This experimental monograph is a portrayal of contemporary Mexican activism, written to voice activists' experiences and perspectives when protesting state, criminal, and capitalist violence. It consists of edited fieldnotes about Mexican activist movements involved in the "indignation for Ayotzinapa," which was a popular uprising protesting state violence. The book covers a period of 18 months during 2014-15, and a short field stay in October to November in 2022. It is told through (i) short biographies of activists, (ii) transcribed protest songs and slogans, and (iii) commemorative stories written in first person as if told by Mexico's many missing people as told by their surviving famil

In a book that has been called "a love song to nature," the author documents the latest decade of his explorations of the Baja peninsula and the Sea of Cortez. While much of the book narrates his experience as a writing professor taking undergraduates on sea kayak expeditions to the Isla Espiritu Santo archipelago each year during spring break, the book also reflects on experiences with a condor restoration project in the Sierra San Pedro Martir, and an altogether different teaching experience based in a field station on Bahia de los Angeles. While the author’s intent is to evoke Baja ecologies in fresh ways, the reader comes to realize that he’s also describing how education can become a transformational experience. A retired scuba instructor who turned to academics and went on to receive his college’s highest teaching award, Dr. Farnsworth believes that education should be a lifelong adventure, and that explorations of the natural world should be animated by reverence and delight.

Thirteen distinguished anthropologists describe how they create and use the unique forms of writing they produce in the field. They also discuss the fieldnotes of seminal figures--Frank Cushing, Franz Boas, W. H. R. Rivers, Bronislaw Malinowski, and Margaret Mead--and analyze field writings in relation to other types of texts, especially ethnographies. Unique in conception, this volume contributes importantly to current debates on writing, texts, and reflexivity in anthropology.

Once in a great while, as the New York Times noted recently, a naturalist writes a book that changes the way people look at the living world. John James Audubon’s Birds of America, published in 1838, was one. Roger Tory Peterson’s 1934 Field Guide to the Birds was another. How does such insight into nature develop? Pioneering a new niche in the study of plants and animals in their native habitat, Field Notes on Science and Nature allows readers to peer over the shoulders and into the notebooks of a dozen eminent field workers, to study firsthand their observational methods, materials, and fleeting impressions. What did George Schaller note when studying the lions of the Serengeti? What lists did Kenn Kaufman keep during his 1973 “big year”? How does Piotr Naskrecki use relational databases and electronic field notes? In what way is Bernd Heinrich’s approach “truly Thoreauvian,” in E. O. Wilson’s view? Recording observations in the field is an indispensable scientific skill, but researchers are not generally willing to share their personal records with others. Here, for the first time, are reproductions of actual pages from notebooks. And in essays abounding with fascinating anecdotes, the authors reflect on the contexts in which the notes were taken. Covering disciplines as diverse as ornithology, entomology, ecology, paleontology, anthropology, botany, and animal behavior, Field Notes offers specific examples that professional naturalists can emulate to fine-tune their own field methods, along with practical advice that amateur naturalists and students can use to document their adventures.

A funny, colorful, fascinating tour through the work and life of one of today’s most influential graphic designers. Esquire. Ford Motors. Burton Snowboards. The Obama Administration. While all of these brands are vastly different, they share at least one thing in com­mon: a teeny little bit of Aaron James Draplin. Draplin is one of the new school of influential graphic designers who combine the power of design, social media, entrepreneurship, and DIY aesthetic to create a successful business and way of life. Pretty Much Everything is a mid-career survey of work, case studies, inspiration, road stories, lists, maps, how-tos, and advice. It includes examples of his work—posters, record covers, logos—and presents the process behind his design with projects like Field Notes and the “Things We Love” State Posters. Draplin also offers valuable advice and hilarious commentary that illustrates how much more goes into design than just what appears on the page. With Draplin’s humor and pointed observations on the contemporary design scene, Pretty Much Everything is the complete package.

“Fire Season both evokes and honors the great hermit celebrants of nature, from Dillard to Kerouac to Thoreau—and I loved it.” —J.R. Moehringer, author of The Tender Bar “[Connors’s] adventures in radical solitude make for profoundly absorbing, restorative reading.” —Walter Kirn, author of Up in the Air Phillip Connors is a major new voice in American nonfiction, and his remarkable debut, Fire Season, is destined to become a modern classic. An absorbing chronicle of the days and nights of one of the last fire lookouts in the American West, Fire Season is a marvel of a book, as rugged and soulful as Matthew Crawford’s bestselling Shop Class as Soulcraft, and it immediately places Connors in the august company of Edward Abbey, Annie Dillard, Aldo Leopold, Barry Lopez, and others in the respected fraternity of hard-boiled nature writers.

The Mexican Revolution gave rise to the Mexican nation-state as we know it today. Rural revolutionaries took up arms against the Díaz dictatorship in support of agrarian reform, in defense of their political autonomy, or inspired by a nationalist desire to forge a new Mexico. However, in the Gran Nayar, a rugged expanse of mountains and canyons, the story was more complex, as the region’s four Indigenous peoples fought both for and against the revolution and the radical changes it bought to their homeland. To make sense of this complex history, Nathaniel Morris offers the first systematic understanding of the participation of the Náayari, Wixárika, O’dam, and Mexicanero peoples in the Mexican Revolution. They are known for being among the least “assimilated” of all Mexico’s Indigenous peoples. It’s often been assumed that they were stuck up in their mountain homeland—“the Gran Nayar”—with no knowledge of the uprisings, civil wars, military coups, and political upheaval that convulsed the rest of Mexico between 1910 and 1940. Based on extensive archival research and years of fieldwork in the rugged and remote Gran Nayar, Morris shows that the Náayari, Wixárika, O’dam, and Mexicanero peoples were actively involved in the armed phase of the revolution. This participation led to serious clashes between an expansionist, “rationalist” revolutionary state and the highly autonomous communities and heterodox cultural and religious practices of the Gran Nayar’s inhabitants. Morris documents confrontations between practitioners of subsistence agriculture and promoters of capitalist development, between rival Indian generations and political factions, and between opposing visions of the world, of religion, and of daily life. These clashes produced some of the most severe defeats that the government’s state-building programs suffered during the entire revolutionary era, with significant and often counterintuitive consequences both for local people and for the Mexican nation as a whole.

In Writing Anthropology, fifty-two anthropologists reflect on scholarly writing as both craft and commitment. These short essays cover a wide range of territory, from ethnography, genre, and the politics of writing to affect, storytelling, authorship, and scholarly responsibility. Anthropological writing is more than just communicating findings: anthropologists write to tell stories that matter, to be accountable to the communities in which they do their research, and to share new insights about the world in ways that might change it for the better. The contributors offer insights into the beauty and the function of language and the joys and pains of writing while giving encouragement to stay at it—to keep writing as the most important way to not only improve one’s writing but to also honor the stories and lessons learned through research. Throughout, they share new thoughts, prompts, and agitations for writing that will stimulate conversations that cut across the humanities. Contributors. Whitney Battle-Baptiste, Jane Eva Baxter, Ruth Behar, Adia Benton, Lauren Berlant, Robin M. Bernstein, Sarah Besky, Catherine Besteman, Yarimar Bonilla, Kevin Carrico, C. Anne Claus, Sienna R. Craig, Zoë Crossland, Lara Deeb, K. Drybread, Jessica Marie Falcone, Kim Fortun, Kristen R. Ghodsee, Daniel M. Goldstein, Donna M. Goldstein, Sara L. Gonzalez, Ghassan Hage, Carla Jones, Ieva Jusionyte, Alan Kaiser, Barak Kalir, Michael Lambek, Carole McGranahan, Stuart McLean, Lisa Sang Mi Min, Mary Murrell, Kirin Narayan, Chelsi West Ohueri, Anand Pandian, Uzma Z. Rizvi, Noel B. Salazar, Bhrigupati Singh, Matt Sponheimer, Kathleen Stewart, Ann Laura Stoler, Paul Stoller, Nomi Stone, Paul Tapsell, Katerina Teaiwa, Marnie Jane Thomson, Gina Athena Ulysse, Roxanne Varzi, Sita Venkateswar, Maria D. Vesperi, Sasha Su-Ling Welland, Bianca C. Williams, Jessica Winegar

This rare and fascinating volume offers a glimpse into the rich cultural history of the ancient Maya city of Chichen Itza, as seen through the eyes of renowned archaeologist William Henry Holmes. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Ethnography centers on the culture of everyday life. So it is ironic that most scholars who do research on the intimate experiences of ordinary people write their books in a style that those people cannot understand. In recent years, the ethnographic method has spread from its original home in cultural anthropology to fields such as sociology, marketing, media studies, law, criminology, education, cultural studies, history, geography, and political science. Yet, while more and more students and practitioners are learning how to write ethnographies, there is little or no training on how to write ethnographies well. From Notes to Narrative picks up where methodological training leaves off. Kristen Ghodsee, an award-winning ethnographer, addresses common issues that arise in ethnographic writing. Ghodsee works through sentence-level details, such as word choice and structure. She also tackles bigger-picture elements, such as how to incorporate theory and ethnographic details, how to effectively deploy dialogue, and how to avoid distracting elements such as long block quotations and in-text citations. She includes excerpts and examples from model ethnographies. The book concludes with a bibliography of other useful writing guides and nearly one hundred examples of eminently readable ethnographic books.