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Frederick Aldama’s The Cinema of Robert Rodriguez (2014) was the first full-scale study of one of the most prolific and significant Latino directors making films today. In this companion volume, Aldama enlists a corps of experts to analyze a majority of Rodriguez’s feature films, from his first break-out success El Mariachi in 1992 to Machete in 2010. The essays explore the formal and thematic features present in his films from the perspectives of industry (context, convention, and distribution), the film blueprint (auditory and visual ingredients), and consumption (ideal and real audiences). The authors illuminate the manifold ways in which Rodriguez’s films operate internally (plot, character, and event) and externally (audience perception, thought, and feeling).

The volume is divided into three parts: “Matters of Mind and Media” includes essays that use psychoanalytic and cognitive psychology to shed light on how Rodriguez’s films complicate Latino identity, as well as how they succeed in remaking audiences’ preconceptions of the world. “Narrative Theory, Cognitive Science, and Sin City: A Case Study” offers tools and models of analysis for the study of Rodriguez’s film re-creation of a comic book (on which Frank Miller was credited as codirector). “Aesthetic and Ontological Border Crossings and Borderlands” considers how Rodriguez’s films innovatively critique fixed notions of Latino identity and experience, as well as open eyes to racial injustices. As a whole, the volume demonstrates how Rodriguez’s career offers critical insights into the filmmaking industry, the creative process, and the consuming and reception of contemporary film.

A journey to find Norway’s supposed bliss makes for a comic travelogue that asks, seriously, what makes Norwegians so damn happy—and does it translate?

Norway is usually near or at the top of the World Happiness Report. But is it really one of the happiest countries on Earth? Eric Dregni had his doubts. Years ago he and his wife had lived in this country his great-great-grandfather once fled. When their son Eilif was born there, the Norwegian government paid for the birth, gave them $5,000, and deposited $150 into their bank account every month, but surely happiness was more than a generous health care system. What about all those grim months without sun? When Eilif turned fifteen, father and son decided to go back together and investigate. For the Love of Cod is their droll report on the state of purported Norwegian bliss.

Arriving in May, a month of festivals and eternal sun, the Dregnis are thrust into Norway at its merriest—and into the reality of the astronomical cost of living, which forces them to find lodging with friends and relatives. But this gives them an inside look at the secrets to a better life. It’s not the massive amounts of money flowing from the North Sea oil fields but how these funds are distributed that fuels the Norwegian version of democratic socialism—resulting in miniscule differences between rich and poor. Locals introduce them to the principles underlying their avowed contentment, from an active environmentalism that translates into flyskam (flight shame), which keeps Norwegians in the family cabin for the long vacations prescribed by law and charges a 150 percent tax on gas guzzlers (which, Eilif observes, means more Teslas seen in one hour than in a year in Minnesota!). 

From a passion for dugnad or community volunteerism and sakte or “slow,” a rejection of the mad pace of modernity, to the commodification of Viking history and the dark side of Black Metal music that turns the idea of quaint, traditional Norway upside down, this idiosyncratic father and son tour lets readers, free of flyskam, see how, or whether, Norwegian happiness translates.

A memoir of service, culture and transformation in a rural Panamanian village by a young American woman trained as a community forester for the Peace Corp.

In the storied fifty-year history of the US Peace Corps, Heart of Palms is the first Peace Corps memoir set in Panama, the slender isthmus that connects two continents and two oceans. In her memoir, Meredith Cornett transports readers to the remote village of Tranquilla, where dugout canoes are the mainstay of daily transportation, life and nature are permeated by witchcraft, and a restful night’s sleep may be disturbed by a raiding phalanx of army ants.

Cornett is sent to help counter the rapid deforestation that is destroying the ecosystem and livelihoods of the Panama Canal watershed region. Her first chapters chronicle her arrival and struggles not only with the social issues of language, loneliness, and insecurity, but also with the tragicomic basics of mastering open-fire cookery and intrusions by insects and poisonous snakes. As she grows to understand the region and its people, her keen eye discerns the overwhelming scope of her task. Unable to plant trees faster than they are lost, she writes with moving clarity about her sense of powerlessness.

Combating deforestation leads Cornett into an equally fierce battle against her own feelings of fear and isolation. Her journey to Panama becomes a parallel journey into herself. In this way, Heart of Palms is much more than a record of her Peace Corps service; it is also a moving environmental coming-of-age story and nuanced meditation on one village’s relationship to nature. When she returns home two years later, Cornett brings with her both skills and experience and a remarkable, newfound sense of confidence and mission.

Writing with rueful, self-deprecating humor, Cornett lets us ride along with her on a wave of naïve optimism, a wave that breaks not only on fear and intimidation, but also on tedium and isolation. Heart of Palms offers a bracing alternative to the romantic idealism common to Peace Corps memoirs and will be valued as a welcome addition to writing about the Peace Corps and environmental service.

Robert Rodriguez stands alone as the most successful U.S. Latino filmmaker today, whose work has single-handedly brought U.S. Latino filmmaking into the mainstream of twenty-first-century global cinema. Rodriguez is a prolific (eighteen films in twenty-one years) and all-encompassing filmmaker who has scripted, directed, shot, edited, and scored nearly all his films since his first breakout success, El Mariachi, in 1992. With new films constantly coming out and the launch of his El Rey Network television channel, he receives unceasing coverage in the entertainment media, but systematic scholarly study of Rodriguez’s films is only just beginning.

The Cinema of Robert Rodriguez offers the first extended investigation of this important filmmaker’s art. Accessibly written for fans as well as scholars, it addresses all of Rodriguez’s feature films through Spy Kids 4 and Machete Kills, and his filmmaking process from initial inspiration, to script, to film (with its myriad visual and auditory elements and choices), to final product, to (usually) critical and commercial success. In addition to his close analysis of Rodriguez’s work, Frederick Luis Aldama presents an original interview with the filmmaker, in which they discuss his career and his relationship to the film industry. This entertaining and much-needed scholarly overview of Rodriguez’s work shines new light on several key topics, including the filmmaker’s creative, low-cost, efficient approach to filmmaking; the acceptance of Latino films and filmmakers in mainstream cinema; and the consumption and reception of film in the twenty-first century.

On October 3, 1968, a military junta led by General Juan Velasco Alvarado took over the government of Peru. In striking contrast to the right-wing, pro–United States/anti-Communist military dictatorships of that era, however, Velasco’s “Revolutionary Government of the Armed Forces” set in motion a left-leaning nationalist project aimed at radically transforming Peruvian society by eliminating social injustice, breaking the cycle of foreign domination, redistributing land and wealth, and placing the destiny of Peruvians into their own hands. Although short-lived, the Velasco regime did indeed have a transformative effect on Peru, the meaning and legacy of which are still subjects of intense debate.

The Peculiar Revolution revisits this fascinating and idiosyncratic period of Latin American history. The book is organized into three sections that examine the era’s cultural politics, including not just developments directed by the Velasco regime but also those that it engendered but did not necessarily control; its specific policies and key institutions; and the local and regional dimensions of the social reforms it promoted. In a series of innovative chapters written by both prominent and rising historians, this volume illuminates the cultural dimensions of the revolutionary project and its legacies, the impact of structural reforms at the local level (including previously understudied areas of the country such as Piura, Chimbote, and the Amazonia), and the effects of state policies on ordinary citizens and labor and peasant organizations.