Night of Sorrows

Night of Sorrows
by Frances Sherwood

 Night of Sorrows plunges readers into the conflicting New Worlds of the mysterious Malintzín, born as an Aztec princess and sold as a slave, and her dashing and ruthless lover-master, conquistador Hernán Cortés. As they march through the Empire of the Sun to the shimmering island metropolis, Tenochtítlan (Mexico City), Cortés advances his cause by winning friends through Machiavellian conniving and confronting enemies in merciless battle. We witness the volatile dynamics and multifarious intrigues of the commander and his temperamental compadres, and weather the heartbreaking inner odyssey of Malintzín. Set at the twilight of the Aztec empire—April 1519 through the night of sorrows, la noche triste, June 30, 1520—Night of Sorrows explores the nature of slavery and imperialism, prostitution, friendship, feminine identity, and the macho ideal. Combining historical and fictional characters, Frances Sherwood's new novel is the story of a spectacular clash of traditions, imbued with her characteristic humor and bringing to life the colors, smells, and sounds of Mexico.

Conquistador

Conquistador: Hernan Cortes, King Montezuma, and the Last Stand of the Aztecs 
by Buddy Levy


The saga of Cortés, Montezuma, and the Spanish conquest of the Aztec Empire has been chronicled repeatedly, and with justification, since it is one of the seminal events in world history. There is probably no new information on the conquest left to uncover, but it is a thrilling, moving, and tragic story well worth retelling. Levy is not a professional historian, but he is a fine writer who knows the material, and he is wise enough to allow the pure excitement and drama of the story to unfold naturally. At the center of the tale, of course, are the two protagonists. Cortés is viewed as an intriguing combination of ruthless ambition, religious piety, and surprising tenderness. Montezuma, also deeply religious, was less a man of action than Cortés, and his contemplative nature probably sealed his doom. As Levy illustrates, this was also an earthshaking clash of civilizations that is still working itself out five centuries later.

A Short Account of the Destruction of the Indies

A Short Account of the Destruction of the Indies
by Bartolomé de las Casas

An account written by the Spanish Dominican friar Bartolomé de las Casas in 1542 (published in 1552) about the mistreatment of the Indigenous Peoples of the Americas in colonial times and sent to then Prince Philip II of Spain.

One of the stated purposes for writing the account is his fear of Spain coming under divine punishment and his concern for the souls of the Native Peoples. The account is one of the first attempts by a Spanish writer of the colonial era to depict examples of unfair treatment that indigenous people endured in the early stages of the Spanish conquest of the Greater Antilles, particularly the island of La Hispaniola.

Las Casas's point of view can be described as being heavily against some of the Spanish methods of colonization, which, as he describes, have inflicted a great loss on the indigenous occupants of the islands. His account is largely responsible for the passage of the new Spanish colonial laws known as the New Laws of 1542, which abolished native slavery for the first time in European colonial history and led to the Valladolid debate. The images described by Las Casas were later depicted by Theodore de Bry in copper plate engravings that helped expand the Black Legend against Spain.

History of the Conquest of Mexico

History of the Conquest of Mexico
by William H. Prescott

"It is a magnificent epic," said William H. Prescott after the publication of History of the Conquest of Mexico in 1843. Since then, his sweeping account of Cortés's subjugation of the Aztec people has endured as a landmark work of scholarship and dramatic storytelling. This pioneering study presents a compelling view of the clash of civilizations that reverberates in Latin America to this day.

"Regarded simply from the standpoint of literary criticism, the Conquest of Mexico is Prescott's masterpiece," judged his biographer Harry Thurston Peck. "More than that, it is one of the most brilliant examples which the English language possesses of literary art applied to historical narration. . . . Here, as nowhere else, has Prescott succeeded in delineating character. All the chief actors of his great historic drama not only live and breathe, but they are as distinctly differentiated as they must have been in life. Cortés and his lieutenants are persons whom we actually come to know in the pages of Pres-cott. . . . Over against these brilliant figures stands the melancholy form of Montezuma, around whom, even from the first, one feels gathering the darkness of his coming fate. He reminds one of some hero of Greek tragedy, doomed to destruction and intensely conscious of it, yet striving in vain against the decree of an inexorable des- tiny. . . . [Prescott] transmuted the acquisitions of laborious research into an enduring monument of pure literature."