Land, Politics, and Memory in Five Nija’ib’ K’iche’ Títulos is a careful analysis and translation of five Highland Maya títulos composed in the sixteenth century by the Nija’ib’ K’iche’ of Guatemala. The Spanish conquest of Highland Guatemala entailed a series of sweeping changes to indigenous society, not the least of which were the introduction of the Roman alphabet and the imposition of a European system of colonial government. Introducing the history of these documents and placing them within the context of colonial-era Guatemala, this volume provides valuable information concerning colonial period orthographic practice, the K’iche’ language, and language contact in Highland Guatemala.

For each text, author Mallory E. Matsumoto provides a photographic copy of the original document, a transliteration of its sixteenth-century modified Latin script, a transcription into modern orthography, an extensive morphologic analysis, and a line-by-line translation into English, as well as separate prose versions of the transcription and translation. No complete English translation of this set of manuscripts has been available before, nor has any Highland Maya título previously received such extensive analytical treatment.

Offering insight into the reality of indigenous Highland communities during this period, Land, Politics, and Memory in Five Nija’ib’ K’iche’ Títulos is an important primary source for linguists, historians, and experts in comparative literature. It will also be of significant interest to students and scholars of ethnohistory, linguistics, Latin American studies, anthropology, and archaeology.

In 1933, John A. Lomax and his son Alan set out as emissaries for the Library of Congress to record the folksong of the “American Negro” in several southern African-American prisons. Listening to the Lomax Archive: The Sonic Rhetorics of African American Folksong in the 1930s asks how the Lomaxes’ field recordings—including their prison recordings and a long-form oral history of jazz musician Jelly Roll Morton—contributed to a new mythology of Americana for a nation in the midst of financial, social, and identity crises. Jonathan W. Stone argues that folksongs communicate complex historical experiences in a seemingly simple package, and can thus be a key element—a sonic rhetoric—for interpreting the ebb and flow of cultural ideals within contemporary historical moments. He contends that the Lomaxes, aware of the power folk music, used the folksongs they collected to increase national understanding of and agency for the subjects of their recordings (including the reconstitution of prevailing stereotypes about African American identity) even as they used the recordings to advance their own careers. Listening to the Lomax Archive gives readers the opportunity to listen in on these seemingly contradictory dualities, demonstrating that they are crucial to the ways that we remember and write about the subjects of the Lomaxes archive and other repositories of historicized sound.

 Cold water is the drink for me / Of all the drinks the best, sir; / Your grog, of whate’er name it be, / I dare not for to taste, sir. 

Such a lyric, sung to the tune of “Yankee Doodle,” was typical ammunition in the temperance movement’s battle against alcohol. By the 1830s, Americans drank an average of 9.5 gallons of hard liquor each year. From the 1840s until the beginning of Prohibition, well over one hundred temperance songbooks were published in which inspirational lyrics were set to mostly borrowed tunes in the hope of persuading citizens to put down the bottle.