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A collection of essays using Gloria Anzaldúa’s archival works to further explore and reassess the meaning of her legacy.

In the 1980s, Gloria Anzaldúa’s pioneering Borderlands/La Frontera and This Bridge Called My Back created new and durable trajectories for feminist, queer, Latinx, and postcolonial thought. Still, much of her writing was never published. Drawing on Anzaldúa’s impressive archive—manuscript drafts, personal memorabilia, correspondence, and drawings held at the Benson Collection at the University of Texas, Austin—this volume explores what we are still learning from a pathbreaking scholar more than twenty years after her death.

Changing Our Minds with Gloria Anzaldúa gathers essays from eleven writers working in diverse fields, including philosophy, literature, geography, performance studies, and visual arts. All have been powerfully influenced by Anzaldúa, and after examining her archives, all came to know her work anew. Each chapter relates discoveries among the unpublished materials, illuminating Anzaldúa’s celebrated texts and raising novel questions. A meditation, as well, on archivalism itself, Changing Our Minds reckons with the power of dusty papers to motivate new generations of readers outside the geographies and academic departments in which Anzaldúa has long been a fixture.

Sweden’s early film industry was dominated by Swedish Biograph (Svenska Biografteatern), home to star directors like Victor Sjöström and Mauritz Stiller. It is nostalgically remembered as the generative site of a nascent national artform, encapsulating a quintessentially Nordic aesthetic—the epicenter of Sweden’s cinematic Golden Age. In The Life and Afterlife of Swedish Biograph, veteran film scholar Jan Olsson takes a hard look at this established, romanticized narrative and offers a far more complete, complex, and nuanced story.

Nearly all of the studio’s original negatives were destroyed in an explosion in 1941, but Olsson’s comprehensive archival research shows how the company operated in a commercial, international arena, and how it was influenced not just by Nordic aesthetics or individual genius but also by foreign audiences’ expectations, technological demands, Hollywood innovations, and the gritty back-and-forth between economic pressures, government interference, and artistic desires. Olsson’s focus is wide, encompassing the studio’s production practices, business affairs, and cinematographic conventions, as well as the latter-day archival efforts that both preserved and obscured parts of Swedish Biograph’s story, helping construct the company’s rosy legacy. The result is a necessary rewrite to Swedish film historiography and a far fuller picture of a canonical film studio.