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" "I'm really interested in is this notion that when you read histories and when you read official documentations of countries and people, they tend to be very much on the macro level. When I did the research on nineteenth-century Mexico, you can find out where all the railroads ran, you can find out the front lines of all the battles, of all the wars, but you can't find out things like how women actually prepared meals in the home every day. That was much harder to find. The outward history, the official history, is easy to find. But the little things of how families interacted were much more difficult to research and I had to dig a little deeper.
Kathleen Alcalá (born 29 August 1954) is the author of a short story collection, three novels set in the American Southwest and nineteenth-century Mexico, and a collection of essays.
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In some cases, the stories take the reader right over the line to horror, the worst thing you can imagine fulfilled. In others, the fantastic elements are merely implied, and if the reader tried to pinpoint the specific elements that made the story fantastic, it would be impossible to do. Rather, the fantastic element lies in "the overall effect" that Edgar Allan Poe tried to infuse into each of his stories.
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Straightening the ruffles on the curtains, she could not forget it. Stirring the soup in the kitchen while Josefina bit her lips and waited for her to leave, she could not forget it. Sewing the torn lace back onto the hem of one of her daughters' petticoats, she could almost forget it, but Estela cringed every time she remembered the hurt, closed look on Zacarías' face as she tried to talk to him. (first lines)