Search results for ""Trinity University Press,U.S.""

When you stray from a trail and strike out into the woods, you are bushwhacking. The term implies a physical thrashing about—pushing past branches, slicing through thickets, leaping across downed trees—but it also implies a certain fortitude and resilience to seek places unknown. In Bushwhacking, Jennifer McGaha borrows the term, likening it to what writers do when faced with the equally daunting blank page. Exploring the wilderness of your inner life means leaving a relatively comfortable place and going where no path exists. Writers face similar, unknown obstacles when forging a route to a final draft.Part writing memoir, part nature memoir, and part meditation on a life well lived, Bushwhacking draws on McGaha’s experiences running, hiking, biking, paddling, and getting lost across the Appalachian Mountains of western North Carolina to offer readers encouragement and practical suggestions to accompany them on their writing and life journeys. Each essay links one of McGaha’s forays into the wilderness to an insight about the creative process. An almost-failed attempt at zip lining becomes a lesson on getting out of one’s comfort zone. The thrum of a hummingbird’s wings, an autumn sunset, and a hound dog’s bay at a bear on the path are impromptu master classes in finding inspiration in the small, the ordinary, and the unexpected.With humility, humor, and hard-won wisdom, Bushwhacking honors writing craft traditions and offers fresh insights into how close communion with nature can transform your writing and your life.

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All the Powerful Invisible Things is an eloquent memoir of self-discovery and a chronicle of outdoor life. Refusing “impoverished ideas of passion,” Gretchen Legler writes about the complexities of being a woman who fishes and hunts, as well as about the more intimate terrain of family and sexuality. The result is a unique literary confluence filled with the ineffable graces of the natural world. She writes: “I used to hate being a woman. When I was young, I believed I was a boy. Throughout college I never knew what it was like to touch a woman, to kiss a woman, to have a woman as a friend. All of my friends were men. I am thirty years old now, and I feel alone. I am not a man. Knowing this is like an earthquake. Just now all the lies are starting to unfold. I don’t blend in as well or as easily as I used to. I refuse to stay on either side of the line.” Like many women, Legler finds that her presence identifies the unmarked boundaries of where she is and is not welcome, learning when it is advantageous to pass as male and when it is better to disappear into the woods and trees around her. This contrasts sharply with her experience of nature as a source of spiritual sustenance, a space of unparalleled freedom where she can lose herself in something larger. Twenty-five years after it was first published, All the Powerful Invisible Things remains a highwater mark for women writing about the outdoors and is one of the few works to tackle the intricacies of gender identity and sexuality with transcendental aplomb.

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America is at a crossroads. Conflicting political and social perspectives reflect a need to collectively define our moral imperatives, clarify cultural values, and inspire meaningful change. In that patriotic spirit, nearly two hundred writers, artists, scientists, and political and community leaders have come together since the 2016 presidential election to offer their impassioned letters to America, in a project envisioned by the online journal Terrain.org and collected, with 50 never-before-published letters, in Dear America: Letters of Hope, Habitat, Defiance, and Democracy. In the inaugural piece in Terrain.org’s Letters to America series, Alison Hawthorne Deming writes, “Think of the great spirit of inventiveness the Earth calls forth after each major disturbance it suffers. Be artful, inventive, and just, my friends, but do not be silent.” Joining Deming are renowned artists and thinkers including Seth Abramson, Ellen Bass, Jericho Brown, Francisco Cantú, Kurt Caswell, Victoria Chang, Camille T. Dungy, Tarfia Faizullah, Blas Falconer, Attorney General Bob Ferguson, David Gessner, Katrina Goldsaito, Kimiko Hahn, Brenda Hillman, Jane Hirshfield, Linda Hogan, Pam Houston, Robin Wall Kimmerer, Karen An-hwei Lee, Christopher Merrill, Kathryn Miles, Kathleen Dean Moore, Aimee Nezhukumatathil, Naomi Shihab Nye, Elena Passarello, Dean Rader, Scott Russell Sanders, Lauret Savoy, Gary Soto, Pete Souza, Kim Stafford, Sandra Steingraber, Arthur Sze, Scott Warren, Debbie Weingarten, Christian Wiman, Robert Wrigley, and others. Dear America reflects the evolution of a moral panic that has emerged in the nation. More importantly, it is a timely congress of the personal and the political, a clarion call to find common ground and conflict resolution, all with a particular focus on the environment, social justice, and climate change. The diverse collection features personal essays, narrative journalism, poetry, and visual art from nearly 130 contributors—many pieces never before published—all literary reactions to the times we live in, with a focus on civic action and social change as we approach future elections. As Scott Minar writes, we must remain steadfast and look to the future: “Despair can bring us very low, or it can make us smarter and stronger than we have ever been before.”

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At eighteen, Vermont-native Leath Tonino ventured west to attend college in Colorado. Upon hearing his destination, many of Tonino’s friends and family predicted that he’d never come back; he’d make the “land of endless space and sky, its ranges and their storms” his home. “The West will swallow you,” one said, in a tone that felt like part warning and part prophecy.More than a decade later Tonino continues to call Vermont his home. But despite his love of New England and his admiration for writers who sing the praises of their native ground, he concedes that he is, as Gary Snyder once phrased it, “promiscuous with landscapes.” Tonino has spent the intervening years since college traversing “the alphabet of the American West from AZ to CA to UT to WY” and writing about its mysterious and powerful beauty. The resulting musings are collected in The West Will Swallow You, the title of which is a nod to the words that stayed with him and that, in many ways, turned out to be true.Although the adventures gathered here range widely in terrain and tone, the western landscape is always front and center—focusing on Arizona’s remote Kaibab Plateau, where Tonino worked as a biologist studying raptor communities, in San Francisco’s overgrown nooks and crannies and pigeon-flocked park benches, on ranches in Wyoming, at campsites in Nevada, in the mountains of Colorado, and “in libraries and national monuments, in people, in a midnight fox’s eyes, in the rushing wind.”

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300 Years of San Antonio & Bexar County captures the iconic stories, moments, people, and places that define one of the oldest communities in the United States. A collection of diverse authors joined forces to produce this richly illustrated and complexly woven thematic telling of the city’s history. From its earliest legacy as home to many indigenous peoples to its municipal founding by the Canary Islanders, a convergence of people from across the globe have settled, sacrificed, and successfully shaped the culture of San Antonio. The result is a 21st-century community that strives to balance diverse heritage with a vibrant economy thanks to stories from the past that provide lessons for the future.

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Pat Hammond is not your ordinary artist. In fact, she doesn’t even consider herself an artist. She takes everyday objects, such as spinning tops and jars of cicada shells, and infuses them with new meaning and hope. Through humor and personalization, she uses insignificant and unconventional objects to illuminate a “grand truth” about the world, and even about herself.Author Christopher Ornelas found out about Hammond through her remarkable kite collection—hundreds of kites amassed over twenty years. Hammond’s kites, which have been featured at the Smithsonian and the Modern Museum of Art, were gathered from every corner of the world, including Guatemala, Korea, and Polynesia.Hammond also designs her own kites, drafting ideas and sketches for numerous creations she has dreamed of flying. While many of these kites have never made it into the air, they demonstrate her untamed creativity: a corset on a string titled “Of Corset Flies,” a kite made of chicken wire titled “Flew de Coop.” Hammond’s idiosyncratic humor soars beyond her kites, and as Ornelas quickly discovers, they are just a stroke on the canvas of an artistic life that includes troves of trinkets laced with whimsy and beautiful intentions, all displayed in Hammond’s home in San Antonio, Texas. Hammond’s love for the unexpected and her fascination with science and physics are contagious. She is passionate about bees and collecting honey, and her shelves upon shelves of books touch on subjects as varied at Goya and Asimov. From her assortment of animal specimens (bird wings, butterflies, beetles) to crates of small spinning tops (she makes hundreds of them from round metal discs and matchstick spindles), every item is an exploration illustrating the heart of an artist and the legacy of a true free spirit.With a foreword by poet and friend Naomi Shihab Nye and intimate photographs of Hammond’s home and collections, Name Them—They Fly Better offers a portrait of a woman who has sought to transform each moment into a creative act.

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Coming of Age at the End of Nature explores a new kind of environmental writing. This powerful anthology gathers the passionate voices of young writers who have grown up in an environmentally damaged and compromised world. Each contributor has come of age since Bill McKibben foretold the doom of humanity's ancient relationship with a pristine earth in his prescient 1988 warning of climate change, The End of Nature. What happens to individuals and societies when their most fundamental cultural, historical, and ecological bonds weaken--or snap? In Coming of Age at the End of Nature, insightful millennials express their anger and love, dreams and fears, and sources of resilience for living and thriving on our shifting planet. Twenty-two essays explore wide-ranging themes that are paramount to young generations but that resonate with everyone, including redefining materialism and environmental justice, assessing the risk and promise of technology, and celebrating place anywhere from a wild Atlantic island to the Arizona desert, to Baltimore and Bangkok. The contributors speak with authority on problems facing us all, whether railing against the errors of past generations, reveling in their own adaptability, or insisting on a collective responsibility to do better.

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Fiesta San Antonio began in 1891 began as a parade in honor of the battles of the Alamo and San Jacinto and has evolved into an annual Mardi Gras-like festival attended by four million with more than 100 cultural events raising money for nonprofit organizations in San Antonio, Texas. At Fiesta's start, the events were socially exclusive, one of the most prominent being the Coronation of the Queen of the Order of the Alamo, a lavish, debutante pageant crowning a queen of the festival. Cornyation was created in 1951 by members of San Antonio's theater community as a satire, mocking the elite with their own flamboyant duchesses, empresses, and queens, accompanied by men in drag and local political figures in outrageous costume. The stage show quickly transformed into a controversial parody of local and national politics and culture. Told through more than one hundred photographs and dozens of interviews, Cornyation is the first history of this major Fiesta San Antonio event, tracing how it has become one of Texas's iconic and longest-running LGBT celebrations, and one of the Southwest's first large-scale fundraisers for HIV-AIDS research, raising more than two million dollars since 1990.

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The title cloud of Matt Donovan's A Cloud of Unusual Size and Shape refers to the volcanic eruption of Mount Vesuvius that in 79 AD buried the city of Pompeii under twenty feet of ash. It's no surprise, then, that Donovan found the sacred ruins a site of inspiration and power, using their legacy to form the beginning of this extraordinary nonfiction debut. Donovan pursues the image of the cloud throughout these 15 spell-binding essays on ruin and redemption. A Cloud of Unusual Size and Shape is about the flawless connections between antiquity and the present, personal experience to historical events, architecture to art installation to literature. The redemptive power of beauty hovers over this spectacular work, reminding us that darkness and light make an inextricable pattern over our lives and form the delicate balance of what ultimately makes life worthwhile, what gives meaning to the sorrow and joy of being human.

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With his characteristic talent for finding the connections between writing and the stuff of our lives (most notably in his earlier hit Maps of the Imagination: The Writer as Cartographer), Peter Turchi ventures into new, and even more surprising, territory. In A Muse and a Maze, Turchi draws out the similarities between writing and puzzle-making and its flip side, puzzle-solving. He teases out how mystery lies at the heart of all storytelling. And he uncovers the magic--the creation of credible illusion--that writers share with the likes of Houdini and master magicians. In Turchi's associative narrative, we learn about the history of puzzles, their obsessive quality, and that Benjamin Franklin was a devotee of an ancient precursor of sudoku called Magic Squares. Applying this rich backdrop to the requirements of writing, Turchi reveals as much about the human psyche as he does about the literary imagination and the creative process. With the goal of giving writers new ways to think about their work and readers new ways to consider the books they encounter, A Muse and a Maze suggests ways in which every piece of writing is a kind of puzzle. The work argues that literary writing is defined, at least in part, by its embrace of mystery; offers tangrams as a model for the presentation of complex characters; compares a writer's relationship to his or her narrator to magicians and wizards; offers the maze and the labyrinth as alternatives to the more common notion of the narrative line; and concludes with a discussion of how readers and writers, like puzzle solvers, not only tolerate but find pleasure in difficulty. While always balancing erudition with accessibility, Turchi examines the work of writers as various as A. A. Milne, Dashiell Hammett, Truman Capote, Anton Chekhov, Alison Bechdel, F. Scott Fitzgerald, Antonya Nelson, Vladimir Nabokov, Charles D'Ambrosio, Michael Ondaatje, Alice Munro, Thomas Bernhard, and Mark Twain, elaborating and illuminating ways in which their works expand and deliver on the title's double entendre, A Muse and a Maze. With 100 images that range from movie stills from Citizen Kane and Butch Cassidy and the Sundance Kid to examples of sudokus, crosswords, and other puzzles; from Norman Rockwell's famous triple self-portrait to artwork by Charles Richie; and from historical arcana to today's latest magic, A Muse and a Maze offers prose exposition, images, text quotations, and every available form of wisdom, leading the reader step-by-step through passages from stories and novels to demonstrate, with remarkable clarity, how writers evolve their eventual creations.

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This revised and reformatted edition of a 1979 classic preserves the illustrations of the beloved artist José Cisneros. Frontier San Antonio attracted short-tempered miscreants and adventurers, but also missionary priests, conservative merchants and proper ladies. These stories, which arose from the commotion, are often told in words of participants in the events.

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Since the first motion picture studio in Texas was set up in San Antonio in 1910, the city has hosted the filming of more than 250 movies, including the first Academy Award winner for Best Picture — Wings — in 1927. Film historian Frank Thompson includes the first filmography documenting the scope of the activity.

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Despite the image of a "Solid South," many southerners stayed loyal to the Union during the Civil War and coexisted uneasily with their Confederate neighbors. In Virginia's Shenandoah Valley, the Lewises gave "no cause of offense" but did not hide their beliefs, made clear to Stonewall Jackson as he made their home his headquarters. One family member, a delegate who refused to sign the Secession Ordinance, ran an iron furnace that kept dozens of Loyalists out of the Confederate Army.

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Writer, teacher, and adventurer Kurt Caswell has spent his adult life canoeing, hiking, and pedaling his way toward a deeper understanding of our vast and varied world. Getting to Grey Owl: Journeys on Four Continents chronicles over twenty years of Caswell's travels as he buys a rug in Morocco, rides a riverboat in China, attends a bullfight in Spain, climbs four mountains in the United Kingdom, and backpacks a challenging route through Iceland's wild Hornstrandir Peninsula. Writing in the tradition of such visionary nomads as Hermann Hesse, Robert Louis Stevenson, Bruce Chatwin, Paul Theroux, Pico Iyer, Samuel Taylor Coleridge, and William Wordsworth, Caswell travels through wild and urban landscapes, as well as philosophical and ideological vistas, championing the pleasures of a wandering life. Far from the trappings of the everyday, he explores a range of ideas: the meaning of roads and pathways, the story of Cain and Abel, nomadic life and the evolution of the human animal, the role of agriculture in the making of the modern world, and the fragility of love.

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The Road of a Naturalist is a fascinating autobiographical wonder written by one of America's most beloved naturalists at the height of his fame. A scientist, a philosopher, and a poet, Donald Culross Peattie takes us on an confessional journey across the landscape of his life. Told in flashbacks of years past and interspersed with impressions of a journey by motorcar across the American West, it is intensely personal. It is American in the best sense of the word. From saying goodbye to the trees at his childhood home on Lake Michigan to a man formed via Harvard and New York City, finally discovering a belief in the nature of things in a cabin in the Grand Tentons, it is not told as as linear life story but rather an adventure in living, in science, in thought.

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Cargoes and Harvests, famed naturalist Donald Culross Peattie's first book, eloquently explores agriculture and trade within America's past using thoughtful language that is well ahead of its time. Originally published in 1926, Peattie takes readers on a compelling adventure through the socioeconomic histories of staples such as tea, coffee, cocoa, potatoes and tobacco. Starting with the seeds and roots of the American landscape, Cargoes and Harvests illustrates where we've been and how far we've come. By considering the relationship between a nation and its goods, Peattie unearths countless reflective implications that still resonate within the field of American agriculture today.

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What better way to learn animal names than with eye-catching works of art. With work from across Latin America and beyond, children will become armchair world travelers and art connoisseurs. This bilingual edition introduces early readers, and earlier listeners, to animals in both English and Spanish. One in the series of bilingual board books called Arte Kids that also includes 1, 2, 3, Si! (an artistic exploration of numbers), Hello Circulos! (featuring shapes in the arts), Colores Everywhere! (colors in art), and Black y Blanco! Art for this book was selected from the collection of the San Antonio Museum of Art, one of the leading art museums in the United States with a collection spanning a broad range of history and world cultures.

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What better way to learn colors than with eye-catching works of art? With art from across Latin America and beyond, children will become armchair world travelers and art connoisseurs. This bilingual edition introduces early readers, and earlier listeners, to colors in both English and Spanish. One in the series of bilingual board books called Arte Kids that also includes 1, 2, 3, Si! (an artistic exploration of numbers) and Hello Circulos! (featuring shapes in the arts). Art for this book was selected from the collection of the San Antonio Museum of Art, one of the leading art museums in the United States with a collection spanning a broad range of history and world cultures.

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Bret and Kim Stafford, the oldest children of the poet and pacifist William Stafford, were pals. Bret was the good son, the obedient public servant, Kim the itinerant wanderer. In this family of two parent teachers, with its intermittent celebration of "talking recklessly," there was a code of silence about hard things: "Why tell what hurts?" As childhood pleasures ebbed, this reticence took its toll on Bret, unable to reveal his troubles. Against a backdrop of the 1960s -- puritan in the summer of love, pacifist in the Vietnam era -- Bret became a casualty of his interior war and took his life in 1988. 100 Tricks Every Boy Can Do casts spells in search of the lost brother: climbing the water tower to stand naked under the moon, cowboys and Indians with real bullets, breaking into church to play a serenade for God, struggling for love, and making bail. In this book, through a brother's devotions, the lost saint teaches us about depression, the tender ancestry of violence, the quest for harmonious relations, and finally the trick of joy.

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Arturo's Madrid's homeland is in the shadow of the Rocky Mountains in northern New Mexico, where each town seems a world apart from the next, and where family histories that extend back four centuries bind the people to the land and to one another.This New Mexico is a land of struggle and dispute, a place in which Madrid's ancestors predate those who landed at Plymouth Rock. In the Country of Empty Crosses is Madrid's complex yet affirming memoir about lands before the advent of passable roads--places such as Tierra Amarilla, San Augustin [insert "u" and note accent on I], and Los Fuertes that were once among the most remote in the nation. Madrid grew up in a family that was doubly removed from the community: as Hispanic Protestants, they were a minority among the region's politically dominant Anglo Protestants and a minority within the overwhelmingly Catholic Hispanic populace. Madrid writes affectingly of the tensions, rifts, and disputes that punctuated the lives of his family as they negotiated prejudice and racism, casual and institutional, to advance and even thrive as farmers, ranchers, and teachers. His story is affectionate as well, embracing generations of ancestors who found their querencias--their beloved home places--in that beautiful if sometimes unforgiving landscape. The result is an account of New Mexico unlike any other, one in which humor and heartache comfortably coexist. Complemented by stunning images by acclaimed photographer Miguel Gandert -- ranging from intimate pictures of unkempt rural cemeteries to New Mexico's small villages and stunning vistas -- In the Country of Empty Crosses is a memoir of loss and survival, of hope and redemption, and a lyrical celebration of an often misunderstood native land and its people.

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From the 1870s to the 1920s, British-born architect Alfred Giles designed everything from simple domestic residences and showy mansions to county courthouses and commercial structures throughout Texas and northern Mexico. He was highly regarded at the time for adapting and combining stylistic elements with sobriety and simplicity. This book highlights his restored buildings, with an appendix devoted to his work in Mexico. Included are color photographs of these restorations taken by architect Eugene George, along with illuminating black-and-white historical images.

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Equal parts art, biography, and history, Colors on Clay brings to life the artistry, designers, and styles that brought the San Jose Workshops' distinctive art pottery to international prominence. Author Susan Toomey Frost tells the story of how two colorful characters, Ethel Wilson Harris and her talented designer Fernando Ramos, revived a dying Mexican art and eventually became the driving forces behind three San Antonio art tile factories, known collectively as the San Jose Workshops. Produced from 1931 through 1977, the factories' tiles and wares became celebrated throughout the world and prized in San Antonio for both public and private installations. In addition to historical and biographical information, Frost provides detailed information on authentic tiles, helping collectors steer clear of the many reproductions on the market. Featuring 300 full-color illustrations, including never-before-seen drawings, this exhaustively researched and eminently readable book is an important addition to any collector's library.

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Gerald Stern's poetry has been variously praised for its visionary quality, its scope and passion, but most especially for its wholehearted embrace of life. Stern's special manner of joie de vivre is immediately evident in his prose pieces as well. In this collection of personal essays, Stern speaks to the reader on subjects closest to his heart -- family, justice, Jewishness, ecstasy, loss, and love, as well as Andy Warhol, Paris, and getting shot in the neck. He ranges from passionate literary discussions to buoyant anecdotes about "borrowing" William Carlos Williams' hat from the writer's historic home. With seven new pieces, What I Can't Bear Losing celebrates a writer passionately engaged with life in America after World War II and gives a glimpse of the poetic processes of one of today's most beloved literary voices.

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In Ranch Gates of the Southwest, Daniel Olsen and Henk van Assen present more than 100 full-color photographs of ranch gates taken across Colorado, Utah, Nevada, Texas, Oklahoma, New Mexico, and Arizona. From rugged and functional to stylized and adorned, ranches with names such as F. V. Cuahope Ranch, High Lonesome, Felix River Ranch, and Rancho Quatro Hermanas reveal cultural history, landscape features, and individualism through language and design. Lucy R. Lippard's introduction offers historical and cultural context of ranches and their gates. Landscape architecture professor Kenneth I. Helphand explains the environmental history of ranches from land appropriation and naming to the impact of gates on the landscape. In their own essays, Olsen and van Assen tell the behind-the-scenes story of making the book and describe type design and language from their perspectives as designers and photographers. Ranch Gates of the Southwest is both a sumptuous documentary record and a tribute to a quintessentially American symbol.

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Not much can be said with certainty about the life of Claudius Aelianus, known to us as Aelian. He was born sometime between A.D. 165 and 170 in the hill town of Praeneste, what is now Palestrina, about twenty-five miles from Rome, Italy. He grew up speaking that town's version of Latin, a dialect that other speakers of the language seem to have found curious, but--somewhat unusually for his generation, though not for Romans of earlier times--he preferred to communicate in Greek. Trained by a sophist named Pausanias of Caesarea, Aelian was known in his time for a work called Indictment of the Effeminate, an attack on the recently deceased emperor Marcus Aurelius Antoninus, who was nasty even by the standards of Imperial Rome. He was also fond of making almanac-like collections, only fragments of which survive, devoted to odd topics such as manifestations of the divine and the workings of the supernatural. His De Natura Animalium (On the Nature of Animals) has a similar patchwork quality, but it was esteemed enough in his time to survive more or less whole, and it is about all that we know of Aelian's work today. A mostly randomly ordered collection of stories that he found interesting enough to relate about animals--whether or not he believed them--Aelian's book constitutes an early encyclopedia of animal behavior, affording unparalleled insight into what ancient Romans knew about and thought about animals--and, of particular interest to modern scholars, about animal minds. If the science is sometimes sketchy, the facts often fanciful, and the history sometimes suspect, it is clear enough that Aelian had a fine time assembling the material, which can be said, in the most general terms, to support the notion of a kind of intelligence in nature and that extends human qualities, for good and bad, to animals. His stories, which extend across the known world of Aelian's time, tend to be brief and to the point, and many return to a trenchant question: If animals can respect their elders and live honorably within their own tribes, why must humans be so appallingly awful? Aelian is as brisk, as entertaining, and as scholarly a writer as Pliny, the much better known Roman natural historian. That he is not better known is simply an accident: he has not been widely translated into English, or indeed any European language. This selection from his work will introduce readers to a lively mind and a witty writer who has much to tell us.

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"This soulful collection is perfect for fans of The Moth or Humans of New York." — Publishers WeeklyPeople in San Antonio love to tell stories. Worth Repeating: San Antonio Stories is a collection of forty true tales, epic adventures, and intimate revelations from the heart of one of America’s fastest growing and most culturally diverse cities.There is the hilarious chronicle of being crowned Turkey Queen of Cuero, as well as stories of finding one’s place as an immigrant or refugee, the heartbreak of being on the AIDS epidemic’s front lines, and the redemption in writing My Little Pony fan fiction. From the birth of a Freedom Rider to the origins of a literary legend, from the search for a murdered mother’s memories to passing our abilities and disabilities along to our children, the pieces here are as varied and nuanced as the city its authors have called home at one time or another.They might not all take place in Texas, but every story has roots in its streets, suburbs, and history. Whether it’s an account of being stranded in Uganda, growing up in a Mexican border barrio, catching swine flu in Thailand, being among Harvard University’s first Black architecture students, growing up in Iran, or leaving India for a new life in Texas, each story has a soul that is puro San Antonio. From last chances to first tries, all of these personal narratives were originally performed in front of an audience at Worth Repeating, Texas Public Radio’s live storytelling series.Writers include Heather Armstrong, Tanveer Arora, Jennie Badger, Kiran Kaur Bains, Marion Barth, Sheila Black, Barbara Bowie, Norma Elia Cantú, Kelly Grey Carlisle, Cary Clack, Jess Elizarraras, Georgia Erck, Tiffany Farias-Sokoloski, Elizabeth Fauerso, Everett L. Fly, Larry Garza, Lorenzo Gomez III, Mike Knoop, David W. Lesch, Rey Lopez, Vanessa Martinez, Collin McGrath, Joaquin Muerte, Sanford Nowlin, Tori Pool, Wendy Rigby, Alex Rubio, Jonathan Ryan, Yara Samman, John Phillip Santos, Burgin Streetman, Whitley Strieber, Barbara S. Taylor, Michael Taylor, Kirsten Thompson, Clay Utley, Cristina Van Dusen, Eddie Vega, Ayon Wen-Waldron, and Bria Woods.

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It’s said that the history of Mexico is, in great measure, the history of its culture, and the history of its culture is, in great measure, the history of its cooking. Restaurant menus and store aisles north of the Mexican border are packed with commonly known dishes that many have come to simplistically think of as Mexican cuisine. But the history of Mexican food is complex—a cornucopia of foodways ranging from indigenous, pre-Hispanic times to centuries of colonial-era influences and contemporary fusion variations. New Cooking from Old Mexico, Mexican food connoisseur Jim Peyton introduces a contemporary and diverse style of cooking practiced in Mexico—called nueva cocina mexicana—combining the elegant Mexican classics and techniques spanning centuries. Following an extensive introduction to the roots of Mexican cuisine complete with an overview of its foodways and new world ingredients, Peyton presents more than 130 recipes. Many of them are brought to life with colorful illustrations accompanied by a glossary of ingredients and culinary terms unique to these food cultures. In all, this collection is a tribute to the rich complexity of historic and contemporary Mexican cooking.

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The spaces we inhabit– from homes and workspaces to city streets—mediate community, creativity, and our very identity. Using insights from environmental psychology, design, and architecture, The Shaping of Us shows how the built and natural worlds subtly influence our behavior, health, and personality. Exploring ideas such as “ruin porn” and “ninja-proof seating,” mysteries of how we interact with the physical spaces around us are revealed. From caves and cathedrals to our current housing crisis and the dreaded open-plan office, Lily Bernheimer demonstrates that, for our well-being, we must reconnect with the power to shape our spaces.Have you ever wondered why we adorn our doorframes with moldings? What does Wikipedia’s open-source technology have to teach us about the history and future of urban housing? What does your desk say about your personality?From savannahs and skyscrapers to co-working spaces, The Shaping of Us shows that the built environment supports our well-being best when it echoes our natural habitats in some way. In attempting to restore this natural quality to human environments, we often look to other species for inspiration. The real secret to building for well-being, Bernheimer argues, is to reconnect humans with the power to shape our surroundings. When people are involved in forming and nurturing their environments, they feel a greater sense of agency, community, and pride, or “collective efficacy.” And when communities have high rates of collective efficacy, they tend to have less litter, vandalism, and violent crime.Playful and accessible, The Shaping of Us is a delightful read for designers, professionals, and anyone wanting to understand how spaces make us tick and how to fix the broken bits of our world.

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The first coloring book celebrating more than five hundred years of Latina trailblazers from Texas and Mexico. Inspired by the book by the same title and by popular demand from its readers, this playful yet historically on point collection features twenty-four portraits of some of history’s most inspirational women. Pictures are accompanied by brief biographies. Portraits by Kathy and Lionel Sosa to color include Alice Dickerson Montemayor, Chavela Vargas, Emma Tenayuca, Frida Kahlo, Genoveva Morales, Gloria Anzaldúa, Jane McManus Storm Cazneau, Juana Belén Gutiérrez de Mendoza, Las Soladeras, Las Valientas, María Concepción Acevedo de la Llata, La Malinche, Nahui Olin, Adina De Zavala, Rena Maverick Green, Emily Edwards, Sor Juana Inés de la Cruz, Teresa Urrea, the Virgin of Guadalupe, the women of Guerrero, Dolores Huerta, Laura Esquivel, Astrid Hadad, Sandra Cisneros, Ellen Riojas Clark, and the Zapatistas. Coloring fun for all ages!

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Brackenridge Park began its life as a heavily wooded, bucolic driving park at the turn of the twentieth century. Over the next 120 years it evolved into the sprawling, multifaceted jewel San Antonians enjoy today, home to the San Antonio Zoo, the state’s first public golf course, the Japanese Tea Garden, the Sunken Garden Theater, and the Witte Museum.The land that Brackenridge Park occupies, near the San Antonio River headwaters, has been reinvented many times over. People have gathered there since prehistoric times. Following the city’s founding in 1718, the land was used to channel river water into town via a system of acequias; its limestone cliffs were quarried for building materials; and it was the site of a Civil War tannery, headquarters for two military camps, a plant nursery, and a racetrack.The park continues to be a site of national acclaim even while major sections have fallen into disrepair. The more than 400 acres that constitute San Antonio’s flagship urban park are made up of half a dozen parcels stitched together over time to create an uncommon varied landscape. Uniquely San Antonian, Brackenridge is full of romantic wooded walks and whimsical public spaces drawing tourists, locals, wildlife, and waterfowl.Extensively researched and illustrated with some two hundred archival photographs and vintage postcards, Brackenridge: San Antonio’s Acclaimed Urban Park is the first comprehensive look at the fascinating story of this unique park and how its diverse layers evolved to create one of the city’s foremost gathering places.

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Aureliano Urrutia, a prominent physician in Mexico City, built Miraflores garden after immigrating to Texas during the Mexican Revolution. A man of science, he valued nature, art, literature, history, and community. The garden, whose name roughly translates to “behold the flowers,” was built primarily from 1921 to 1945. Its plants, architecture, sculpture, and artisanship formed a cultural landscape reflecting Urrutia’s love for and memory of his homeland. Though recent decades have rendered much of the garden decayed and barely recognizable, it is now part of San Antonio’s historic Brackenridge Park. Miraflores: San Antonio’s Mexican Garden of Memory recounts the garden’s history and celebrates the importance of the cultural, historical, and artistic meaning of a place.

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Elephants have captivated the human imagination for as long as they have roamed the earth, appearing in writings and cultures from thousands of years ago and still much discussed today. In Thirty-Three Ways of Looking at an Elephant, veteran scientific writer Dale Peterson has collected thirty-three essential writings about elephants from across history, with geographical perspectives ranging from Africa and Southeast Asia to Europe and the United States. An introductory headnote for each selection provides additional context and insights from Peterson’s substantial knowledge of elephants and natural history. The first section of the anthology, “Cultural and Classical Elephants,” explores the earliest mentions of elephants in African mythology, Hindu theology, and Aristotle and other ancient Greek texts. “Colonial and Industrial Elephants” finds elephants in the crosshairs of colonial exploitation in accounts pulled from memoirs commodifying African elephants as a source of ivory, novel targets for bloodsport, and occasional export for circuses and zoos. “Working and Performing Elephants” gives firsthand accounts of the often cruel training methods and treatment inflicted on elephants to achieve submission and obedience.As elephants became an object of scientific curiosity in the mid-twentieth century, wildlife biologists explored elephant families and kinship, behaviors around sex and love, language and self-awareness, and enhanced communications with sound and smell. The pieces featured in “Scientific and Social Elephants” give readers a glimpse into major discoveries in elephant behaviors. “Endangered Elephants” points to the future of the elephant, whose numbers continue to be ravaged by ivory poachers. Peterson concludes with a section on literary elephants and ends on a hopeful note with the 1967 essay “Dear Elephant, Sir,” which argues for the moral imperative to save elephants as an act of redemption for their systematic abuse and mistreatment at human hands. Essential to our understanding of this beloved creature, Thirty-Three Ways of Looking at an Elephant is a must for any elephant lover or armchair environmentalist.

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An island is a world out of time and place, separated by literal and figurative oceans, where the confines of reality are tenuous and magic may be possible. Iceland—with its relative isolation, enchanting mythologies, creative people, and the otherworldly wild beauty of its glaciers, geysers, volcanos, and fjords—encompases this special magic in the minds of many, including writer Kurt Caswell.Vividly illustrated by Julia Oldham, Iceland Summer recounts Caswell’s journey traversing the country by foot and bus accompanied by his lifelong friend Scott. The pair set out from Reykjavík and travel clockwise along the Ring Road, stopping along the way for backcountry walking trips. Caswell immerses himself in the natural beauty and charming eccentricities of the tiny island nation. With his drinking and hiking buddy by his side, and fueled by a steady diet of Brennivín (fermented grain mash) and pylsur (Icelandic hot dogs), he explores the Hornstrandir peninsula, walks to the famed Dettifoss waterfall, waits for a glimpse of the lake monster Lagarfljótsormurinn at Egilsstaðir, visits the world’s only penis museum, and pays homage to centuries of Icelandic literary tradition at the Árni Magnússon Institute.Writing in the tradition of other pairs who have traveled in Iceland, like W. G. Collingwood and Jón Stefánsson, and W. H. Auden and Louis MacNeice, Caswell meditates on the value of wild places in the modern world, travel as both pastime and occupation, the nature of friendship, and walking, food, and literature. Scott is the Sancho Panza to Caswell’s Don Quixote, offering a ribald humor that grounds Caswell’s flights into the romantic. The two travel well together and together arrive at the understanding that what anchors them both is their lifelong friendship.

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Thirty-five classic stories fill this book about San Antonio’s seamier side, from the days of the Old West when Wyatt Earp and Bat Masterson came by, Rowdy Joe Lowe ran a saloon on Main Plaza and Butch Cassidy got away from Madame Fanny Porter’s in time to escape the fate of fellow train robber Deaf Charley, who found himself at the business end of a lawman’s six-shooter. A map of the 22-block red-light district west of San Pedro Creek shows more than 100 houses of ill repute, inhabitants listed.

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The incomparable Rebecca Solnit, author of more than a dozen acclaimed, prizewinning books of nonfiction including Men Explain Things To Me, brings the same dazzling writing to the essays in The Encyclopedia of Trouble and Spaciousness; hailed by the Los Angeles Times as "globally wide-ranging and topically urgent and the Boston Globe as "luminous and precise.". As the title suggests, the territory of Solnit's concerns is vast, and in her signature alchemical style she combines commentary on history, justice, war and peace, and explorations of place, art, and community, all while writing with the lyricism of a poet to achieve incandescence and wisdom. Gathered here are celebrated iconic essays along with little-known pieces that create a powerful survey of the world we live in, from the jungles of the Zapatistas in Mexico to the splendors of the Arctic. This rich collection tours places as diverse as Haiti and Iceland; movements like Occupy Wall Street and the Arab Spring; an original take on the question of who did Henry David Thoreau's laundry; and a searching look at what the hatred of country music really means. Solnit moves nimbly from Orwell to Elvis, to contemporary urban gardening to 1970s California macrame and punk rock, and on to searing questions about the environment, freedom, family, class, work, and friendship. It's no wonder she's been compared in Bookforum to Susan Sontag and Annie Dillard and in the San Francisco Chronicle to Joan Didion. The Encyclopedia of Trouble and Spaciousness proves Rebecca Solnit worthy of the accolades and honors she's received. Rarely can a reader find such penetrating critiques of our time and its failures leavened with such generous heapings of hope. Solnit looks back to history and the progress of political movements to find an antidote to despair in what many feel as lost causes. In its encyclopedic reach and its generous compassion, Solnit's collection charts a way through the thickets of our complex social and political worlds. Her essays are a beacon for readers looking for alternative ideas in these imperiled times.

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Mary Parrish was reading in her home when the Tulsa race massacre began on the evening of May 31, 1921. Parrish’s daughter, Florence Mary, called the young journalist and teacher to the window. “Mother,” she said, “I see men with guns.” The two eventually fled into the night under a hail of bullets and unwittingly became eyewitnesses to one of the greatest race tragedies in American history. Spurred by word that a young Black man was about to be lynched for stepping on a white woman’s foot, a three-day riot erupted that saw the death of hundreds of Black Oklahomans and the destruction of the Greenwood district, a prosperous, primarily Black area known nationally as Black Wall Street. The murdered were buried in mass graves, thousands were left homeless, and millions of dollars worth of Black-owned property was burned to the ground. The incident, which was hidden from history for decades, is now recognized as one of the worst episodes of racial violence in the United States. The Nation Must Awake, published for a wide audience for the first time, is Parrish’s first-person account, along with the recollections of dozens of others, compiled immediately following the tragedy under the name Events of the Tulsa Race Disaster. With meticulous attention to detail that transports readers to those fateful days, Parrish documents the magnitude of the loss of human life and property at the hands of white vigilantes. The testimonies shine light on Black residents’ bravery and the horror of seeing their neighbors gunned down and their community lost to flames. Parrish hoped that her book would “open the eyes of the thinking people to the impending danger of letting such conditions exist and in the ‘Land of the Free and the Home of the Brave.’ ” Although the story is a hundred years old, elements of its racial injustices are still being replayed in the streets of America today. Includes an afterword by Anneliese M. Bruner, Parrish’s great-granddaughter, and an introduction by the late historian John Hope Franklin and Scott Ellsworth, author of The Ground Breaking: An American City and Its Search for Justice.

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Six short stories about the natural world by the National Book Award-winning author of Arctic Dreams

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The Kronkosky Foundation Story provides a broad review of the twenty-five-year history of the Albert and Bessie Mae Kronkosky Charitable Foundation. Albert and Bessie Mae Kronkosky were committed to creating a legacy of “profound good” through charitable giving across four Texas counties that were dear to their hearts. The private foundation, formed in 1995 with a mission focused on health and human services (especially for children and the elderly), arts, and culture, has had a significant impact on San Antonio and the surrounding area. The book recounts the Kronkosky family’s history and how they came into the wealth that eventually led to the foundation’s creation. The nonprofit organization’s story is one of exemplary management and wide-ranging positive impact on a community, and an examination of how local giving has changed in recent decades. The Kronkosky Charitable Foundation exists in perpetuity, and their story stands as a testament to philanthropic commitment to a community.

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East Austin, just across Interstate 35 from Austin, Texas’s capital city, is a historically working-class neighborhood that in recent years has become an arts district and hotbed for real estate developers targeting a young urban population. The shops and restaurants that for decades served Latino and African American residents are being crowded out by coffee shops, cocktail bars, and upscale bakeries hoping to attract newer residents. The resulting tensions, part of a trend debated in cities across the country, have received national media attention.After years of observing the fragmentation of east Austin’s Latino and African American communities, photographer John Langmore began to chronicle the historic neighborhood and its residents. His aim was to capture the gentrifying neighborhood’s unique nature and to make Texans aware of the people and places negatively affected by the state’s growth.Fault Lines features more than a hundred color and black-and-white photographs taken between 2006 and 2010, during which time Langmore was fully aware that the window for capturing the east Austin community was rapidly closing. Indeed today many of the neighborhood places, and even the people, have been lost to development and increasing rents and property taxes.The book features a foreword by Michael King, a longtime political reporter for the Austin Chronicle; essays by east Austin resident Wilhelmina Delco, Austin’s first African American elected official and a ten-term member of the Texas House of Representatives, and Johnny Limón, a sixty-six-year resident of east Austin and a prominent member of the neighborhood’s Latino community; and an epilogue by Langmore.

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San Antonio 365: On This Day in History tells one story a day in the history of the Alamo City, from popular lore to lesser known events critical to understanding its people and culture. The result is a treasure trove of remarkable tales highlighting small ripples that created big waves in the region’s history. The stories in San Antonio 365 are fun and enlightening slices of history, but they also highlight our collective need to learn from the past. Internationally known as a center of business and tourism, San Antonio has also been the site of significant episodes in the fight for equal rights and justice, the importance of economic and cultural diversity, and the evolution of good government. Among the 365 stories are the anti-Communist riot at Municipal Auditorium led against Emma Tenayuca, the segregation of cinemas and swimming pools, and the 1955 integration of San Antonio schools. Charming anecdotes and quotes bring each story to life. For instance, did you know that Butch Cassidy and the Sundance Kid cooled their heels on the streets of San Antonio a few miles from what would became Interstate 10—where the rock group R.E.M. filmed their iconic video “Everybody Hurts”? A lively essay introducing each month underscores the important ways that history is never just about the past. As Kurt Vonnegut said, “History is merely a list of surprises. It can only prepare us to be surprised yet again.” San Antonio 365 brings to life more than three hundred years of surprises, highlighting both historical moments that have been overlooked and those told again and again—and the compelling characters who shaped the city.

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To Be Honest is a play script and series of essays reflecting on the ways Muslims are perceived and spoken of in America. With funding from a Mellon Foundation grant, several professors conducted more than two hundred hours of qualitative interviews in Texas with people across religious and political spectrums. Their conversations confirm expected polarizations and reveal new, troubling perspectives. To Be Honest is a “documentary theater” script born from these interviews, which were used to help create monologues that give a face to the nuanced complexity of what is rarely said aloud. The monologues touch on non-Muslim millennials’ understandings of Islam, racism’s intersection with Islamophobia, the fatigue of “activist” Muslims, the impact of intervention in the Middle East on U.S. military veterans, feminist readings of the hijab, the Trump presidency, and more. Six essays contextualize the script’s underlying themes and provide material for further study. In these polarizing times, To Be Honest illuminates the striking reality that Americans have vastly different experiences with Islam, from evangelicals who work to convert Muslims with the aim of “helping them achieve peace” to Muslim youth who struggle to make sense of why society dissects their religion. Students, scholars, readers, and theatergoers will come away with insights that allow them to move beyond limited views of Islam by listening to and engaging with others. To Be Honest is an important script for staging and a valuable tool for dialogue across ideological perspectives.

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How does the human mind transform space into place, or land into landscape? For more than three decades, William L. Fox has looked at empty landscapes and the role of the arts to investigate the way humans make sense of space. In Terra Antarctica, Fox continues this line of inquiry as he travels to the Antarctic, the “largest and most extreme desert on earth.” This contemporary travel narrative interweaves artistic, cartographic, and scientific images with anecdotes from the author's three-month journey in the Antarctic to create an absorbing and readable narrative of the remote continent. Through its images, history, and firsthand experiences—snowmobile trips through whiteouts and his icy solo hikes past the edge of the mapped world—Fox brings to life a place that few have seen and offers us a look into both the nature of landscape and ourselves.

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At age forty, Parker surrendered to her Swept Away meets Swiss Family Robinson fantasy of running an inn far from her home in the Pacific Northwest. For the next twenty-plus years Parker ran La Finca Caribe, an eco-lodge in Vieques, Puerto Rico. What started as a rough-and-tumble dream grew into a paradise enjoyed by guests from around the world. Sketchbook in hand, Parker chronicled her daily adventures living with the land. La Finca is a lively graphic memoir about a woman creating a new life amid countless challenges, including hurricanes that led her to reconsider everything. It is a story about trusting oneself, self-discovery, accepting disappointment and loss, and falling in love with a place.

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Trinity University: Honoring the Past, Shaping the Future showcases the stories, moments, and people of the Trinity community’s 150-year journey. From its beginnings in a lone building in Tehuacana to its roots today in the heart of San Antonio, Trinity’s story is one of resilience, ambition, and success. Founded with the vision to create a new university of the highest order, Trinity’s commitment to innovative learning and enterprise have transformed challenge into opportunity and shaped the university into the esteemed private liberal arts and sciences institution it is today. Early entrepreneurs such as the Munger brothers and Marrs McLean paved the way for the current entrepreneurship program and Stumberg competitions. Forward-thinking programs such as the Office of Experiential Learning, the Student Success Center, and the Collaborative for Learning and Teaching also supplement Trinity’s twenty-five academic departments. Trinity University reflects on all these stories and documents the institution’s vision for what a liberal arts education can become.

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Marfa Garden is a full-color celebration of more than sixty flowering plants of the Chihuahuan Desert and neighboring regions. Marfa, the internationally acclaimed arts and cultural mecca in Far West Texas, sits squarely in the Chihuahuan Desert—North America’s second largest at 140,000 square miles spanning northern Mexico, West Texas, and parts of New Mexico and Arizona. The desert is a surprising showcase for colorful plant diversity. Presented in a style reminiscent of naturalist Karl Blossfeldt’s Art Forms in Nature, the book includes an array of vines, grasses, trees, herbs, shrubs, cacti, and succulents ranging from the little known to the popular to the iconic. Photographs show the plants in year-round cycles, with buds, complex foliage, unfolding blooms, seed pods, and winter texture and color.Also included is a discussion of each plant’s common and scientific names, historical information, garden use, USDA classification, and other helpful details. A visual appendix of detailed botanical and gardening information consists of illustrations relating close-up botanical details.Everyday gardeners, naturalists, landscape designers, architects, and anyone interested in dry gardens or the Southwest will find great value and joy in Marfa Garden.

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My Heart Is Not Blind: On Blindness and Perception is a collection of stunning portraits of blind and visually impaired people taken by photographer Michael Nye. Each image is accompanied by an intimate story told by the subject concerning his or her experiences and unique perspective. The causes of vision loss range from genetic predispositions (retinitis pigmentosa) or disease (glaucoma) to external circumstances such as accidents (struck by a train) or violence (gunshot wound). The people in this diverse group differ not only in their particular conditions and losses but also in their cultural and socio-economic backgrounds. Taken as a whole, however, the accounts of adapting to changing modes of perception are bound by a common theme of resilience, revealed in shared reactions and unexpected insights. The subjects depicted in My Heart Is Not Blind share their experiences and unique perspectives in a personal narratives that accompany their respective portraits. Most speak of the transition from sight to vision loss, and how that has changed—and not changed—their ability to perceive the surrounding world. Some question the classification of blindness as a disability. One participant proposes that blindness may, in some ways, even aid in perception, musing, “if you can always see the sun, you can never discover the stars.” My Heart Is Not Blind offers a window into the world of the blind and visually impaired, revealing surprising similarities and fascinating differences alongside compelling accounts of survival, adaptation, and heightened understanding. The collection invites us to reconsider what we think we know about blindness in order to gain a deeper understanding of vision and perception.

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To create the Confluence of Civilizations in the Americas mural commissioned for the 1968 World's Fair in San Antonio, Texas, Juan O'Gorman collected natural stones from all over Mexico—twelve colors in all—field stones that the artist knew would never fade or change their hue. Juan O'Gorman: A Confluence of Civilizations follows the life of O'Gorman and covers the creation of this spectacular piece of midcentury public art, which stands the test of time not just in vibrancy but as one of the most influential works created by a Mexican artist.Juan O'Gorman was a not only a painter and a muralist, a mosaic artist, a critic, and a professor; he was also an architect and a revolutionary, possibly most famous for his close friendship with Diego Rivera and Frida Kahlo and as the designer of their two-house studio in Mexico City—Casa Azul—linked by a symbolic bridge.To celebrate San Antonio's HemisFair Exposition in 1968, O'Gorman created the giant mosaic mural that still adorns one wall of the Lila Cockrell Theater along San Antonio's famed River Walk. The five-ton mosaic measured 2,600 square feet and consisted of 540 numbered panels, each weighing about 90 pounds.

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