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Chicano/a fiction is often understood as a literature of resistance to the dominant U.S. Anglo culture and society. But reducing this rich literary production to a single, binary opposition distorts it in fundamental ways. It conflates literature with life, potentially substituting a literature of protest for social activism that could provoke real changes in society. And it overlooks the complex range of responses to Anglo society that actually animates Chicano/a fiction.

In this paradigm-shifting book, Patrick L. Hamilton analyzes works by Rudolfo Anaya, Ana Castillo, Denise Chávez, Rolando Hinojosa, Arturo Islas, John Rechy, Alfredo Véa, and Helena María Viramontes to expand our understandings of the cultural interactions within the United States that are communicated by Chicano/a fiction. He argues that the narrative ethics of "resistance" within the Chicano/a canon is actually complemented by ethics of "persistence" and "transformation" that imagine cultural differences within the United States as participatory and irreducible to simple oppositions. To demonstrate these alternative ethics, Hamilton adapts the methodology of cognitive mapping; that is, he treats the chosen fictional texts as mental maps that are constructed around and communicative of the narrative's ethics. As he reads these cognitive maps, which envision Chicano/a culture as being part of U.S. society rather than as "resistant" and separate, Hamilton asserts that the authors' conception of cultural difference speaks more usefully to current sociopolitical debates, such as those about gay marriage and immigration reform, than does the traditional "resistant" paradigm.

A translated collection from one of the defining poetic voices in Cuban and Mexican literature. 

Old Music Island is a sensuous, dreamlike poetry collection by Odette Alonso, a leading voice in contemporary Cuban and Mexican literature. Born in Santiago de Cuba and living in Mexico since 1992, Alonso is an award-winning poet whose work transforms exile, desire, and memory into sites of lyrical and emotional intensity.

These poems move to the rhythm of nostalgia and smoke. The collection begins with a dream of light and song. The intimate encounter, always an island, is surrounded by the sea experience, and an exchange of glances is but a threshold into the vast expanse. Then comes fear, the fuss of hands, brackish tongue, a conflagration. Only those daring to enter will learn the patterns of the tide and the arrhythmia of the heart. The collection is a somatic encounter of tastes, touch, comings and goings, surprise, and seduction.

Translated by Liz Rose, whose work bridges lyric practice, trans theory, and feminist thought, Old Music Island offers an English-language rendering that honors the book’s lush musicality and charged physical presence. This is poetry of fleeting contact and lasting imprint—an invitation to listen closely, and to cross the threshold.

A parallel translation of a mixed-genre work by acclaimed Cuban writer Reina María Rodríguez in which poetry merges into creative nonfiction, culminating in a series of essays.

Published in Spanish as Otras cartas a Milena, Other Letters to Milena shows Rodríguez confronting pressing issues at the turn of the twenty-first century. These involve a new post-Soviet world and the realities of diasporic existence, which have a profound effect even on people like Rodríguez who have not migrated but continue to live and work in their home nation. The book’s title references Franz Kafka, whose Letters to Milena was published after his death in 1952. This signals that Rodríguez participates in her city’s long cosmopolitan tradition asserted by Cuban writers and scholars of Cuban literature. Rodríguez’s youngest daughter, featured most prominently in the letters making up the collection’s centerpiece, “A Girl’s Story,” was named after Milena Jesenská, the recipient of Kafka’s letters.

With the poems provided in a bilingual format, the collection will be of interest both to English readers in general (this will be the first English translation of a complete Rodríguez collection not excerpted from a larger work) and to Spanish readers unable to obtain the collection in any form, given the difficulty of distributing Cuban literature outside that country.

As an introduction to the book, Dykstra has included a critical commentary. It clarifies many of the author’s references, such as details pertaining to her family history—items Dykstra learned during lengthy discussions with the author about her work—and influences about her choices in the translation. 

 

Months before Alma López's digital collage Our Lady was shown at the Museum of International Folk Art in 2001, the museum began receiving angry phone calls from community activists and Catholic leaders who demanded that the image not be displayed. Protest rallies, prayer vigils, and death threats ensued, but the provocative image of la Virgen de Guadalupe (hands on hips, clad only in roses, and exalted by a bare-breasted butterfly angel) remained on exhibition.

Highlighting many of the pivotal questions that have haunted the art world since the NEA debacle of 1988, the contributors to Our Lady of Controversy present diverse perspectives, ranging from definitions of art to the artist's intention, feminism, queer theory, colonialism, and Chicano nationalism. Contributors include the exhibition curator, Tey Marianna Nunn; award-winning novelist and Chicana historian Emma Pérez; and Deena González (recognized as one of the fifty most important living women historians in America).

Accompanied by a bonus DVD of Alma López's I Love Lupe video that looks at the Chicana artistic tradition of reimagining la Virgen de Guadalupe, featuring a historic conversation between Yolanda López, Ester Hernández, and Alma López, Our Lady of Controversy promises to ignite important new dialogues.

Poetry that considers art, family history, and creativity.

This collection charts the life of an artist and her passion for nature through the making of a painting. Poems revel in the space humans occupy within the natural world, considering ways of living that range from harmonious to extractive. Alvarez reflects on petroleum, plastic, robots, monsters, and a swath of art history and family history—from her Latino father's time working as an artist in Andy Warhol’s Factory to the teachings of Hokusai. Acting asa séance conjuring the voices of the dead as a guide, the book is part elegy to the poet’s mother, who was a painter and gardener. Steeped in the rural New England countryside of the poet’s childhood and the lore of her indigenous ancestral family in Puerto Rico and Mexico, Oyster Saloon straddles contrasting heritage and landscapes and considers what it means to live a creative life.