“Vagabonds”

“Lacouture, having known Belano since he was a teen-ager, gives the novel’s most detailed account of his imprisonment in Chile; in her view, his efforts against the Pinochet regime were noble but tainted him, as he returned to Mexico a preening radical who looked down on his old friends ‘as if he were Dante and he’d just returned from hell.'”    –Daniel Zalewski, The New Yorker, March 19, 2007

Kathia Recio’s #Dante2018 Illustrations

Kathia Recio is a graphic artist from Mexico City. During the #Dante2018 social media movement, Recio created a series of illustrations for the Divine Comedy. Pictured above are a few of her illustrations, which you can view on her Instagram. Clockwise from the top left, this the link to the first illustration, the second illustration, the third illustration, and the fourth illustration.

You can check out more of Kathia Recio’s work on her Instagram and on her website.

See other posts related to #Dante2018 here.

Contributed by Pablo Maurette (Florida State University)

Dante as guide in “Coco” (2017)

Miguel and Dante

 

[…] “Miguel, the 12-year-old protagonist of ‘Coco,’ embarks on such a quest. Along with his companion, a stray dog fittingly named Dante, he treks through the underworld while facing obstacles and bad omens that pop up constantly. (In Spanish ‘coco’ means ‘boogeyman,’ which is a nickname for the devil.) But since this is a children’s movie, the challenges bring laughter, which isn’t altogether alien to Mexico’s approach to death. To laugh at death in Mexico is to be courageous.” […]    –Ilan Stavans, The New York Times, December 11, 2017

Libreria Dante, Merida, Mexico

Contributed by Donatella Stocchi-Perucchio

“A Mexican Tradition Runs on Pageantry and Faith”

a-mexican-tradition-runs-on-pageantry-and-faith“The Passion Play in Iztapalapa, Mexico, has a cast of thousands. The 50 or so main parts tend to remain within local families… The Roman Catholic Church’s attitude toward the play has fluctuated over the years. In the past, there were complaints that the script, which draws not only on the Bible but also on Dante’s Divine Comedy, deviated too much from sacred texts.” [. . .]    –Larry Rohter, The New York Times, April 11, 2009