In the shadow of Mexico’s ongoing human rights crisis, Digging for Hope offers a powerful feminist ethnography of resistance, care, and collective memory. Drawing on nearly a decade of fieldwork, R. Aída Hernández Castillo documents the courageous work of women-led search collectives who, in the face of extreme violence, search for their disappeared loved ones.
 
Through physical and spiritual practices such as exhumation, mourning, and poetic remembrance, these women reclaim dignity for the dead and challenge a society that has normalized disappearance. At the heart of this book is a profound exploration of what Hernández Castillo calls a “pedagogy of love”—a political and ethical framework rooted in care, solidarity, and the refusal to forget. These women are not only searching for bodies; they are building emotional communities, crafting new languages of justice, and offering a reimagining of what it means to resist violence. Their practices, often overlooked by traditional scholarship, restore humanity and dignify the disappeared.
 
Digging for Hope is essential reading for anyone seeking to understand the gendered dimensions of violence and the grassroots movements that rise in response. With clarity and compassion, Hernández Castillo brings readers into the intimate spaces of grief and resistance, offering a model for feminist ethnography that is both rigorous and deeply humane.

This book narrates how, beginning in 1936, bodies buried in mass graves during the Spanish War and subsequent dictatorship were turned into monuments. The book describes how the production of monuments evolved and what forms this process and these monuments took; it examines how the monuments were incorporated into society and used to influence public opinion; and it argues that this process was not simply based on the formal logic of tradition but instead reflected a conscious plan with a specific and rational end goal. As such, this book puts forward the idea that the monument as a material object became an expression of the historical consciousness of its producers, relating how different actors communicated their memories into meaningful gestures while limited by the material reality of integrating the bodies into a novel artefact. Finally, it contends that the people creating these monuments did not just bury their dead according to a funerary tradition but also sought to influence society.