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Using interdisciplinary performance studies and cultural studies frameworks, Laura G. Gutiérrez examines the cultural representation of queer sexuality in the contemporary cultural production of Mexican female and Chicana performance and visual artists. In particular, she locates the analytical lenses of feminist theory and queer theory in a central position to interrogate Mexican female dissident sexualities in transnational public culture.

This is the first book-length study to wed performance studies and queer theory in examining the performative/performance work of important contemporary Mexicana and Chicana cultural workers. It proposes that the creations of several important artists—Chicana visual artist Alma López; the Mexican political cabareteras Astrid Hadad, Jesusa Rodríguez, Liliana Felipe, and Regina Orozco; the Chicana performance artist Nao Bustamante; and the Mexican video artist Ximena Cuevas—unsettle heterosexual national culture. In doing so, they are not only challenging heterosexist and nationalist discourses head-on, but are also participating in the construction of a queer world-making project. Treating the notion of dis-comfort as a productive category in these projects advances feminist and queer theories by offering an insightful critical movement suggesting that queer worlds are simultaneously spaces of desire, fear, and hope.

Gutiérrez demonstrates how arenas formerly closed to female performers are now providing both an artistic outlet and a powerful political tool that crosses not only geographic borders but social, sexual, political, and class boundaries as well, and deconstructs the relationships among media, hierarchies of power, and the cultures of privilege.

Performing Queer Latinidad highlights the critical role that performance played in the development of Latina/o queer public culture in the United States during the 1990s and early 2000s, a period when the size and influence of the Latina/o population was increasing alongside a growing scrutiny of the public spaces where latinidad could circulate. Performances---from concert dance and street protest to the choreographic strategies deployed by dancers at nightclubs---served as critical meeting points and practices through which LGBT and other nonnormative sex practitioners of Latin American descent (individuals with greatly differing cultures, histories of migration or annexation to the United States, and contemporary living conditions) encountered each other and forged social, cultural, and political bonds. At a time when latinidad ascended to the national public sphere in mainstream commercial and political venues and Latina/o public space was increasingly threatened by the redevelopment of urban centers and a revived anti-immigrant campaign, queer Latinas/os in places such as the Bronx, San Antonio, Austin, Phoenix, and Rochester, NY, returned to performance to claim spaces and ways of being that allowed their queerness and latinidad to coexist. These social events of performance and their attendant aesthetic communication strategies served as critical sites and tactics for creating and sustaining queer latinidad.

In Peruvian Street Lives, Seligmann argues that the sometimes invisible and informal economic, social, and political networks market women establish may appear disorderly and chaotic, but in fact often keep dysfunctional economies and corrupt bureaucracies from utterly destroying the ability of citizens to survive from day to day. Seligmann asks why the constructive efforts of market women to make a living provoke such negative social perceptions from some members of Peruvian society, who see them as symbols and actual catalysts of social disorder. At the same time, Seligmann shows how market women eke out a living, combat discrimination, and transgress racial and gender ideologies within the rich and expressive cultural traditions they have developed.

Peruvians were among the first Latinos to arrive in Paterson and other cities in New Jersey during the post-WW II period. Over successive generations, they established a prosperous ethnic enclave that contributed to Paterson’s socioeconomic renewal. Yet their migration experience has remained relatively unexamined by scholars. This book examines the role of entrepreneurship and informality in the emergence and evolution of the Peruvian community of Paterson. It highlights the historical significance of the establishment of small businesses and social organizations as important cultural elements that validated their physical presence in the area. By uncovering the diverse strategies that Peruvians utilized for building a community, Muschi contends that their culture of informality and resourcefulness paved the way for their economic advancement and the consolidation of the Peruvian community. This book also shows that the informal economic practices introduced by Peruvians altered the social and economic landscape of Paterson and contributed to the revitalization of the local economy. Through the examination of oral histories, archival material from local newspapers, and memoirs declassified by the Peruvian consulate, the author challenges the oversimplified portrayal of Latinos as blue- collar workers with few opportunities for socioeconomic advancement. Peruvians in Paterson demonstrates that Latino migrants achieve wealth and ethnic empowerment in the process of adjustment and community building, suggesting new lines for future research.

2026 PROSE Award Finalist, Humanities: Literature

Petroforms contributes a much-needed theory of form and genre to the cutting-edge field of petrocriticism, itself an offshoot of developments in postcolonial ecocriticism. Studies of resource fiction and inquiries in the energy humanities have recently taken their rightful place as necessary reflections on the role of the literary imagination in intervening in the Anthropocene as we find ourselves precariously placed in the face of a fossil fuel crisis, climate change, and mass extinctions.

With Petroforms, Helen Kapstein undertakes close readings of a range of Nigerian aesthetic forms: short stories, romance novels, documentary film, the “Nollywood” film industry, fine art sculpture, and poetry. She uses these forms to argue that the demands of paying attention to petroleum extraction, production, consumption, and distribution in the creation of resource fictions must necessarily alter and affect conventional forms and structures. What results is a new set of genre-bending forms, like documentary film that we can read as horror, in response to the forceful and fluid demands of the petroleum industry and its master narrative.
Nigeria is one of the world’s largest oil-producing nations, in which that production is concentrated in the Niger Delta, resulting in a local environment that has been steadily degraded by oil spills, flares, pollution, and contamination, and a local culture shaped by false scarcity in a space of abundance, murderous politics, and escalating violence. At the same time as the Niger Delta grounds Kapstein’s argument in its own political realities and cultural responses, Nigeria’s participation in a global economy of petrodependency allows her theory of petroforms to be extended and applied more generally.

What Peter Hitchcock calls “oil’s generative law” is that it is “everywhere and obvious, it must be opaque or otherwise fantastic.” He means the coexistence of oil’s taken-for-granted qualities is something constitutive of every level of everyday life and its spectacular displays—gushers, spills, explosions. Oil’s nature, the fact that it is everywhere, unctuously oozing into every corner of everyday life, means that it constantly spills over out of our existing forms, genres, and systems, demanding accommodation. To try to contain it, we create new forms. Thus, a petroform is simultaneously reactionary (a necessary response to oil’s pressures, a by-product of the commodity itself) and resistant (an attempt at containment, at generating a retort to the very thing that shapes it). Each form figures oil and then configures and reconfigures itself in reaction to it.

For many Americans, eating ethnic food is so commonplace as to be taken for granted. Yet, whether we acknowledge it or not, such foods create a powerful social language that speaks of cultural traditions and tastes that have been handed down from one generation to the next and, in some cases, appropriated and commodified by American commercial culture. Ethnic cooking represents both a source of sustenance and a complex form of communication. 

In this volume, eleven scholars explore the role of ethnic food in American culture, with a particular focus on women. The first six chapters offer personal accounts of the ways in which ethnic meals are embedded in women's memories and fortify their connections to one another. From a Sicilian-born mother who affirms her allegiance to her heritage through the loving preparation of traditional tomato sauce and pasta, to a Swedish American woman whose dozens of boxes of recipe cards document a process of cultural assimilation, to an Armenian American who uses a shared passion for cooking to forge a relationship with her lover's family—these essays speak in a personal voice about the power of food as a marker of women's identity. The final five chapters take a more analytic approach, scrutinizing the social and political aspects of ethnic food and the phenomenon of “culinary tourism.” One essay offers a brilliant meditation on the gendered discourse of cooking in the Mexican American community, showing how food preparation provides many Chicanas with a vital language of self-expression. Another essay probes the author's penchant for Thai food and other cuisines from economically dominated cultures, situating it in the context of a larger system of privilege and oppression and as a form of cultural colonialism. By going beyond the obvious, these essays challenge our assumptions and expand our understanding of the significance of ethnic food in women's lives. 

Contributors include Meredith E. Abarca, Arlene Voski Avakian, Linda Murray Berzok, Benay Blend, Lynn Z. Bloom, Paul Christensen, Cathie English, Doris Friedensohn, Lisa Heldke, Heather Schell, and Leanne Trapedo Sims.

A rich, long-term ethnography of women seafood traders in Mexico.

The "shrimp ladies," locally known as changueras in southern Sinaloa, Mexico, sell seafood in open-air markets, forming an extralegal but key part of the economy built around this "pink gold.” Over time, they struggled to evolve from marginalized peddlers to local icons depicted in popular culture, even as they continue to work at an open-air street market.

Pink Gold documents the shrimp traders' resilience and resourcefulness, from their early conflicts with the city, state, and federal authorities and forming a union, to carving out a physical space for a seafood market, and even engaging in conflicts with the Mexican military. Drawing from her two decades of fieldwork, María L. Cruz-Torres explores the inspiring narrative of this overlooked group of women involving grassroots politics, trans-border and familial networking, debt and informal economic practices, personal sacrifices, and simple courage. She argues that, amid intense economic competition, their success relies on group solidarity that creates interlocking networks of mutual trust, or confianza, that in turn enable them to cross social and political boundaries that would typically be closed to them. Ultimately, Pink Gold offers fresh insights into issues of gender and labor, urban public space, the street economy, commodities, and globalization.

An in-depth look at how Latina/x artists transform art into activism and reclaim space in the Twin Cities

In Place-Keepers, Jessica Lopez Lyman examines how Latina/x artists in the Twin Cities navigate and challenge the region’s deep-seated racial injustices. Using “Inter-Latina movidas”—subtle yet strategic actions through which Latina/x artists forge solidarities, mobilize for justice, and reclaim space—these artists respond to systemic oppression through public performances and behind-the-scenes negotiations with the state, nonprofits, and other institutions.

Centering Latina/x women and gender nonconforming artists from Chicana/Mexicana, U.S. Central American, and Caribbean backgrounds, Place-Keepers confronts reductionist theories of Latinidad that flatten ethnic and racial identities. It demonstrates how the creative and activist practices of these cultural organizers address urgent social struggles from resisting gentrification and environmental destruction to opposing police violence. Lopez Lyman situates these efforts within the broader history of racial justice organizing in Minnesota, tracing a lineage of resistance that long precedes the 2020 Minneapolis uprising following the murder of George Floyd.

Through firsthand accounts and revealing case studies, Place-Keepers charts how these artists harness aesthetics as a tool for movement-building, strategically redistributing resources and transforming policy. Expanding the foundational concept of “movidas” in Chicana/o/x and Latina/o/x studies by highlighting maneuvers of infiltration, improvisation, individual ritual, and interdependence, Lopez Lyman establishes a crucial framework for understanding art as activism.

An unflinching account of how city planning was deployed to enforce white supremacy in Montgomery, Alabama—the birthplace of the Civil Rights Movement—and how Black activists fought back, block by neighborhood block.

At the heart of the Civil Rights Movement was a city meticulously designed to enforce inequality. In Planning White Supremacy: Civil Rights and City Planning in Montgomery, Alabama, 1920–1970, Rebecca Coleen Retzlaff traces how city officials used the tools of modern planning—zoning, infrastructure, housing codes, public investment, and highway construction—to suppress political power, economic opportunity, and spatial freedom for Black citizens.

As the birthplace of the Civil Rights Movement, Montgomery became a battleground where urban planning and direct-action protest collided, shaping the city’s culture in ways that still resonate today. Retzlaff’s analysis exposes the calculated use of municipal power to control land use, displace Black communities, keep schools and neighborhoods segregated, and preserve white political dominance. By placing urban planning at the center of Montgomery’s story, this groundbreaking work reframes the movement not only as a fight for voting rights and legal equality, but as a struggle for space, housing, mobility, education, and the right to live with dignity. Retzlaff also highlights the resilience and joy of the close-knit Black neighborhoods that nurtured the civil rights activists who changed history.

Retzlaff reveals how urban planning decisions systematically targeted Black neighborhoods, reinforcing racial inequality under the guise of modernization. With historical depth and critical insight, Planning White Supremacy situates Montgomery within the broader context of American urban history—offering a vital perspective on the intersection of race, space, and power. Essential for scholars of urban planning, history, and racial justice, this book also provides urgent insight into how these legacies continue to shape cities and Black socioeconomic opportunities today.

The Indigenous Canela inhabit a vibrant multispecies community of nearly 3,000 people and over 300 types of cultivated and wild plants living together in Maranhão State in the Brazilian Cerrado (savannah), a biome threatened with deforestation and climate change. In the face of these environmental threats, Canela women and men work to maintain riverbank and forest gardens and care for their growing crops, whom they consider to be, literally, children. This nurturing, loving relationship between people and plants—which offers a thought-provoking model for supporting multispecies survival and well-being throughout the world—is the focus of Plant Kin.

Theresa L. Miller shows how kinship develops between Canela people and plants through intimate, multi-sensory, and embodied relationships. Using an approach she calls “sensory ethnobotany,” Miller explores the Canela bio-sociocultural life-world, including Canela landscape aesthetics, ethnobotanical classification, mythical storytelling, historical and modern-day gardening practices, transmission of ecological knowledge through an education of affection for plant kin, shamanic engagements with plant friends and lovers, and myriad other human-nonhuman experiences. This multispecies ethnography reveals the transformations of Canela human-environment and human-plant engagements over the past two centuries and envisions possible futures for this Indigenous multispecies community as it reckons with the rapid environmental and climatic changes facing the Brazilian Cerrado as the Anthropocene epoch unfolds.

Joy is a politicized form of pleasure that goes beyond gratification to challenge norms of gender, sexuality, race, and class. Kristie Soares focuses on the diasporic media of Puerto Rico and Cuba to examine how music, public activist demonstrations, social media, sitcoms, and other areas of culture resist the dominant stories told about Latinx joy. As she shows, Latinx creators compose versions of joy central to social and political struggle and at odds with colonialist and imperialist narratives that equate joy with political docility and a lack of intelligence. Soares builds her analysis around chapters that delve into gozando in salsa music, precise joy among the New Young Lords Party, choteo in the comedy ¿Qué Pasa U.S.A.?, azúcar in the life and death of Celia Cruz, dale as Pitbull’s signature affect, and Alexandria Ocasio-Cortez’s use of silliness to take seriously political violence.

Daring and original, Playful Protest examines how Latinx creators resist the idea that joy only exists outside politics and activist struggle.

What draws ordinary Americans into extremist political movements, and why do they stay? Playing Patriot takes readers inside the contemporary Patriot Movement through immersive ethnographic fieldwork conducted with members of the Patriot Movement in Central Florida (including those active in the Proud Boys and Three-Percenters) following January 6. Over months of participant observation, conversations, and firsthand experiences, anthropologist Alexander Lowie explores how humor, play, alternative media, conspiracy narratives, and performances of masculinity shape political belonging. Rather than portraying these organizations as collections of abstract beliefs alone, the book reveals them as communities built through everyday relationships, shared rituals, and stories about national decline and renewal. Written as a first-person narrative ethnography, Playing Patriot offers an accessible, deeply human account of political extremism while providing fresh insight into the emotional and cultural forces shaping contemporary American populism.

Reveals the role of amateur Black football and basketball in Virginia before integration as a form of resistance to white supremacy

In Playing for Power, Marvin T. Chiles offers a fascinating account of amateur sports in Jim Crow Virginia, revealing how, in addition to churches, workspaces, and civil rights organizations, sports were also a key arena for Black resistance to white supremacy. Drawing from a rich trove of primary sources, Chiles recounts the development of Black football and basketball culture at the high school and college levels in Virginia from the 1890s to the early 1970s. Looking beyond their role as leisure pastimes, Chiles demonstrates how amateur sports strengthened education, neutralized class divisions, shaped Black masculinity, mentored Black male leadership, cultivated race pride, and reflected Black desires for urban modernity.

Illuminating the ways Black athletes created a world that pushed for racial progress through objective, meritocratic achievement anchored by masculine leadership and institutional success, Playing for Power traces how amateur sports coalesced into a key cultural institution that fostered Black Virginians’ collective sense of community, achievement, and purpose during segregation, cornerstones of later advances in the Civil Rights Movement. Playing for Power also contributes to a larger understanding of sports history and how amateur sports became favorite American spectacles and markers of Southern identity. Chiles’s groundbreaking work will interest historians, scholars, and individuals interested in the intersection of sports and civil rights and the history of Black sports during the Jim Crow era.

Fleeing the social and political turmoil spawned by the Mexican Revolution, massive numbers of Mexican immigrants entered the southwestern United States in the early decades of the twentieth century. But instead of finding refuge, many encountered harsh, anti-Mexican attitudes and violence from an Anglo population frightened by the influx of foreigners and angered by anti-American sentiments in Mexico.

This book examines the response of Mexican immigrants to Anglo American prejudice and violence early in the twentieth century. Drawing on archival sources from both sides of the border, Arturo Rosales traces the rise of "México Lindo" nationalism and the efforts of Mexican consuls to help poor Mexican immigrants defend themselves against abuses and flagrant civil rights violations by Anglo citizens, police, and the U.S. judicial system. This research illuminates a dark era in which civilian and police brutality, prejudice in the courtroom, and disproportionate arrest, conviction, and capital punishment rates too often characterized justice for Mexican Americans.