Search results for ""university of texas press""

Presenting the first comprehensive art historical study of some magnificent Mesoamerican murals, this book demonstrates how generations of ancient Mexican artists, patrons, and audiences created a powerful statement of communal identity that still captures the imagination. Honorable Mention, ALAA Book Award, Association for Latin American Art/Arvey Foundation, 2016Between AD 650 and 950, artists at the small Central Mexican city-state of Cacaxtla covered the walls of their most important sacred and public spaces with dazzling murals of gods, historical figures, and supernatural creatures. Testimonies of a richly interconnected ancient world, the Cacaxtla paintings present an unexpectedly deep knowledge of the art and religion of the Maya, Zapotec, and other distant Mesoamerican peoples. Painted during a period of war and shifting alliances after the fall of Teotihuacan, the murals’ distinctive fusion of cosmopolitan styles and subjects claimed a powerful identity for the beleaguered city-state.Presenting the first cohesive, art historical study of the entire painting corpus, The Murals of Cacaxtla demonstrates that these magnificent works of art constitute a sustained and local painting tradition, treasured by generations of patrons and painters. Exhaustive chapters on each of the mural programs make it possible to see how the Cacaxtla painting tradition developed over time, responding to political and artistic challenges. Lavishly illustrated, The Murals of Cacaxtla illuminates the agency of ancient artists and the dynamics of artistic synthesis in a Mesoamerican context, offering a valuable counterpoint to studies of colonial and modern art operating at the intersection of cultural traditions.

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The recorded use of deadly force against unarmed suspects and sustained protest from the Black Lives Matter movement, among others, have ignited a national debate about excessive violence in American policing. Missing from the debate, however, is any discussion of a factor that is almost certainly contributing to the violence—the use of anabolic steroids by police officers. Mounting evidence from a wide range of credible sources suggests that many cops are abusing testosterone and its synthetic derivatives. This drug use is illegal and encourages a “steroidal” policing style based on aggressive behaviors and hulking physiques that diminishes public trust in law enforcement.Dopers in Uniform offers the first assessment of the dimensions and consequences of the felony use of anabolic steroids in major urban police departments. Marshalling an array of evidence, John Hoberman refutes the frequent claim that police steroid use is limited to a few “bad apples,” explains how the “Blue Wall of Silence” stymies the collection of data, and introduces readers to the broader marketplace for androgenic drugs. He then turns his attention to the people and organizations at the heart of police culture: the police chiefs who often see scandals involving steroid use as a distraction from dealing with more dramatic forms of misconduct and the police unions that fight against steroid testing by claiming an officer’s “right to privacy” is of greater importance. Hoberman’s findings clearly demonstrate the crucial need to analyze and expose the police steroid culture for the purpose of formulating a public policy to deal with its dysfunctional effects.

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When Alina Simone agreed to write a book about Madonna, she thought it might provide an interesting excuse to indulge her own eighties nostalgia. Wrong. What Simone discovered instead was a tidal wave of already published information about Madonna—and her own ambivalence about, maybe even jealousy of, the Material Girl’s overwhelming commercial success. With the straight-ahead course stymied, Simone set off on a quirky detour through the backroads of celebrity and fandom and the people who love or loathe Madonna.In this witty, sometimes acerbic, always perceptive chronicle, Simone begins by trying to understand why Madonna’s birthplace, Bay City, Michigan, won’t even put up a sign to celebrate its most famous citizen, and ends by asking why local bands who make music that’s authentic and true can disappear with barely a trace. In between, she ranges from Madonna fans who cover themselves with tattoos of the singer’s face and try to make fortunes off selling her used bustiers and dresses, to Question Mark and the Mysterians—one-hit wonders best known for “96 Tears”—and Flying Wedge, a Detroit band that dropped off an amazing two-track record in the office of CREEM magazine in 1972 and vanished, until Simone tracked it down.Filled with fresh insights about the music business, fandom, and what it takes to become a superstar, Madonnaland is as much a book for people who, like Simone, prefer “dark rooms, coffee, and state-subsidized European films filled with existential despair” as it is for people who can’t get enough of Madonna.

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Mary J. Blige is an icon who represents the political consciousness of hip hop and the historical promise of soul. She is an everywoman, celebrated by Oprah Winfrey and beloved by pop music fans of all ages and races. Blige has sold over fifty million albums, won numerous Grammys, and even played at multiple White House events, as well as the 2013 Nobel Peace Prize ceremony. Displaying astonishing range and versatility, she has recorded everything from Broadway standards to Led Zeppelin anthems and worked with some of popular music’s greatest artists—Aretha Franklin, Eric Clapton, Elton John, Whitney Houston, Sting, U2, and Beyoncé, among them.Real Love, No Drama: The Music of Mary J. Blige tells the story of one of the most important artists in pop music history. Danny Alexander follows the whole arc of Blige’s career, from her first album, which heralded the birth of “hip hop soul,” to her critically praised 2014 album, The London Sessions. He highlights the fact that Blige was part of the historically unprecedented movement of black women onto pop radio and explores how she and other women took control of their careers and used their music to give voice to women’s (and men’s) everyday struggles and dreams. This book adds immensely to the story of both black women artists and artists rooted in hip hop and pays tribute to a musician who, by expanding her reach and asking tough questions about how music can and should evolve, has proven herself an artistic visionary.

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Ever since the Warren Commission concluded that a lone gunman assassinated President John F. Kennedy, people who doubt that finding have been widely dismissed as conspiracy theorists, despite credible evidence that right-wing elements in the CIA, FBI, and Secret Service—and possibly even senior government officials—were also involved. Why has suspicion of criminal wrongdoing at the highest levels of government been rejected out-of-hand as paranoid thinking akin to superstition?Conspiracy Theory in America investigates how the Founders’ hard-nosed realism about the likelihood of elite political misconduct—articulated in the Declaration of Independence—has been replaced by today’s blanket condemnation of conspiracy beliefs as ludicrous by definition. Lance deHaven-Smith reveals that the term “conspiracy theory” entered the American lexicon of political speech to deflect criticism of the Warren Commission and traces it back to a CIA propaganda campaign to discredit doubters of the commission’s report. He asks tough questions and connects the dots among five decades’ worth of suspicious events, including the assassinations of John and Robert Kennedy, the attempted assassinations of George Wallace and Ronald Reagan, the crimes of Watergate, the Iran-Contra arms-for-hostages deal, the disputed presidential elections of 2000 and 2004, the major defense failure of 9/11, and the subsequent anthrax letter attacks.Sure to spark intense debate about the truthfulness and trustworthiness of our government, Conspiracy Theory in America offers a powerful reminder that a suspicious, even radically suspicious, attitude toward government is crucial to maintaining our democracy.

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With some 6,000 species of plants, Texas has extraordinary botanical wealth and diversity. Learning to identify plants is the first step in understanding their vital role in nature, and many field guides have been published for that purpose. But to fully appreciate how Texas's native plants have sustained people and animals from prehistoric times to the present, you need Remarkable Plants of Texas.In this intriguing book, Matt Warnock Turner explores the little-known facts—be they archaeological, historical, material, medicinal, culinary, or cultural—behind our familiar botanical landscape. In sixty-five entries that cover over eighty of our most common native plants from trees, shrubs, and wildflowers to grasses, cacti, vines, and aquatics, he traces our vast array of connections with plants. Turner looks at how people have used plants for food, shelter, medicine, and economic subsistence; how plants have figured in the historical record and in Texas folklore; how plants nourish wildlife; and how some plants have unusual ecological or biological characteristics. Illustrated with over one hundred color photos and organized for easy reference, Remarkable Plants of Texas can function as a guide to individual species as well as an enjoyable natural history of our most fascinating native plants.

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Women in comedy have traditionally been pegged as either “pretty” or “funny.” Attractive actresses with good comic timing such as Katherine Hepburn, Lucille Ball, and Julia Roberts have always gotten plum roles as the heroines of romantic comedies and television sitcoms. But fewer women who write and perform their own comedy have become stars, and, most often, they’ve been successful because they were willing to be funny-looking, from Fanny Brice and Phyllis Diller to Lily Tomlin and Carol Burnett. In this pretty-versus-funny history, women writer-comedians—no matter what they look like—have ended up on the other side of “pretty,” enabling them to make it the topic and butt of the joke, the ideal that is exposed as funny.Pretty/Funny focuses on Kathy Griffin, Tina Fey, Sarah Silverman, Margaret Cho, Wanda Sykes, and Ellen DeGeneres, the groundbreaking women comics who flout the pretty-versus-funny dynamic by targeting glamour, postfeminist girliness, the Hollywood A-list, and feminine whiteness with their wit and biting satire. Linda Mizejewski demonstrates that while these comics don’t all identify as feminists or take politically correct positions, their work on gender, sexuality, and race has a political impact. The first major study of women and humor in twenty years, Pretty/Funny makes a convincing case that women’s comedy has become a prime site for feminism to speak, talk back, and be contested in the twenty-first century.

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Biotechnology crop production area increased from 1.7 million hectares to 148 million hectares worldwide between 1996 to 2010. While genetically modified food is a contentious issue, the debates are usually limited to health and environmental concerns, ignoring the broader questions of social control that arise when food production methods become corporate-owned intellectual property. Drawing on legal documents and dozens of interviews with farmers and other stakeholders, Corporate Crops covers four case studies based around litigation between biotechnology corporations and farmers. Pechlaner investigates the extent to which the proprietary aspects of biotechnologies—from patents on seeds to a plethora of new rules and contractual obligations associated with the technologies—are reorganizing crop production.The lawsuits include patent infringement litigation launched by Monsanto against a Saskatchewan canola farmer who, in turn, claimed his crops had been involuntarily contaminated by the company’s GM technology; a class action application by two Saskatchewan organic canola farmers launched against Monsanto and Aventis (later Bayer) for the loss of their organic market due to contamination with GMOs; and two cases in Mississippi in which Monsanto sued farmers for saving seeds containing its patented GM technology. Pechlaner argues that well-funded corporate lawyers have a decided advantage over independent farmers in the courts and in creating new forms of power and control in agricultural production. Corporate Crops demonstrates the effects of this intersection between the courts and the fields where profits, not just a food supply, are reaped.

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Known for their beautiful textile art, the Kuna of Panama have been scrutinized by anthropologists for decades. Perhaps surprisingly, this scrutiny has overlooked the magnificent Kuna craft of nuchukana—wooden anthropomorphic carvings—which play vital roles in curing and other Kuna rituals. Drawing on long-term fieldwork, Paolo Fortis at last brings to light this crucial cultural facet, illuminating not only Kuna aesthetics and art production but also their relation to wider social and cosmological concerns.Exploring an art form that informs birth and death, personhood, the dream world, the natural world, religion, gender roles, and ecology, Kuna Art and Shamanism provides a rich understanding of this society’s visual system, and the ways in which these groundbreaking ethnographic findings can enhance Amerindian scholarship overall. Fortis also explores the fact that to ask what it means for the Kuna people to carve the figure of a person is to pose a riddle about the culture’s complete concept of knowing.Also incorporating notions of landscape (islands, gardens, and ancient trees) as well as cycles of life, including the influence of illness, Fortis places the statues at the center of a network of social relationships that entangle people with nonhuman entities. As an activity carried out by skilled elderly men, who possess embodied knowledge of lifelong transformations, the carving process is one that mediates mortal worlds with those of immortal primordial spirits. Kuna Art and Shamanism immerses readers in this sense of unity and opposition between soul and body, internal forms and external appearances, and image and design.

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Several biographies of Américo Paredes have been published over the last decade, yet they generally overlook the paradoxical nature of his life’s work. Embarking on an in-depth, critical exploration of the significant body of work produced by Paredes, José E. Limón (one of Paredes’s students and now himself one of the world’s leading scholars in Mexican American studies) puts the spotlight on Paredes as a scholar/citizen who bridged multiple arenas of Mexican American cultural life during a time of intense social change and cultural renaissance.Serving as a counterpoint to hagiographic commentaries, Américo Paredes challenges and corrects prevailing readings by contemporary critics of Paredes’s Asian period and of such works as the novel George Washington Gómez, illuminating new facets in Paredes’s role as a folklorist and public intellectual. Limón also explores how the field of cultural studies has drifted away from folklore, or “the poetics of everyday life,” while he examines the traits of Mexican American expressive culture. He also investigates the scholarly paradigm of ethnography itself, a stimulating inquiry that enhances readings of Paredes’s best-known study, “With His Pistol in His Hand,” and other works. Underscoring Paredes’s place in folklore and Mexican American literary production, the book questions the shifting reception of Paredes throughout his academic career, ultimately providing a deep hermeneutics of widely varied work. Offering new conceptions, interpretations, and perspectives, Américo Paredes gives this pivotal literary figure and his legacy the critical analysis they deserve.

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Prior to the millennium, economists and policy makers argued that free trade between the United States and Mexico would benefit both Americans and Mexicans. They believed that NAFTA would be a “win-win” proposition that would offer U.S. companies new markets for their products and Mexicans the hope of living in a more developed country with the modern conveniences of wealthier nations. Blending rigorous economic and statistical analysis with concern for the people affected, Mexican Women in American Factories offers the first assessment of whether NAFTA has fulfilled these expectations by examining its socioeconomic impact on workers in a Mexican border town.Carolyn Tuttle led a group that interviewed 620 women maquila workers in Nogales, Sonora, Mexico. The responses from this representative sample refute many of the hopeful predictions made by scholars before NAFTA and reveal instead that little has improved for maquila workers. The women’s stories make it plain that free trade has created more low-paying jobs in sweatshops where workers are exploited. Families of maquila workers live in one- or two-room houses with no running water, no drainage, and no heat. The multinational companies who operate the maquilas consistently break Mexican labor laws by requiring women to work more than nine hours a day, six days a week, without medical benefits, while the minimum wage they pay workers is insufficient to feed their families. These findings will make a crucial contribution to debates over free trade, CAFTA-DR, and the impact of globalization.

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A Choice Outstanding Academic BookThe "Homeric Question" has vexed Classicists for generations. Was the author of the Iliad and the Odyssey a single individual who created the poems at a particular moment in history? Or does the name "Homer" hide the shaping influence of the epic tradition during a long period of oral composition and transmission?In this innovative investigation, Gregory Nagy applies the insights of comparative linguistics and anthropology to offer a new historical model for understanding how, when, where, and why the Iliad and the Odyssey were ultimately preserved as written texts that could be handed down over two millennia. His model draws on the comparative evidence provided by living oral epic traditions, in which each performance of a song often involves a recomposition of the narrative.This evidence suggests that the written texts emerged from an evolutionary process in which composition, performance, and diffusion interacted to create the epics we know as the Iliad and the Odyssey. Sure to challenge orthodox views and provoke lively debate, Nagy's book will be essential reading for all students of oral traditions.

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One of the earliest chronicles of the Inca empire was written in the 1550s by Juan de Betanzos. Although scholars have long known of this work, only eighteen chapters were actually available until the 1980s when the remaining sixty-four chapters were discovered in the collection of the Fundación Bartolomé March in Palma de Mallorca, Spain.Narrative of the Incas presents the first complete English translation of the original manuscript of this key document. Although written by a Spaniard, it presents an authentic Inca worldview, drawn from the personal experiences and oral traditions told to Betanzos by his Inca wife, Doña Angelina, and other members of her aristocratic family who lived during the reigns of the last Inca rulers, Huayna Capac Huascar and Atahualpa. Betanzos wrote a history of the Inca empire that focuses on the major rulers and the contributions each one made to the growth of the empire and of Inca culture.Filled with new insights into Inca politics, marriage, laws, the calendar, warfare, and other matters, Narrative of the Incas is essential reading for everyone interested in this ancient civilization.

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In the first, most intense years of the Cold War (1947–1954), New Deal liberals often found themselves in great disfavor. Ben Shahn's experience presents something of a paradox, however, since his paintings appealed in different ways to both liberals and conservatives. Blacklisted by CBS during the McCarthy era and yet, ironically, incorporated into presidential "campaigns of truth" aimed at improving the U.S. image abroad, Ben Shahn is a pivotal figure, revealing the complexities and contradictions inherent in this highly polarized moment in American history.In this pathbreaking study, Frances Pohl traces the political and artistic struggles Ben Shahn became embroiled in as he tried to remain a socially concerned artist during the early Cold War period. She shows how he rejected the argument, voiced by many Abstract Expressionists, that art and politics should not mix, yet at the same time searched for a way to depict, in universal and allegorical terms, the broad human condition rather than simply specific instances of injustice. Perhaps most important, she makes critical connections between U.S. social and political history and the art it provoked, thus illuminating both the later career of Ben Shahn and the Cold War era in American cultural history.

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Winner, National Translation Award, American Literary Translators Association, 2015Upon the death of their leader, a group of Tuareg, a nomadic Berber community whose traditional homeland is the Sahara Desert, turns to the heir dictated by tribal custom; however, he is a poet reluctant to don the mantle of leadership. Forced by tribal elders to abandon not only his poetry but his love, who is also a poet, he reluctantly serves as leader. Whether by human design or the meddling of the Spirit World, his death inspires his tribe to settle down permanently, abandoning not only nomadism but also the inherited laws of the tribe. The community they found, New Waw, which they name for the mythical paradise of the Tuareg people, is also the setting of Ibrahim al-Koni’s companion novel, The Puppet.For al-Koni, this Tuareg tale of the tension between nomadism and settled life represents a choice faced by people everywhere, in many walks of life, as a result of globalism. He sees an inevitable interface between myth and contemporary life.

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Moving beyond the dominant model of syncretism, this extensively illustrated volume proposes a completely different approach to the field known as Latin American “colonial art,” positioning it as a constitutive part of Renaissance and early modern art history. From the first contacts between European conquerors and the peoples of the Americas, objects were exchanged and treasures pillaged, as if each side were seeking to appropriate tangible fragments of the “world” of the other. Soon, too, the collision between the arts of Renaissance Europe and pre-Hispanic America produced new objects and new images with the most diverse usages and forms. Scholars have used terms such as syncretism, fusion, juxtaposition, and hybridity in describing these new works of art, but none of them, asserts Alessandra Russo, adequately conveys the impact that the European artistic world had on the Mesoamerican artistic world or treats the ways in which pre-Hispanic traditions, expertise, and techniques—as well as the creation of post-Conquest images—transformed the course of Western art. This innovative study focuses on three sets of paradigmatic images created in New Spain between the sixteenth and seventeenth centuries—feather mosaics, geographical maps, and graffiti—to propose that the singularity of these creations arises not from a syncretic impulse, but rather from a complex process of “untranslatability.” Foregrounding the distances and differences between incomparable theories and practices of images, Russo demonstrates how the constant effort to understand, translate, adapt, decode, transform, actualize, and condense Mesoamerican and European aesthetics, traditions, knowledge, techniques, and concepts constituted an exceptional engine of unprecedented visual and verbal creativity in the early modern transatlantic world.

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The Panza Monologues is an original solo performance piece based on women's stories about their panzas—tú sabes—that roll of belly we all try to hide. Written, compiled, and collected by Virginia Grise and Irma Mayorga and fashioned into a tour-de-force solo performance, The Panza Monologues features the words of Chicanas speaking with humor and candor. Their stories boldly place the panza front and center as a symbol that reveals the lurking truths about women's thoughts, lives, loves, abuses, and living conditions.This second edition of The Panza Monologues presents the performance script in its entirety, as well as a rich supporting cast of dramaturgical and pedagogical materials. These include a narrative history of the play’s development by the playwrights; critical materials that enhance and expand upon the script’s themes and ideas (a short introduction to San Antonio, where the play was developed; playwright autogeographies; and a manifesto on women of color making theater); and a selection of pedagogical and creative ideas, including guidelines and advice for staging a production of the play and for teaching it in the classroom, community-making activities (screenings, hosting “Panza Parties,” community/group discussions), and creative writing activities connected to the play.

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The process of nation-building in Latin America transformed the relations between the state, the economy, and nature. Between 1760 and 1940, the economies of most countries in the Spanish Caribbean came to depend heavily on the export of plant products, such as coffee, tobacco, and sugar. After the mid-nineteenth century, this model of export-led economic growth also became a central tenet of liberal projects of nation-building. As international competition grew and commodity prices fell over this period, Latin American growers strove to remain competitive by increasing agricultural production. By the turn of the twentieth century, their pursuit of export-led growth had generated severe environmental problems, including soil exhaustion, erosion, and epidemic outbreaks of crop diseases and pests. This book traces the history of the intersections between nature, economy, and nation in the Spanish Caribbean through a history of the agricultural and botanical sciences. Growers and governments in Venezuela, Puerto Rico, Cuba, Colombia, and Costa Rica turned to scientists to help them establish practical and ideological control over nature. They hoped to use science to alleviate the pressing environmental and economic stresses, without having to give up their commitment to export-led growth. Starting from an overview of the relationship among science, nature, and development throughout the export boom of 1760 to 1930, Stuart McCook examines such topics as the relationship between scientific plant surveys and nation-building, the development of a "creole science" to address the problems of tropical agriculture, the ecological rationalization of the sugar industry, and the growth of technocratic ideologies of science and progress. He concludes with a look at how the Great Depression of the 1930s changed the paradigms of economic and political development and the role of science and nature in these paradigms.

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Observations of the sun, moon, planets, and stars played a central role in ancient Maya lifeways, as they do today among contemporary Maya who maintain the traditional ways. This pathfinding book reconstructs ancient Maya astronomy and cosmology through the astronomical information encoded in Precolumbian Maya art and confirmed by the current practices of living Maya peoples.Susan Milbrath opens the book with a discussion of modern Maya beliefs about astronomy, along with essential information on naked-eye observation. She devotes subsequent chapters to Precolumbian astronomical imagery, which she traces back through time, starting from the Colonial and Postclassic eras. She delves into many aspects of the Maya astronomical images, including the major astronomical gods and their associated glyphs, astronomical almanacs in the Maya codices [painted books], and changes in the imagery of the heavens over time. This investigation yields new data and a new synthesis of information about the specific astronomical events and cycles recorded in Maya art and architecture. Indeed, it constitutes the first major study of the relationship between art and astronomy in ancient Maya culture.

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The relationship between actors and spectators has been of perennial interest to playwrights. The Roman playwright Plautus (ca. 200 BCE) was particularly adept at manipulating this relationship. Plautus allowed his actors to acknowledge freely the illusion in which they were taking part, to elicit laughter through humorous asides and monologues, and simultaneously to flatter and tease the spectators. These metatheatrical techniques are the focus of Timothy J. Moore's innovative study of the comedies of Plautus. The first part of the book examines Plautus' techniques in detail, while the second part explores how he used them in the plays Pseudolus, Amphitruo, Curculio, Truculentus, Casina, and Captivi. Moore shows that Plautus employed these dramatic devices not only to entertain his audience but also to satirize aspects of Roman society, such as shady business practices and extravagant spending on prostitutes, and to challenge his spectators' preconceptions about such issues as marriage and slavery. These findings forge new links between Roman comedy and the social and historical context of its performance.

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Since World War II, the Green Revolution has boosted agricultural production in Latin America and other parts of the Third World, with money, technical assistance, and other forms of aid from United States development agencies. But the Green Revolution came at a high price—massive pesticide dependence that has caused serious socioeconomic and public health problems and widespread environmental damage.In this study, Douglas Murray draws on ten years of field research to tell the stories of international development strategies, pesticide problems, and agrarian change in Latin America. Interwoven with his considerations of economic and geopolitical dimensions are the human consequences for individual farmers and rural communities.This highly interdisciplinary study, integrating the perspectives of sociology, ecology, economics, political science, and public health, adds an important voice to the debate on opportunities for and obstacles to more lasting and sustainable development in the Third World. It will be of interest to a wide audience in the social and environmental sciences.

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Of all the historical characters known from the time of the Spanish conquest of the New World, none has proved more pervasive or controversial than that of the Indian interpreter, guide, mistress, and confidante of Hernán Cortés, Doña Marina—La Malinche—Malintzin. The mother of Cortés's son, she becomes not only the mother of the mestizo but also the Mexican Eve, the symbol of national betrayal.Very little documented evidence is available about Doña Marina. This is the first serious study tracing La Malinche in texts from the conquest period to the present day. It is also the first study to delineate the transformation of this historical figure into a literary sign with multiple manifestations.Cypess includes such seldom analyzed texts as Ireneo Paz's Amor y suplicio and Doña Marina, as well as new readings of well-known texts like Octavio Paz's El laberinto de la soledad. Using a feminist perspective, she convincingly demonstrates how the literary depiction and presentation of La Malinche is tied to the political agenda of the moment. She also shows how the symbol of La Malinche has changed over time through the impact of sociopolitical events on the literary expression.

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Almost a century and a half went into the making of My Eighty Years in Texas. It began as a diary, kept by fifteen-year-old William Physick Zuber after he joined Sam Houston’s Texas army in 1836, hoping he could emulate the heroism of American Revolutionary patriots. Although his hopes were never realized, Zuber recorded the privations, victories, and defeats of armies on the move during the Texas Revolution, the Indian campaigns, and, as he styled it, the Confederate War. In 1910, at the age of ninety, Zuber began the enormous task of transcribing his diaries and his memories for publication. After his death in 1913, the handwritten manuscript, 1, was placed in the Texas State Archives, where it was used as a reference source by students and scholars of Texas history. Over a half century after Zuber’s death, Janis Boyle Mayfield finally brought his publication plans to fruition. Zuber details his early zest for learning and his laborious methods of self-education. He tells of the trials of organizing and teaching schools in the sparsely populated plains. He recalls the day-by-day happenings of a private soldier in the Texas army of 1836, the Texas Militia, and the Confederate army—including the mishaps of army life and the encounters with enemies from San Jacinto to Cape Girardeau. After the Civil War, his interest turns to the politics of Reconstruction, the veterans’ pension, and the founding of the Texas Veterans Association. This is the story of and by an outspoken Texian, complete with his attitudes, principles, and moralizings, and the nineteenth-century style and flavor of his writing. Included as an appendix is “An Escape from the Alamo,” the account of Moses Rose for which Zuber, who was a prolific writer, was best known. A historiography of the Rose story, a bibliography of Zuber’s published and unpublished writings, annotation, and an introduction are provided by Llerena Friend.

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Just remembering the crispy fried chicken and luscious peach cobblers a grandmother or aunt used to make can set your mouth watering. And since remembering is no substitute for eating, cooks across the country have turned to Cooking Texas Style to find recipes for the comfort foods we love best. Thirty years after its first publication, popular acclaim has made this collection of favorite family recipes the standard source for traditional Texas cooking.Here are over three hundred tasty recipes from the kitchens of Candy Wagner and Sandra Marquez. You’ll find classic Texas dishes such as chicken-fried steak, barbecue, chili, guacamole, and cornbread hot with jalapeños, as well as novel, exciting ways to prepare old favorites such as Tortilla Soup, Fajitas, and Chicken and Dumplings. Organized for easy reference, all the recipes are clearly explained, simple to prepare, and simply delicious. Cooking Texas Style is an invaluable addition to the kitchen bookshelf of anyone interested in cooking—and eating—Texas style.

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Early Iranians believed evil had to have a source outside of God, which led to the concept of an entity as powerful and utterly evil as God is potent and good. These two forces, good and evil, which have always vied for superiority, needed helpers in this struggle. According to the Zoroastrians, every entity had to take sides, from the cosmic level to the microcosmic self. One of the results of this battle was that certain humans were thought to side with evil. Who were these allies of that great Evil Spirit? Women were inordinately singled out. Male healers were forbidden to deal with female health disorders because of the fear of the polluting power of feminine blood. Female healers, midwives, and shamans were among those who were accused of collaborating with the Evil Spirit, because they healed women. Men who worked to prepare the dead were also suspected of secret evil. Evil even showed up as animals such as frogs, snakes, and bugs of all sorts, which scuttled to the command of their wicked masters. This first comprehensive study of the concept of evil in early Iran uncovers details of the Iranian struggle against witchcraft, sorcery, and other "evils," beginning with their earliest texts.

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2003 — Honorable Mention, Myers Outstanding Book Award – The Gustavus Myers Center for the Study of Bigotry and Human Rights in North America The demand of white, affluent society that all Americans should speak, read, and write "proper" English causes many people who are not white and/or middle class to attempt to "talk in a way that feel peculiar to [their] mind," as a character in Alice Walker's The Color Purple puts it. In this book, Sonja Lanehart explores how this valorization of "proper" English has affected the language, literacy, educational achievements, and self-image of five African American women—her grandmother, mother, aunt, sister, and herself. Through interviews and written statements by each woman, Lanehart draws out the life stories of these women and their attitudes toward and use of language. Making comparisons and contrasts among them, she shows how, even within a single family, differences in age, educational opportunities, and social circumstances can lead to widely different abilities and comfort in using language to navigate daily life. Her research also adds a new dimension to our understanding of African American English, which has been little studied in relation to women.

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As contemporary Native and non-Native Americans explore various forms of "gender bending" and gay and lesbian identities, interest has grown in "berdaches," the womanly men and manly women who existed in many Native American tribal cultures. Yet attempts to find current role models in these historical figures sometimes distort and oversimplify the historical realities.This book provides an objective, comprehensive study of Native American women-men and men-women across many tribal cultures and an extended time span. Sabine Lang explores such topics as their religious and secular roles; the relation of the roles of women-men and men-women to the roles of women and men in their respective societies; the ways in which gender-role change was carried out, legitimized, and explained in Native American cultures; the widely differing attitudes toward women-men and men-women in tribal cultures; and the role of these figures in Native mythology. Lang's findings challenge the apparent gender equality of the "berdache" institution, as well as the supposed universality of concepts such as homosexuality.

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Humankind has always been fascinated and troubled by the way languages and dialects differ. Linguistically based differences in point of view have preoccupied many original minds of the past, such as Kant, and remain at the forefront of language study: in philosophy, anthropology, literary criticism, and other fields.Paul Friedrich's The Language Parallax argues persuasively that the "locus and focus" of differences among languages lies not so much in practical or rational aspects as in the complexity and richness of more poetic dimensions—in the nuances of words, or the style and voice of an author. This poetic reformulation of what has been called "linguistic relativism" is grounded in the author's theory of the imagination as a main source of poetic indeterminacy. The reformulation is also based on the intimate relation of the concentrated language of poetry to the potential or possibilities for poetry in ordinary conversation, dreams, and other experiences. The author presents challenging thoughts on the order and system of language in their dynamic relation to indeterminacy and, ultimately, disorder and chaos.Drawing on his considerable fieldwork in anthropology and linguistics, Friedrich interweaves distinct and provocative elements: the poetry of language difference, the indeterminacy in dialects and poetic forms, the discovery of underlying orders, the workings of different languages, the strength of his own poetry. The result is an innovative and organic whole.The Language Parallax, then, is a highly original work with a single bold thesis. It draws on research and writing that has involved, in particular, English, Russian, and the Tarascan language of Mexico, as well as the personal and literary study of the respective cultures. Anthropologist, linguist, and poet, Friedrich synthesizes from his experience in order to interrelate language variation and structure, the creative individual, ideas of system-in-process, and questions of scientific and aesthetic truth. The result is a new view of language held to the light of its potentially creative nature.

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Most recent books about Chiapas, Mexico, focus on political conflicts and the indigenous movement for human rights at the macro level. None has explored those conflicts and struggles in-depth through an individual woman's life story. The Journey of a Tzotzil-Maya Woman of Chiapas, Mexico now offers that perspective in one woman's own words. Anthropologist Christine Eber met "Antonia" in 1986 and has followed her life's journey ever since. In this book, they recount Antonia's life story and also reflect on challenges and rewards they have experienced in working together, offering insight into the role of friendship in anthropological research, as well as into the transnational movement of solidarity with the indigenous people of Chiapas that began with the Zapatista uprising.Antonia was born in 1962 in San Pedro Chenalhó, a Tzotzil-Maya township in highland Chiapas. Her story begins with memories of childhood and progresses to young adulthood, when Antonia began working with women in her community to form weaving cooperatives while also becoming involved in the Word of God, the progressive Catholic movement known elsewhere as Liberation Theology. In 1994, as a wife and mother of six children, she joined a support base for the Zapatista Army of National Liberation. Recounting her experiences in these three interwoven movements, Antonia offers a vivid and nuanced picture of working for social justice while trying to remain true to her people's traditions.

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With previously unpublished photographs by an incredibly diverse group of the world’s top news photographers, Photojournalists on War presents a groundbreaking new visual and oral history of America’s nine-year conflict in the Middle East. Michael Kamber interviewed photojournalists from many leading news organizations, including Agence France-Presse, the Associated Press, the Guardian, the Los Angeles Times, Magnum, Newsweek, the New York Times, Paris Match, Reuters, Time, the Times of London, VII Photo Agency, and the Washington Post, to create the most comprehensive collection of eyewitness accounts of the Iraq War yet published. These in-depth interviews offer first-person, frontline reports of the war as it unfolded, including key moments such as the battle for Fallujah, the toppling of Saddam’s statue, and the Haditha massacre. The photographers also vividly describe the often shocking and sometimes heroic actions that journalists undertook in trying to cover the war, as they discuss the role of the media and issues of censorship. These hard-hitting accounts and photographs, rare in the annals of any war, reveal the inside and untold stories behind the headlines in Iraq.

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The inspirational writings of cultural theorist and social justice activist Gloria Anzaldúa have empowered generations of women and men throughout the world. Charting the multiplicity of Anzaldúa's impact within and beyond academic disciplines, community trenches, and international borders, Bridging presents more than thirty reflections on her work and her life, examining vibrant facets in surprising new ways and inviting readers to engage with these intimate, heartfelt contributions.Bridging is divided into five sections: The New Mestizas: "transitions and transformations"; Exposing the Wounds: "You gave me permission to fly in the dark"; Border Crossings: Inner Struggles, Outer Change; Bridging Theories: Intellectual Activism with/in Borders; and "Todas somos nos/otras": Toward a "politics of openness." Contributors, who include Norma Elia Cantú, Elisa Facio, Shelley Fisher Fishkin, Aída Hurtado, Andrea Lunsford, Denise Segura, Gloria Steinem, and Mohammad Tamdgidi, represent a broad range of generations, professions, academic disciplines, and national backgrounds. Critically engaging with Anzaldúa's theories and building on her work, they use virtual diaries, transformational theory, poetry, empirical research, autobiographical narrative, and other genres to creatively explore and boldly enact future directions for Anzaldúan studies.A book whose form and content reflect Anzaldúa's diverse audience, Bridging perpetuates Anzaldúa's spirit through groundbreaking praxis and visionary insights into culture, gender, sexuality, religion, aesthetics, and politics. This is a collection whose span is as broad and dazzling as Anzaldúa herself.

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"History painting," for many people, conjures up Washington Crossing the Delaware and other paintings of heroic historical events. But history has made its way into considerably more American art than such obvious examples, in the view of Michael Kammen. In three thought-provoking and innovative essays, Kammen ranges from the Renaissance to the twentieth century, from central Europe to the western United States, and from elegant oil painting to folk sculpture to show the transformations of Old World icons of time into New World images of social memory and tradition.In the first essay, Kammen demonstrates how American artists and artisans modified European emblems of time in response to their New World setting. In the second essay concerning nineteenth-century landscape art, he explores how artists used space to represent the movement of American culture through time. In the final essay, he looks at two distinctively American motifs of collective memory and tradition—old houses and elm trees. Throughout this interdisciplinary study, Kammen draws his examples from well-known and lesser-known artists, as well as from diverse American writers. Over 100 black-and-white illustrations accompany the text.Of interest to all students of American culture, Meadows of Memory raises intriguing questions about the American paradox of desiring to conquer mutability while yearning for emblems of a (perhaps imagined?) past.

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Towering above printers of his time and their successors for many years afterward was the figure of Robert Estienne, the great French lexicographer of the sixteenth century, whose contribution to knowledge and its dissemination is the subject of this authoritative book. The span of Robert Estienne's life (1503–1559) encompassed the historical epochs and events which shaped his career: the Renaissance, the Reformation, and the invention of printing by movable type. His keen interest in the revival of ancient literatures and languages and his training in the art of printing pointed the road he would travel, and the climate of opinion in the Reformation determined his destiny. Robert Estienne promoted classical learning by printing the works of good authors; to spread knowledge of ancient literature he compiled dictionaries and grammars which were adopted by most of the universities of Europe. His dictionary of proper names of Biblical and classical origin, the Dictionarium historicum ac poeticum, became one of the great source books for later compilers of dictionaries and for authors. His influence on English writers was pervasive. Ben Jonson showed familiarity with his texts; Spenser and Milton sometimes set trarislations of his phraseology directly into their poetry. Perpetuation of the few errors he made is one sure proof that his dictionaries were used and copied. An exemplar of learning in the classics and scripture, he searched in ancient manuscripts to avoid repeating the numerous errors that had crept into Bible translations over hundreds of years. For his efforts he was called a heretic by docteurs de theologie in the Sorbonne, but was protected by the royal favor of Francis I of France. Between attacks of theologians on the one side and the King's protection on the other, he became a "controversial" figure and after many years of calumny and persecution finally took refuge in Geneva. Estienne established a family tradition of printing correct and beautiful books, and the printing establishments which made the name of Estienne celebrated throughout the world continued for 162 years.

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Many species of the phylum Nematoda, the nonsegmented worms, play an important role as animal or plant parasites; most species are active contributors to the decomposition cycle in soil ecosystems, but the details of that contribution are just beginning to be understood. Agricultural nematologists, vitally involved in the study of the methodology, taxonomy, and biology of the species due to the direct relationship between crop yield and the size of plant-parasitic nematode populations, have provided much information about the nematodes. More recently, ecologists have contributed additional data on the structure and function of the total soil community, including energy flow and nutrient cycling, and have examined the critical and multifaceted role of soil nematodes in such communities. Nematodes in Soil Ecosystems provides a valuable synthesis of significant research in this area and may stimulate further important communication between the agricultural and ecological branches of nematode research.

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Throughout the African American community, individuals and organizations ranging from churches to schools to drug treatment centers are fighting the widespread use of crack cocaine. To put that fight in a larger cultural context, Doin' Drugs explores historical patterns of alcohol and drug use from pre-slavery Africa to present-day urban America.William Henry James and Stephen Lloyd Johnson document the role of alcohol and other drugs in traditional African cultures, among African slaves before the American Civil War, and in contemporary African American society, which has experienced the epidemics of marijuana, heroin, crack cocaine, and gangs since the beginning of this century. The authors zero in on the interplay of addiction and race to uncover the social and psychological factors that underlie addiction.James and Johnson also highlight many culturally informed programs, particularly those sponsored by African American churches, that are successfully breaking the patterns of addiction. The authors hope that the information in this book will be used to train a new generation of counselors, ministers, social workers, nurses, and physicians to be better prepared to face the epidemic of drug addiction in African American communities.

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“Not many readers will thank the author as he deserves, for he has told us more about ourselves than we perhaps wish to know,” predicted Latin America in Books of Latin America in Caricature—an exploration of more than one hundred years of hemispheric relations through political cartoons collected from leading U.S. periodicals from the 1860s through 1980. The cartoons are grouped according to recurring themes in diplomacy and complementing visual imagery. Each one is accompanied by a lengthy explanation of the incident portrayed, relating the drawing to public opinion of the day. Johnson’s thoughtful introduction and the comments that precede the individual chapters provide essential background for understanding U.S. attitudes and policies toward Latin America.

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Otfried Hans Freiherr von Meusebach chose a life of hardship and freedom in Texas rather than a life of comfort and influence in his native Germany, where he had lived his formative years within a framework of unconstitutional government. In 1845 the young liberal relinquished his hereditary German title, left behind his close family ties and his various intellectual and political associations, and arrived in Texas as John O. Meusebach, commissioner-general for the Society for the Protection of German Immigrants. His background enabled him to assume an enlightened leadership of fellow immigrants who were pouring in from Germany. Lacking adequate financial backing, he nevertheless led the settling of some five thousand people in a land that was largely occupied by Indians. Irene Marschall King presents the full sweep of Meusebach's vigorous life: Meusebach as the young liberal in Germany, as the colonizer in the 1840s, as a Texas senator and, later, an observer of the Civil War, and as a Texan who devoted his later years to bringing the Texas soil to fruition—all set against a background of the immigration movement and frontier life. "Freedom is not free; it is costly," Meusebach believed. In Texas he found for himself and others freedom worth the price he paid. Rich in historic detail, King's story recounts the founding of Fredericksburg, the crippling effect of the Mexican War upon the mass of immigrants huddled in illness on the coast, the signing of the Indian Treaty, which opened to settlement over three million acres of land, and the final collapse of the Society for the Protection of German Immigrants. Also depicted is the colonists' influence on the land—the gardens and orchards of south central Texas, the "Easter Fires" that blaze on the hills surrounding Fredericksburg, the mixture of German custom with American necessity that created a unique culture. Throughout the narrative Mrs. King presents a fascinating cast of characters: the noble Prince Solms, who tries to establish a German military outpost in Texas; Henry Fisher, who attempts by devious methods to control the colonists and their land and finally incites a mob which tries to hang Meusebach; Philip Cappes, a special commissioner and Meusebach's assistant, who plots through intriguing correspondence with Count Castell, the executive secretary in Germany, to overthrow Meusebach; and the colorful and courageous Indian fighter and Texas Ranger, Colonel Jack Hays. Primarily, however, this is the story of a man who found strength in his family's motto, "Perseverance in Purpose," and gave of his energies to build Texas.

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Whether you judge by box office receipts, industry awards, or critical accolades, science fiction films are the most popular movies now being produced and distributed around the world. Nor is this phenomenon new. Sci-fi filmmakers and audiences have been exploring fantastic planets, forbidden zones, and lost continents ever since George Méliès’ 1902 film A Trip to the Moon. In this highly entertaining and knowledgeable book, film historian and pop culture expert Douglas Brode picks the one hundred greatest sci-fi films of all time.Brode’s list ranges from today’s blockbusters to forgotten gems, with surprises for even the most informed fans and scholars. He presents the movies in chronological order, which effectively makes this book a concise history of the sci-fi film genre. A striking (and in many cases rare) photograph accompanies each entry, for which Brode provides a numerical rating, key credits and cast members, brief plot summary, background on the film’s creation, elements of the moviemaking process, analysis of the major theme(s), and trivia. He also includes fun outtakes, including his top ten lists of Fifties sci-fi movies, cult sci-fi, least necessary movie remakes, and “so bad they’re great” classics—as well as the ten worst sci-fi movies (“those highly ambitious films that promised much and delivered nil”). So climb aboard spaceship Brode and journey to strange new worlds from Metropolis (1927) to Guardians of the Galaxy (2014).

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What does it take for a woman to succeed as a writer? In these revealing interviews, first published in 1988 as Historias íntimas, ten of Latin America's most important women writers explore this question with scholar Magdalena García Pinto, discussing the personal, social, and political factors that have shaped their writing careers.The authors interviewed are Isabel Allende, Albalucía Angel, Rosario Ferré, Margo Glantz, Sylvia Molloy, Elvira Orphée, Elena Poniatowska, Marta Traba, Luisa Valenzuela, and Ida Vitale. In intimate dialogues with each author, García Pinto draws out the formative experiences of her youth, tracing the pilgrimage that led each to a distinguished writing career.The writers also reflect on their published writings, discussing the creative process in general and the motivating force behind individual works. They candidly discuss the problems they have faced in writing and the strategies that enabled them to reach their goals.While obviously of interest to readers of Latin American literature, this book has important insights for students of women's literature and cultural studies, as well as for aspiring writers.

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I'll Tell You a Tale is a garland of some of Frank Dobie's best writing, put together by Isabel Gaddis, one of his former students at the University of Texas. The tales included are those the author himself liked best, and he even rewrote some of them especially for this anthology. Ben Carlton Mead has contributed 32 original line drawings to illustrate the stories.These tales spring from the soil and folklore of our land; but more than this, they make the readers contemporary with the times, filling us with the wonder of something past and yet still with us. They are arranged topically into sections whose titles speak for them: "The Longhorn Breed," "Mustangs and Mustangers," "The Saga of the Saddle," "Characters and Happenings of Long Ago," "Animals of the Wild," "In Realms of Gold," and "Ironies."

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From its invention in Europe at the end of the nineteenth century, the automobile crisscrossed the world, completely took over the cities, and became a feature of daily life. Considered basic to the American lifestyle, the car reflected individualism, pragmatism, comfort, and above all modernity. In Latin America, it served as a symbol of distinction, similar to jewelry or fine clothing. In The Cultural Life of the Automobile, Guillermo Giucci focuses on the automobile as an instrument of social change through its “kinetic modernity” and as an embodiment of the tremendous social impact of technology on cultural life.Material culture—how certain objects generate a wide array of cultural responses—has been the focus of much scholarly discussion in recent years. The automobile wrought major changes and inspired images in language, literature, and popular culture. Focusing primarily on Latin America but also covering the United States, Europe, Asia, and Africa, Giucci examines how the automobile was variously adapted by different cultures and how its use shaped and changed social and economic relationships within them. At the same time, he shows how the “automobilization” of society became an essential support for the development of modern individualism, and the automobile its clearest material manifestation.

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This is the first study to cover cinemas from Iran to Morocco. Nine essays present the region's major national cinemas, devoting special attention to the work of directors who have given image and voice to dissent from political regimes, from patriarchal customs, from fundamentalist movements, and from the West. These country essays are complemented by in-depth discussions of eighteen films that have been selected for both their excellence and their critical engagement with pressing current issues. The introduction provides a comprehensive overview of filmmaking throughout the region, including important films produced outside the national cinemas. The long history of Iranian cinema, its international renown, and the politics of directors confronting the state, earns it a special place in this volume. The other major emphasis is on the Israel/Palestine conflict, featuring films by Palestinian directors, Israelis, and an Egyptian working in Syria. Nineteen authors collaborated on this book, among them Walter Armbrust, Roy Armes, Kevin Dwyer, Eric Egan, Nurith Gertz, Lina Khatib, Florence Martin, and Nadia Yaqub. About half of the contributors are film scholars; the others range across literary studies and the social sciences to two film directors and a novelist. Beyond differences in disciplinary orientation, there is considerable variation among contributors in the perspectives that inform their writing. They offer an illuminating range of approaches to the cinemas of the region. The book is richly illustrated with posters of the featured films, photos of their directors at work, and stills illustrating critical arguments in the film essays.

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Drawing on extensive fieldwork in Havana's secondary schools, Cuban Youth and Revolutionary Values is a remarkable ethnography, charting the government's attempts to transform a future generation of citizens. While Cuba's high literacy rate is often lauded, the little-known dropout rates among teenagers receive less scrutiny. In vivid, succinct reporting, educational anthropologist Denise Blum now shares her findings regarding this overlooked aspect of the Castro legacy. Despite the fact that primary-school enrollment rates exceed those of the United States, the reverse is true for the crucial years between elementary school and college. After providing a history of Fidel Castro's educational revolution begun in 1953, Denise Blum delivers a close examination of the effects of the program, which was designed to produce a society motivated by benevolence rather than materialism. Exploring pioneering pedagogy, the notion of civic education, and the rural components of the program, Cuban Youth and Revolutionary Values brims with surprising findings about one of the most intriguing social experiments in recent history.

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"Since when is Fran Drescher Jewish?" This was Chiara Francesca Ferrari's reaction when she learned that Drescher's character on the television sitcom The Nanny was meant to be a portrayal of a stereotypical Jewish-American princess. Ferrari had only seen the Italian version of the show, in which the protagonist was dubbed into an exotic, eccentric Italian-American nanny. Since When Is Fran Drescher Jewish? explores this "ventriloquism" as not only a textual and cultural transfer between languages but also as an industrial practice that helps the media industry foster identification among varying audiences around the globe. At the heart of this study is an in-depth exploration of three shows that moved from global to local, mapping stereotypes from both sides of the Atlantic in the process. Presented in Italy, for example, Groundskeeper Willie from The Simpsons is no longer a belligerent, alcoholic Scotsman but instead easily becomes a primitive figure from Sardinia. Ironically, The Sopranos—a show built around Italian-Americans—was carefully re-positioned by Italian TV executives, who erased the word "mafia" and all regional references to Sicily. The result of Ferrari's three case studies is evidence that "otherness" transcends translation, as the stereotypes produced by the American entertainment industry are simply replaced by other stereotypes in foreign markets. As American television studios continue to attempt to increase earnings by licensing their shows abroad, Since When Is Fran Drescher Jewish? illuminates the significant issues of identity raised by this ever-growing marketplace, along with the intriguing messages that lie in the larger realm of audiovisual cultural exchange.

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This book fills the crucial need for a single volume that gives broad coverage and synthesizes findings for both the general reader and the specialist. This collection of twenty-two essays from fifteen well-known scholars presents linguistic research on the indigenous languages of South America, surveying past research, providing data and analysis gathered from past and current research, and suggesting prospects for future investigation. Of interest not only to linguists but also to anthropologists, historians, and geographers, South American Indian Languages offers a wide perspective, both temporal and regional, on an area noted for its enormous linguistic diversity and for the lack of knowledge of its indigenous languages. An invaluable source book and reference tool, its appearance is especially timely when exploitation of the rich natural resources in a number of areas in South America must surely result in the demise and/or acculturation of some indigenous groups.

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“Mr. Allan Burns, I am here to tell you an example, the example of the Hunchbacks.” So said Paulino Yamá, traditionalist and storyteller, to Allan Burns, anthropologist and linguist, as he began one story that found its way into this book. Paulino Yamá was just one of several master storytellers from the Yucatán Peninsula of Mexico from whom Burns learned not only the Mayan language but also the style and performance of myths, stories, riddles, prayers, and other forms of speech of their people. The result is An Epoch of Miracles, a wonderfully readable yet thoroughly scholarly set of translations from the oral literature of the Yucatec Maya, an important New World tradition never before systematically described. An Epoch of Miracles brings us over thirty-five long narratives of things large, small, strange, and “regular” and as many delightful short pieces, such as bird lore, riddles, and definitions of anteaters, rainbows, and other commonplaces of the Mayan world. Here are profound narratives of the Feathered Serpent, the mighty Rain God Chac and his helpers, and the mysterious cult of the Speaking Cross. But because these are modern, “Petroleum Age” Maya, here too are a discussion with Cuba’s Fidel Castro and a greeting to former president Richard Nixon. All pieces are translated ethnopoetically; examples of several genres are presented bilingually.  An especially valuable feature is the indication of performance style, such as pauses and voice quality, given with each piece.

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The Mexican Revolution of 1910–1920 is among the world’s most visually documented revolutions. Coinciding with the birth of filmmaking and the increased mobility offered by the reflex camera, it received extraordinary coverage by photographers and cineastes—commercial and amateur, national and international. Many images of the Revolution remain iconic to this day—Francisco Villa galloping toward the camera; Villa lolling in the presidential chair next to Emiliano Zapata; and Zapata standing stolidly in charro raiment with a carbine in one hand and the other hand on a sword, to mention only a few. But the identities of those who created the thousands of extant images of the Mexican Revolution, and what their purposes were, remain a huge puzzle because photographers constantly plagiarized each other’s images.In this pathfinding book, acclaimed photography historian John Mraz carries out a monumental analysis of photographs produced during the Mexican Revolution, focusing primarily on those made by Mexicans, in order to discover who took the images and why, to what ends, with what intentions, and for whom. He explores how photographers expressed their commitments visually, what aesthetic strategies they employed, and which identifications and identities they forged. Mraz demonstrates that, contrary to the myth that Agustín Víctor Casasola was “the photographer of the Revolution,” there were many who covered the long civil war, including women. He shows that specific photographers can even be linked to the contending forces and reveals a pattern of commitment that has been little commented upon in previous studies (and completely unexplored in the photography of other revolutions).

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Winner, James Beard Foundation Best Cookbook of the Year Award, 2015 James Beard Foundation Best International Cookbook Award, 2015 The Art of Eating Prize for Best Food Book of the Year, 2015The Yucatán Peninsula is home to one of the world's great regional cuisines. With a foundation of native Maya dishes made from fresh local ingredients, it shares much of the same pantry of ingredients and many culinary practices with the rest of Mexico. Yet, due to its isolated peninsular location, it was also in a unique position to absorb the foods and flavors of such far-flung regions as Spain and Portugal, France, Holland, Lebanon and the Levant, Cuba and the Caribbean, and Africa. In recent years, gourmet magazines and celebrity chefs have popularized certain Yucatecan dishes and ingredients, such as Sopa de lima and achiote, and global gastronomes have made the pilgrimage to Yucatán to tantalize their taste buds with smoky pit barbecues, citrus-based pickles, and fiery chiles. But until now, the full depth and richness of this cuisine has remained little understood beyond Yucatán's borders.An internationally recognized authority on Yucatecan cuisine, chef David Sterling takes you on a gastronomic tour of the peninsula in this unique cookbook, Yucatán: Recipes from a Culinary Expedition. Presenting the food in the places where it’s savored, Sterling begins in jungle towns where Mayas concoct age-old recipes with a few simple ingredients they grow themselves. He travels over a thousand miles along the broad Yucatán coast to sample a bounty of seafood; shares “the people’s food”at bakeries, chicharronerías, street vendors, home restaurants, and cantinas; and highlights the cooking of the peninsula’s three largest cities—Campeche, Mérida, and Valladolid—as well as a variety of pueblos noted for signature dishes. Throughout the journey, Sterling serves up over 275 authentic, thoroughly tested recipes that will appeal to both novice and professional cooks. He also discusses pantry staples and basic cooking techniques and offers substitutions for local ingredients that may be hard to find elsewhere. Profusely illustrated and spiced with lively stories of the region’s people and places, Yucatán: Recipes from a Culinary Expedition is the long-awaited definitive work on this distinctive cuisine.

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