Results by title

"I believe every sunrise and I remember the smell of wet grass, the color of robins, and rustle of leaves on the big oaks that outlive nations, all this comes with each sunrise."

Sonata marks the sixth and final installment of Charles Bowden’s towering “Unnatural History of America” series. While his earlier volumes were suffused with violence and war, Bowden offers here a celebration of rebirth and regrowth. Rendered in Bowden's inimitable style, more prose poetry than reportage, he evokes panoramas that contain the potential for respite and offer a state of grace all but lost in the endless wars of man.

Bowden travels back in time to the worlds of artists Francisco Goya and Vincent van Gogh, the latter painting furiously against encroaching madness. “Van Gogh tries to dream a life of color,” writes Bowden. “Powder blue sheds, yellow stubble, pink skies—but the fears and dark things drag him down.” As Bowden’s vivid prose wrestles with the madness of the world, van Gogh’s paintings represent an act of resistance, ultimately unsuccessful, against depression and suicide.

Moving from the vibrant hues of van Gogh’s painted gardens to America’s southern border, Bowden returns once more to the Mexican asylum run by "El Pastor," Jose Antonio Galvan, who was first introduced to readers of the sextet in Jericho. Here, too, is the dream of a garden that will be planted in the desert, a promise of regeneration in a world gone mad. Poetic, elegiac, and elliptical, Sonata is the final, captivating book of Bowden’s monumental career.

Analyzing how artists reimagine migrant disappearance and visibility at the US–Mexico border.

In the mid-1990s, the US government implemented Prevention through Deterrence, a major buildup of troops, walls, and surveillance around El Paso and San Diego. Cut off from these crucial urban crossings, migrants flowed into the dangerous surrounding deserts, where some ten thousand have since died. This is all according to plan: Pentagon documents describe the strategy of funneling migrants toward “mortal danger.”

In this bracing critique, China Medel explores the aesthetics enabling and resisting the crisis of migrant death. The nation-state’s performance of sovereignty along the border, predicated on mass casualties, is tolerated and even celebrated, thanks to the images in our heads of racialized and therefore criminal bodies, made invisible as they disintegrate in the baking sand. Spectral Aesthetics shows how state officials and mainstream media, relying on postracial ideologies and white-supremacist agendas, collectively foster this picture of a brown body so abject that it is disposable. In close readings of artworks contesting this murderous visual regime, Medel discovers an alternative kind of sight, one emphasizing the ghostly traces of the dead. These are images not of the individual “alien” but of life itself, indisposable.

Although the key to the side accords' anticipated success lay in their ostensibly generous encouragement of a participatory politics and sustainable development opportunities, Sustaining the Borderlands reveals that the Mexican border populations for which they were largely created are effectively excluded from participating due to the ongoing online, territorial, class, and cultural barriers that shape the borderlands. Rather than experiencing the side accords and their companion institutions as transparent and accessible, residents experienced them as opaque and indecipherable. Simon concludes that the side accords have failed to deliver on their promise of bringing democracy to Mexico because practical mechanisms that would ensure their effective implementation were never put in place.

NAFTA took effect at a time when Mexico was undergoing a democratic transition. The treaty was supposed to encourage this transition and improve environmental and labor conditions on the US-Mexico border. This book demonstrates that, twenty years later, the promises of NAFTA have not come to pass.