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Highly skilled, hard-working, and loyal to each other and to the ranches that employ them, the Mexican and Mexican American vaqueros who work on the famous King and Kenedy Ranches of South Texas' Wild Horse Desert are some of America's best cowboys. Many of them come from families who have lived and worked on the ranches for over a hundred years. They preserve the memories of ranch life handed down by their grandparents and great-grandparents, even as they use modern technologies to keep the ranches running smoothly in the twenty-first century.

This book tells the stories of the vaqueros of the Wild Horse Desert for fourth- through eighth-grade students. It begins with a brief history of the vaqueros and the King and Kenedy Ranches. Then, using in the words of today's vaqueros and their families, it describes many aspects of past and present life on the ranches. Young readers will learn what it's like to grow up on the ranches and how vaqueros learn their work. They'll also discover how much goes into being a vaquero, from using all the different ropes and equipment, to working a round-up, to showing prize-winning cattle and horses. Teachers and parents will appreciate all the supplemental material in the appendix, including a glossary, lists of related books and websites, hands-on learning activities, and even range and camp house recipes.

A rogues' gallery of Mexican bandits, bombshells, lotharios, and thieves saturates American popular culture. Remember Speedy Gonzalez? "Mexican Spitfire" Lupe Vélez? The Frito Bandito? Familiar and reassuring—at least to Anglos—these Mexican stereotypes are not a people but a text, a carefully woven, articulated, and consumer-ready commodity. In this original, provocative, and highly entertaining book, William Anthony Nericcio deconstructs Tex[t]-Mexicans in films, television, advertising, comic books, toys, literature, and even critical theory, revealing them to be less flesh-and-blood than "seductive hallucinations," less reality than consumer products, a kind of "digital crack."

Nericcio engages in close readings of rogue/icons Rita Hayworth, Speedy Gonzalez, Lupe Vélez, and Frida Kahlo, as well as Orson Welles' film Touch of Evil and the comic artistry of Gilbert Hernandez. He playfully yet devastatingly discloses how American cultural creators have invented and used these and other Tex[t]-Mexicans since the Mexican Revolution of 1910, thereby exposing the stereotypes, agendas, phobias, and intellectual deceits that drive American popular culture. This sophisticated, innovative history of celebrity Latina/o mannequins in the American marketplace takes a quantum leap toward a constructive and deconstructive next-generation figuration/adoration of Latinos in America.

How do you write a history of a group that has been written out of history? In The Accidental Archives of the Royal Chicano Air Force, world-famous archaeologist La Stef and the clandestine Con Sapos Archaeological Collective track down the “facts” about the elusive RCAF, the Rebel Chicano Art Front that, through an understandable mix-up with the Royal Canadian Air Force, became the Royal Chicano Air Force.

La Stef and her fellow archaeologists document the plight and locura que cura of the RCAF, a group renowned for its fleet of adobe airplanes, ongoing subversive performance stance, and key role as poster makers for the United Farm Workers Union during the height of the Chicano civil rights movement. As the Con Sapos team uncovers tensions between fact and fiction in historical consciousness and public memory, they abandon didactic instruction and strive instead to offer a historiography in which various cultural paradigms already intersect seamlessly and on equal ground. That they often fail to navigate the blurred lines between “objective” Western archival sciences and Indigenous/Chicana/o cosmologies reflects the very human predicament of documenting the histories of complicated New Worlds everywhere. Uniquely blending art history, oral history, cultural studies, and anthropology, The Accidental Archives of the Royal Chicano Air Force suspends historical realities and leaps through epochs and between conversations with various historical figures, both dead and alive, to offer readers an intimate experience of RCAF history.

Although there have been substantial contributions to Chicana literature and criticism over the past few decades, Chicanas are still underrepresented and underappreciated in the mainstream literary world and virtually nonexistent in the canon. Writers like Sandra Cisneros, Ana Castillo, and Gloria Anzaldúa have managed to find larger audiences and critical respect, but there are legions of Chicana writers and artists who have been marginalized and ignored despite their talent. Even in Chicano anthologies, the focus has tended to be more on male writers. Chicanas have often found themselves without a real home in the academic world.

Tey Diana Rebolledo has been writing about Chicana/Latina identity, literature, discrimination, and feminism for more than two decades. In this collection of essays, she brings together both old and new works to give a state-of-the-moment look at the still largely unanswered questions raised by vigilant women of color throughout the last half of the twentieth century. An intimate introductory essay about Rebolledo's personal experiences as the daughter of a Mexican mother and a Peruvian father serves to lay the groundwork for the rest of the volume. The essays delve into the historical development of Chicana writing and its early narratives, the representation of Chicanas as seen on book covers, Chicana feminism, being a Chicana critic in the academy, Chicana art history, and Chicana creativity. Rebolledo encourages "guerrillera" warfare against academia in order to open up the literary canon to Chicana/Latina writers who deserve validation.

Immigration is at once a personal, immediate, and urgent issue that plays a central role in the United States’ perception of itself. In The Documented Child, scholar Maya Socolovsky demonstrates how the portrayal of Latinx children has shifted over the first two decades of the twenty-first century in literary texts aimed at children and young adults and looks at how these shifts map onto broader changes in immigration policy and discourse.

Through a critical inquiry into picture books and middle-grade and young adult literature, Socolovsky argues that the literary documentations of—and for—U.S. Latinx children have shifted over the decades, from an emphasis on hybrid transnationalism to that of a more American-oriented self. Socolovsky delves into texts written from 1997 to 2020, a period marked by tremendous changes in U.S. immigration policies, amplified discourses around nationhood, and an increasingly militarized border. The author shows how children’s and young adult books have shifted their depictions of the border, personal and national identity, and sovereignty.

Passionately demonstrating the dormant trauma of political violence and the redemption waiting beyond it

From El Salvador’s lush countryside to the streets of Oakland, California, a young mother wrestles with the intersecting forces of memory, history, and language in order to chart a new path for herself and her growing family. Fleeing political unrest and civil war violence in El Salvador, fourteen-year-old Claudia Castro Luna arrived in the United States with her family in 1981. Two decades later, holding her two-year-old and pregnant with her second child, she survives a public shooting by hiding behind shrubs in front of her house in Oakland. This event unleashes disorienting and traumatic memories, plunging her into a journey of discovery as she grapples with PTSD, recovers family stories, and begins to make sense of all that was torn asunder within her by the experiences of war and emigration. Beauty, longing, fear, and joy entwine in this powerful story of love, self-determination, and the search for home.

In his fourth full-length collection, Jose Hernandez Diaz explores the first-generation Mexican American experience in nuanced linear verse, avant-garde offerings, and deadpan absurdist prose poems. 

The Lighthouse Tattoo features plainspoken pieces that reveal the Latinx experience through the lens of a socially conscious contrarian in work that melds the quotidian and the profound. Also included, of course, are experimental prose poems in the signature style and voice that contributed to the meteoric rise of this unique artist. Invoking James Tate, Gabriel García Márquez, Salvador Dalí, Pablo Picasso, Albert Camus, Marosa di Giorgio, and others, Hernandez Diaz cements his place in both the poetic and surrealist traditions. 

Even as it unravels mysteries and explores the strange—zebras in a zoo on the moon or English dragons on the Pacific Coast Highway—The Lighthouse Tattoo shines its light on the complex emotions of a seasoned Latinx poet. In this extraordinary volume, the titular tattoo itself becomes evidence of a trauma survived, an apt metaphor for the book as a whole. As one speaker says, “I’m trapped inside of this prose poem, but I don’t want to get out. It's nice and cozy in here. I’m invincible.”

The literary archive of the U.S.-Mexican War (1846–1848) opens to view the conflicts and relationships across one of the most contested borders in the Americas. Most studies of this literature focus on the war's nineteenth-century moment of national expansion. In The Literatures of the U.S.-Mexican War, Jaime Javier Rodríguez brings the discussion forward to our own moment by charting a new path into the legacies of a military conflict embedded in the cultural cores of both nations.

Rodríguez's groundbreaking study moves beyond the terms of Manifest Destiny to ask a fundamental question: How do the war's literary expressions shape contemporary tensions and exchanges among Anglo Americans, Mexicans, and Mexican Americans. By probing the war's traumas, anxieties, and consequences with a fresh attention to narrative, Rodríguez shows us the relevance of the U.S.-Mexican War to our own era of demographic and cultural change. Reading across dime novels, frontline battle accounts, Mexican American writings and a wide range of other popular discourse about the war, Rodríguez reveals how historical awareness itself lies at the center of contemporary cultural fears of a Mexican "invasion," and how the displacements caused by the war set key terms for the ways Mexican Americans in subsequent generations would come to understand their own identities. Further, this is also the first major comparative study that analyzes key Mexican war texts and their impact on Mexico's national identity.

The Right to Remain Violets is an electrifying poetry collection that reimagines the language of policing, public education, and state surveillance to illuminate the lived realities of Black and Brown youth in East Palo Alto—a city shaped by redlining, freeway expansion, and decades of over-policing. Blending documentary poetics with hip-hop cadence and Catholic liturgy, Antonio De Jesús López transforms transcripts, municipal documents, and legal language into a powerful form of witness. These poems trace how children are drafted into systems of surveillance and criminalization, even as they search for joy and solidarity amid Silicon Valley’s contrasts of wealth and dispossession.

Inventive and emotionally resonant, the collection spans sonnets, sestinas, hip-hop, and prayer, insisting that language can both indict and heal. López brings his experiences as an award-winning poet, scholar, and former mayor of East Palo Alto to each poem. At once elegy and refusal, The Right to Remain Violets speaks to readers of documentary poetics, social justice literature, and those who believe in the radical importance of protecting childhood in an America reckoning with itself.

In September 1977, Sandra Mozarowsky—a seventeen-year-old Spanish erotic film actress and purported lover of King Juan Carlos I—died after leaping from her fourth-floor balcony in Madrid. The mysterious circumstances surrounding her death drew immediate public interest and generated conspiracy theories. Was her death a suicide? A covert murder? A cry for help? In The Shy Assassin, award-winning Spanish novelist Clara Usón uses the tragic death of Mozarowsky to provide a powerful philosophical meditation on suicide and the turbulent years of the Spanish transition to democracy. Playfully drawing upon the work of philosophers like Ludwig Wittgenstein and Jean-Paul Sartre, Usón weaves together her own experiences as a rebellious teenager with those of Mozarowsky with great power and emotion. Winner of the prestigious Sor Juana Inés de la Cruz Prize, Usón’s novel is a funny, provocative, and deeply entertaining look at Spanish culture during a time of historic political and cultural change.