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How we dress our bodies—through clothing, footwear, headgear, jewelry, haircuts, and more—is key to the expression of status and identity. This idea was as true for ancient Maya civilization as it is today, yet few studies have centered on what ancient Maya peoples wore and why. In The Adorned Body, Nicholas Carter, Stephen Houston, and Franco Rossi bring together contributions from a wide range of scholars, leading to the first in-depth study of Maya dress in pre-Columbian times.

Incorporating artistic, hieroglyphic, and archaeological sources, this book explores the clothing and ornaments of ancient Maya peoples, systematically examining who wore what, deducing the varied purposes and meanings of dress items and larger ensembles, and determining the methods and materials with which such items were created. Each essay investigates a category of dress—including headgear, pendants and necklaces, body painting, footwear, and facial ornaments—and considers the variations within each of these categories, as well as popular styles and trends through time. The final chapters reveal broader views and comparisons about costume ensembles and their social roles. Shedding new light on the art and archaeology of the ancient Americas, The Adorned Body offers a thorough map of Maya dress that will be of interest to scholars and fashion enthusiasts alike.

The title of Edmonson's work refers to the Mayan custom of first predicting their history and then living it, and it may be that no other peoples have ever gone so far in this direction. The Book of Chilam Balam was a sacred text prepared by generations of Mayan priests to record the past and to predict the future. The official prophet of each twenty-year rule was the Chilam Balam, or Spokesman of the Jaguar—the Jaguar being the supreme authority charged with converting the prophet's words into fact.

This is a literal but poetic translation of one of fourteen known manuscripts in Yucatecan Maya on ritual and history. It pictures a world of all but incredible numerological order, slowly yielding to Christianity and Spanish political pressure but never surrendering. In fact, it demonstrates the surprising truth of a secret Mayan government during the Spanish rule, which continued to collect tribute in the names of the ruined Classic cities and preserved the essence of the Mayan calendar as a legacy for the tradition's modern inheritors.

The history of the Yucatecan Maya from the seventh to the nineteenth century is revealed. And this is history as the Maya saw it—of a people concerned with lords and priests, with the cosmology which justified their rule, and with the civil war which they perceived as the real dimension of the colonial period.

A work of both history and literature, the Tizimin presents a great deal of Mayan thought, some of which has been suspected but not previously documented. Edmonson's skillful reordering of the text not only makes perfect historical sense but also resolves the long-standing problem of correlating the two colonial Mayan calendars. The book includes both interpretative and literal translations, as well as the Maya parallel couplets and extensive annotations on each page. The beauty of the sacred text is illuminated by the literal translation, while both versions unveil the magnificent historical, philosophical, and social traditions of the most sophisticated native culture in the New World.

The prophetic history of the Tizimin creates a portrait of the continuity and vitality, of the ancient past and the foreordained future of the Maya.

It almost goes without saying that the rise in popularity of television has killed the audience for "serious" literature. This is such a given that reading Fitzpatrick's challenge to this notion can be very disconcerting, as she traces the ways in which a small cadre of writers of "serious" literature--DeLillo, Pynchon, and Franzen, for instance--have propagated this myth in order to set themselves up as the last bastions of good writing. Fitzpatrick first explores whether serious literature was ever as all-pervasive as critics of the television culture claim and then asks the obvious question: what, or who, exactly, are these guys defending good writing against?

Fitzpatrick examines the ways in which the anxiety about the supposed death of the novel is built on a myth of the novel's past ubiquity and its present displacement by television. She explores the ways in which this myth plays out in and around contemporary fiction and how it serves as a kind of unacknowledged discourse about race, class, and gender. The declaration constructs a minority status for the "white male author" who needs protecting from television's largely female and increasingly non-white audience. The novel, then, is transformed from a primary means of communication into an ancient, almost forgotten, and thus, treasured form reserved for the well-educated and well-to-do, and the men who practice it are exalted as the practitioners of an almost lost art.

Such positioning serves to further marginalize women writers and writers of color because it makes the novel, by definition, the preserve of the poor endangered white man. If the novel is only a product of a small group of white men, how can the contributions of women and writers of color be recognized? Instead, this positioning abandons women and people of color to television as a creative outlet, and in return, cedes television to them. Fitzpatrick argues that there's a level of unrecognized patronization in assuming that television serves no purpose but to provide dumb entertainment to bored women and others too stupid to understand novels. And, instead, she demonstrates the real positive effects of a televisual culture.

The first book to focus on the multifaceted images of deer and hunting in ancient Maya art, from the award-winning author of To Be Like Gods: Dance in Ancient Maya Civilization.

Winner, CHOICE Outstanding Academic Title, 2019

The white-tailed deer had a prominent status in Maya civilization: it was the most important wild-animal food source at many inland Maya sites and also functioned as a major ceremonial symbol. Offering an in-depth semantic analysis of this imagery, The Beast Between considers iconography, hieroglyphic texts, mythological discourses, and ritual narratives to translate the significance and meaning of the vibrant metaphors expressed in a variety of artifacts depicting deer and hunting.

Charting the importance of deer as a key component of the Maya diet, especially for elites, and analyzing the coupling of deer and maize in the Maya worldview, The Beast Between reveals a close and long-term interdependence between the Maya and these animals. Not only are deer depicted naturalistically in hunting and ritual scenes, but also they are assigned human attributes. This rich imagery reflects the many ways in which deer hunting was linked to status, sexuality, and war as part of a deeper process to ensure the regeneration of both agriculture and ancestry. Drawing on methodologies of art history, archaeology, and ethnology, this illuminating work is poised to become a key resource for multiple fields.

In Maya theology, everything from humans and crops to gods and the world itself passes through endless cycles of birth, maturation, dissolution, death, and rebirth. Traditional Maya believe that human beings perpetuate this cycle through ritual offerings and ceremonies that have the power to rebirth the world at critical points during the calendar year. The most elaborate ceremonies take place during Semana Santa (Holy Week), the days preceding Easter on the Christian calendar, during which traditionalist Maya replicate many of the most important world-renewing rituals that their ancient ancestors practiced at the end of the calendar year in anticipation of the New Year’s rites.

Marshaling a wealth of evidence from Pre-Columbian texts, early colonial Spanish writings, and decades of fieldwork with present-day Maya, The Burden of the Ancients presents a masterfully detailed account of world-renewing ceremonies that spans the Pre-Columbian era through the crisis of the Conquest period and the subsequent colonial occupation all the way to the present. Allen J. Christenson focuses on Santiago Atitlán, a Tz’utujil Maya community in highland Guatemala, and offers the first systematic analysis of how the Maya preserved important elements of their ancient world renewal ceremonies by adopting similar elements of Roman Catholic observances and infusing them with traditional Maya meanings. His extensive description of Holy Week in Santiago Atitlán demonstrates that the community’s contemporary ritual practices and mythic stories bear a remarkable resemblance to similar cultural entities from its Pre-Columbian past.

Victoria Bricker shows that "history" sometimes rests on mythological foundations and that "myth" can contain valid historical information. Her book, which is a highly original critique of postconquest historiography about the Maya, challenges major assumptions about the relationship between myth and history implicit in structuralist interpretations. The focus of the book is ethnic conflict, a theme that pervades Maya folklore and is also well documented historically.

The book begins with the Spanish conquest of the Maya. In chapters on the postconquest history of the Maya, five ethnic conflicts are treated in depth: the Cancuc revolt of 1712, the Quisteil uprising of 1761, the Totonicapan rebellion of 1820, the Caste War of Yucatan (1847-1901), and the Chamulan uprising in 1869. Analytical chapters consider the relationship between historical events and modern folklore about ethnic conflict. Bricker demonstrates that myths and rituals emphasize structure at the expense of temporal and geographical provenience, treating events separated by centuries or thousands of miles as equivalent and interchangeable.

An unexpected result of Bricker's research is the finding that many seemingly aboriginal elements in Maya folklore are actually of postconquest origin, and she shows that it is possible to determine precisely when and, more important, why they become part of myth and ritual. Furthermore, she finds that the patterning of the accretion of events in folklore over time provides clues to the function, or meaning, of myth and ritual for the Maya.

Bricker has made use of many unpublished documents in Spanish, English, and Maya, as well as standard synthetic historical works. The appendices contain extensive samples of the oral traditions that are explained by her analysis.

This collection represents a major step forward in understanding the era from the end of Classic Maya civilization to the Spanish conquest.

The Maya Tropical Forest, which occupies the lowlands of southern Mexico, Guatemala, and Belize, is the closest rainforest to the United States and one of the most popular tourist destinations in the Western Hemisphere. It has been home to the Maya peoples for nearly four millennia, starting around 1800 BC. Ancient cities in the rainforest such as Palenque, Yaxchilan, Tikal, and Caracol draw thousands of tourists and scholars seeking to learn more about the prehistoric Maya. Their contemporary descendants, the modern Maya, utilize the forest's natural resources in village life and international trade, while striving to protect their homeland from deforestation and environmental degradation.

Writing for both visitors and conservationists, James Nations tells the fascinating story of how ancient and modern Maya peoples have used and guarded the rich natural resources of the Maya Tropical Forest. He opens with a natural history that profiles the forest's significant animals and plants. Nations then describes the Maya peoples, biological preserves, and major archaeological sites in Mexico, Guatemala, and Belize. Drawing on more than twenty-five years of conservation work in the Maya Tropical Forest, Nations tells first-hand stories of the creation of national parks and other protected areas to safeguard the region's natural resources and archaeological heritage. He concludes with an expert assessment of the forest's future in which he calls for expanded archaeological tourism to create an ecologically sustainable economic base for the region.

The contributors to this volume present extensive new evidence from archaeology, iconography, and epigraphy to offer a more nuanced understanding of the interaction between the Early Classic Maya and Teotihuacan.

Winner, Choice Outstanding Academic Book, 2005

Since the 1930s, archaeologists have uncovered startling evidence of interaction between the Early Classic Maya and the great empire of Teotihuacan in Central Mexico. Yet the exact nature of the relationship between these two ancient Mesoamerican civilizations remains to be fully deciphered. Many scholars have assumed that Teotihuacan colonized the Maya region and dominated the political or economic systems of certain key centers—perhaps even giving rise to state-level political organizations. Others argue that Early Classic rulers merely traded with Teotihuacan and skillfully manipulated its imported exotic goods and symbol sets to increase their prestige.

Moving beyond these traditional assumptions, the contributors to this volume present extensive new evidence from archaeology, iconography, and epigraphy to offer a more nuanced understanding of the interaction between the Early Classic Maya and Teotihuacan. Investigating a range of Maya sites, including Kaminaljuyu, Copán, Tikal, Altun Ha, and Oxkintok, they demonstrate that the influence of Teotihuacan on the Maya varied in nature and duration from site to site, requiring a range of models to explain the patterns of interaction. Moreover, they show that the interaction was bidirectional and discuss how the Maya in turn influenced Teotihuacan.

Then, based on the project's findings, Demarest presents interpretive reconstructions of the linked histories of the Pasion River kingdoms and correlates these interpretations with the variable evidence and culture-histories of other regions of the Classic Maya lowlands. He points out that only through linking such accurate regional culture-histories can we begin to understand the eighth- through tenth-century changes in Classic Maya civilization. The volume describes how the Petexbatun project addressed this challenge in its research design, structure, and large, multicentered zone of study. Building on the previous twenty years of Harvard research in adjacent zones, the Vanderbilt projects succeeded in reconstructing events and processes throughout the Pasion River Valley, the largest single inland trade route of the ancient Maya world.

In its conclusions, this first of the Petexbatun volumes of multidisciplinary studies, evidence, analyses, and interpretations, provides answers to some long-standing questions about the "Classic Maya collapse," as well as a new, preliminary culture-history of the abandonment, decline, or transformation of the Classic Maya kingdoms of the western Peten. It is an exciting preview and summary of a decade of evidence on the debate over the fate of the Classic Maya civilization, one of the great controversies in the history of Pre-Columbian archaeology. VIMA Series #1

Winner, LASA Mexico Humanities Book Prize, 2017

Among the surviving documents from the colonial period in Mexico are rare Maya-authored manuscript compilations of Christian texts, translated and adapted into the Maya language and worldview, which were used to evangelize the local population. The Morely Manuscript is well known to scholars, and now The Teabo Manuscript introduces an additional example of what Mark Z. Christensen terms a Maya Christian copybook. Recently discovered in the archives of Brigham Young University, the Teabo Manuscript represents a Yucatecan Maya recounting of various aspects of Christian doctrine, including the creation of the world, the Fall of Adam and Eve, and the genealogy of Christ.

The Teabo Manuscript presents the first English translation and analysis of this late colonial Maya-language document, a facsimile and transcription of which are also included in the book. Working through the manuscript section by section, Christensen makes a strong case for its native authorship, as well as its connections with other European and Maya religious texts, including the Morely Manuscript and the Books of Chilam Balam. He uses the Teabo Manuscript as a platform to explore various topics, such as the evangelization of the Maya, their literary compositions, and the aspects of Christianity that they deemed important enough to write about and preserve. This pioneering research offers important new insights into how the Maya negotiated their precontact intellectual traditions within a Spanish and Catholic colonial world.

Winner, Association for Latin American Art Book Award, 2010

The Maya of Mexico and Central America have performed ritual dances for more than two millennia. Dance is still an essential component of religious experience today, serving as a medium for communication with the supernatural. During the Late Classic period (AD 600-900), dance assumed additional importance in Maya royal courts through an association with feasting and gift exchange. These performances allowed rulers to forge political alliances and demonstrate their control of trade in luxury goods. The aesthetic values embodied in these performances were closely tied to Maya social structure, expressing notions of gender, rank, and status. Dance was thus not simply entertainment, but was fundamental to ancient Maya notions of social, religious, and political identity.

Using an innovative interdisciplinary approach, Matthew Looper examines several types of data relevant to ancient Maya dance, including hieroglyphic texts, pictorial images in diverse media, and architecture. A series of case studies illustrates the application of various analytical methodologies and offers interpretations of the form, meaning, and social significance of dance performance. Although the nuances of movement in Maya dances are impossible to recover, Looper demonstrates that a wealth of other data survives which allows a detailed consideration of many aspects of performance. To Be Like Gods thus provides the first comprehensive interpretation of the role of dance in ancient Maya society and also serves as a model for comparative research in the archaeology of performance.

Assemblies of rectangular stone pillars, or stelae, fill the plazas and courts of ancient Maya cities throughout the lowlands of southern Mexico, Guatemala, Belize, and western Honduras. Mute testimony to state rituals that linked the king's power to rule with the rhythms and renewal of time, the stelae document the ritual acts of rulers who sacrificed, danced, and experienced visionary ecstasy in connection with celebrations marking the end of major calendrical cycles. The kings' portraits are carved in relief on the main surfaces of the stones, deifying them as incarnations of the mythical trees of life.

Based on a thorough analysis of the imagery and inscriptions of seven stelae erected in the Great Plaza at Copan, Honduras, by the Classic Period ruler "18-Rabbit-God K," this ambitious study argues that stelae were erected not only to support a ruler's temporal claims to power but more importantly to express the fundamental connection in Maya worldview between rulership and the cosmology inherent in their vision of cyclical time. After an overview of the archaeology and history of Copan and the reign and monuments of "18-Rabbit-God K," Elizabeth Newsome interprets the iconography and inscriptions on the stelae, illustrating the way they fulfilled a coordinated vision of the king's ceremonial role in Copan's period-ending rites. She also links their imagery to key Maya concepts about the origin of the universe, expressed in the cosmologies and mythic lore of ancient and living Maya peoples.