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Harvey L. Johnson Publication Award, Southwest Council of Latin American Studies, 2026
Premio Alambique, Alambique: Revista Académica de Ciencia Ficción y Fantasía, 2025

Robo Sacer engages the digital humanities, critical race theory, border studies, biopolitical theory, and necropolitical theory to interrogate how technology has been used to oppress people of Mexican descent—both within Mexico and in the United States—since the advent of the North American Free Trade Agreement (NAFTA) in 1994. As the book argues, robo-sacer identity emerges as transnational flows of bodies, capital, and technology become an institutionalized state of exception that relegates people from marginalized communities to the periphery.

And yet the same technology can be utilized by the oppressed in the service of resistance. The texts studied here represent speculative stories about this technological empowerment. These texts theorize different means of techno-resistance to key realities that have emerged within Mexican and Chicano/a/x communities under the rise and reign of neoliberalism. The first three chapters deal with dehumanization, the trafficking of death, and unbalanced access to technology. The final two chapters deal with the major forms of violence—feminicide and drug-related violence—that have grown exponentially in Mexico with the rise of neoliberalism. These stories theorize the role of technology both in oppressing and in providing the subaltern with necessary tools for resistance.

Robo Sacer builds on the previous studies of Sayak Valencia, Irmgard Emmelhainz, Guy Emerson, Achille Mbembe, and of course Giorgio Agamben, but it differentiates itself from them through its theorization on how technology—and particularly cyborg subjectivity—can amend the reigning biopolitical and necropolitical structures of power in potentially liberatory ways. Robo Sacer shows how the cyborg can denaturalize constructs of zoē by providing an outlet through which the oppressed can tell their stories, thus imbuing the oppressed with the power to combat imperialist forces.

Over many centuries, the prehistoric Fremont and Anasazi peoples of present-day Utah left an artistic record in which distinctive styles are readily identifiable. From the Uinta Mountains through the central canyonlands to the Virgin River, Utah’s abundant prehistoric rock art offers glimpses of a lost world.

The Rock Art of Utah is a rich sample of the many varieties of rock art found in the state. Through nearly two hundred high-quality photographs and drawings from the Donald Scott Collection, all made during the 1920s and 1930s, rock art expert Polly Schaafsma provides a fascinating, comprehensive tour of this unique legacy.

From the Uinta Mountains through the central canyonlands to the Virgin River, Utah’s abundant prehistoric rock art offers glimpses of a lost world. Over many centuries, the Fremont and Anasazi peoples left an artistic record in which distinctive styles are readily identifiable.

A landmark study of Native American rock art from Atlantic Canada to Chesapeake Bay.

Rock art, petroglyphs, and pictographs have been made by indigenous peoples for thousands of years. Images have been found on bedrock, cliff faces, ridge tops, and boulders and in rock shelters. Some rock surfaces are covered with abstract and geometric designs such as concentric circles, zigzag lines, grids, and cross-hatched and ladder-like patterns. Others depict humans, footprints and handprints, mammals, serpents, and mythic creatures. All were meticulously pecked, incised or painted. This ancient art form connects us to Native Americans’ past, traditions, world views, and sacred places.

Rock Art in an Indigenous Landscape: From Atlantic Canada to Chesapeake Bay is the culmination of the research of preeminent rock art scholar Edward J. Lenik. Here, he profiles more than 64 examples of rock art in varied locations from Nova Scotia to Maryland. Chapters are organized geographically and lead the reader through coastal sites, rivers and streams, lakes and ponds, and upland sites.

Lenik discusses the rock art examples in the context of the indigenous landscape, noting the significance of the place of discovery. Coverage includes a meticulous description of the design or motif and suggestions of time frame, artist-makers, and interpretations. Where possible, indigenous views on the artifacts enrich the narrative. Other invaluable elements are a discussion of how to identify indigenous rock art; a glossary of rock art terms and features and archaeological culture periods; an up-to-date bibliography; and an appendix of a number of reported but unconfirmed petroglyph sites in the regions.

Rock Climbing in Kentucky’s Red River Gorge documents, for the first time, fifty years of oral history from this famous climbing community. Through extensive interviews, Maples reconstructs the growth of rock climbing in the region—including a twice-failed dam project, mysterious first routes, unauthorized sport-route growth on public lands, and a controversial archaeological dig. The book details five decades of collaborations to secure ongoing access to some of the world’s most beautiful and technically demanding routes and the challenges along the way.

More than a recounting of the past, however, Rock Climbing in Kentucky’s Red River Gorge uses the region’s extraordinary history to argue that climbing has the potential to be a valuable source of sustainable economic activity in rural areas throughout Appalachia today and in the years to come. The book concludes by offering policy recommendations and lessons learned about building beneficial partnerships among climbers, local communities, and public land managers to encourage community development and ecotourism alongside preservation.

Histories of American rock music and the 1960s counterculture typically focus on the same few places: Woodstock, Monterey, Altamont. Yet there was also a very active college circuit that brought edgy acts like the Jefferson Airplane and the Velvet Underground to different metropolitan regions and smaller towns all over the country. These campus concerts were often programmed, promoted, and reviewed by students themselves, and their diverse tastes challenged narrow definitions of rock music.  

Rockin’ in the Ivory Tower takes a close look at two smaller universities, Drew in New Jersey and Stony Brook on Long Island, to see how the culture of rock music played an integral role in student life in the late 1960s. Analyzing campus archives and college newspapers, historian James Carter traces connections between rock fandom and the civil rights protests, free speech activism, radical ideas, lifestyle transformations, and anti-war movements that revolutionized universities in the 1960s. Furthermore, he finds that these progressive students refused to segregate genres like folk, R&B, hard rock, and pop. Rockin’ in the Ivory Tower gives readers a front-row seat to a dynamic time for the music industry, countercultural politics, and youth culture.

The opposing forces of conservation and development have shaped and will continue to shape the natural environment and scenic beauty of the American West. Perhaps nowhere are their opposite effects more visible than in the neighboring states of Colorado and Utah, so alike in their spectacular mountain environments, yet so different in their approaches to land conservation. This study explores why Colorado has over twenty-five land trusts, while Utah has only one.

John Wright traces the success of voluntary land conservation in Colorado to the state’s history as a region of secular commerce. As environmental consciousness has grown in Colorado, people there have embraced the businesslike approach of land trusts as simply a new, more responsible way of conducting the real estate business.

In Utah, by contrast, Wright finds that Mormon millennialism and the belief that growth equals success have created a public climate opposed to the formation of land trusts. As Wright puts it, "environmentalism seems to thrive in the Centennial state within the spiritual vacuum which is filled by Mormonism in Utah." These findings remind conservationists of the power of underlying cultural values that affect their efforts to preserve private lands.

During Mexico's first century of independence, European and American explorers rediscovered its pre-Hispanic past. Finding the jungle-covered ruins of lost cities and artifacts inscribed with unintelligible hieroglyphs—and having no idea of the age, authorship, or purpose of these antiquities—amateur archaeologists, artists, photographers, and religious writers set about claiming Mexico's pre-Hispanic patrimony as a rightful part of the United States' cultural heritage.

In this insightful work, Tripp Evans explores why nineteenth-century Americans felt entitled to appropriate Mexico's cultural heritage as the United States' own. He focuses in particular on five well-known figures—American writer and amateur archaeologist John Lloyd Stephens, British architect Frederick Catherwood, Joseph Smith, founder of the Church of Jesus Christ of Latter-Day Saints, and the French émigré photographers Désiré Charnay and Augustus Le Plongeon. Setting these figures in historical and cultural context, Evans uncovers their varying motives, including the Manifest Destiny-inspired desire to create a national museum of American antiquities in New York City, the attempt to identify the ancient Maya as part of the Lost Tribes of Israel (and so substantiate the Book of Mormon), and the hope of proving that ancient Mesoamerica was the cradle of North American and even Northern European civilization. Fascinating stories in themselves, these accounts of the first explorers also add an important new chapter to the early history of Mesoamerican archaeology.

Centered on the trajectory of the emancipation of Roma people in Scandinavia, Romani Liberation is a powerful challenge to the stereotype describing Romani as passive and incapable of responsibility and agency. The author also criticizes benevolent but paternalistic attitudes that center on Romani victimhood.

The first part of the book offers a comprehensive overview of the chronological phases of Romani emancipation in Sweden and other countries. Underscoring the significance of Roma activism in this process, Jan Selling profiles sixty Romani activists and protagonists, including numerous original photos. The narrative is followed by an analysis of the concepts of historical justice and of the process of decolonizing Romani Studies. Selling highlights the impact of the historical contexts that have enabled or impeded the success of the struggles against discrimination and for equal rights, emphasizing Romani activism as a precondition for liberation.

The particular Swedish framework is accentuated by a stimulating preface by the international activist Nicoleta Bitu, and afterwords by two prominent Romani advocates, the politician Soraya Post and the singer, author, and elder Hans Caldaras.

Yi-Fu Tuan established a global reputation for deepening the field of geography by examining its moral, universal, philosophical, and poetic potentials and implications. In Romantic Geography, he considers the human tendency to find salvation in geographies that cater not so much to survival needs (or even to good, comfortable living) as to the passionate and romantic aspirations of their nature.

Exploring gender and sexuality in the Gilded Age through one sensationalized life

Addie Liona Walker. Leon A. Belmont. Nova McClure Carr. Romantic Sensation tells the full story of this one ordinary person’s singular life. Assigned a female sex at birth, Addie was born in Massachusetts in 1853 and lived as a woman for twenty-five years. After transitioning in 1878, Addie became Leon and lived as a man for twenty-four years before making a second gender transition and living as a woman, Nova, for the rest of her life. Placing these milestones within the historical context of the late nineteenth and early twentieth centuries, Lizzie Ehrenhalt traces Belmont’s life, from child laborer to husband, from outlaw to heartthrob, and from stepfather to single mother.

Belmont was a Gilded Age celebrity: he made national news for breaking an ordinance against dressing as the “opposite” sex in Minneapolis, and he inspired a media frenzy when one of his girlfriends told police that he was a woman. While newspapers labeled Belmont a “curious and romantic sensation,” Ehrenhalt shows that he was not much of a sensation after all. Illuminating what his story can tell us about Americans’ developing understandings of sexuality and gender in the 1850s through the 1920s, she reveals how Belmont’s run-ins with police, doctors, courts, and reporters resonate in the evolution of the LGBTQIA+ identities we recognize today.

An empathetic case study of a figure often denied respect in the telling of his story, Romantic Sensation presents Belmont’s gender transitions not as puzzles in need of solving but as acts grounded in the cultural milieu of the Gilded Age. Traversing the dramatic economic upheavals of the second industrial revolution, the Era of Good Stealings, and the Great Railroad Strike of 1922, and spanning the Cult of Domesticity, the invention of sexology, and the rise of New Womanhood, Ehrenhalt uses Belmont’s example to demonstrate how trans, queer, and intersex histories are inseparable from American history.

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