Guide to Translanguaging in Latino/A Literature

Total Page:16

File Type:pdf, Size:1020Kb

Guide to Translanguaging in Latino/A Literature The CUNY-NYSIEB Guide to Translanguaging in Latino/a Literature Vanessa Pérez Rosario, Ph.D. with Vivien Cao January 2015 CUNY-NYSIEB. The Graduate Center, The City University of New York 365 Fifth Avenue, New York, NY 10016 This report was developed by CUNY-NYSIEB, a collaborative project of the Research Institute for the Study of Language in Urban Society (RISLUS) and the Ph.D. Program in Urban Education at the Graduate Center, The City University of New York, and funded by the New York State Education Department. The report was written under the direction of CUNY-NYSIEB's Project Director, Maite (María Teresa) Sánchez, and the Principal Investigators of the project: Ricardo Otheguy, Ofelia García, and Kate Menken. For more information about CUNY-NYSIEB, visit www.cuny-nysieb.org. Published in 2015 by CUNY-NYSIEB, The Graduate Center, The City University of New York, 365 Fifth Avenue, New York, NY 10016. [email protected]. This report has not been reviewed by the New York State Education Department. Table of Contents INTRODUCTION .............................................................................................................................................. I LATINO/A LITERATURE: GRADES PREK-6 ............................................................................................ 1 ALMA FLOR ADA ................................................................................................................................................................ 2 The Lizard and the Sun/ La lagartija y el sol ................................................................................................... 3 JULIA ALVAREZ ................................................................................................................................................................... 5 How Tía Lola Came to Visit Stay ............................................................................................................................ 6 How Tía Lola Learned to Teach .............................................................................................................................. 9 How Tía Lola Saved the Summer ........................................................................................................................ 11 How Tía Lola Ended Up Starting Over .............................................................................................................. 13 JORGE TETL ARGUETA ................................................................................................................................................... 16 A Movie in My Pillow / Una película en mi almohada ............................................................................... 17 MONICA BROWN ............................................................................................................................................................. 19 Side by Side: The Story of Dolores Huerta and Cesar Chavez / Lado a Lado: La Historia de Dolores Huerta y Cesar Chavez ............................................................................................................................ 20 RENÉ COLATO LAÍNEZ ................................................................................................................................................... 22 My Shoes and I ............................................................................................................................................................. 23 JANE MEDINA .................................................................................................................................................................. 25 My Name is Jorge: On Both Sides of the River ................................................................................................ 26 NICHOLASA MOHR .......................................................................................................................................................... 29 Felita ................................................................................................................................................................................ 30 Going Home .................................................................................................................................................................. 32 PAM MUÑOZ RYAN ......................................................................................................................................................... 35 Esperanza Rising ........................................................................................................................................................ 36 AMADA IRMA PEREZ ...................................................................................................................................................... 38 My Diary From Here to There / Mi diario de aquí hasta allá ................................................................. 39 LUIS J. RODRÍGUEZ ......................................................................................................................................................... 41 América is Her Name ................................................................................................................................................ 42 DUNCAN TONATIUH ....................................................................................................................................................... 44 Pancho Rabbit and the Coyote: A Migrant’s Tale ......................................................................................... 45 LEYLA TORRES ................................................................................................................................................................ 47 Subway Sparrow/Gorrión del Metro ................................................................................................................. 48 JONAH WINTER ............................................................................................................................................................... 50 Sonia Sotomayor: A Judge Grows in the Bronx / La juez que creció en el Bronx ........................... 51 LATINO/A LITERATURE: GRADES 7-12 .............................................................................................. 53 RAQUEL CEPEDA ............................................................................................................................................................. 54 Bird of Paradise: How I Became Latina ........................................................................................................... 55 SANDRA CISNEROS ......................................................................................................................................................... 58 Woman Hollering Creek .......................................................................................................................................... 59 ANGIE CRUZ ..................................................................................................................................................................... 62 Soledad ........................................................................................................................................................................... 63 Let it Rain Coffee ........................................................................................................................................................ 66 JUNOT DÍAZ ...................................................................................................................................................................... 69 Drown .............................................................................................................................................................................. 70 The Brief Wondrous Life of Oscar Wao ............................................................................................................ 72 MARTÍN ESPADA ............................................................................................................................................................. 75 Alabanza ........................................................................................................................................................................ 76 CRISTINA GARCÍA ........................................................................................................................................................... 79 Dreaming in Cuban ................................................................................................................................................... 80 GUADALUPE GARCÍA MCCALL ...................................................................................................................................... 83 Under the Mesquite ................................................................................................................................................... 84 ACHY OBEJAS ................................................................................................................................................................... 87 Memory Mambo .......................................................................................................................................................... 88 TOMÁS RIVERA ...............................................................................................................................................................
Recommended publications
  • Zukofsky), 736–37 , 742–43 Asian American Poetry As, 987–88 “ABC” (Justice), 809–11 “Benefi T” Readings, 1137–138 Abolitionism
    Cambridge University Press 978-1-107-00336-1 - The Cambridge History of: American Poetry Edited by Alfred Bendixen and Stephen Burt Index More information Index “A” (Zukofsky), 736–37 , 742–43 Asian American poetry as, 987–88 “ABC” (Justice), 809–11 “benefi t” readings, 1137–138 abolitionism. See also slavery multilingual poetry and, 1133–134 in African American poetry, 293–95 , 324 Adam, Helen, 823–24 in Longfellow’s poetry, 241–42 , 249–52 Adams, Charles Follen, 468 in mid-nineteenth-century poetry, Adams, Charles Frances, 468 290–95 Adams, John, 140 , 148–49 in Whittier’s poetry, 261–67 Adams, L é onie, 645 , 1012–1013 in women’s poetry, 185–86 , 290–95 Adcock, Betty, 811–13 , 814 Abraham Lincoln: An Horatian Ode “Address to James Oglethorpe, An” (Stoddard), 405 (Kirkpatrick), 122–23 Abrams, M. H., 1003–1004 , 1098 “Address to Miss Phillis Wheatley, academic verse Ethiopian Poetess, Who Came literary canon and, 2 from Africa at Eight Year of Age, southern poetry and infl uence of, 795–96 and Soon Became Acquainted with Academy for Negro Youth (Baltimore), the Gospel of Jesus Christ, An” 293–95 (Hammon), 138–39 “Academy in Peril: William Carlos “Adieu to Norman, Bonjour to Joan and Williams Meets the MLA, The” Jean-Paul” (O’Hara), 858–60 (Bernstein), 571–72 Admirable Crichton, The (Barrie), Academy of American Poets, 856–64 , 790–91 1135–136 Admonitions (Spicer), 836–37 Bishop’s fellowship from, 775 Adoff , Arnold, 1118 prize to Moss by, 1032 “Adonais” (Shelley), 88–90 Acadians, poetry about, 37–38 , 241–42 , Adorno, Theodor, 863 , 1042–1043 252–54 , 264–65 Adulateur, The (Warren), 134–35 Accent (television show), 1113–115 Adventure (Bryher), 613–14 “Accountability” (Dunbar), 394 Adventures of Daniel Boone, The (Bryan), Ackerman, Diane, 932–33 157–58 Á coma people, in Spanish epic Adventures of Huckleberry Finn (Twain), poetry, 49–50 183–86 Active Anthology (Pound), 679 funeral elegy ridiculed in, 102–04 activist poetry.
    [Show full text]
  • The Red Front Door, a Memoir
    Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 8-2019 The Red Front Door, A Memoir Camila B. Sanabria Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the English Language and Literature Commons Recommended Citation Sanabria, Camila B., "The Red Front Door, A Memoir" (2019). All Graduate Theses and Dissertations. 7529. https://digitalcommons.usu.edu/etd/7529 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE RED FRONT DOOR, A MEMOIR by Camila B. Sanabria A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in English Approved: ______________________ ____________________ Jennifer Sinor, Ph.D Christopher Gonzalez, Ph.D Major Professor Committee Member ______________________ ____________________ Michael Sowder, Ph.D Richard S. Inouye, Ph.D. Committee Member Vice Provost for Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 2019 ii Copyright © Camila Sanabria 2019 All Rights Reserved iii ABSTRACT The Red Front Door, A Memoir by Camila B. Sanabria, Master of Arts Utah State University, 2019 Major Professor: Dr. Jennifer Sinor Department: English This is a creative thesis that contains two components. The first component is a critical introduction arguing for representation of mixed-status families and deportation narratives. The introduction makes this argument by reviewing U.S. immigration policy and engaging with narrative theory. The theory it engages with is Viet Thanh Nguyen’s concept of a narrative economy.
    [Show full text]
  • The Cambridge Companion to Latina/O American Literature
    Cambridge University Press 978-1-107-04492-0 - The Cambridge Companion to Latin A/O American Literature Edited by John Morán González Frontmatter More information The Cambridge Companion to Latina/o American Literature The Cambridge Companion to Latina/o American Literature provides a thorough yet accessible overview of a literary phenomenon that has been rapidly globalizing over the past two decades. It takes an innovative approach that underscores the importance of understanding Latina/o literature not merely as an ethnic phenomenon in the United States, but more broadly as a crucial element of a trans-American literary imagination. Leading scholars in the fi eld present critical analyses of key texts, authors, themes, and contexts, from the early nineteenth century to the present. They engage with the dynamics of migration, linguistic and cultural translation, and the uneven distribution of resources across the Americas that characterize the imaginative spaces of Latina/o literature. This Companion is an invaluable resource for understanding the complexities of the fi eld. John Morán González is Associate Professor of English at the University of Texas at Austin, where he holds courtesy appointments with the Department of Mexican American and Latino Studies and the Department of American Studies. He is also a Faculty Affi liate of the Center for Mexican American Studies. His publications include The Troubled Union: Expansionist Imperatives in Post-Reconstruction American Novels and Border Renaissance: The Texas Centennial and the Emergence
    [Show full text]
  • 5493 Hon. Charles B. Rangel Hon. Hilda L. Solis
    February 24, 2009 EXTENSIONS OF REMARKS, Vol. 155, Pt. 4 5493 Black Crossroads: The African Diaspora in and individuals associated with Latin Rhythms sacrificed throughout our childhood so my sib- Miami. The exhibit, which will be on display at and Salsa in the music world. The salsa band lings and I could live up to our potential to the Historical Museum of Southern Florida leader was famed for weaving a fluid and bilin- achieve whatever our talents would allow. Like from March 5, 2009 to January 24, 2010, de- gual mix of musical influences dubbed ‘‘The other families throughout the San Gabriel Val- picts the diverse groups of the African Dias- Boogaloo.’’ ley, my parents instilled in my siblings and me pora who have come to settle, work and strug- Born Gilberto Calderon in 1931 in New York the value of hard work, public service and gle for freedom in Miami since its incorpora- to a family from Puerto Rico, the band leader commitment to family. For most of my adult tion in 1896 to the present day. and conga player helped change the sound of life I have continued to live in the San Gabriel Celebrating the diversity and richness, Black salsa in the 1960s. Until then, most popular Valley, calling El Monte home. Crossroads: The African Diaspora in Miami salsa had been played by orchestras. But California’s 32nd Congressional District is a explores the enduring presence and impact of Cuba led a six-member band with three sing- culturally diverse district where residents live African-Americans, Africans, black Carib- ers who also played percussion and danced a and work together as a community to ensure beans, and black Hispanics in Miami.
    [Show full text]
  • Carmen Tafolla
    Dr. Carmen Tafolla Summary Bio: Author of more than twenty books and inducted into the Texas Institute of Letters for outstanding literary achievement, Dr. Carmen Tafolla holds a Ph.D. from the University of Texas Austin and has worked in the fields of Mexican American Studies, bilingual bicultural education, and creativity education for more than thirty- five years. The former Director of the Mexican-American Studies Center at Texas Lutheran (1973-75 and 78-79), she proceeded to pioneer the administration of cultural education projects at Southwest Educational Development Laboratory, KLRN-TV, Northern Arizona University, Scott-Foresman Publishing Company, and to be active in Latino Cultural education and community outreach for the last 35 years. An internationally noted educator, scholar and poet, Dr. Tafolla has been asked to present at colleges and universities throughout the nation, and in England, Spain, Germany, Norway, Ireland, Canada, Mexico, and New Zealand. One of the most highly anthologized of Latina writers, her work has appeared in more than 200 anthologies, magazines, journals, readers, High School American Literature textbooks, kindergarten Big Books, posters, and in the Poetry-in-Motion series installed on city buses. Her children‟s works often celebrate culture and personal empowerment. Among her awards are the Americas Award, the Charlotte Zolotow Award for best children‟s picture book writing, two Tomas Rivera Book Awards, two International Latino Book Awards, an ALA Notable Book, a Junior Library Guild Selection, the Tejas Star Listing, and the Texas 2 by 2 Award. She is the co-author of the first book ever published on Latina Civil Rights leader Emma Tenayuca, That’s Not Fair! Emma Tenayuca’s Struggle for Justice, which Críticas Magazine listed among the Best Children‟s Books of 2008.
    [Show full text]
  • Hip-Hop & the Global Imprint of a Black Cultural Form
    Hip-Hop & the Global Imprint of a Black Cultural Form Marcyliena Morgan & Dionne Bennett To me, hip-hop says, “Come as you are.” We are a family. Hip-hop is the voice of this generation. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together. Hip-hop is a family so everybody has got to pitch in. East, west, north or south–we come MARCYLIENA MORGAN is from one coast and that coast was Africa. Professor of African and African –dj Kool Herc American Studies at Harvard Uni- versity. Her publications include Through hip-hop, we are trying to ½nd out who we Language, Discourse and Power in are, what we are. That’s what black people in Amer- African American Culture (2002), ica did. The Real Hiphop: Battling for Knowl- –mc Yan1 edge, Power, and Respect in the LA Underground (2009), and “Hip- hop and Race: Blackness, Lan- It is nearly impossible to travel the world without guage, and Creativity” (with encountering instances of hip-hop music and cul- Dawn-Elissa Fischer), in Doing Race: 21 Essays for the 21st Century ture. Hip-hop is the distinctive graf½ti lettering (ed. Hazel Rose Markus and styles that have materialized on walls worldwide. Paula M.L. Moya, 2010). It is the latest dance moves that young people per- form on streets and dirt roads. It is the bass beats DIONNE BENNETT is an Assis- mc tant Professor of African Ameri- and styles of dress at dance clubs. It is local s can Studies at Loyola Marymount on microphones with hands raised and moving to University.
    [Show full text]
  • The Same Old Song
    Volumen 7, Número 1 Primavera 2016 Beatriz Rivera-Barnes Penn State University Yes, It Isn’t: Afro-Caribbean Identity in Puerto Rican Poetry, from Guayama to Loisaida “Ten con ten”: an untranslatable tonal palindrome, and the title of a poem by the Puerto Rican Luis Palés Matos. It is rendered as “Neither this nor That” in Julio Marzán’s anthology of twentieth century Puerto Rican poetry, Inventing a Word. In this poem, Palés refers to his green island, outlined in pirate and black: “Estás, en pirata y negro/mi isla verde estilizada” (Palés 2002, 139). If I have opted for outlined rather than Marzán’s choice of designed to interpret the poet’s estilizada, it is because of the two lines that follow: “el negro te da la sombra/te da la linea el pirata.” (the black man giving you the hue/and the pirate the line) Again, the translation is mine, and certainly el negro could simply be black, the color, but here el negro is weighed against el pirata, and both are contributing to the form and contour of the island that is located: “en un sí es que no es de raza/un ten con ten de abolengo/que te hace tan antillana . .” (in a yes it isn’t about race/a blurriness of lineage/that makes you so Antillean . .) (All translations are mine unless otherwise indicated.) Ambivalence, incongruity, contradiction, ambiguity: all negative words? No necessarily, but all components of “Ten con ten,” of the Antillean psyche, of the need to find a sound and a word to express all Beatriz Rivera Barnes 166 Volumen 7, Número 1 Primavera 2016 those souls, so much asking to be addressed and to be sung in Puerto Rican negritude poetry.
    [Show full text]
  • The Code-Switching and Confluence of Languages in Esmeralda Santiago’S When I Was Puerto Rican (1993)
    FAURJ The Code-Switching and Confluence of Languages in Esmeralda Santiago’s When I was Puerto Rican (1993) Sarah Stamos and Carmen Cañete-Quesada Harriet L. Wilkes Honors College Abstract: “The Code-Switching and Confluence of Languages in Esmeralda Santiago’s When I was Puerto Rican (1993)” is an essay/article written to produce and analyze thought on the style of code-switching of Spanish-English bilinguals. Santiago’s memoir details her young life in Puerto Rico in a rural home and society and then how she had to transition when she and her family moved to New York. Code-switching is when, in reference to Spanish and English, a person who speaks English will substitute an English word or phrase for a Spanish word or phrase. This occurs primarily with bilinguals. In When I was Puerto Rican, Santiago includes some Spanish words in her English context (because her primary language is English), practicing code-switching. This essay demonstrates the fundamentals of code-switching, how it is detailed in When I was Puerto Rican, and how events in history aided to its modern formation. “Code-switching” and the confluence of lan- The investigators discuss code-switching by ref- guages has been a linguistic manifestation of the erencing Spanish-English bilinguals and Chi- encounters between people of different cultures. nese-English bilinguals. In addition, they give Specifically concerning Spanish and English be- an example of the mechanics associated with tween the Caribbean and the United States, the code-switching by considering a specific sen- convergence of these two languages has greatly tence and studying how multilingual individuals heightened with the ever-continuing influx of incorporate more than one language: immigrants from Spanish-speaking countries.
    [Show full text]
  • Puerto Rican Obituary
    144 Off Campus: Seggau School of Thought 6 Monica Cristiana Irimia Repressed Culture and Otherness in “Yo Soy Joaquín” and “Puerto Rican Obituary” Abstract This paper provides an analysis of two poems, Yo Soy Joaquin and Puerto Rican Obituary, which stand as manifestos for two radically sociopolitical engagements, the Chicano/a movement and the Nuyorican movement. Both texts deal with the inferior status of minorities in the US and reflect upon issues such as racism, oppression, cultural survival, cultural pride, diversity, ethnic pluralism. This article explores the similarities between two texts that come from rather different cultural areas. The paper also analyzes the stylistic devices involved in the making of the poems. Both poems are elegies for asserting one's cultural heritage and acknowledging one's true identity. Suggested Citation: Irimia, Monica Cristiana. “Repressed Culture and Otherness in ‘Yo Soy Joaquín’ and ‘Puerto Rican Obituary’.” Radical (Dis)Engagement: State – Society – Religion (Off Campus: Seggau School of Thought 6), edited by Murray Forman, Erlis Laçej, Frederick Reinprecht, and Kim Sawchuk. 2020, pp. 145-153, DOI: 10.25364/25.6:2020.11. Keywords: hybridity, identity, oppression, manifesto, survival Peer Review: This article was reviewed by the volume’s editors and professors of the GUSEGG Summer School. Copyright: © 2020 Monica Cristiana Irimia. This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CCBY 4.0), which allows for the unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Off Campus: Seggau School of Thought 6 145 Monica Cristiana Irimia Repressed Culture and Otherness in “Yo Soy Joaquín” and “Puerto Rican Obituary” The purpose of this essay is to discuss two poems, “Yo Soy Joaquín” and “Puerto Rican Obituary,” by establishing the similarities and differences between them from an ideological and a stylistic point of view.
    [Show full text]
  • Jíbaros and Diaspora in Esmeralda Santiago's
    Label Me Latina/o Summer 2014 Volume IV 1 Multiple Hybridities: Jíbaros and Diaspora in Esmeralda Santiago’s When I Was Puerto Rican By Lorna L. Pérez Esmeralda Santiago's first memoir When I Was Puerto Rican, published in 1994, chronicles the childhood and relocation of Santiago and her family from Puerto Rico to New York City. The memoir—the vast majority of which takes place in Puerto Rico— charts the ways that Santiago becomes a hybrid, an identity that she represents as being created in the belly of the plane that takes her family from Puerto Rico to the United States. While the trauma of relocation that Santiago articulates is profound, the hybridity that permeates this memoir is more reflective of the changes that marked mid-twentieth century life in Puerto Rico than it is of the trauma of relocation. Though the relocation in the memoir is certainly a traumatic experience, it is not the site of hybridity in the text, but is rather its culmination. Santiago symbolically represents multiple modes of hybridity in the memoir, including the hybridity implied by the title of the text, which speaks to the ways that Puerto Rican life is being drastically reconfigured in the years from 1950-1970. Reading the text in light of the multiple hybrid modes that Santiago employs points to an anxiety that lies in the heart of the current debates about Puerto Rican identity: what does it mean to be Puerto Rican and how do we represent a hybridity that is created through the borderland state that is the Commonwealth? The ambiguity that marked and continues to mark the Commonwealth status of Puerto Rico creates within Santiago’s text a painful ambivalence, wherein the articulation of this identity manifests a borderlands subjectivity that is born from the legal ambiguity of the Commonwealth.
    [Show full text]
  • Nuyorican and Diasporican Literature and Culture E
    Nuyorlcan and Diasporican Uterature and Culture Oxford Research Encyclopedia of Literature Nuyorican and Diasporican Literature and Culture e Jorge Duany Subject: American Literature, Literary Studies (20th Centwy Onward) Online Publication Date: jan 2018 DOI: 10.1093/acrefore/9780190201098.013.387 Summary and K.eywords The term "Nuyorican" (in its various spellings) refers to the cornbination of "Puerto Rican" and "NewYorker." The sobriquet became a popular shorthand for the Puerto Rican exodus to the United States after World War II. Since the mid-1960s, the neologism became associated with the literary and artistic movement known as "Nuyorican." The movement was institutionalized with the 1973 founding ofthe Nuyorican Poets Café in the Lower East Side of Manhattan by Miguel Algarín and Miguel Piñero. Much of Nuyorican literature featured frequent autobiographical references, the predominance of the English language, street slang, realism, parodie humor, subversiva politics, and a ruptura with the island's literary models. Since the 1980s, the literature of the Puerto Rican diaspora has been characterized as "post-Nuyorican" or "Diasporican" to capture sorne of its stylistic and thematic shifts, including a movement away from urban blight. violence, colloquialism, and radicalism. The Bronx-born poet Maria Teresa ("Mariposa") Fernández coined the term "Diasporican" in a celebrated 1993 poem. Contemporary texts written by Puerto Ricans in the United States also reflect their growing dispersa! from their initial concentration in New York City. Keywords: Puerto Rican diaspora, Puerto Ricans in New York. second-generation immigrants, retum migration to Puerto Rico Pago 1 of22 PRINTED PROM the OXFORD RESEARCH ENCYCLOPEDIA, LITERATURE (literature.oxfordre.com). (e) Oxford University Press USA.
    [Show full text]
  • American Book Awards 2004
    BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre.
    [Show full text]