The author refers to Antonio Cruz and Felix Vargas as the "amigo brothers" because they were really close friends. The text says, " hey were so together in friendship that they felt themselves to be brothers. They had known each other since childhood" This shows that they knew eachother their whole lives, so it felt like they were brothers. They were alike and different in many ways. One way they were similar is they were both seventeen and grewup in Manhattan. Some ways they were different were that" Felix was dark, short, and husky. " and "Antonio was fair, lean, and lanky" The reader can infer that Antonio and Felix thought boxing was very important because the story is all about them boxing. The text states, " If asked a question about any given fighter, they would immediately zip out from their memory banks divisions, weights, records of fights, knockouts, technical knockouts, and draws or losses. " Therefore, this proves that Felix and Antonio thought boxing was very important to them because they would not have done all of this if it wasn't very important to them. …show more content…
The boys both had the same point of view about handling the match, which was "When we get into the ring, it’s gotta be like we never met. We gotta be like two heavy strangers that want the same thing and only one can have it. " This shows that they don't want to fight each other or hurt each other in any way, but they both want to
When it comes to analyzing the “banana massacre” scene in chapter 15, I found three narrative techniques the author used to describe this scene. Therefore, one can notice that this part of the book is the climax. As a result, one infers what the author is trying to say about Latin American history and politics.
The eleven Arellano Felix brothers were part of a middle-class family, five of them engage in smuggling clothing and electronics before entering the drug trade. Their uncle Felix Gallardo was no stranger to criminal activity, since being the top leader of the Tijuana Plaza tied him to the obscure market of criminal trade. When Felix Gallardo was arrested, he transferred the command of the Tijuana Plaza to his second in charge: Caro Payan, however the same fate followed him, while fleeing to Canada. Thus, letting Benjamin Arellano Felix to fill the empty position left by Caro Payan cousin of one of the most important capos of Sinaloa and Sonora cartels giving rise to intense enmity. For their organization to be sustainable the protection of business and political figures is their principal service. In the meantime, Benjamin remained as the chief strategist while his brother Ramon directed violence against their foes. This organization controls over 3,000 km in the western part of the Mexico-U. S, border and demands transit tax to whomever
Guillermo González Camarena was a Mexican electrical engineer who was the inventor of a color-wheel type of color television, and who also introduced color television to Mexico,
In Mario Suarez’s essay “El Hoyo” it is mainly about a small section of the city of Tucson. It is the area that has been inhabited by Chicanos. The term chicano is the short way of saying Mexicano. Suarez explains the good and the bad about El Hoyo. He says that he does not understand why people come back to El Hoyo, but there is something unexplainable about it that it does. It is possibly the human kindness of El Hoyo that brings people back.
Marcario Garcia was not born in Texas; rather his parents carried him across the border from Mexico to Texas as an infant. The family settled in Sugar Land, Texas, where they worked as lowpaid farm workers and raised ten children. The land was originally owned by the Mexican government and was part of the land grant to Stephen F. Austin. Very early, sugarcane stalks from Cuba were brought to the area and a
Throughout the time I spent between the covers of The Prince of Los Cocuyos, I was astounded by Richard Blanco’s dynamic relationship with the novel’s sole “antagonist”: his abuela. It seemed that no matter how many times he was chagrined at her attempts to negotiate the English language, or was forced to repress his very personhood to meet her traditional standards of manhood, she never ceased to be a pillar of support for a young Richard Blanco. But beyond his grandmother, Mr. Blanco made it quite clear that he was surrounded by a pueblo of family and friends throughout his childhood and adolescence, a village that would confound his “becoming” but foster his growth, make him question his identity and yet be intricately connected to it. It
José Antonio Villarreal’s Pocho does a superb job of dealing with both the common coming of age narrative and the tensions faced by Latino Americans. Richard Rubio attempts to remain individualistic throughout his life but struggles with what that means within the confines that his heritage and society structure him into. Characters ebb and flow through his life, each having certain standards, expectations or ideals predetermined about him. Richard attempts to cast off and ignore the pressures they place on him, and instead forage his own path for what his future is to look like. I believe that the conflict between his family’s Mexican heritage and his American home is what forces Richard to actively pursue, and even fight, for his individuality.
The setting is an important part of any story, whether it be a poem or a novel. The setting consists of all the places and/or things surrounding the character at any moment through any literary or visual media. A literary setting is often full of details and vivid imagery due to the lack of visual aids that are present in videos and movies. These details often take paragraphs to describe single settings to give the reader an imaginary vision of what the area would look like. Edgar Allan Poe is no exception to these rules and he clearly writes out the setting for his short stories and poems. Poe does an excellent job of using details to describe the setting of his stories and shows great care in choosing the wording of each description he makes to display his exact intentions for each descriptive setting. In the short story, “The Cask of Amontillado,” by Poe, the setting has a direct correlation with the mood in the story. The further into the story you read, the deeper and darker the surroundings of the two main characters get, just like the main plot of the story.
In Miguel de Unamuno’s novella San Manuel Bueno, Martyr, readers learn about the life of Don Manuel, a Catholic priest secretly holding atheist beliefs and doubts in the afterlife. Despite these disbeliefs, Don Manuel works tirelessly to help his community and is regarded as a saint by all who meet him, hence the handle “San Manuel,” which literally translates to “Saint Manuel.” Don Manuel’s struggle and affiliation with sainthood receives further analysis and context from Francisco LaRubia-Prado, who parallels Unamuno’s novella to elements of Greek Tragedy and heroism. Drawing from Unamuno’s background with Ancient Greek playwriting and Sigmund Freud’s Totem and Taboo, LaRubia-Prado argues that Don Manuel should be seen as a representation of Christ and must suffer in silence in order to play the role of the dying, tragic hero that saves the
In the story, “An Hour With Abuelo” by Judith Ortiz Cofer, Arturo goes to visit his Abuelo and throughout the story realizes that he shouldn’t be so quick to judge the people that care about him because you might find them to be worth your time. This story teaches its readers that you should cherish the time you have with the people that love you. Arturo thinks to himself, “I want my mother to have to wait a little. I don’t want her to think that I’m in a hurry or anything.” (Cofer, 140) This quote proves that he realizes he has a lot in common with his Abuelo and ended up enjoying the time he had with him. Throughout the story Arturo and Abuelo realize all the things they have in common with each other. This idea brings the readers back to the thought that it is never too late to make a connection and enjoy the time you have with the people who love you.
Throughout history, many people have witnessed events that they cannot explain. People want to believe the supernatural and the unknown but perhaps they have never encountered something odd or strange themselves. The old man with wings, the main character in "A Very Old Man With Enormous Wings," written by Gabriel Garcia Marquez, was a misunderstood individual throughout his time on earth. The author uses details of the old man's persona and describes several strange events that occur to demonstrate the difference between natural and supernatural.
Felix and Antonio live and grew up in the same tenement building. Also they both love to wrestle and they run and train in the same gym together. During the fight between Felix and Antonio they both get knocked down by in each other. Felix and Antonio also had many differences.
Antonio and Sebastian’s nastiness to others does not end here. They continually mock others, particularly Gonzalo and Adrian. In conclusion, Antonio and Sebastian are both evil men who contribute.
What makes books so meaningful to people? People can tell what the story is about by the theme of the story. The theme of a story is underlying meaning of the story, or the foundation of the story. Without a good foundation, then the story is not going to be very good or meaningful. It’s not only about that too.
The lines selected for analysis are Act II, Scene I, lines 277-291, when Antonio is trying to reassure Sebastian that killing his brother—the King of Naples—is a good idea and well worth the effort. As the reader knows, Antonio usurped his brother, Prospero, and became the Duke of Milan. This sets the stage for his attitude towards Sebastian’s wanting to kill his brother, King Alonso. Because of Antonio’s past actions he sees nothing wrong with getting rid of a family member for personal gain, but his reasons for doing so began at a young age and have been etched into his brain. Antonio’s psychological depth reveals that he is a man jealous of his brother’s rightful power, and stemming from that is his insecurity and lust for power wherever he may find it (in this case, having power over Sebastian). Antonio is not a good person, has few conscientious thoughts, and is now trying to convince his companion to follow his lead. If Antonio’s brother, Prospero, was to hear the selected lines, he would say that the only time Antonio thinks about performing acts that will get him power, by eliminating those who currently have it, is when it is to his advantage. He would say that Antonio devises plans to get rid of leaders when they are at a disadvantage, and he at an advantage, because he doesn’t feel that he could succeed otherwise—his insecurities kicking in. I don’t think Shakespeare agrees with Antonio, and there are two examples in the play to support that.