As educators and legislators across the country debate how to improve public schools, the most vital factor often disappears from the equation—the relationship between the teacher and the student. According to veteran educators Rita and Marco Portales, this relationship is the central issue in the education of students, especially Latino/a students who often face serious barriers to school success because of the legacy of racism, insufficient English-language skills, and cultural differences with the educational establishment.

To break down these barriers and help Latino/a students acquire a quality education, the Portaleses focus attention on the teacher-student relationship and offer a proven method that teachers can use to strengthen the print and oral skills of their students. They begin by analyzing the reasons why schools too often fail to educate Latino/a students, using eloquent comments from young Latinos/as and their parents to confirm how important the teacher-student relationship is to the student's success. Then they show how all educational stakeholders—teachers, administrators, state education agencies, legislators, and parents—can work together to facilitate the teacher-student relationship and improve student education. By demonstrating how teachers can improve students' reading, critical thinking, writing, and oral communication skills across the curriculum, they argue that learning can be made more relevant for students, keeping their interest levels high while preparing them for academically competitive colleges.

Meghan Daum's unforgettable debut novel brings her sharp wit and courageous social commentary to the story of Lucinda Trout, a New York television reporter in search of greener pastures. Moving to the slower-paced, friendly, and vastly more affordable Midwestern town of Prairie City, Lucinda zealously creates a series of televised reports for her New York audience about her newfound quality of life. But when Lucinda falls for eccentric local Mason Clay, her naïveté about the real world leads her down an unexpected path, where she encounters, among other things, a drafty old farmhouse filled with children, an ever-growing menagerie of farm animals, and the harshest winter the region has seen in twenty years. In other words, simplicity just isn't as simple as it is cracked up to be, and "quality of life," Lucinda learns, is much more complicated than she ever imagined.

“ONE OF THE SHARPEST, FUNNIEST, AND BEST BOOKS EVER ABOUT ANY ROCK ARTIST”—Rolling Stone

“WEIRD AND WONDROUS”—New York Times

“I ADORED IT”—Michael Chabon

A literary and visual exploration of the songs of Steely Dan.

Steely Dan’s songs are exercises in fictional world-building. No one else in the classic-rock canon has conjured a more vivid cast of rogues and heroes, creeps and schmucks, lovers and dreamers and cold-blooded operators—or imbued their characters with so much humanity.

Pulling from history, lived experience, pulp fiction, the lore of the counterculture, and their own darkly comic imaginations, Donald Fagen and Walter Becker summoned protagonists who seemed like fully formed people with complicated pasts, scars they don’t talk about, delusions and desires and memories they can’t shake. From Rikki to Dr. Wu, Hoops McCann to Kid Charlemagne, Franny from NYU to the Woolly Man without a Face, every name is a locked-room mystery, beguiling listeners and earning the band an exceptionally passionate and ever-growing cult fandom.

Quantum Criminals presents the world of Steely Dan as it has never been seen, much less heard. Artist Joan LeMay has crafted lively, color-saturated images of her favorite characters from the Daniverse to accompany writer Alex Pappademas’s explorations of the famous and obscure songs that inspired each painting, in short essays full of cultural context, wild speculation, inspired dot-connecting, and the occasional conspiracy theory. All of it is refracted through the perspectives of the characters themselves, making for a musical companion unlike any other. Funny, discerning, and visually stunning, Quantum Criminals is a singular celebration of Steely Dan’s musical cosmos.

How girls of color from eight global communities strategize on questions of identity, social issues, and political policy through spoken word poetry.

Around the world, girls know how to perform. Grounded in her experience of “putting a mic in the margins” by facilitating workshops for girls in Ethiopia, South Africa, Tanzania, and the United States, scholar/advocate/artist Crystal Leigh Endsley highlights how girls use spoken word poetry to narrate their experiences, dreams, and strategies for surviving and thriving. By centering the process of creating and performing spoken word poetry, this book examines how girls forecast what is possible for their collective lives.

In this book, Endsley combines poetry, discourse analysis, photovoice, and more to forge the feminist theory of “quantum justice,” which forefronts girls’ relationships with their global counterparts. Using quantum justice theory, Endsley examines how these collaborative efforts produce powerful networks and ultimately map trajectories of social change at the micro level. By inviting transnational dialogue through spoken word poetry, Quantum Justice emphasizes how the imaginative energy in hip-hop culture can mobilize girls to connect and motivate each other through spoken word performance and thereby disrupt the status quo.

Gender and sexual identity formation is an ongoing anthropological conversation in both Middle Eastern studies and urban studies, but the story of gay and lesbian identity in the Middle East is only just beginning to be told. Queer Beirut is the first ethnographic study of queer lives in the Arab Middle East. Drawing on anthropology, urban studies, gender studies, queer studies, and sociocultural theory, Sofian Merabet’s compelling ethnography suggests a critical theory of gender and religious identity formations that will disrupt conventional anthropological premises about the contingent role that society and particular urban spaces have in facilitating the emergence of various subcultures within the city.

From 1995 to 2014, Merabet made a series of ethnographic journeys to Lebanon, during which he interviewed numerous gay men in Beirut. Through their life stories, Merabet crafts moving ethnographic narratives and explores how Lebanese gays inhabit and perform their gender as they formulate their sense of identity. He also examines the notion of “queer space” in Beirut and the role that this city, its class and sectarian structure, its colonial history, and religion have played in these people’s discovery and exploration of their sexualities. In using Beirut as a microcosm for the complexities of homosexual relationships in contemporary Lebanon, Queer Beirut provides a critical standpoint from which to deepen our understandings of gender rights and citizenship in the structuring of social inequality within the larger context of the Middle East.

One of the twentieth century’s most important filmmakers—indeed one of its most important and influential artists—Ingmar Bergman and his films have been examined from almost every possible perspective, including their remarkable portrayals of women and their searing dramatizations of gender dynamics. Curiously however, especially considering the Swedish filmmaker’s numerous and intriguing comments on the subject, no study has focused on the undeniably queer characteristics present throughout this nominally straight auteur’s body of work; indeed, they have barely been noted.

Queer Bergman makes a bold and convincing argument that Ingmar Bergman’s work can best be thought of as profoundly queer in nature. Using persuasive historical evidence, including Bergman’s own on-the-record (though stubbornly ignored) remarks alluding to his own homosexual identifications, as well as the discourse of queer theory, Daniel Humphrey brings into focus the director’s radical denunciation of heteronormative values, his savage and darkly humorous deconstructions of gender roles, and his work’s trenchant, if also deeply conflicted, attacks on homophobically constructed forms of patriarchic authority. Adding an important chapter to the current discourse on GLBT/queer historiography, Humphrey also explores the unaddressed historical connections between post–World War II American queer culture and a concurrently vibrant European art cinema, proving that particular interrelationship to be as profound as the better documented associations between gay men and Hollywood musicals, queer spectators and the horror film, lesbians and gothic fiction, and others.

In the last three decades of the twentieth century, LGBT Latinas/os faced several forms of discrimination. The greater Latino community did not often accept sexual minorities, and the mainstream LGBT movement expected everyone, regardless of their ethnic and racial background, to adhere to a specific set of priorities so as to accommodate a “unified” agenda. To disrupt the cycle of sexism, racism, and homophobia that they experienced, LGBT Latinas/os organized themselves on local, state, and national levels, forming communities in which they could fight for equal rights while simultaneously staying true to both their ethnic and sexual identities. Yet histories of LGBT activism in the 1970s, 1980s, and 1990s often reduce the role that Latinas/os played, resulting in misinformation, or ignore their work entirely, erasing them from history.

Queer Brown Voices is the first book published to counter this trend, documenting the efforts of some of these LGBT Latina/o activists. Comprising essays and oral history interviews that present the experiences of fourteen activists across the United States and in Puerto Rico, the book offers a new perspective on the history of LGBT mobilization and activism. The activists discuss subjects that shed light not only on the organizations they helped to create and operate, but also on their broad-ranging experiences of being racialized and discriminated against, fighting for access to health care during the HIV/AIDS epidemic, and struggling for awareness.

Viewing contemporary Latin American films through the lens of queer studies reveals that many filmmakers are exploring issues of gender identity and sexual difference, as well as the homophobia that attempts to defeat any challenge to the heterosexual norms of patriarchal culture. In this study of queer issues in Latin American cinema, David William Foster offers highly perceptive queer readings of fourteen key films to demonstrate how these cultural products promote the principles of an antiheterosexist stance while they simultaneously disclose how homophobia enforces the norms of heterosexuality.

Foster examines each film in terms of the ideology of its narrative discourse, whether homoerotic desire or a critique of patriarchal heterosexism and its implications for Latin American social life and human rights. His analyses underscore the difficulties involved in constructing a coherent and convincing treatment of the complex issues involved in critiquing the patriarchy from perspectives associated with queer studies. The book will be essential reading for everyone working in queer studies and film studies.

The films discussed in this book are:

• De eso no se habla (I Don't Want to Talk about It)
• El lugar sin límites (The Place without Limits)
• Aqueles dois (Those Two)
• Convivencia (Living Together)
• Conducta impropia (Improper Conduct)
• The Disappearance of García Lorca
• La Virgen de los Sicarios (Our Lady of the Assassins)
• Doña Herlinda y su hijo (Doña Herlinda and Her Son)
• No se lo digas a nadie (Don't Tell Anyone)
• En el paraíso no existe el dolor (There Is No Suffering in Paradise)
• A intrusa (The Interloper)
• Plata quemada (Burnt Money)
• Afrodita (Aphrodite)
• Fresa y chocolate (Strawberry and Chocolate)

Since the arrival of the Spanish in the sixteenth century, the Maya population of Guatemala has been forced to adapt to extraordinary challenges. Under colonial rule, the Indians had to adapt enough to satisfy the Spanish while resisting those changes not necessary for survival, applying their understanding of the world to the realities they confronted daily. Despite the major changes wrought in their way of life by centuries of submission, the Maya have managed to regenerate, and thus maintain, their self-identity.

Among the major challenges they have faced has been the imposition of outside religions. Quiché Rebelde examines what happened when Acción Católica came into the Guatemalan municipio of San Antonio Ilotenango, Quiché, to convert its inhabitants.

Ricardo Falla, a Guatemalan Jesuit priest and anthropologist, analyzes the movement's origins and why some people became part of it while others resisted. He shows how religion was used as another tool to readapt to the changing environment—natural, economic, political, and social. His work is the first major empirical study of how change occurred in a Maya community with no serious loss of Maya identity—and how the process of conversion is related to more general processes of cultural change that actually strengthen ethnic identity.

The last three decades of the twentieth century brought relentless waves of death squads, political kidnappings, and other traumas to the people of Guatemala. Many people fled the country to escape the violence. Yet, at the same moment, a popular movement for justice brought together unlikely bands of behind-the-scenes heroes, blurring ethnic, geographic, and even class lines.

The Quiet Revolutionaries is drawn from interviews conducted by Frank Afflitto in the early 1990s with more than eighty survivors of the state-sanctioned violence. Gathered under frequently life-threatening circumstances, the observations and recollections of these inspiring men and women form a unique perspective on collective efforts to produce change in politics, law, and public consciousness. Examined from a variety of perspectives, from sociological to historical, their stories form a rich ethnography. While it is still too soon to tell whether stable, long-term democracy will prevail in Guatemala, the successes of these fascinating individuals provide a unique understanding of revolutionary resistance.

Winner of the Emily Toth Award for Best Single Work in Women's Studies, Popular Culture Association
Co-winner of the Elli Kongas Maranda Prize, Women's Section of the American Folklore Society (AFS)

A dynamic study of social negotiation and consumerism in the coming-of-age quinceañera celebration and the impact of normalizing spectacles of luxury.

Quinceañera celebrations, which recognize a girl’s transition to young womanhood at age fifteen, are practiced in Latinx communities throughout the Americas. But in the consumer-driven United States, the ritual has evolved from a largely religious ceremony to an elaborate party where social status takes center stage. Examining the many facets of this contemporary debut experience, Quinceañera Style reports on ethnographic fieldwork in California, Texas, the Midwest, and Mexico City to reveal a complex, compelling story. Along the way, we meet a self-identified transwoman who uses the quinceañera as an intellectual space in her activist performance art. We explore the economic empowerment of women who own barrio boutiques specializing in the quinceañera’s many accessories and made-in-China gowns. And, of course, we meet teens themselves, including a vlogger whose quince-planning tips have made her an online sensation.

Disrupting assumptions, such as the belief that Latino communities in the United States can’t desire upward mobility without abandoning ethnoracial cultural legacies, Quinceañera Style also underscores the performative nature of class and the process of constructing a self in the public, digital sphere.

Winner, NACCS-Tejas Book Award, National Association for Chicana and Chicano Studies, Tejas Foco, 2011
NACCS Book Award, National Association for Chicana and Chicano Studies, 2012

In the mid-1960s, San Antonio, Texas, was a segregated city governed by an entrenched Anglo social and business elite. The Mexican American barrios of the west and south sides were characterized by substandard housing and experienced seasonal flooding. Gang warfare broke out regularly. Then the striking farmworkers of South Texas marched through the city and set off a social movement that transformed the barrios and ultimately brought down the old Anglo oligarchy. In Quixote's Soldiers, David Montejano uses a wealth of previously untapped sources, including the congressional papers of Henry B. Gonzalez, to present an intriguing and highly readable account of this turbulent period.

Montejano divides the narrative into three parts. In the first part, he recounts how college student activists and politicized social workers mobilized barrio youth and mounted an aggressive challenge to both Anglo and Mexican American political elites. In the second part, Montejano looks at the dynamic evolution of the Chicano movement and the emergence of clear gender and class distinctions as women and ex-gang youth struggled to gain recognition as serious political actors. In the final part, Montejano analyzes the failures and successes of movement politics. He describes the work of second-generation movement organizations that made possible a new and more representative political order, symbolized by the election of Mayor Henry Cisneros in 1981.