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Light in the Dark is the culmination of Gloria E. Anzaldúa's mature thought and the most comprehensive presentation of her philosophy. Focusing on aesthetics, ontology, epistemology, and ethics, it contains several developments in her many important theoretical contributions.

Water management plays an increasingly critical role in national and international policy agendas. Growing scarcity, overuse, and pollution, combined with burgeoning demand, have made socio-political and economic conflicts almost unavoidable. Proposals to address water shortages are usually based on two key assumptions: (1) water is a commodity that can be bought and sold and (2) “states,” or other centralized entities, should control access to water.

Liquid Relations criticizes these assumptions from a socio-legal perspective. Eleven case studies examine laws, distribution, and irrigation in regions around the world, including the United States, Nepal, Indonesia, Chile, Ecuador, India, and South Africa. In each case, problems are shown to be both ecological and human-made. The essays also consider the ways that gender, ethnicity, and class differences influence water rights and control.

In the concluding chapter, the editors draw on the essays’ findings to offer an alternative approach to water rights and water governance issues. By showing how issues like water scarcity and competition are embedded in specific resource use and management histories, this volume highlights the need for analyses and solutions that are context-specific rather than universal.

Straddling an international border, the twin cities of Nogales, Arizona, and Nogales, Sonora, are in many ways one community. For years the border was less distinct, with Mexicans crossing one way to visit family and friends and tourists crossing the other to roam the curio shops. But as times change, so do places like Nogales. The maquiladora industry has brought jobs, population growth, and environmental degradation to the Mexican side. A crackdown against undocumented immigrants has brought hundreds of Border Patrol agents and a 14-foot-tall steel wall to the U.S. side. Drug smuggling has brought violence to both sides. Neither Nogales will ever be the same.

In Lives on the Line, Miriam Davidson tells five true stories from these border cities to show the real-life effects that the maquiladora boom and the law enforcement crackdown have had on the people of "Ambos (Both) Nogales." Readers will meet Yolanda Sánchez, a single mother who came to work in the factories; Jimmy Teyechea, a cancer victim who became an outspoken environmental activist; Dario Miranda Valenzuela, an undocumented immigrant who was shot and killed by a U.S. Border Patrol agent; Cristina, a "tunnel kid" who aspired to flee the gang lifestyle; and Hope Torres and Tom Higgins, maquiladora managers who have made unique contributions to the community.

In sharing these stories of people transformed by love and faith, by pain and loss, Davidson relates their experiences to larger issues and shows that, although life on the border is tough, it is not without hope.

Lives on the Line is an impassioned look at the changes that have swept the U.S.-Mexico border: the rising tension concerning free trade and militarization, the growing disparity between the affluent and the impoverished. At the same time, the book highlights the positive aspects of change, revealing challenges and opportunities not only for the people who live on the border but for all Americans.

Tracing Cuba’s ideological history, Gordy first looks at the ways in which the 19th century wars of independence and the 1959 revolution were used as the basis for both challenging and legitimizing Cuban socialism. Following the embrace of a pure socialist ideology in the 1960s, state policies of the 1970s became more accommodating of market imperatives, while still holding on to the principles articulated by Che Guevara and Karl Marx. In the 1990s, the Cuban people themselves pushed back against further economic reforms, reasserting the value of socioeconomic equality. Gordy also examines ideological debates among intellectuals, from the controversy sparked by Fidel Castro’s “Words to the Intellectuals” speech to the demand in the 1990s for a separation between academia and the state—not to safeguard academia from politics, but to ensure that academics as such could contribute to the political dialogue.

Despite the recent economic upswing in many Latin American countries, rural poverty rates in the region have actually increased during the past two decades. Experts blame excessively centralized public administrations for the lackluster performance of public policy initiatives. In response, decentralization reformshave become a common government strategy for improving public sector performance in rural areas. The effect of these reforms is a topic of considerable debate among government officials, policy scholars, and citizens’ groups. This book offers a systematic analysis of how local governments and farmer groups in Latin America are actually faring today.

Based on interviews with more than 1,200 mayors, local officials, and farmers in 390 municipal territories in four Latin American nations, the authors analyze the ways in which different forms of decentralization affect the governance arrangements for rural development “on the ground.” Their comparative analysis suggests that rural development outcomes are systemically linked to locally negotiated institutional arrangements—formal and informal—between government officials, NGOs, and farmer groups that operate in the local sphere. They find that local-government actors contribute to public services that better assist the rural poor when local actors cooperate to develop their own institutional arrangements for participatory planning, horizontal learning, and the joint production of services.

This study brings substantive data and empirical analysis to a discussion that has, until now, more often depended on qualitative research in isolated cases. With more than 60 percent of Latin America’s rural population living in poverty, the results are both timely and crucial.

Can low-riders rightfully be considered art? Why are Chicano murals considered art while graffiti is considered vandalism? What do Native American artisans think about the popular display of their ceremonial objects? How do the "middlebrow" notions of Getty workers influence "highbrow" values at the J. Paul Getty Trust? Looking High and Low attempts to answer these questions—and the broader question "What is art?"—by bringing together a collection of challenging essays on the meaning of art in cultural context and on the ways that our understandings of art have been influenced by social process and aesthetic values.

Arguing that art is constituted across cultural boundaries rather than merely inside them, the contributors explore the relations between art, cultural identity, and the social languages of evaluation—among artists, art critics, art institutions, and their audiences—in the Southwest and in Mexico. The authors use anthropological methods in art communities to uncover compelling evidence of how marginalized populations make meaning for themselves, how images of ethnicity function in commercial culture, how Native populations must negotiate sentimental marketing and institutional appropriation of their art work, and how elite populations use culture and ritual in ways that both reveal and obscure their power and status. The authors make dramatic revelations concerning the construction and contestation of ideas of art as they circulate between groups where notions of what art "should" be are often at odds with each other.

This volume challenges conventional modes of analyzing art. Its ethnographic explorations illuminate the importance of art as a cultural force while creating a greater awareness of the roles that scholars, museum curators, and critics play in the evaluation of art.

Contents
Introduction: Art Hierarchies, Cultural Boundaries, and Reflexive Analysis, Brenda Jo Bright
Bellas Artes and Artes Populares: The Implications of Difference in the Mexico City Art World, Liza Bakewell
Space, Power, and Youth Culture: Mexican American Graffiti and Chicano Murals in East Los Angeles, 1972-1978, Marcos Sanchez-Tranquilino
Remappings: Los Angeles Low Riders, Brenda Jo Bright
Marketing Maria: The Tribal Artist in the Age of Mechanical Reproduction, Barbara Babcock
Aesthetics and Politics: Zuni War God Repatriation and Kachina Representation, Barbara Tedlock
Middlebrow into Highbrow at the J. Paul Getty Trust, Los Angeles, George E. Marcus

A pastime, delightful—
Chips, cards, and a table.
The riddles insightful,
the future, unstable! What is it?

It's Lotería, the Mexican game of chance! For the uninitiated, it might seem like bingo played with a riddling tarot deck. But this enthralling board game is more than entertainment. The images found on its cards—La Virgen, El Pan Dulce, La Telenovela—are miniature reflections of an entire culture, capturing the joys and sorrows of the Mexican people.

Wildly popular on both sides of the border, Lotería cards originated in the Iberian peninsula in the eighteenth century but have been redesigned so many times as to defy expectation, with boards devoted to ecclesiastical figures, soccer idols, and even vaudeville starlets. With the dawn of a new millennium, American artist Teresa Villegas created a new Lotería set that is already gaining popularity in Mexico, and her striking images are also widely exhibited in galleries across the United States.

This gift book, which will bring pleasure and bewilderment to children and adults alike, reproduces more than two dozen of Villegas's 54 colorful cards, pairing them with insightful, humorous riddles written by award-winning author Ilan Stavans. Stavans also revisits his childhood in an essay that examines the role of luck in Mexican life and recreates the sort of poetry jam that often accompanies Lotería contests wherever they might take place. Delve into the emblematic pages of this marvelous volume to find your own Calavera. Let yourself unravel the paths of El Deseo and the mysteries of El Corazón. Before too long, you'll realize that luck is never truly accidental—for a turn at ¡Lotería! is always an opportunity to come face to face with El Destino.

Aren’t lowriders always gangbangers? And, don’t they always hold high status in their neighborhoods? Contrary to both stereotypes, the people who build and drive lowrider cars perform diverse roles while mobilizing a distinctive aesthetic that is sometimes an act of resistance and sometimes of belonging. A fresh application of critical ethnographic methods, Lowrider Space looks beyond media portrayals, high-profile show cars, and famous cruising scenes to bring readers a realistic tour of the “ordinary” lowriders who turn streetscapes into stages on which dynamic identities can be performed.Drawing on firsthand participation in everyday practices of car clubs and cruising in Austin, Texas, Ben Chappell challenges histories of erasure, containment, and class immobility to emphasize the politics of presence evidenced in lowrider custom car style. Sketching out a partially personal map of the lowrider presence in Texas’s capital city, Chappell also explores the interior and exterior adornment of the cars (including the use of images of women’s bodies) and the intersecting production of personal and social space. As he moves through a second-hand economy to procure parts necessary for his own lowrider vehicle, on “service sector” wages, themes of materiality and physical labor intersect with questions of identity, ultimately demonstrating how spaces get made in the process of customizing one’s self.

Favelas, or shantytowns, are where cocaine is mainly sold in Rio de Janeiro. There are some six hundred favelas in the city, and most of them are controlled by well-organized and heavily armed drug gangs. The struggle for the massive profits from this drug trade has resulted in what are increasingly violent and deadly confrontations between rival drug gangs and a corrupt and brutal police force, that have transformed parts of the city into a war-zone. Lucia tells the story of one woman who was once intimately involved with drug gang life in Rio throughout the 1990s. Through a series of conversations with the author, Lucia describes conditions of poverty, violence, and injustice that are simply unimaginable to outsiders. In doing so, she explains why women like her become involved with drugs and gangs, and why this situation is unlikely to change.