论
Were it not for the fame showered upon this title in the wake of the NEA's retraction of funding for it, this Mexican folktale by a Zapatista leader would probably have attracted little attention: its greatest merit, Dom¡nguez's vibrantly original art, is subverted by a badly flawed design. The bilingual text is digressive and rough, as if transcribed from an oral telling, and it presumes some common ground that will likely be absent for American readers ("The gods were fighting.... They were very quarrelsome, these gods, not like the first ones, the seven gods who gave birth to the world, the very first ones"). Purporting to tell how the gods created colors, the story tacks on a message about tolerance, equating different colors with different ways of thinking. The art, meanwhile, is full of life, a heady mix of folkloric motifs and a contemporary intensity. Dom¡nguez's totemic figures crowd her canvases as if they were performing in a theater, their gestures and poses dramatic and commanding; and her fittingly colorful backgrounds are boldly and kinetically patterned. But the glossy paper flattens the rich, textured surfaces of the paintings; the three-quarter-page reproductions compete with different-colored blocks of text for readers' attention; and an unvaried, static layout discourages close perusal. Readers interested in the controversies surrounding the title will soak up the political commentary on the jacket flaps, which also include a photo of the guerrilla authorÄa masked figure garlanded with bandoliers of bullets. All ages. (May) (c) Copyright PWxyz, LLC. All rights reserved
《儿童读物杂志》(Horn Book)书评
In this bilingual folktale from the Mexican region of Chiapas, the world is black and white until the gods find colors. The poetic telling has a rare authenticity and reads more lyrically in the original Spanish than in English. Domínguez's powerful folk art illustrations add mystery and depth to this mythical story about tolerance. From HORN BOOK Fall 1999, (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.