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San Antonio native, military veteran, merchant, and mayor pro tem José Antonio Menchaca (1800–1879) was one of only a few Tejano leaders to leave behind an extensive manuscript of recollections. Portions of the document were published in 1907, followed by a “corrected” edition in 1937, but the complete work could not be published without painstaking reconstruction. At last available in its entirety, Menchaca’s book of reminiscences captures the social life, people, and events that shaped the history of Texas’s tumultuous transformation during his lifetime. Highlighting not only Menchaca’s acclaimed military service but also his vigorous defense of Tejanos’ rights, dignity, and heritage, Recollections of a Tejano Life charts a remarkable legacy while incorporating scholarly commentary to separate fact from fiction.

Revealing how Tejanos perceived themselves and the revolutionary events that defined them, this wonderfully edited volume presents Menchaca’s remembrances of such diverse figures as Antonio López de Santa Anna, Jim Bowie, Davy Crockett, Sam Houston, General Adrián Woll, Comanche chief “Casamiro,” and Texas Ranger Jack Hays. Menchaca and his fellow Tejanos were actively engaged in local struggles as Mexico won her independence from Spain; later many joined the fight to establish the Republic of Texas, only to see it annexed to the United States nine years after the Battle of San Jacinto. This first-person account corrects important misconceptions and brings previously unspoken truths vividly to life.

Personal memoires of influential French feminist socialist and radicalist Louise Michel, a participant and observer in the Paris Commune.

Louise Michel was born illegitimate in 1830 and became a schoolmistress in Paris. She was involved in radical activities during the twilight of France’s Second Empire, and during the Franco-Prussian War of 1870 and the siege of Paris. She was a leading member of the revolutionary groups controlling Montmarte. Michel emerged as one of the leaders of the insurrection during the Paris Commune of March-May 1871; and French anarchists saw her as martyr and saint, "the Red Virgin." These are her memoires.

When the Versailles government crushed the Commune in May 1871, Michel was sentenced to exile in New Caledonia, until the general amnesty of 1880, when she returned to France and great popular acclaim and support from the working people of the country. Michel was arrested again during a demonstration in Paris in 1883 and sentenced to six years in prison. Pardoned after three years, she continued her speeches and writing, although she spent the greater part of her time from 1890 until her death in 1905 in England in self-imposed exile. It was during her prison term from 1883 to 1886 that she compiled her Memoires, now available in English.

These memoirs offer readers a view of the non-Marxist left and give an in-depth look into the development of the revolutionary spirit. The early chapters treat her childhood, the development of her revolutionary feelings, and her training as a schoolteacher. The next section describes her activities as a schoolteacher in the Haute-Marne and Paris and therefore contains much of interest on education in 19th-century Europe. Her chapters on the siege of Paris, the Commune, and her first trial show those events from the point of view of a major participant. Of particular interest is a chapter on women’s rights, which Michel saw as part of the search for the rights of all people, male and female, and not as a separate struggle.

The Red Virgin: Memoirs of Louise Michel will be useful to both scholars and students of 19th-century French history and women’s studies.

2023 Best Book in the Humanities, Latin American Studies Association Mexico Section

Challenging conventional narratives of Mexican history, this book establishes race-making as a central instrument for the repression of social upheaval in nineteenth-century Mexico rather than a relic of the colonial-era caste system.

Many scholars assert that Mexico’s complex racial hierarchy, inherited from Spanish colonialism, became obsolete by the turn of the nineteenth century as class-based distinctions became more prominent and a largely mestizo population emerged. But the residues of the colonial caste system did not simply dissolve after Mexico gained independence. Rather, Ana Sabau argues, ever-present fears of racial uprising among elites and authorities led to persistent governmental techniques and ideologies designed to separate and control people based on their perceived racial status, as well as to the implementation of projects for development in fringe areas of the country.

Riot and Rebellion in Mexico traces this race-based narrative through three historical flashpoints: the Bajío riots, the Haitian Revolution, and the Yucatán’s caste war. Sabau shows how rebellions were treated as racially motivated events rather than political acts and how the racialization of popular and indigenous sectors coincided with the construction of “whiteness” in Mexico. Drawing on diverse primary sources, Sabau demonstrates how the race war paradigm was mobilized in foreign and domestic affairs and reveals the foundations of a racial state and racially stratified society that persist today.

Although younger than most European theatrical traditions, the Russian professional theater has generated an exciting body of criticism and theory which until recently has remained unknown or nearly inaccessible in the West. This anthology presents a selection of important Russian writing on the aesthetics of drama and the theater from 1828 to 1914.

The focus of these essays, most published here for the first time in English, is on the so-called Crisis in the Theater of 1904 to 1914, a lively debate between the symbolists and the naturalists that evoked brilliant polemic writing from Meyerhold, Bely, Bryusov, and others. Along with Chekhov's amusing critique of Sarah Bernhardt ("monstrously facile!") and Ivanov's abstruse analysis of the essence of tragedy, the essays form a running commentary on the development of the Russian theater: Pushkin on his predecessors, Gogol on his own work, Belinsky on Gogol, Sleptsov on Ostrovsky and Leskov, Bely on Chekhov's The Cherry Orchard ("enervated people, trying to forget the terror of life"), the symbolists on one another.

Each selection is printed in its entirety, with extensive notes, and a lengthy introduction places all the pieces within their historical and cultural contexts to comprise a brief history of Russian dramatic theory before the revolution. This volume is essential reading for all who wish to extend their knowledge of the Russian contribution to theatrical history, theory, and criticism.