Search results for ""university of texas press""

How the notion of unique eras influenced the Roman view of time and the narration of history from various perspectives. The Victorian Era. The Age of Enlightenment. The post-9/11 years. We are accustomed to demarcating history, fencing off one period from the next. But societies have not always operated in this way. Paul Hay returns to Rome in the first century BCE to glimpse the beginnings of periodization as it is still commonly practiced, exploring how the ancient Romans developed a novel sense of time and used it to construct their views of the past and of the possibilities of the future. It was the Roman general Sulla who first sought to portray himself as the inaugurator of a new age of prosperity, and through him Romans adopted the Etruscan term saeculum to refer to a unique era of history. Romans went on to deepen their investment in periodization by linking notions of time to moments of catastrophe, allowing them to conceptualize their own epoch and its conclusion, as in the literature of Vergil and Horace. Periodization further introduced the idea of specific agents of change into Roman thought—agents that were foundational to narratives of progress and decline. An eye-opening account, Saeculum describes nothing less than an intellectual and cognitive revolution, that fundamentally reorganized the meanings of history and time.

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How female directors, producers, and writers navigate the challenges and barriers facing female-driven projects at each stage of filmmaking in contemporary Hollywood. Conversations about gender equity in the workplace accelerated in the 2010s, with debates inside Hollywood specifically pointing to broader systemic problems of employment disparities and exploitative labor practices. Compounded by the devastating #MeToo revelations, these problems led to a wide-scale call for change. The Value Gap traces female-driven filmmaking across development, financing, production, film festivals, marketing, and distribution, examining the realities facing women working in the industry during this transformative moment. Drawing from five years of extensive interviews with female producers, writers, and directors at different stages of their careers, Courtney Brannon Donoghue examines how Hollywood business cultures “value” female-driven projects as risky or not bankable. Industry claims that “movies targeting female audiences don’t make money” or “women can’t direct big-budget blockbusters” have long circulated to rationalize systemic gender inequities and have served to normalize studios prioritizing the white male–driven status quo. Through a critical media industry studies lens, The Value Gap challenges this pervasive logic with firsthand accounts of women actively navigating the male-dominated and conglomerate-owned industrial landscape.

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How water enables Caribbean and Latinx writers to reconnect to their pasts, presents, and futures. Water is often tasked with upholding division through the imposition of geopolitical borders. We see this in the construction of the Rio Grande/Río Bravo on the US-Mexico border, as well as in how the Caribbean Sea and the Pacific Ocean are used to delineate the limits of US territory. In stark contrast to this divisive view, Afro-diasporic religions conceive of water as a place of connection; it is where spiritual entities and ancestors reside, and where knowledge awaits. Departing from the premise that water encourages confluence through the sustainment of contradiction, Channeling Knowledges fathoms water’s depth and breadth in the work of Latinx and Caribbean creators such as Mayra Santos-Febres, Rita Indiana, Gloria Evangelina Anzaldúa, and the Border of Lights collective. Combining methodologies from literary studies, anthropology, history, and religious studies, Rebeca L. Hey-Colón’s interdisciplinary study traces how Latinx and Caribbean cultural production draws on systems of Afro-diasporic worship—Haitian Vodou, La 21 División (Dominican Vodou), and Santería/Regla de Ocha—to channel the power of water, both salty and sweet, in sustaining connections between past, present, and not-yet-imagined futures.

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A skillful and fascinating retelling of the often testy relationship between J. P. Morgan and Roger Fry, two men who did more to establish the preeminence of the Metropolitan Museum of Art than any collector and curator before or since. Shortly after the turn of the twentieth century, the Metropolitan Museum of Art began an ambitious program of collection building and physical expansion that transformed it into one of the world’s foremost museums, an eminence that it has maintained ever since. Two men of singular qualities and accomplishments played key roles in the Met’s transformation—J. P. Morgan, America’s leading financier and a prominent art collector, and Roger Fry, the headstrong English expert in art history who served as the Met’s curator of painting. Their complicated, often contentious relationship embodies and illuminates the myriad tensions between commerce and art, philanthropists and professional staff, that a great museum must negotiate to define and fulfill its mission. In this masterful, multidisciplinary narrative, Charles Molesworth offers the first in-depth look at how Morgan and Fry helped to mold the cultural legacy of masterpieces of painting and the development of the “encyclopedic” museum. Structuring the book as a joint biography, Molesworth describes how Morgan used his vast wealth to bring European art to an American citizenry, while Fry brought high standards of art history from the world of connoisseurs to a general public. Their clashes over the purpose and functions of the Met, which ultimately led to Fry’s ouster, reveal the forces—personal and societal—that helped to shape the Metropolitan Museum and other major American cultural institutions during the twentieth century.

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A collection of essays on the ecology, biodiversity, and restoration of the Texas Hill Country. For most of five decades, evolutionary biologist David Hillis has studied the biodiversity of the Texas Hill Country. Since the 1990s, he has worked to restore the natural beauty and diversity of his Mason County ranch, the Double Helix. In his excursions around his ranch and across the Edwards Plateau, Hillis came to realize how little most people know about the plants and animals around them or their importance to our everyday lives. He began thinking about how natural history is connected to our enjoyment of life, especially in a place as beautiful and beloved as the Hill Country, which, not coincidentally, happens to be one of the most biodiverse parts of Texas. Featuring short nontechnical essays accompanied by vivid color photos, Armadillos to Ziziphus is a charming and casual introduction to the environment of the region. Whether walking the pasture with his Longhorn cattle, explaining the ecological significance of microscopic organisms in springtime mud puddles, or marveling at the local Ziziphus (aka Lotebush, a spiny shrub), Hillis guides first-time visitors and long-term residents alike in an appreciation for the Hill Country’s natural beauty and diversity.

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A collection of essays about Armenian identity and belonging in the diaspora. In the century since the Armenian Genocide, Armenian survivors and their descendants have written of a vast range of experiences using storytelling and activism, two important aspects of Armenian culture. Wrestling with questions of home and self, diasporan Armenian writers bear the burden of repeatedly telling their history, as it remains widely erased and obfuscated. Telling this history requires a tangled balance of contextualizing the past and reporting on the present, of respecting a culture even while feeling lost within it. We Are All Armenian brings together established and emerging Armenian authors to reflect on the complications of Armenian ethnic identity today. These personal essays elevate diasporic voices that have been historically silenced inside and outside of their communities, including queer, multiracial, and multiethnic writers. The eighteen contributors to this contemporary anthology explore issues of displacement, assimilation, inheritance, and broader definitions of home. Through engaging creative nonfiction, many of them question what it is to be Armenian enough inside an often unacknowledged community.

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Rebalancing and reframing how Mexican folk dances and masks have historically been depicted, Dancing with Life takes a collaborative and participatory approach to center the voices of artists, dancers, and other community members involved in sculpting masks and performing the danzas. This book aims to address the imbalance in how Mexican danzas are routinely portrayed and discuss how contemporary Mexican culture and issues are incorporated into the styling and uses of the masks. While commercialization is commonly viewed as a threat to the masking customs, this book also describes the impacts of other, more urgent threats, such as land enclosures, environmental degradation, and industrial agriculture. Dancing with Life includes contributions from scholars who are members of the Purepecha Indigenous communities and interviews with artists presented in both English and Spanish to preserve the original voices of these creators. Stunning new photography shows these artists in their own studios and highlights the beauty and variety of the masks themselves.

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This book celebrates the aviators, astronauts, airline executives, and other innovators who have made Texas an influential world leader in the aerospace industry over the past century. Tracing the hundred-year history of aviation in Texas, aviator and historian Barbara Ganson brings to life the colorful personalities that shaped the phenomenally successful development of this industry in the state. Weaving stories and profiles of aviators, designers, manufacturers, and those in related services, Texas Takes Wing covers the major trends that propelled Texas to the forefront of the field. Covering institutions from San Antonio’s Randolph Air Force Base (the West Point of this branch of service) to Brownsville’s airport with its Pan American Airlines instrument flight school (which served as an international gateway to Latin America as early as the 1920s) to Houston’s Johnson Space Center, home of Mission Control for the U.S. space program, the book provides an exhilarating timeline and engaging history of dozens of unsung pioneers as well as their more widely celebrated peers. Drawn from personal interviews as well as major archives and the collections of several commercial airlines, including American, Southwest, Braniff, Pan American Airways, and Continental, this sweeping history captures the story of powered flight in Texas since 1910. With its generally favorable flying weather, flat terrain, and wide open spaces, Texas has more airports than any other state and is often considered one of America’s most aviation-friendly places. Texas Takes Wing also explores the men and women who made the region pivotal in military training, aircraft manufacturing during wartime, general aviation, and air servicing of the agricultural industry. The result is a soaring history that will delight aviators and passengers alike.

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The digital storytelling project Humanizing Deportation invites migrants to present their own stories in the world’s largest and most diverse archive of its kind. Since 2017, more than 300 community storytellers have created their own audiovisual testimonial narratives, sharing their personal experiences of migration and repatriation. With Migrant Feelings, Migrant Knowledge, the project’s coordinator, Robert Irwin, and other team members introduce the project’s innovative participatory methodology, drawing out key issues regarding the human consequences of contemporary migration control regimes, as well as insights from migrants whose world-making endeavors may challenge what we think we know about migration.In recent decades, migrants in North America have been treated with unprecedented harshness. Migrant Feelings, Migrant Knowledge outlines this recent history, revealing stories both of grave injustice and of seemingly unsurmountable obstacles overcome. As Irwin writes, “The greatest source of expertise on the human consequences of contemporary migration control are the migrants who have experienced them,” and their voices in this searing collection jump off the page and into our hearts and minds.

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2023 Honorable Mention, Isis Duarte Book Prize, Haiti/ Dominican Republic section (LASA) After revolutionary cooperation between Dominican and Haitian majorities produced independence across Hispaniola, Dominican elites crafted negative myths about this era that contributed to anti-Haitianism. Despite the island’s long-simmering tensions, Dominicans and Haitians once unified Hispaniola. Based on research from over two dozen archives in multiple countries, Siblings of Soil presents the overlooked history of their shared imperial endings and national beginnings from the 1780s to 1822. Haitian revolutionaries both inspired and aided Dominican antislavery and anti-imperial movements. Ultimately, Santo Domingo's independence from Spain came in 1822 through unification with Haiti, as Dominicans embraced citizenship and emancipation. Their collaboration resulted in one of the most unique and inclusive forms of independence in the Americas. Elite reactions to this era formed anti-Haitian narratives. Racial ideas permeated the revolution, Vodou, Catholicism, secularism, and even Deism. Some Dominicans reinforced Hispanic and Catholic traditions and cast Haitians as violent heretics who had invaded Dominican society, undermining the innovative, multicultural state. Two centuries later, distortions of their shared past of kinship have enabled generations of anti-Haitian policies, assumptions of irreconcilable differences, and human rights abuses.

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Since the late nineteenth century, Brazilians have turned to documentaries to explain their country to themselves and to the world. In a magisterial history covering one hundred years of cinema, Darlene J. Sadlier identifies Brazilians’ unique contributions to a diverse genre while exploring how that genre has, in turn, contributed to the making and remaking of Brazil.A Century of Brazilian Documentary Film is a comprehensive tour of feature and short films that have charted the social and political story of modern Brazil. The Amazon appears repeatedly and vividly. Sometimes—as in a prize-winning 1922 feature—the rainforest is a galvanizing site of national pride; at other times, the Amazon has been a focus for land-reform and Indigenous-rights activists. Other key documentary themes include Brazil’s swings from democracy to dictatorship, tensions between cosmopolitanism and rurality, and shifting attitudes toward race and gender. Sadlier also provides critical perspectives on aesthetics and media technology, exploring how documentaries inspired dramatic depictions of poverty and migration in the country’s Northeast and examining Brazilians’ participation in streaming platforms that have suddenly democratized filmmaking.

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2023 LASA Visual Culture Studies Section Book Prize, Latin American Studies Association (LASA) The first comprehensive study of cartonera, a vibrant publishing phenomenon born in Latin America. A publishing phenomenon and artistic project, cartonera was born in the wake of Argentina’s 2001 economic crisis. Infused with a rebellious spirit, it has exploded in popularity, with hundreds of publishers across Latin America and Europe making colorful, low-cost books out of cardboard salvaged from the street. Taking Form, Making Worlds is the first comprehensive study of cartonera. Drawing on interdisciplinary research conducted across Mexico, Brazil, and Argentina, the authors show how this hands-on practice has fostered a politically engaged network of writers, artists, and readers. More than a social movement, cartonera uses texts, workshops, encounters, and exhibitions to foster community and engagement through open-ended forms that are at once artistic and social. For various groups including waste-pickers, Indigenous communities, rural children, and imprisoned women, cartonera provides a platform for unique stories and sparks collaborations that bring the walls of the “lettered city” tumbling down. In contexts of stigma and exclusion, cartonera collectives give form to a decolonial aesthetics of resistance, making possible a space of creative experimentation through which plural worlds can be brought to life.

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A collection of essays that provides advice and strategies for BIPOC scholars on how to survive, thrive, and resist in academic institutions.Conditionally Accepted builds upon an eponymous blog on InsideHigherEd.com, which is now a decade-old national platform for BIPOC academics in the United States. Bringing together perspectives from academics of color on navigating intersecting forms of injustice in the academy, each chapter offers situated knowledge about experiencing—and resisting—marginalization in academia. Contextualized within existing scholarship, these personal narratives speak to institutional betrayals while highlighting agency and sharing stories of surviving on treacherous terrain. Covering topics from professional development to the emptiness of diversity, equity, and inclusion efforts, and redefining what it means to be an academic in our contemporary moment, this edited collection directly confronts issues of systemic exclusion, di

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How Tammy Wynette channeled the conflicts of her life into her music and performance. With hits such as “Stand By Your Man” and “Golden Ring,” Tammy Wynette was an icon of American domesticity and femininity. But there were other sides to the first lady of country. Steacy Easton places the complications of Wynette’s music and her biography in sharp-edged relief, exploring how she made her sometimes-tumultuous life into her work, a transformation that was itself art. Wynette created a persona of high femininity to match the themes she sang about—fawning devotion, redemption in heterosexual romance, the heartbreak of loneliness. Behind the scenes, her life was marked by persistent class anxieties; despite wealth and fame, she kept her beautician’s license. Easton argues that the struggle to meet expectations of southernness, womanhood, and southern womanhood, finds subtle expression in Wynette’s performance of “Apartment #9”—and it’s because of these vocal subtleties that it came to be called the saddest song ever written. Wynette similarly took on elements of camp and political critique in her artistry, demonstrating an underappreciated genius. Why Tammy Wynette Matters reveals a musician who doubled back on herself, her façade of earnestness cracked by a melodrama that weaponized femininity and upended feminist expectations, while scoring twenty number-one hits.

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During World War I, the British Empire enlisted half a million young men, predominantly from the countryside of Egypt, in the Egyptian Labor Corps (ELC) and put them to work handling military logistics in Europe and the Middle East. British authorities reneged on their promise not to draw Egyptians into the war, and, as Kyle Anderson shows, the ELC was seen by many in Egypt as a form of slavery. The Egyptian Labor Corps tells the forgotten story of these young men, culminating in the essential part they came to play in the 1919 Egyptian Revolution.Combining sources from archives in four countries, Anderson explores Britain’s role in Egypt during this period and how the ELC came to be, as well as the experiences and hardships these men endured. As he examines the ways they coped—through music, theater, drugs, religion, strikes, and mutiny—he illustrates how Egyptian nationalists, seeing their countrymen in a state akin to slavery, began to grasp that they had been racialized as “people of color.” Documenting the history of the ELC and its work during the First World War, The Egyptian Labor Corps also provides a fascinating reinterpretation of the 1919 revolution through the lens of critical race theory.

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2023 — Best Subsequent Book — Native American and Indigenous Studies Association 2023 — Honorable Mention, Best Book in the Social Sciences — Latin American Studies Association, Mexico Section 2022 — Marysa Navarro Best Book Prize — New England Council of Latin American Studies 2023 — Honorable Mention, LASA Mexico Social Sciences Book Prize — Mexico Section, Latin American Studies Association (LASA)As the first exhaustive translation and analysis of an extraordinary Zapotec calendar and ritual song corpus, seized in New Spain in 1704, this book expands our understanding of Mesoamerican history, cosmology, and culture. In 1702, after the brutal suppression of a Zapotec revolt, the bishop of Oaxaca proclaimed an amnesty for idolatry in exchange for collective confessions. To evade conflict, Northern Zapotec communities denounced ritual specialists and surrendered sacred songs and 102 divinatory manuals, which preserve cosmological accounts, exchanges with divine beings, and protocols of pre-Columbian origin that strongly resemble sections of the Codex Borgia. These texts were sent to Spain as evidence of failed Dominican evangelization efforts, and there they remained, in oblivion, until the 1960s. In this book, David Tavárez dives deep into this formidable archive of ritual and divinatory manuals, the largest calendar corpus in the colonial Americas, and emerges with a rich understanding of Indigenous social and cultural history, Mesoamerican theories of cosmos and time, and Zapotec ancestor worship. Drawing on his knowledge of Zapotec and Nahuatl, two decades of archival research, and a decade of fieldwork, Tavárez dissects Mesoamerican calendars as well as Native resistance and accommodation to the colonial conquest of time, while also addressing entangled transatlantic histories and shining new light on texts still connected to contemporary observances in Zapotec communities.

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2022 Mr. and Mrs. Raymond J. Horowitz Book Prize, Bard Graduate CenterA landmark study of ancient Peruvian Moche mural art. Moche murals of northern Peru represent one of the great, yet still largely unknown, artistic traditions of the ancient Americas. Created in an era without written scripts, these murals are key to understandings of Moche history, society, and culture. In this first comprehensive study on the subject, Lisa Trever develops an interdisciplinary methodology of “archaeo art history” to examine how ancient histories of art can be written without texts, boldly inverting the typical relationship of art to archaeology. Trever argues that early coastal artistic traditions cannot be reduced uncritically to interpretations based in much later Inca histories of the Andean highlands. Instead, the author seeks the origins of Moche mural art, and its emphasis on figuration, in the deep past of the Pacific coast of South America. Image Encounters shows how formal transformations in Moche mural art, before and after the seventh century, were part of broader changes to the work that images were made to perform at Huacas de Moche, El Brujo, Pañamarca, and elsewhere in an increasingly complex social and political world. In doing so, this book reveals alternative evidentiary foundations for histories of art and visual experience.

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2023 Honorable Mention, Brazil Section Humanities Book Prize, Latin American Studies Association (LASA)This book explores visual portrayals of blackness in Brazil to reveal the integral role of visual culture in crafting race and nation across Latin America. In the early twentieth century, Brazil shifted from a nation intent on whitening its population to one billing itself as a racial democracy. Anadelia Romo shows that this shift centered in Salvador, Bahia, where throughout the 1950s, modernist artists and intellectuals forged critical alliances with Afro-Brazilian religious communities of Candomblé to promote their culture and their city. These efforts combined with a growing promotion of tourism to transform what had been one of the busiest slaving depots in the Americas into a popular tourist enclave celebrated for its rich Afro-Brazilian culture. Vibrant illustrations and texts by the likes of Jorge Amado, Pierre Verger, and others contributed to a distinctive iconography of the city, with Afro-Bahians at its center. But these optimistic visions of inclusion, Romo reveals, concealed deep racial inequalities. Illustrating how these visual archetypes laid the foundation for Salvador’s modern racial landscape, this book unveils the ways ethnic and racial populations have been both included and excluded not only in Brazil but in Latin America as a whole.

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In 2021, Texas Country Reporter celebrates its fiftieth season on the air. Broadcast every week on stations across Texas, it focuses on “ordinary people doing extraordinary things.” And at the center of it is Bob Phillips, the show’s creator and host—an erstwhile poor kid from Dallas who ended up with a job that allowed him to rub elbows with sports figures, entertainers, and politicians but who preferred to spend his time on the back roads, listening to less-famous Texans tell their stories.In this memoir, Phillips tells his own story, from his early days as a reporter and his initial pitch for the show while a student at SMU to his ongoing work at the longest-running independently produced TV show in American television history. As we travel with Phillips on his journey, we meet Willie Nelson and former Dallas Cowboys coach Tom Landry; reflect on memorable, unusual, and challenging show segments; experience the behind-the-scenes drama that goes on in local television; witness the launching of an annual festival; and discover the unbelievable allure of Texas, its culture, and, especially, its people. Spanning generations, A Good Long Drive is proof that life’s journey really is a destination unto itself.

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Ronnie Earle was a Texas legend. During his three decades as the district attorney responsible for Austin and surrounding Travis County, he prosecuted corrupt corporate executives and state officials, including the notorious US congressman Tom DeLay. But Earle maintained that the biggest case of his career was the one involving Frank Hughey Smith, the ex-convict millionaire, alleged criminal mastermind, and Dixie Mafia figure.With the help of corrupt local authorities, Smith spent the 1970s building a criminal empire in auto salvage and bail bonds. But there was one problem: a rival in the salvage business threatened his dominance. Smith hired arsonists to destroy the rival; when they botched the job, he sent three gunmen, but the robbery they planned was a bloody fiasco. Investigators were convinced that Smith was guilty, but many were skeptical that the newly elected and inexperienced Earle could get a conviction. Amid the courtroom drama and underworld plots the book describes, Willie Nelson makes a cameo. So do the private eyes, hired guns, and madams who kept Austin not only weird but also riddled with vice. An extraordinary true story, Last Gangster in Austin paints an unusual picture of the Texas capital as a place that was wild, wonderful, and as crooked as the dirt road to paradise.

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Resisting Garbage presents a new approach to understanding practices of waste removal and recycling in American cities, one that is grounded in the close observation of case studies while being broadly applicable to many American cities today.Most current waste practices in the United States, Lily Baum Pollans argues, prioritize sanitation and efficiency while allowing limited post-consumer recycling as a way to quell consumers’ environmental anxiety. After setting out the contours of this “weak recycling waste regime,” Pollans zooms in on the very different waste management stories of Seattle and Boston over the last forty years. While Boston’s local politics resulted in a waste-export program with minimal recycling, Seattle created new frameworks for thinking about consumption, disposal, and the roles that local governments and ordinary people can play as partners in a project of resource stewardship. By exploring how these two approaches have played out at the national level, Resisting Garbage provides new avenues for evaluating municipal action and fostering practices that will create environmentally meaningful change.

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In sunbaked Terlingua, Texas (pop., a few hundred), residents joke that there is a musician under every rock. Located ten miles from Mexico in one of the remotest corners of the United States, the town had a recording studio before it had a school, a well-stocked grocery store, or even a water utility. Open jam sessions are a daily ritual, and some songwriters make a living from their craft despite being thousands of miles from New York or Nashville. Why does such a tiny and isolated place ring with singing and guitars?Based on more than two years of on-the-ground research, On the Porch tells the story of this small but remarkable community. Chase Peeler invites us into the music, introducing us to a cast of characters as unique as the town itself. He reveals how novices and experts perform together—a rarity in contemporary America. He recounts the devastation brought on by a border closure and describes how music is once again uniting people across the Rio Grande. He considers the impact of gentrification in an off-the-grid paradise, and how this threatens to transform a precarious musical ecosystem. On the Porch is a celebration of human musicality, of the role that music plays and can play in our lives, both in Terlingua and beyond.

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For fifty years, music fans, hippies, artists, and songwriters have converged each spring on Quiet Valley Ranch in the Texas Hill Country. They are drawn by the thousands to the annual Kerrville Folk Festival, a weeks-long gathering of musical greats and ordinary people living in an intentional community marked by radical acceptance and the love of song.At the festival, David Johnson is known as Photo Dave, the guy who lugs around a large-format camera and captures the moments that make Kerrville special. It Can Be This Way Always collects eighty images from the past decade. Portraits of attendees and volunteers accompany scenes of stage performances, campfire jam sessions, and vans repurposed into coffee stands. In these images we see the temporary, makeshift world that festivalgoers create, a place where eccentricities are the norm and music is the foundation of friendship and unity. “It can be this way always” is a popular saying at Kerrville: simultaneously optimistic and wistful like a good folk song—or a photograph from your best life.

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Full-tilt, hardcore, down-home, and groundbreaking, the women of country music speak volumes with every song. From Maybelle Carter to Dolly Parton, k.d. lang to Taylor Swift—these artists provided pivot points, truths, and doses of courage for women writers at every stage of their lives. Whether it’s Rosanne Cash eulogizing June Carter Cash or a seventeen-year-old Taylor Swift considering the golden glimmer of another precocious superstar, Brenda Lee, it’s the humanity beneath the music that resonates.Here are deeply personal essays from award-winning writers on femme fatales, feminists, groundbreakers, and truth tellers. Acclaimed historian Holly George Warren captures the spark of the rockabilly sensation Wanda Jackson; Entertainment Weekly’s Madison Vain considers Loretta Lynn’s girl-power anthem “The Pill”; and rocker Grace Potter embraces Linda Ronstadt’s unabashed visual and musical influence. Patty Griffin acts like a balm on a post-9/11 survivor on the run; Emmylou Harris offers a gateway through paralyzing grief; and Lucinda Williams proves that greatness is where you find it.Part history, part confessional, and part celebration of country, Americana, and bluegrass and the women who make them, Woman Walk the Line is a very personal collection of essays from some of America’s most intriguing women writers. It speaks to the ways in which artists mark our lives at different ages and in various states of grace and imperfection—and ultimately how music transforms not just the person making it, but also the listener.

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On July 4, 1867, a group of men assembled in Houston to establish the Republican Party of Texas. Combatting entrenched statewide support for the Democratic Party and their own internal divisions, Republicans struggled to gain a foothold in the Lone Star State, which had sided with the Confederacy and aligned with the Democratic platform. In The Republican Party of Texas, Wayne Thorburn, former executive director of the Texas GOP, chronicles over one hundred and fifty years of the defeats and victories of the party that became the dominant political force in Texas in the modern era.Thorburn documents the organizational structure of the Texas GOP, drawing attention to prominent names, such as Harry Wurzbach and George W. Bush, alongside lesser-known community leaders who bolstered local support. The 1960s and 1970s proved a watershed era for Texas Republicans as they shored up ideological divides and elected the first Republican governor and more state senators and congressional representatives than ever before. From decisions about candidates and shifting allegiances and political stances, to race-based divisions and strategic cooperation with leaders in the Democratic Party, Thorburn unearths the development of the GOP in Texas to understand the unique Texan conservatism that prevails today.

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"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.

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Winner of the 2021 Sara A. Whaley Prize of the National Women’s Studies Association (NWSA) A first-of-its-kind study of the working-class culture of resistance on the Honduran North Coast and the radical organizing that challenged US capital and foreign intervention at the onset of the Cold War, examining gender, race, and place. On May 1, 1954, striking banana workers on the North Coast of Honduras brought the regional economy to a standstill, invigorating the Honduran labor movement and placing a series of demands on the US-controlled banana industry. Their actions ultimately galvanized a broader working-class struggle and reawakened long-suppressed leftist ideals. The first account of its kind in English, Roots of Resistance explores contemporary Honduran labor history through the story of the great banana strike of 1954 and centers the role of women in the narrative of the labor movement. Drawing on extensive firsthand oral history and archival research, Suyapa G. Portillo Villeda examines the radical organizing that challenged US capital and foreign intervention in Honduras at the onset of the Cold War. She reveals the everyday acts of resistance that laid the groundwork for the 1954 strike and argues that these often-overlooked forms of resistance should inform analyses of present-day labor and community organizing. Roots of Resistance highlights the complexities of transnational company hierarchies, gender and race relations, and labor organizing that led to the banana workers' strike and how these dynamics continue to reverberate in Honduras today.

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The story of Texas’s impact on American sports culture during the civil rights and second-wave feminist movements, this book offers a new understanding of sports and society in the state and the nation as a whole. In the 1960s and 1970s, America experienced a sports revolution. New professional sports franchises and leagues were established, new stadiums were built, football and basketball grew in popularity, and the proliferation of television enabled people across the country to support their favorite teams and athletes from the comfort of their homes. At the same time, the civil rights and feminist movements were reshaping the nation, broadening the boundaries of social and political participation. The Sports Revolution tells how these forces came together in the Lone Star State. Tracing events from the end of Jim Crow to the 1980s, Frank Guridy chronicles the unlikely alliances that integrated professional and collegiate sports and launched women’s tennis. He explores the new forms of inclusion and exclusion that emerged during the era, including the role the Dallas Cowboys Cheerleaders played in defining womanhood in the age of second-wave feminism. Guridy explains how the sexual revolution, desegregation, and changing demographics played out both on and off the field as he recounts how the Washington Senators became the Texas Rangers and how Mexican American fans and their support for the Spurs fostered a revival of professional basketball in San Antonio. Guridy argues that the catalysts for these changes were undone by the same forces of commercialization that set them in motion and reveals that, for better and for worse, Texas was at the center of America’s expanding political, economic, and emotional investments in sport.

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By the middle of the second century BCE, after nearly one hundred years of warfare, Rome had exerted its control over the entire Mediterranean world, forcing the other great powers of the region—Carthage, Macedonia, Egypt, and the Seleucid empire—to submit militarily and financially. But how, despite its relative poverty and its frequent numerical disadvantage in decisive battles, did Rome prevail? Michael J. Taylor explains this surprising outcome by examining the role that manpower and finances played, providing a comparative study that quantifies the military mobilizations and tax revenues for all five powers. Though Rome was the poorest state, it enjoyed the largest military mobilization, drawing from a pool of citizens, colonists, and allies, while its wealthiest adversaries failed to translate revenues into large or successful armies. Taylor concludes that state-level extraction strategies were decisive in the warfare of the period, as states with high conscription and low taxation raised larger, more successful armies than those that primarily sought to maximize taxation. Comprehensive and detailed, Soldiers and Silver offers a new and sophisticated perspective on the political dynamics and economies of these ancient Mediterranean empires.

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In the aftermath of the sixteenth-century Spanish conquest of Mexico, Spanish friars and authorities partnered with indigenous rulers and savants to gather detailed information on Aztec history, religious beliefs, and culture. The pictorial books they created served the Spanish as aids to evangelization and governance, but their content came from the native intellectuals, painters, and writers who helped to create them. Examining the nine major surviving texts, preeminent Latin American art historian Elizabeth Hill Boone explores how indigenous artists and writers documented their ancestral culture.Analyzing the texts as one distinct corpus, Boone shows how they combined European and indigenous traditions of documentation and considers questions of motive, authorship, and audience. For Spanish authorities, she shows, the books revealed Aztec ideology and practice, while for the indigenous community, they preserved venerated ways of pictorial expression as well as rhetorical and linguistic features of ancient discourses. The first comparative analysis of these encyclopedias, Descendants of Aztec Pictography analyzes how the painted compilations embraced artistic traditions from both sides of the Atlantic.

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2021 Comic Studies Society Prize for Edited CollectionFrom Superman and Batman to the X-Men and Young Avengers, Supersex interrogates the relationship between heroism and sexuality, shedding new light on our fantasies of both. From Superman, created in 1938, to the transmedia DC and Marvel universes of today, superheroes have always been sexy. And their sexiness has always been controversial, inspiring censorship and moral panic. Yet though it has inspired jokes and innuendos, accusations of moral depravity, and sporadic academic discourse, the topic of superhero sexuality is like superhero sexuality itself—seemingly obvious yet conspicuously absent. Supersex: Sexuality, Fantasy, and the Superhero is the first scholarly book specifically devoted to unpacking the superhero genre’s complicated relationship with sexuality. Exploring sexual themes and imagery within mainstream comic books, television shows, and films as well as independent and explicitly pornographic productions catering to various orientations and kinks, Supersex offers a fresh—and lascivious—perspective on the superhero genre’s historical and contemporary popularity. Across fourteen essays touching on Superman, Batman, the X-Men, and many others, Anna F. Peppard and her contributors present superhero sexuality as both dangerously exciting and excitingly dangerous, encapsulating the superhero genre’s worst impulses and its most productively rebellious ones. Supersex argues that sex is at the heart of our fascination with superheroes, even—and sometimes especially—when the capes and tights stay on.

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Reality first appeared in the late 1980s—in the sense not of real life but rather of the TV entertainment genre inaugurated by shows such as Cops and America’s Most Wanted; the daytime gabfests of Geraldo, Oprah, and Donahue; and the tabloid news of A Current Affair. In a bracing work of cultural criticism, Eric Harvey argues that reality TV emerged in dialog with another kind of entertainment that served as its foil while borrowing its techniques: gangsta rap. Or, as legendary performers Ice Cube and Ice-T called it, “reality rap.”Reality rap and reality TV were components of a cultural revolution that redefined popular entertainment as a truth-telling medium. Reality entertainment borrowed journalistic tropes but was undiluted by the caveats and context that journalism demanded. While N.W.A.’s “Fuck tha Police” countered Cops’ vision of Black lives in America, the reality rappers who emerged in that group’s wake, such as Snoop Doggy Dogg and Tupac Shakur, embraced reality’s visceral tabloid sensationalism, using the media's obsession with Black criminality to collapse the distinction between image and truth. Reality TV and reality rap nurtured the world we live in now, where politics and basic facts don’t feel real until they have been translated into mass-mediated entertainment.

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The modern civil rights movement rapidly came to prominence after World War II, coalescing around the demand to repeal Jim Crow laws and promote a vision of a just, multiracial society. The vast majority of civil rights organizations practiced assertive nonviolence to meet these goals. Nevertheless, opponents often met their activism with violence and intimidation.Like those who marched, protested, and organized for civil rights and social justice, photojournalists put themselves in great danger. The Briscoe Center for American History’s exhibit, Struggle for Justice: Four Decades of Civil Rights Photography, which was displayed on the University of Texas at Austin campus, celebrated the legacy of those photographers. The material walked visitors through much of the civil rights era and provided a lesson both inspiring and challenging: that social progress is possible when one values it above personal comfort and safety. Now in book form, Struggle for Justice honors the photographers who were willing to put their privilege on the line to document the discrimination of others and, by doing so, helped to galvanize public support for the civil rights movement.

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As the lead singer of the Grammy Award–winning rock band Quetzal and a scholar of Chicana/o and Latina/o studies, Martha Gonzalez is uniquely positioned to articulate the ways in which creative expression can serve the dual roles of political commentary and community building. Drawing on postcolonial, Chicana, black feminist, and performance theories, Chican@ Artivistas explores the visual, musical, and performance art produced in East Los Angeles since the inception of NAFTA and the subsequent anti-immigration rhetoric of the 1990s.Showcasing the social impact made by key artist-activists on their communities and on the mainstream art world and music industry, Gonzalez charts the evolution of a now-canonical body of work that took its inspiration from the Zapatista movement, particularly its masked indigenous participants, and that responded to efforts to impose systems of labor exploitation and social subjugation. Incorporating Gonzalez’s memories of the Mexican nationalist music of her childhood and her band’s journey to Chiapas, the book captures the mobilizing music, poetry, dance, and art that emerged in pre-gentrification corners of downtown Los Angeles and that went on to inspire flourishing networks of bold, innovative artivistas.

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Acclaimed by critics as a second F. Scott Fitzgerald, Billy Lee Brammer was once one of the most engaging young novelists in America. “Brammer’s is a new and major talent, big in scope, big in its promise of even better things to come,” wrote A. C. Spectorsky, a former staffer at the New Yorker. When he published his first and only novel, The Gay Place, in 1961, literary luminaries such as David Halberstam, Willie Morris, and Gore Vidal hailed his debut. Morris deemed it “the best novel about American politics in our time.” Halberstam called it “a classic . . . [a] stunning, original, intensely human novel inspired by Lyndon Johnson. . . . It will be read a hundred years from now.” More recently, James Fallows, Gary Fisketjon, and Christopher Lehmann have affirmed The Gay Place’s continuing relevance, with Lehmann asserting that it is “the one truly great modern American political novel.”Leaving the Gay Place tells a sweeping story of American popular culture and politics through the life and work of a writer who tragically exemplifies the highs and lows of the country at mid-century. Tracy Daugherty follows Brammer from the halls of power in Washington, DC, where he worked for Senate majority leader Johnson, to rock-and-roll venues where he tripped out with Janis Joplin, and ultimately to back alleys of self-indulgence and self-destruction. Constantly driven to experiment with new ways of being and creating—often fueled by psychedelics—Brammer became a cult figure for an America on the cusp of monumental change, as the counterculture percolated through the Eisenhower years and burst out in the sixties. In Daugherty’s masterful recounting, Brammer’s story is a quintessential American story, and Billy Lee is our wayward American son.

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What began as an effort to prevent the neglect and potential loss of hundreds of African objects at the University of Texas at Austin has evolved into one of the most significant collections on campus. The art collections at Black Studies were born from the John L. Warfield Center for African and African American Studies’ Art and Archive Initiative, under the leadership of Cherise Smith, Omi L. Jones, and Edmund T. Gordon. Today Black Studies at the University of Texas boasts approximately 900 objects from sub-Saharan Africa, over 200 contemporary works from African American and Afro-Caribbean artists, and more than 100 pieces jointly held with other collecting entities on campus, adding a diverse richness to the overall collections. Collecting Black Studies gathers and presents these holdings—including costumes, jewelry, paintings, sculptures, works on paper, and photography—and prominently features five Black artists whose work is particularly significant. Scholars and curators examine how John Biggers, Michael Ray Charles, Christina Coleman, Angelbert Metoyer, and Deborah Roberts—artists with deep relationships to Texas—contributed to the Black Studies collections, to art history, and to the culture of our state and beyond.

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“On a bend, I will see it, a piece of ground off to the side. I will know the feel of this place: the leaves stir slowly on the trees, dry air smells like dust, birds dart and the trails are made by beasts living free.”When award-winning author Charles Bowden died in 2014, he left behind a trove of unpublished manuscripts. Dakotah marks the landmark publication of the first of these texts, and the fourth installment in his acclaimed “Unnatural History of America.” Bowden uses America’s Great Plains as a lens—sometimes sullied, sometimes shattered, but always sharp—for observing pivotal moments in the lives of anguished figures, including himself.In scenes that are by turns wrenching and poetic, Bowden describes the Sioux’s forced migrations and rebellions alongside his own ancestors’ migrations from Europe to Midwestern acres beset by unforgiving winters. He meditates on the lives of his resourceful mother and his philosophical father, who rambled between farm communities and city life. Interspersed with these images are clear-eyed, textbook-defying anecdotes about Lewis and Clark, Daniel Boone, and, with equal verve, twentieth-century entertainers “Pee Wee” Russell, Peggy Lee, and other musicians. The result is a kaleidoscopic journey that penetrates the senses and redefines the notion of heartland. Dakotah is a powerful ode to loss from one of our most fiercely independent writers.

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Subaltern studies, the study of non-elite or underrepresented people, have revolutionized the writing of Middle Eastern history. Subversives and Mavericks in the Muslim Mediterranean represents the next step in this transformation. The book explores the lives of eleven nonconformists who became agents of political and social change, actively organizing new forms of resistance—against either colonial European regimes or the traditional societies in which they lived—that disrupted the status quo, in some cases, with dramatic results. These case studies highlight cross-border connections in the Mediterranean world, exploring how these channels were navigated.Chapters in the book examine the lives of subversives and mavericks, such as Tawhida ben Shaykh, the first Arab woman to receive a medical degree; Mokhtar al-Ayari, a radical Tunisian labor leader; Nazli Hanem, Kmar Bayya, and Khiriya bin Ayyad, three aristocractic women who resisted the patriarchal structures of their societies by organizing and participating in intellectual salons for men and women and advocating social reform; Qaid Najim al-Akhsassi, an ex-slave and military officer, who fought against French and Spanish colonial expansion; and Boubeker al-Ghandjawi, a nearly illiterate trader who succeeded, though his diverse connections, in establishing important relations between the Moroccan sultan and the representative of the British government. Although based on individual and local perspectives, Subversives and Mavericks in the Muslim Mediterranean reveals new and unrecognized trans-local connections across the Muslim world, illuminating our understanding of these societies beyond narrow elite circles.

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The author of more than twenty books and a revered contributor to numerous national publications, Charles Bowden (1945–2014) used his keen storyteller’s eye to reveal both the dark underbelly and the glorious determination of humanity, particularly in the borderlands between the United States and Mexico. In America’s Most Alarming Writer, key figures in his life—including his editors, collaborators, and other writers—deliver a literary wake for the man who inspired them throughout his forty-year career.Part revelation, part critical assessment, the fifty essays in this collection span the decades from Bowden’s rise as an investigative journalist through his years as a singular voice of unflinching honesty about natural history, climate change, globalization, drugs, and violence. As the Chicago Tribune noted, “Bowden wrote with the intensity of Joan Didion, the voracious hunger of Henry Miller, the feral intelligence and irony of Hunter Thompson, and the wit and outrage of Edward Abbey.” An evocative complement to The Charles Bowden Reader, the essays and photographs in this homage brilliantly capture the spirit of a great writer with a quintessentially American vision. Bowden is the best writer you’ve (n)ever read.

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In 2008, three years after Hurricane Katrina cut a deadly path along the northern coast of the Gulf of Mexico, researchers J. Steven Picou and Keith Nicholls conducted a survey of the survivors in Louisiana and Mississippi, receiving more than twenty-five hundred responses, and followed up two years later with their than five hundred of the initial respondents. Showcasing these landmark findings, Caught in the Path of Katrina: A Survey of the Hurricane's Human Effects yields a more complete understanding of the traumas endured as a result of the Storm of the Century.The authors report on evacuation behaviors, separations from family, damage to homes, and physical and psychological conditions among residents of seven of the parishes and counties that bore the brunt of Katrina. The findings underscore the frequently disproportionate suffering of African Americans and the agonizingly slow pace of recovery. Highlighting the lessons learned, the book offers suggestions for improved governmental emergency management techniques to increase preparedness, better mitigate storm damage, and reduce the level of trauma in future disasters. Multiple major hurricanes have unleashed their destruction in the years since Katrina, making this a crucial study whose importance only continues to grow.

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2020 Second Place, Best Nonfiction Multi Author, International Latino Book AwardsCollecting the perspectives of scholars who reflect on their own relationships to particular garments, analyze the politics of dress, and examine the role of consumerism and entrepreneurialism in the production of creating and selling a style, meXicana Fashions examines and searches for meaning in these visible, performative aspects of identity.Focusing primarily on Chicanas but also considering trends connected to other Latin American communities, the authors highlight specific constituencies that are defined by region (“Tejana style,” “L.A. style”), age group (“homie,” “chola”), and social class (marked by haute couture labels such as Carolina Herrera and Oscar de la Renta). The essays acknowledge the complex layers of these styles, which are not mutually exclusive but instead reflect a range of intersections in occupation, origin, personality, sexuality, and fads. Other elements include urban indigenous fashion shows, the shifting quinceañera market, “walking altars” on the Days of the Dead, plus-size clothing, huipiles in the workplace, and dressing in drag. Together, these chapters illuminate the full array of messages woven into a vibrant social fabric.

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Winner of the Emily Toth Award for Best Single Work in Women's Studies, Popular Culture AssociationCo-winner of the Elli Kongas Maranda Prize, Women's Section of the American Folklore Society (AFS) A dynamic study of social negotiation and consumerism in the coming-of-age quinceañera celebration and the impact of normalizing spectacles of luxury. Quinceañera celebrations, which recognize a girl’s transition to young womanhood at age fifteen, are practiced in Latinx communities throughout the Americas. But in the consumer-driven United States, the ritual has evolved from a largely religious ceremony to an elaborate party where social status takes center stage. Examining the many facets of this contemporary debut experience, Quinceañera Style reports on ethnographic fieldwork in California, Texas, the Midwest, and Mexico City to reveal a complex, compelling story. Along the way, we meet a self-identified transwoman who uses the quinceañera as an intellectual space in her activist performance art. We explore the economic empowerment of women who own barrio boutiques specializing in the quinceañera’s many accessories and made-in-China gowns. And, of course, we meet teens themselves, including a vlogger whose quince-planning tips have made her an online sensation. Disrupting assumptions, such as the belief that Latino communities in the United States can’t desire upward mobility without abandoning ethnoracial cultural legacies, Quinceañera Style also underscores the performative nature of class and the process of constructing a self in the public, digital sphere.

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2020 Second Place, Best Nonfiction Multi Author, International Latino Book AwardsCollecting the perspectives of scholars who reflect on their own relationships to particular garments, analyze the politics of dress, and examine the role of consumerism and entrepreneurialism in the production of creating and selling a style, meXicana Fashions examines and searches for meaning in these visible, performative aspects of identity.Focusing primarily on Chicanas but also considering trends connected to other Latin American communities, the authors highlight specific constituencies that are defined by region (“Tejana style,” “L.A. style”), age group (“homie,” “chola”), and social class (marked by haute couture labels such as Carolina Herrera and Oscar de la Renta). The essays acknowledge the complex layers of these styles, which are not mutually exclusive but instead reflect a range of intersections in occupation, origin, personality, sexuality, and fads. Other elements include urban indigenous fashion shows, the shifting quinceañera market, “walking altars” on the Days of the Dead, plus-size clothing, huipiles in the workplace, and dressing in drag. Together, these chapters illuminate the full array of messages woven into a vibrant social fabric.

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In Border Citizens, historian Eric V. Meeks explores how the racial classification and identities of the diverse indigenous, mestizo, and Euro-American residents of Arizona’s borderlands evolved as the region was politically and economically incorporated into the United States. First published in 2007, the book examines the complex relationship between racial subordination and resistance over the course of a century. On the one hand, Meeks links the construction of multiple racial categories to the process of nation-state building and capitalist integration. On the other, he explores how the region’s diverse communities altered the blueprint drawn up by government officials and members of the Anglo majority for their assimilation or exclusion while redefining citizenship and national belonging.The revised edition of this highly praised and influential study features dozens of new images, an introductory essay by historian Patricia Nelson Limerick, and a chapter-length afterword by the author. In his afterword, Meeks details and contextualizes Arizona’s aggressive response to undocumented immigration and ethnic studies in the decade after Border Citizens was first published, demonstrating that the broad-based movement against these measures had ramifications well beyond Arizona. He also revisits the Yaqui and Tohono O’odham nations on both sides of the Sonora-Arizona border, focusing on their efforts to retain, extend, and enrich their connections to one another in the face of increasingly stringent border enforcement.

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Expanding the study of Etruscan habitation sites to include not only traditional cities but also smaller Etruscan communities, Cetamura del Chianti examines a settlement that flourished during an exceptional time period, amid wars with the Romans in the fourth to first centuries BCE.Situated in an ideal hilltop location that was easy to defend and had access to fresh water, clay, and timber, the community never grew to the size of a city, and no known references to it survive in ancient writings; its ancient name isn’t even known. Because no cities were ever built on top of the site, excavation is unusually unimpeded. Intriguing features described in Cetamura del Chianti include an artisans’ zone with an adjoining sanctuary, which fostered the cult worship of Lur and Leinth, two relatively little known Etruscan deities, and ancient wells that reveal the cultural development and natural environment, including the vineyards and oak forests of Chianti, over a period of some six hundred years. Deeply enhancing our understanding of an intriguing economic, political, and cultural environment, this is a compelling portrait of a singular society.

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In 1999, Venezuela became the first country in the world to constitutionally recognize the socioeconomic value of housework and enshrine homemakers’ social security. This landmark provision was part of a larger project to transform the state and expand social inclusion during Hugo Chávez’s presidency. The Bolivarian revolution opened new opportunities for poor and working-class—or popular—women’s organizing. The state recognized their unpaid labor and maternal gender role as central to the revolution. Yet even as state recognition enabled some popular women to receive public assistance, it also made their unpaid labor and organizing vulnerable to state appropriation.Offering the first comprehensive analysis of this phenomenon, Engendering Revolution demonstrates that the Bolivarian revolution cannot be understood without comprehending the gendered nature of its state-society relations. Showcasing field research that comprises archival analysis, observation, and extensive interviews, these thought-provoking findings underscore the ways in which popular women sustained a movement purported to exalt them, even while many could not access social security and remained socially, economically, and politically vulnerable.

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Winner, Abbott Lowell Cummings Award, Vernacular Architecture Forum, 2020 Winner, Elisabeth Blair MacDougall Book Award, Society of Architectural Historians, 2021From the boundary surveys of the 1850s to the ever-expanding fences and highway networks of the twenty-first century, Border Land, Border Water examines the history of the construction projects that have shaped the region where the United States and Mexico meet.Tracing the accretion of ports of entry, boundary markers, transportation networks, fences and barriers, surveillance infrastructure, and dams and other river engineering projects, C. J. Alvarez advances a broad chronological narrative that captures the full life cycle of border building. He explains how initial groundbreaking in the nineteenth century transitioned to unbridled faith in the capacity to control the movement of people, goods, and water through the use of physical structures. By the 1960s, however, the built environment of the border began to display increasingly obvious systemic flaws. More often than not, Alvarez shows, federal agencies in both countries responded with more construction—“compensatory building” designed to mitigate unsustainable policies relating to immigration, black markets, and the natural world. Border Land, Border Water reframes our understanding of how the border has come to look and function as it does and is essential to current debates about the future of the US-Mexico divide.

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In 1990, American television experienced a seismic shift when Twin Peaks premiered, eschewing formulaic plots and clear lines between heroes and villains. This game-changing series inspired a generation of show creators to experiment artistically, transforming the small screen in ways that endure to this day.Focusing on six shows (Twin Peaks, with a critical analysis of both the original series and the 2017 return; The Wire; Treme; The Sopranos; Mad Men; and Girls), Television Rewired explores what made these programs so extraordinary. As their writers and producers fought against canned plots and moral simplicity, they participated in the evolution of the exhilarating new auteur television while underscoring the fact that art and entertainment don't have to be mutually exclusive. Nochimson also makes provocative distinctions between true auteur television and shows that were inspired by the freedom of the auteur series but nonetheless remained entrenched within the parameters of formula. Providing opportunities for vigorous discussion, Television Rewired will stimulate debates about which of the new television series since 1990 constitute “art” and which are tweaked “business-driven storytelling.”

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