Alicia Núñez Puerto

In the time of the Aztec empire, tragedy strikes Yohualli Coatl when his father is murdered by Spanish conquistadors. To warn King Moctezuma and his high priest, Yoka, of imminent danger, Yohualli escapes to Tenochtitlán. There, he trains in the temple of the bat god Tzinacan with his mentor, developing equipment and weaponry to confront the Spanish invasion and avenge his father’s death. Along the way, he encounters key figures like the fierce Jaguar Woman and the conquistador Hernán Cortés.

Balloon kingdoms, dopey police dragons and happy wizards are exactly how Terry remembered his Grandmother's whacky fairy tales. Except they are real and it's definitely not as 'cheerful.'

María narrates in first person her mother Adela's journey from Asturias to Havana in 1929. On this trip, she follows her sister Segunda, who had left years earlier and to whom she was very close. Adela, like her sister, grew up cleaning and washing clothes in the prao, a field that was always covered in snow, causing her constant ovarian pain in the cold. Painful and heavy periods are a heavy burden, but thanks to sisterhood and understanding, Adela will gain the confidence to take control of her life at the end of her journey. The story María tells us is a story of migration, one that has always existed and will continue to exist. It is also a cycle—one that repeats itself in many lives—but one that has only one meaning: it is a cycle of departure.

A group of mexican super heroes decide to join forces to combat the forces of evil.

It is spring and grandma Margara teaches her four grandchildren how to plant in little flowerpots. Three of them decide to fly away from the family patio they live in and go out to discover the world. Years pass, grandma gets older and those who left are present, in their own way... but never like the ones that stayed. Distance might not bring a return and people can come back or not. But spring, yes, spring will always come back.