Results by title

Behind the success of every great politician, inspiring activist, or business titan, there is a staffer; Jorge B. Haynes was that staffer for some of the most influential leaders in Texas, Florida, and California.

Jorge B. Haynes had a knack for finding his way into the rooms where history was being made. From his work boycotting farmworker conditions alongside Cesar Chavez and Dolores Huerta as a young man in California to his role in President Bill Clinton’s NAFTA war room in the 1990s, he was the man advising some of the country’s most influential leaders and he left an imprint on the monumental moments that defined their time. His career spanned almost five decades, beginning with his decision to leave home in Laredo to serve in the US Air Force. But his service to the country took many different forms. Haynes worked for the Bureau of the Census the first year Latinos were allowed to declare their Hispanic heritage. He wrote speeches and orchestrated pivotal meetings for top political leadership in Texas and later Florida. In the final years of his career, he fought to make college a more accessible path for under-represented students in California.

As his paternal grandmother used to say, “Cuando vas a un lugar donde nunca has estado, finge que has estado allí,” which means, “When you go somewhere that you've never been, pretend like you've been there before.” By the end of his career, there weren’t many places that Haynes hadn’t been.

In Alberto Álvaro Ríos’s new picaresque novel, momentous adventure and quiet connection brings twenty people to life in a small town in northern Mexico. A Good Map of All Things is home to characters whose lives are interwoven but whose stories are their own, adding warmth and humor to this continually surprising communal narrative. The stories take place in the mid-twentieth century, in the high desert near the border—a stretch of land generally referred to as the Pimería Alta—an ancient passage through the desert that connected the territory of Tucson in the north and Guaymas and Hermosillo in the south. The United States is off in the distance, a little difficult to see, and, in the middle of the century, not the only thing to think about. Mexico City is somewhere to the south, but nobody can say where and nobody has ever seen it.

Ríos has created a whimsical yet familiar town, where brightly unique characters love fiercely and nurture those around them. The people in A Good Map of All Things have secrets and fears, successes and happiness, winters and summers. They are people who do not make the news, but who are living their lives for the long haul, without lotteries or easy answers or particular luck. Theirs is the everyday, with its small but meaningful joy. Whether your heart belongs to a small town in Mexico or a bustling metropolis, Alberto Álvaro Ríos has crafted a book that is overflowing with comfort, warmth, and the familiar embrace of a tightly woven community.

Why are so many people attracted to narrative fiction? How do authors in this genre reframe experiences, people, and environments anchored to the real world without duplicating "real life"? In which ways does fiction differ from reality? What might fictional narrative and reality have in common—if anything?

By analyzing novels such as Arundhati Roy's The God of Small Things, Amitav Ghosh's The Glass Palace, Zadie Smith's White Teeth, and Hari Kunzru's The Impressionist, along with selected Latino comic books and short fiction, this book explores the peculiarities of the production and reception of postcolonial and Latino borderland fiction. Frederick Luis Aldama uses tools from disciplines such as film studies and cognitive science that allow the reader to establish how a fictional narrative is built, how it functions, and how it defines the boundaries of concepts that appear susceptible to limitless interpretations.

Aldama emphasizes how postcolonial and Latino borderland narrative fiction authors and artists use narrative devices to create their aesthetic blueprints in ways that loosely guide their readers' imagination and emotion. In A User's Guide to Postcolonial and Latino Borderland Fiction, he argues that the study of ethnic-identified narrative fiction must acknowledge its active engagement with world narrative fictional genres, storytelling modes, and techniques, as well as the way such fictions work to move their audiences.

Several biographies of Américo Paredes have been published over the last decade, yet they generally overlook the paradoxical nature of his life’s work. Embarking on an in-depth, critical exploration of the significant body of work produced by Paredes, José E. Limón (one of Paredes’s students and now himself one of the world’s leading scholars in Mexican American studies) puts the spotlight on Paredes as a scholar/citizen who bridged multiple arenas of Mexican American cultural life during a time of intense social change and cultural renaissance.

Serving as a counterpoint to hagiographic commentaries, Américo Paredes challenges and corrects prevailing readings by contemporary critics of Paredes’s Asian period and of such works as the novel George Washington Gómez, illuminating new facets in Paredes’s role as a folklorist and public intellectual. Limón also explores how the field of cultural studies has drifted away from folklore, or “the poetics of everyday life,” while he examines the traits of Mexican American expressive culture. He also investigates the scholarly paradigm of ethnography itself, a stimulating inquiry that enhances readings of Paredes’s best-known study, “With His Pistol in His Hand,” and other works. Underscoring Paredes’s place in folklore and Mexican American literary production, the book questions the shifting reception of Paredes throughout his academic career, ultimately providing a deep hermeneutics of widely varied work. Offering new conceptions, interpretations, and perspectives, Américo Paredes gives this pivotal literary figure and his legacy the critical analysis they deserve.

The personal story of a blind Puerto Rican boy in New York who transcends a harrowing childhood to become a lifelong advocate for social justice

 

“Jovencito, it’s going to be lonely being different and yet strong in this world,” James Francisco Bonilla’s grandmother told him when he was ten. He had come home after defending himself against a bully who had threatened him with violence, making it clear that he didn’t care that James was blind. But despite the isolation James felt in childhood, he would come to commit his life to leveraging his differences and strengths toward a collective fight for justice. James’s memoir, An Eye for an I, is an inspiring account of how he found a path through his own suffering to make a difference for others.

Born with congenital cataracts, James had limited vision in his right eye and none in his left. At age nine, after a classmate hurled a horseshoe at his face in a racially motivated assault, James’s right eye was injured and he became legally blind. At home, too, he feared physical violence, experiencing the unpredictable outbursts of a single mother suffering from severe mental illness. Throughout his youth as a Puerto Rican New Yorker, James was continually failed by educational systems that exposed him to one abuse after another. Searching for relief and inspiration, he discovered an unexpected solace in the natural world, spiritual encounters with Mother Earth that led him toward both personal healing and advocacy.

At nineteen, a breakthrough in medical technology restored the sight in his right eye, and James recognized his unique perspective on the struggles of the disabled and marginalized in American life—and his intense will to make a difference. He seeks to understand generational trauma, and in documenting his growth—physically, mentally, and spiritually—his memoir exemplifies the introspection necessary to participate in truly equitable and effective movement building. An Eye for an I presents both James and his aggressors with refreshing nuance and humility, inviting readers to empathize, be inspired, and consider their own potential to be of service in a broken, yet beautiful, world.

Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

In her funny, idiosyncratic, and propulsive new novel, Art Is Everything, Yxta Maya Murray offers us a portrait of a Chicana artist as a woman on the margins. L.A. native Amanda Ruiz is a successful performance artist who is madly in love with her girlfriend, a wealthy and pragmatic actuary named Xōchitl. Everything seems under control: Amanda’s grumpy father is living peacefully in Koreatown; Amanda is about to enjoy a residency at the Guggenheim Museum in New York and, once she gets her NEA, she’s going to film a groundbreaking autocritical documentary in Mexico.

But then everything starts to fall apart when Xōchitl’s biological clock begins beeping, Amanda’s father dies, and she endures a sexual assault. What happens to an artist when her emotional support vanishes along with her feelings of safety and her finances? Written as a series of web posts, Instagram essays, Snapchat freakouts, rejected Yelp reviews, Facebook screeds, and SmugMug streams-of-consciousness that merge volcanic confession with eagle-eyed art criticism, Art Is Everything shows us the painful but joyous development of a mid-career artist whose world implodes just as she has a breakthrough.

A comprehensive volume on the life and work of renowned Chicana author Sandra Cisneros.

Sandra Cisneros (b. 1954), author of the acclaimed novel The House on Mango Street and a recipient of the National Medal of the Arts, a MacArthur “Genius Grant” and the PEN/Nabokov Award for International Literature, was the first Chicana to be published by a major publishing house. ¡Ay Tú! is the first book to offer a comprehensive, critical examination of her life and work as a whole. Edited by scholars Sonia Saldívar-Hull and Geneva M. Gano, this volume addresses themes that pervade Cisneros’s oeuvre, like romantic and erotic love, female friendship, sexual abuse and harassment, the exoticization of the racial and ethnic “other,” and the role of visual arts in the lives of everyday people. Essays draw extensively on the newly opened Cisneros Papers, housed in the Wittliff Collections at Texas State University, and the volume concludes with a new long-form interview with Cisneros by the award-winning journalist Macarena Hernández.

As these essays reveal, Cisneros’s success in the literary field was integrally connected to the emergent Chicana feminist movement and the rapidly expanding Chicanx literary field of the late twentieth century. This collection shows that Cisneros didn’t achieve her groundbreaking successes in isolation and situates her as a vital Chicana feminist writer and artist.