In this dynamic collection of short stories, including eight from Winners on the Pass Line (1985), Dagoberto Gilb captures the texture of the Southwest's working class in clear, ironic, and bitingly realistic fiction about regular people going about their complex lives.

The award-winning author returns to his roots in the Southwest, driving the highways of New Mexico and Texas, and writing about the changing landscape and a thriving and diverse border culture.

A wild ride and revealing portrait of the controversial Pancho Villa, one of Mexico’s most beloved (or loathed) heroes, that finally establishes the importance of his role in the triumph of the Mexican Revolution, by renowned writer Paco Ignacio Taibo II. The last biography of Pancho Villa was published 25 years ago, and this new edition has been translated into English for the first time. This biography marks a kind of reinvention of the legendary Mexican figure of Pancho Villa. It is a masterful reevaluation and heavily researched account of his life. This book makes a new claim, finally giving Pancho Villa his due as the decisive figure in the success of Mexican Revolution. Here he is less the colorful bandito and more the incorruptible conscience that not only won key battles, but also maintained the revolutionary vision and led the way in terms of class consciousness. Pancho Villa is a rollicking, sometimes hilariously comical, sometimes extremely violent, and always very personal portrait of the controversial Mexican historical figure Pancho Villa. Beloved crime writer Paco Ignacio Taibo II (a.k.a. PIT)—the prolific historian, biographer of Che Guevara and the founder of Mexican “neopolicial” fiction—brings his tremendous storytelling skills to an account of one of the Mexico’s greatest legendary characters. With his vibrant narrative style, Taibo describes the adventures of Pancho Villa with incredible stories, the stuff of history and tragedy, backed up by tremendous research. Throughout, Taibo unveils secrets about the life of one of Mexico's most courageous and charismatic leaders. Includes period photographs that indelibly capture the rocky transition from the wild and agrarian past towards modern statehood.

A Rick Sage Mystery: Harley-riding PI, Rick Sage, follows his heart into darkness once again when he meets up with ten-year-old Pedro, a Mexican-American kid lost on the streets of Tijuana. Pedro hires Rick, with the two dollars and thirty-five cents he has left in his pocket, to find the gang of antiquities thieves who murdered his parents. Shadowed by a jaguar spirit Rick begins to believe is real, his promise to help the boy takes them on a trail leading from Tijuana to the Copper Canyon, then on to Mexico's Mayan ruins at Palenque, and down a jungle border river into Guatemala. Along the way, Rick and Pedro join up with a beautiful but mysterious redheaded nun, and a magical, fleet-footed Tarahumara shaman. Haunted by his own tragic childhood, Rick is determined to fulfill his promise to Pedro to find the murderers and recover the Jade Death Mask of the Jaguar Cult, as they are drawn deeper and deeper into a dark plot lit only by the beacons of a jaguar's eyes.

Melzer offers an impressive new book about famous New Mexico gravesites, usually the only monuments left to honor the human treasures who helped shape state, national, and often international history.

Winner, 2021 NACCS Book Award, given by the National Association for Chicano and Chicana Studies Explores the how, why, and what of contemporary Chicanx culture, including punk rock, literary fiction, photography, mass graves, and digital and experimental installation art Racial Immanence attempts to unravel a Gordian knot at the center of the study of race and discourse: it seeks to loosen the constraints that the politics of racial representation put on interpretive methods and on our understanding of race itself. Marissa K. López argues that reading Chicanx literary and cultural texts primarily for the ways they represent Chicanxness only reinscribes the very racial logic that such texts ostensibly set out to undo. Racial Immanence proposes to read differently; instead of focusing on representation, it asks what Chicanx texts do, what they produce in the world, and specifically how they produce access to the ineffable but material experience of race. Intrigued by the attention to disease, disability, abjection, and sense experience that she sees increasing in Chicanx visual, literary, and performing arts in the late-twentieth century, López explores how and why artists use the body in contemporary Chicanx cultural production. Racial Immanence takes up works by writers like Dagoberto Gilb, Cecile Pineda, and Gil Cuadros, the photographers Ken Gonzales Day and Stefan Ruiz, and the band Piñata Protest to argue that the body offers a unique site for pushing back against identity politics. In so doing, the book challenges theoretical conversations around affect and the post-human and asks what it means to truly consider people of color as writersand artists. Moving beyond abjection, López models Chicanx cultural production as a way of fostering networks of connection that deepen our attachments to the material world.