Ticking clocks and tolling bells, scents of roses and warm tortillas: this is the barrio of years past as captured in the words of Patricia Preciado Martin. Cuentos, recuerdos, stories, memories—all are stirred into a simmering caldo by a writer whose love for her heritage shines through every page.

Reminiscent of Like Water for Chocolate, the book is a rich mix of the simplest ingredients—food, family, tradition. We see Silviana striding to her chicken coop, triggering the "feathered pandemonium" of chickens who smell death in the air. We meet Elena, standing before the mirror in her wedding dress, and Teodoro Sánchez, who sleeps under the sky and smells of “chaparral and mesquite pollen and the stream bottom and the bone dust of generations. There’s the monsignor sitting on the edge of a sofa, sipping Nescafé from a china cup, and here is Sister Francisca "with her warm, minty breath" warning us away from impure thoughts. Be on your best behavior, too, in Tía Petra’s Edwardian parlor—la Doña Petrita, descended from conquistadores, might just deliver a tap on your head with her silver-handled walking stick. Then, with Mamacita, spend a summer afternoon bent over your embroidery with trembling hand and sweaty upper lip, and all the while wondering what in the world it feels like to be kissed.

Intermingled with the author’s stories are collective memories of the barrio, tales halfway between heaven and earth that seem to connect barrio residents to each other and to their past. These cuentos are mystical and dreamy, peopled with ghosts and miracles and Aztec princesses dressed in feathers and gold. Come, sit down and have some salsa and a tortilla—fresh and homemade, it goes without saying; people who buy tortillas at the market "might as well move to Los Angeles, for they have already lost their souls." Then open the pages of this book. Help yourself to another feast of food and flowers, music and dancing, sunshine and moonlight—everything glorious and mundane, serious and humorous, earthly and spiritual, poignant and joyful, in la vida mexicoamericana.

The most difficult poems to write
Are those of love and those of death.
I’m half in love and half dead.
It stands to reason that I’ve come upon a difficult task.

Despite his disclaimer, it seems no difficult task at all. One of the pioneers of Chicano poetry and a highly esteemed artist in the Mexican American community, Luis Omar Salinas is a poet with Tex-Mex bordertown roots whose work is studied at the Sorbonne. Beginning with his legendary first book, Crazy Gypsy, he has been a major figure not only in Chicano literature but in all of American poetry—both a poet of the people and a voice for other poets.

In Elegy for Desire, Salinas has crafted visionary poems about growing older and looking back on a rich life of poetry. In this quiet yet hallucinatory volume, Salinas offers us a prismatic collection of odes, elegies, and cantos of desire—complex poems about our place in the world. Poems to be savored in solitude, or better still with an intimate companion. Few poets, Latino or otherwise, are as daring with love poetry that is so honestly fierce. Salinas gives us a meditation on gently aging while continuing to celebrate personal experience that draws upon the world. One need only sample these rich, elegant stanzas to recognize the wealth of wisdom found in their words.

Elegy for Desire is a testament to a singular talent that has survived for decades . . . and will continue to inspire long beyond his lifetime.

The dead can’t complain, and lovers always do.
Well, I’m here, and that is important.
And if life can be as exciting as this,
I must be doing something right.

Ecological causes are championed not only by lobbyists or hikers. While mainstream environmentalism is usually characterized by well-financed, highly structured organizations operating on a national scale, campaigns for environmental justice are often fought by poor or minority communities. Environmentalism and Economic Justice is one of the first books devoted to Chicano environmental issues and is a study of U.S. environmentalism in transition as seen through the contributions of people of color. It elucidates the various forces driving and shaping two important examples of environmental organizing: the 1965-71 pesticide campaign of the United Farm Workers and a grazing conflict between a Hispano cooperative and mainstream environmentalists in northern New Mexico. The UFW example is one of workers highly marginalized by racism, whose struggle--as much for identity as for a union contract--resulted in boycotts of produce at the national level. The case of the grazing cooperative Ganados del Valle, which sought access to land set aside for elk hunting, represents a subaltern group fighting the elitism of natural resource policy in an effort to pursue a pastoral lifestyle. In both instances Pulido details the ways in which racism and economic subordination create subaltern communities, and shows how these groups use available resources to mobilize and improve their social, economic, and environmental conditions. Environmentalism and Economic Justice reveals that the environmental struggles of Chicano communities do not fit the mold of mainstream environmentalism, as they combine economic, identity, and quality-of-life issues. Examination of the forces that create and shape these grassroots movements clearly demonstrates that environmentalism needs to be sensitive to local issues, economically empowering, and respectful of ethnic and cultural diversity.

The culture of the Nuevomexicanos, forged by Spanish-speaking residents of New Mexico over the course of many centuries, is known for its richness and diversity. Expressing New Mexico contributes to a present-day renaissance of research on Nuevomexicano culture by assembling eleven original and noteworthy essays. They are grouped under two broad headings: “expressing culture” and “expressing place.” Expressing culture derives from the notion of “expressive culture,” referring to “fine art” productions, such as music, painting, sculpture, drawing, dance, drama, and film, but it is expanded here to include folklore, religious ritual, community commemoration, ethnopolitical identity, and the pragmatics of ritualized response to the difficult problems of everyday life.

Intertwined with the concept of expressive culture is that of “place” in relation to New Mexico itself. Place is addressed directly by four of the authors in this anthology and is present in some way and in varying degrees among the rest. Place figures prominently in Nuevomexicano “character,” contributors argue. They assert that Nuevomexicanos and Nuevomexicanas construct and develop a sense of self that is shaped by the geography and culture of the state as well as by their heritage.

Many of the articles deal with recent events or with recent reverberations of important historical events, which imbues the collection with a sense of immediacy. Rituals, traditions, community commemorations, self-concepts, and historical revisionism all play key roles. Contributors include both prominent and emerging scholars united by their interest in, and fascination with, the distinctiveness of Nuevomexicano culture.