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Informed and up to date, Challenged Sovereignty explains the effects of today’s globalized problems on the contemporary Caribbean.

2024 Honorable Mention, Isis Duarte Book Prize, Haiti/ Dominican Republic section, Latin American Studies Association

How water enables Caribbean and Latinx writers to reconnect to their pasts, presents, and futures.

Water is often tasked with upholding division through the imposition of geopolitical borders. We see this in the construction of the Rio Grande/Río Bravo on the US-Mexico border, as well as in how the Caribbean Sea and the Pacific Ocean are used to delineate the limits of US territory. In stark contrast to this divisive view, Afro-diasporic religions conceive of water as a place of connection; it is where spiritual entities and ancestors reside, and where knowledge awaits.

Departing from the premise that water encourages confluence through the sustainment of contradiction, Channeling Knowledges fathoms water’s depth and breadth in the work of Latinx and Caribbean creators such as Mayra Santos-Febres, Rita Indiana, Gloria Evangelina Anzaldúa, and the Border of Lights collective. Combining methodologies from literary studies, anthropology, history, and religious studies, Rebeca L. Hey-Colón’s interdisciplinary study traces how Latinx and Caribbean cultural production draws on systems of Afro-diasporic worship—Haitian Vodou, La 21 División (Dominican Vodou), and Santería/Regla de Ocha—to channel the power of water, both salty and sweet, in sustaining connections between past, present, and not-yet-imagined futures.

Alfonso Cuarón’s Children of Men thrusts readers into a gripping near-future world where environmental collapse and global infertility have fortified borders and torn apart the fabric of society. Its stark depictions of mass deportation, lawless border zones, and the desperate fight for survival echo powerfully through Octavia Butler’s prophetic novels Parable of the Sower and Parable of the Talents, where environmental breakdown, migration, childbirth, and the resilience of women’s bodies form the core of her visionary storytelling. Remarkably, the futures imagined in these works are no longer distant—Butler’s 2024 has arrived, and Cuarón’s 2027 is nearly here. Children of Cuarón: Speculative Futures Through Cinematic Fiction ignites bold, necessary conversations about borders, immigration, and the urgent political, environmental, and social challenges facing our world today. By examining how speculative fiction dares to imagine what comes next, this book invites readers to confront the realities of our present—and the possibilities of our future—with fresh eyes and uncompromising clarity.

A bioarchaeological study of chosen women’s labor, identity, and health in the Inka ceremonial center of Saqsaywaman

Chosen Women and Inka Statecraft illuminates the intersections between foodways, diet, gender, and power in the expansive Inka ceremonial complex of Saqsaywaman, Peru. Bioarchaeologist Bethany L. Turner weaves together geochemical and osteological research techniques to create osteobiographies for people who were likely special servants to the Inka royalty in the heart of the vast empire. These skeletal individuals, interred in a special cemetery atop Saqsaywaman, date to the fifteenth and sixteenth centuries and were previously excavated by Peruvian archaeologists.

By weaving her own data together with existing archaeological, osteological, and ethnohistoric studies of Saqsaywaman, Turner opens a rare window into everyday life among the aqllakuna, “chosen women” who grew, prepared, and served food and drink to the Inka elite. She argues that the embodied experiences of these individuals underscore the ways in which they were “made performative artifacts of Inka statecraft.” This statecraft was based on reciprocity, “to feed and be fed,” and the lived experiences of the people who lived under it left telltale signs in their bones and teeth. An important finding is that the aqllakuna, who prepared lavish feasts and heroic quantities of the finest maize beer, chicha, were likely not consuming it. However, they showed poor dental health as a result of chewing the maize to process it during brewing. This significant oral decay likely made them susceptible to chronic diseases and may have shortened their lives. Turner also asserts that the aqllakuna at Saqsaywaman included individuals whose skeletons were estimated to have been male but who likely performed feminine roles, reflecting the fluidity of gendered duality in indigenous Andean cosmology. In Chosen Women and Inka Statecraft, archaeologists, anthropologists, Andeanists, and food scholars will find new ways to consider life in the Inka past.

Examining the interplay of visuality and infrastructure in Latin American films.

Images do far more than we realize. They do not simply represent or depict; they run our world. Surveillance cameras and drones, medical imaging, social media platforms, market-data visualization––these and other technologies make the image an infrastructure of power, a tool for organizing and governing, impressing labor and extracting value.

Adriana Johnson draws on the medium of film to sensitize us to the logics of visuality as a technology of power. In particular, Latin American cinema presents a key site for both crystallizing and retreating from these logics. Through close readings of Argentine, Paraguayan, and Brazilian movies—including the documentary Bus 174, the dystopian sci-fi The Aerial,and the farcical The Gold Bug—Johnson shows how filmmakers can amplify or attenuate the infrastructural reach of visuality. They also reveal visuality’s otherwise-submerged power, and even engage in something like piracy: hacking into, rerouting, and deconstituting the workings of visual infrastructures. A deeply insightful and theoretically rich account, Cinema as Infrastructure reframes the political stakes of filmmaking in an era when visual forms have become means of production and order.

Since the mid-1980s, when Guatemala returned to civilian rule and achieved relative peace and stability, the Maya have begun openly expressing their spiritual beliefs and practices. Jean Molesky-Poz draws on in-depth dialogues with Maya Ajq'ijab' (keepers of the ritual calendar), her own participant observation, and inter-disciplinary resources to offer a comprehensive, innovative, and well-grounded understanding of contemporary Maya spirituality and its theological underpinnings. She reveals significant continuities between contemporary and ancient Maya worldviews and spiritual practices.

Molesky-Poz opens with a discussion of how the public emergence of Maya spirituality is situated within the religious political history of the Guatemalan highlands, particularly the recent pan-Maya movement. She investigates Maya cosmovision and its foundational principles, as expressed by Ajq'ijab'. At the heart of this work, Ajq'ijab' interpret their obligation, lives, and spiritual work. In subsequent chapters, Molesky-Poz explores aspects of Maya spirituality—sacred geography (the reciprocal relationship between the earth and humans, sacred places, and the significance of the cross or quatrefoil map), sacred time (how the 260-day sacred calendar is "the heart of the wisdom of the Maya," the matrix of Maya culture), and ritual practice (the distinct way and method of ancestral study, with special attention to fire ceremonialism). She confirms contemporary Maya spirituality as a faith tradition with elaborate historical roots that has significance for individual, collective, and historical lives, reaffirming its own public space and legal right to be practiced.

From the dramatization of local legends to the staging of plays by Shakespeare and other canonical playwrights to the exploration of contemporary sociopolitical problems and their effects on women and children, Mayan theatre is a flourishing cultural institution in southern Mexico. Part of a larger movement to define Mayan self-identity and reclaim a Mayan cultural heritage, theatre in Mayan languages has both reflected on and contributed to a growing awareness of Mayans as contemporary cultural and political players in Mexico and on the world's stage.

In this book, Tamara Underiner draws on fieldwork with theatre groups in Chiapas, Tabasco, and Yucatán to observe the Maya peoples in the process of defining themselves through theatrical performance. She looks at the activities of four theatre groups or networks, focusing on their operating strategies and on close analyses of selected dramatic texts. She shows that while each group works under the rubric of Mayan or indigenous theatre, their works are also in constant dialogue, confrontation, and collaboration with the wider, non-Mayan world. Her observations thus reveal not only how theatre is an agent of cultural self-definition and community-building but also how theatre negotiates complex relations among indigenous communities in Mayan Mexico, state governments, and non-Mayan artists and researchers.

Honorable Mention, Barbara T. Christian Literary Award, Caribbean Studies Association, 2017

In the wake of the 1959 Cuban Revolution, a key state ideology developed: racism was a systemic cultural issue that ceased to exist after the Revolution, and any racism that did persist was a result of contained cases of individual prejudice perpetuated by US influence. Even after the state officially pronounced the end of racism within its borders, social inequalities tied to racism, sexism, and homophobia endured, and, during the economic liberalization of the 1990s, widespread economic disparities began to reemerge.

Cuban Underground Hip Hop focuses on a group of self-described antiracist, revolutionary youth who initiated a social movement (1996–2006) to educate and fight against these inequalities through the use of arts-based political activism intended to spur debate and enact social change. Their “revolution” was manifest in altering individual and collective consciousness by critiquing nearly all aspects of social and economic life tied to colonial legacies. Using over a decade of research and interviews with those directly involved, Tanya L. Saunders traces the history of the movement from its inception and the national and international debates that it spawned to the exodus of these activists/artists from Cuba and the creative vacuum they left behind. Shedding light on identity politics, race, sexuality, and gender in Cuba and the Americas, Cuban Underground Hip Hop is a valuable case study of a social movement that is a part of Cuba’s longer historical process of decolonization.