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Book Title: La noche de Tlatelolco (Testimonos de historia oral) The author of the book: Elena Poniatowska Edition: Era Edicions Sa Date of issue: September 8th 1999 ISBN: 9684112203 ISBN 13: 9789684112209 Language: English Format files: PDF The size of the: 18.76 MB City - Country: No data Loaded: 2450 times Reader ratings: 4.8

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During the 1968 Olympic games in Mexico City, 10,000 students gathered in a residential area called Tlatelolco to peacefully protest their nation's one-party government and lack of political freedom. In response, the police and the military cold-bloodedly shot and bayoneted to death an estimated 325 unarmed Mexican youths. Now available in paper is Elena Poniatowska's gripping account of the Tlatelolco tragedy, which Publishers Weekly claimed "makes the campus killings at Kent State and Jackson State in 1970 pale by comparison." "This is a story that has not been effectively told before," said Kirkus Reviews. "Call it the grito of Tlatelolco, a cry of protest and the subjective manifesto of Mexico's suppressed, potentially explosive, middle-class dissenters." In this heartbreaking chronicle, Elena Poniatowska has assembled a montage of testimony drawn over a three-year period from eyewitness accounts by surviving students, parents, journalists, professors, priests, police, soldiers, and bystanders to re-create the chaotic optimism of the demonstrations, as well as the terror and shock of the massacre. Massacre in Mexico remains a critical source for examining the collective consciousness of Mexico. As Library Journal so aptly stated, "While the 'Tlatelolco Massacre' is the central theme of this study, the larger tragedy is reflected, and we see a nation whose government resorts to demagoguery rather than constructive action while it maintains and protects the privileged position of the new 'revolutionary' elite." Octavio Paz's incisive introduction underscores the inability of the Mexican government to deal with the socio-economic realities of the Mexican nation. Students and scholars of Mexican culture, historians, sociologists, and others who seek to interpret aspects of that country's national reality will find this book to be invaluable.

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Hélène Elizabeth Louise Amélie Paula Dolores Poniatowska Amor was born on May 19, 1933, in Paris, France. Her father was French of Polish ancestry and her mother a Mexican who was raised in France. When she was nine Poniatowska's family moved to México City. She grew up speaking French and learned English in a private British school. However, her knowledge of Spanish came from talking with the maids, so her written Spanish was largely colloquial. Poniatowska developed ties with the Mexican lower class in her youth and thus gained a sense of belonging to and an understanding of the Mexican culture. She felt and thought of herself as completely Mexican and of Spanish as her native language. Her works include characters who belong to the underprivileged classes, and she often gave voice to the powerless of her country.

She started writing as a journalist in 1954 and interviewed many famous Mexican and international writers. Many of these interviews can be found in her Palabras Cruzadas (1961; Crossed Words) and later in her Todo México (1990; All of Mexico). Besides her famous interviews, she also wrote several novels, short stories, chronicles, plays, and poems.

Among her novels are Hasta no verte, Jesús mío (1969; Until I see You, My Jesus), which earned her the Mazatlan Prize; Querido Diego, te abraza Quiela (1978; Dear Diego, love Quiela); La "Flor de Lis" (1988; The "Flower of the Lily"); and Tinísima (1992; Tinisima). Other narratives include Lilus Kikus (1954; Lilus Kikus; later an expanded edition appeared as Los cuentos [The Accounts] de Lilus Kikus in 1967); De noche vienes (1979; You Come at Night); Ay vida no me mereces (1985; Life, You Don't Deserve Me); Domingo 7 (1982; Seventh Sunday); Gaby Brimmer (1979; Gaby Brimmer); Todo empezó el domingo (1963; Everything Started on Sunday); and El último guajolote (1982; The Last Turkey).

Her chronicle La noche de Tlatelolco (1971; Massacre in Mexico) earned her the Javier Villarrutia Prize. She refused to accept it because she did not want to identify herself with then-President Echeverría's political establishment. Other chronicles include Fuerte es el silencio (1980; Silence Is Strong), and Nada, nadie: las voces del temblor (1988; Nothing, Nobody: The Voices of the Earthquake).

In theater, her play Melés y Teleo (1956; Melés and Teleo) uses a word game in the title, meaning "you read to me and I read to you." Finally, her poetry can be found in the Spanish publications Rojo de vida y negro de muerte, Estaciones, and Abside.

Ponistowska's skill as a novelist was her ability to combine fact with fiction. She lent her voice to the voiceless, but at the same time she took a step back and let the victims come forward to express their needs and pain, letting the Mexican people speak through her. Her settings were mostly in Mexico, and her characters were either Mexicans or people such as Angelina Beloff (Querido Diego, te abraza Quiela) or Tina Modotti (Tinísima) who lived important passages of their lives in Mexico. Many of her female characters are at the mercy of men. Their lives are ruled by a world made up of double standards. They try to do the right thing, but in the end they lose the men they loved and for whom they sacrificed. It is clear then that these women are never really appreciated.

Poniatowska had a great affinity with women and liked to write about them. But she also was interested in the poor, the weak, the street children, and the powerless. Interviewing the common people of Mexico became her trademark. After her first publication (Lilus Kikus, 1954), her writings became more and more political. For example, in Querido Diego (1978) Quiela's story is completely personal. It focuses upon her and her lover, the famous painter Diego Rivera. By comparison, in Tinísima (1992) Poniatowska reveals not just Modotti's emotional life but also her professional and political life as a communist.

However, Poniatowska's style often made it difficult fo

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