front cover of Satan's Playground
Satan's Playground
Mobsters and Movie Stars at America's Greatest Gaming Resort
Paul J. Vanderwood
Duke University Press, 2010
Satan’s Playground chronicles the rise and fall of the tumultuous and lucrative gambling industry that developed just south of the U.S.-Mexico border in the early twentieth century. As prohibitions against liquor, horse racing, gambling, and prostitution swept the United States, the vice industry flourished in and around Tijuana, to the extent that reformers came to call the town “Satan’s Playground,” unintentionally increasing its licentious allure. The area was dominated by Agua Caliente, a large, elegant gaming resort opened by four entrepreneurial Border Barons (three Americans and one Mexican) in 1928. Diplomats, royalty, film stars, sports celebrities, politicians, patricians, and nouveau-riche capitalists flocked to Agua Caliente’s luxurious complex of casinos, hotels, cabarets, and sports extravaganzas, and to its world-renowned thoroughbred racetrack. Clark Gable, Jean Harlow, Louis B. Mayer, the Marx Brothers, Bing Crosby, Charlie Chaplin, Gloria Swanson, and the boxer Jack Dempsey were among the regular visitors. So were mobsters such as Bugsy Siegel, who later cited Agua Caliente as his inspiration for building the first such resort on what became the Las Vegas Strip.

Less than a year after Agua Caliente opened, gangsters held up its money-car in transit to a bank in San Diego, killing the courier and a guard and stealing the company money pouch. Paul J. Vanderwood weaves the story of this heist gone wrong, the search for the killers, and their sensational trial into the overall history of the often-chaotic development of Agua Caliente, Tijuana, and Southern California. Drawing on newspaper accounts, police files, court records, personal memoirs, oral histories, and “true detective” magazines, he presents a fascinating portrait of vice and society in the Jazz Age, and he makes a significant contribution to the history of the U.S.-Mexico border.

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Scales of Captivity
Racial Capitalism and the Latinx Child
Mary Pat Brady
Duke University Press, 2022
In Scales of Captivity, Mary Pat Brady traces the figure of the captive or cast-off child in Latinx and Chicanx literature and art between chattel slavery’s final years and the mass deportations of the twenty-first century. She shows how Latinx expressive practices expose how every rescaling of economic and military power requires new modalities of capture, new ways to bracket and hedge life. Through readings of novels by Helena María Viramontes, Oscar Casares, Lorraine López, Maceo Montoya, Reyna Grande, Daniel Peña, and others, Brady illustrates how submerged captivities reveal the way mechanisms of constraint such as deportability ground institutional forms of carceral modernity and how such practices scale relations by naturalizing the logic of scalar hierarchies underpinning racial capitalism. By showing how representations of the captive child critique the entrenched logic undergirding colonial power, Brady challenges racialized modes of citizenship while offering visions for living beyond borders.
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A Sense of Brutality
Philosophy after Narco-Culture
Carlos Alberto Sánchez
Amherst College Press, 2020
Contemporary popular culture is riddled with references to Mexican drug cartels, narcos, and drug trafficking. In the United States, documentary filmmakers, journalists, academics, and politicians have taken note of the increasing threats to our security coming from a subculture that appears to feed on murder and brutality while being fed by a romanticism about power and capital. Carlos Alberto Sánchez uses Mexican narco-culture as a point of departure for thinking about the nature and limits of violence, culture, and personhood. A Sense of Brutality argues that violent cultural modalities, of which narco-culture is but one, call into question our understanding of “violence” as a concept. The reality of narco-violence suggests that “violence” itself is insufficient to capture it, that we need to redeploy and reconceptualize “brutality” as a concept that better captures this reality. Brutality is more than violence, other to cruelty, and distinct from horror and terror—all concepts that are normally used interchangeably with brutality, but which, as the analysis suggests, ought not to be. In narco-culture, the normalization of brutality into everyday life is a condition upon which the absolute erasure or derealization of people is made possible.

"The study is original, bringing a wide range of voices into dialogue to present a problem that is pressing and deserving of careful analysis. The study will contribute to the field of Latin American philosophy in important ways... This is the only book by a philosopher on the topic of narco-culture, and I think it’s an important contribution to a topic that should be addressed by philosophers." —Elizabeth Millán, DePaul University
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The Shadow of the Wall
Violence and Migration on the U.S.-Mexico Border
Edited by Jeremy Slack, Daniel E. Martínez, and Scott Whiteford; Foreword by Josiah Heyman; Photographs by Murphy Woodhouse
University of Arizona Press, 2018
Mass deportation is at the forefront of political discourse in the United States. The Shadow of the Wall shows in tangible ways the migration experiences of hundreds of people, including their encounters with U.S. Border Patrol, cartels, detention facilities, and the deportation process. Deportees reveal in their heartwrenching stories the power of family separation and reunification and the cost of criminalization, and they call into question assumptions about human rights and federal policies.

The authors analyze data from the Migrant Border Crossing Study (MBCS), a mixed-methods, binational research project that offers socially relevant, rigorous social science about migration, immigration enforcement, and violence on the border. Using information gathered from more than 1,600 post-deportation surveys, this volume examines the different faces of violence and migration along the Arizona-Sonora border and shows that deportees are highly connected to the United States and will stop at nothing to return to their families. The Shadow of the Wall underscores the unintended social consequences of increased border enforcement, immigrant criminalization, and deportation along the U.S.-Mexico border.

Contributors
 
Howard Campbell
Josiah Heyman
Alison Elizabeth Lee
Daniel E. Martínez
Ricardo Martínez-Schuldt
Emily Peiffer
Jeremy Slack
Prescott L. Vandervoet
Matthew Ward
Scott Whiteford
Murphy Woodhouse
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Sonata
By Charles Bowden; foreword by Alfredo Corchado
University of Texas Press, 2020

"I believe every sunrise and I remember the smell of wet grass, the color of robins, and rustle of leaves on the big oaks that outlive nations, all this comes with each sunrise."

Sonata marks the sixth and final installment of Charles Bowden’s towering “Unnatural History of America” series. While his earlier volumes were suffused with violence and war, Bowden offers here a celebration of rebirth and regrowth. Rendered in Bowden's inimitable style, more prose poetry than reportage, he evokes panoramas that contain the potential for respite and offer a state of grace all but lost in the endless wars of man.

Bowden travels back in time to the worlds of artists Francisco Goya and Vincent van Gogh, the latter painting furiously against encroaching madness. “Van Gogh tries to dream a life of color,” writes Bowden. “Powder blue sheds, yellow stubble, pink skies—but the fears and dark things drag him down.” As Bowden’s vivid prose wrestles with the madness of the world, van Gogh’s paintings represent an act of resistance, ultimately unsuccessful, against depression and suicide.

Moving from the vibrant hues of van Gogh’s painted gardens to America’s southern border, Bowden returns once more to the Mexican asylum run by "El Pastor," Jose Antonio Galvan, who was first introduced to readers of the sextet in Jericho. Here, too, is the dream of a garden that will be planted in the desert, a promise of regeneration in a world gone mad. Poetic, elegiac, and elliptical, Sonata is the final, captivating book of Bowden’s monumental career.

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Soul Over Lightning
Ray Gonzalez
University of Arizona Press, 2014
In this collection, which the poet calls his “rebirth in the search for home,” Ray Gonzalez expresses the gentle, humble intelligence that has made him a leading voice in Latino letters. He shares with the reader the voice of a soul searcher who has passed through middle age and still vibrates with passion for the world.

Gonzalez shows his profound respect for other people, species, places, elements, and histories. Illusions to religious imagery knock against those of the natural world—feathers and rocks—creating a complex tableau of objects and feelings. Employing the image-driven approach for which he is renowned, in this collection Gonzalez is taut, using poetics that are fully formed. Even as the poems weave together highly intellectual, refined subject matter, the language remains accessible. 

The book is divided into three parts. The first section offers Gonzalez’s most personal work yet, meditating on aging, forgetting, and the reader. The next section is more outward looking, as Gonzalez takes on great artists from both Old World and New World traditions. Finally, in the last section, Gonzalez opens himself up, reflecting in very personal ways on the everyday, such as a return from a hospital stay or a visit to the doctor.

Soul Over Lightning weaves together elements of Native American and Chicano/a narratives, inspired by the landscape of the desert Southwest and the experience of living on the border. It offers a new supernarrative that lifts spirits and yet remains grounded in a timeless search for home and truth.
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Spatial and Discursive Violence in the US Southwest
Rosaura Sánchez and Beatrice Pita
Duke University Press, 2020
In Spatial and Discursive Violence in the US Southwest Rosaura Sánchez and Beatrice Pita examine literary representations of settler colonial land enclosure and dispossession in the history of New Mexico, Texas, and Oklahoma. Sánchez and Pita analyze a range of Chicano/a and Native American novels, films, short stories, and other cultural artifacts from the eighteenth century to the present, showing how Chicano/a works often celebrate an idealized colonial Spanish past as a way to counter stereotypes of Mexican and Indigenous racial and ethnic inferiority. As they demonstrate, these texts often erase the participation of Spanish and Mexican settlers in the dispossession of Indigenous lands. Foregrounding the relationship between literature and settler colonialism, they consider how literary representations of land are manipulated and redefined in ways that point to the changing practices of dispossession. In so doing, Sánchez and Pita prompt critics to reconsider the role of settler colonialism in the deep history of the United States and how spatial and discursive violence are always correlated.
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Standing on Common Ground
The Making of a Sunbelt Borderland
Geraldo L. Cadava
Harvard University Press, 2013

Under constant surveillance and policed by increasingly militarized means, Arizona's border is portrayed in the media as a site of sharp political and ethnic divisions. But this view obscures the region's deeper history. Bringing to light the shared cultural and commercial ties through which businessmen and politicians forged a transnational Sunbelt, Standing on Common Ground recovers the vibrant connections between Tucson, Arizona, and the neighboring Mexican state of Sonora. Geraldo L. Cadava corrects misunderstandings of the borderland's past and calls attention to the many types of exchange, beyond labor migrations, that demonstrate how the United States and Mexico continue to shape one another.

In the 1940s, a flourishing cross-border traffic developed in the Arizona-Sonora Sunbelt, as the migrations of entrepreneurs, tourists, shoppers, and students maintained a densely connected transnational corridor. Politicians on both sides worked to cultivate a common ground of free enterprise, spurring the growth of manufacturing, ranching, and agriculture. However, as Cadava illustrates, these modernizing forces created conditions that marginalized the very workers who propped up the regional economy, and would eventually lead to the social and economic instability that has troubled the Arizona-Sonora borderland in recent times.

Grounded in rich archival materials and oral histories, Standing on Common Ground clarifies why we cannot understand today's fierce debates over illegal immigration and border enforcement without identifying the roots of these problems in the Sunbelt's complex pan-ethnic and transnational history.

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