Gringo Rebel, first published in 1960, is the account of Swedish-born adventurer Ivor Thord-Gray of his time in 1913-1914 in revolutionary Mexico. Thord-Gray first served as an artillery officer in Francisco 'Pancho' Villa’s forces, and later served as a cavalry officer in Carranza’s army under Obregón. He formed close bonds with his Yaqui and Tarahumara scouts, and later prepared a Tarahumara-English Dictionary, and other books about Mexican archaeology. Gringo Rebel offers a first-hand look at the poorly understood conflict in Mexico between the wealthy ruling class and the large majority of land-less peasants living in slave-like conditions, as well as insights into rebel leaders such as Pancho Villa and Emiliano Zapata (leader of the 'Zapatistas'). Seventeen pages of illustrations are included in this new edition.

This comprehensive two-volume history of the Mexican Revolution presents a new interpretation of one of the world's most important revolutions. While it reflects the many facets of this complex and far-reaching historical subject it emphasises its fundamentally local, popular and agrarian character and locates it within a more general comparative context.-- Publisher.

Examines the causes, events, and consequences of the Mexican Revolution of 1910-1917.

Volume 2 of The Mexican Revolution begins with the army counter-revolution of 1913, which ended Francisco Madero's liberal experiment and installed Victoriano Huerta's military rule. After the overthrow of the brutal Huerta, Venustiano Carranza came to the forefront, but his provisional government was opposed by Pancho Villa and Emiliano Zapata, who come powefully to life in Alan Knight's book. Knight offers a fresh interpretation of the great schism of 1914-15, which divided the revolution in its moment of victory, and which led to the final bout of civil war between the forces of Villa and Carranza. By the end of this brilliant study of a popular uprising that deteriorated into political self-seeking and vengeance, nearly all the leading players have been assassinated. In the closing pages, Alan Knight ponders the essential question: what had the revolution changed? His two-volume history, at once dramatic and scrupulously documented, goes against the grain of traditional assessments of the "last great revolution."

With a cast ranging from Pancho Villa to Dolores del Río and Tina Modotti, Constructing the Image of the Mexican Revolution demonstrates the crucial role played by Mexican and foreign visual artists in revolutionizing Mexico's twentieth-century national iconography. Investigating the convergence of cinema, photography, painting, and other graphic arts in this process, Zuzana Pick illuminates how the Mexican Revolution's timeline (1910–1917) corresponds with the emergence of media culture and modernity. Drawing on twelve foundational films from Que Viva Mexico! (1931–1932) to And Starring Pancho Villa as Himself (2003), Pick proposes that cinematic images reflect the image repertoire produced during the revolution, often playing on existing nationalist themes or on folkloric motifs designed for export. Ultimately illustrating the ways in which modernism reinvented existing signifiers of national identity, Constructing the Image of the Mexican Revolution unites historicity, aesthetics, and narrative to enrich our understanding of Mexicanidad.

This essential volume recalls the activities of Emiliano Zapata (1879-1919), a leading figure in the Mexican Revolution; he formed and commanded an important revolutionary force during this conflict. Womack focuses attention on Zapata's activities and his home state of Morelos during the Revolution. Zapata quickly rose from his position as a peasant leader in a village seeking agrarian reform. Zapata's dedication to the cause of land rights made him a hero to the people. Womack describes the contributing factors and conditions preceding the Mexican Revolution, creating a narrative that examines political and agrarian transformations on local and national levels.

The life of Mexican Revolutionary Emiliano Zapata was the stuff that legends are made of. Born and raised in a tiny village in the small south-central state of Morelos, he led an uprising in 1911--one strand of the larger Mexican Revolution--against the regime of long-time president Porfirio Díaz. He fought not to fulfill personal ambitions, but for the campesinos of Morelos, whose rights were being systematically ignored in Don Porfirio's courts. Expanding haciendas had been appropriating land and water for centuries in the state, but as the twentieth century began things were becoming desperate. It was not long before Díaz fell. But Zapata then discovered that other national leaders--Francisco Madero, Victoriano Huerta, and Venustiano Carranza--would not put things right, and so he fought them too. He fought for nearly a decade until, in 1919, he was gunned down in an ambush at the hacienda Chinameca. In this new political biography of Zapata, Brunk, noted journalist and scholar, shows us Zapata the leader as opposed to Zapata the archetypal peasant revolutionary. In previous writings on Zapata, the movement is covered and Zapata the man gets lost in the shuffle. Brunk clearly demonstrates that Zapata's choices and actions did indeed have an historical impact.

In History and Modern Media, John Mraz largely focuses on Mexican photography and his innovative methodology that examines historical photographs by employing the concepts of genre and function. He developed this method in extensive work on photojournalism; it is tested here through examining two genres: Indianist imagery as an expression of imperial, neo-colonizing, and decolonizing photography, and progressive photography as embodied in worker and laborist imagery, as well as feminist and decolonizing visuality. The book interweaves an autobiographical narrative with concrete research. Mraz describes the resistance he encountered in US academia to this new way of showing and describing the past in films and photographs, as well as some illuminating experiences as a visiting professor at several US universities. More importantly, he reflects on what it has meant to move to Mexico and become a Mexican. Mexico is home to a thriving school of photohistorians perhaps unequaled in the world. Some were trained in art history, and a few continue to pursue that discipline. However, the great majority work from the discipline known as "photohistory" which focuses on vernacular photographs made outside of artistic intentions. A central premise of the book is that knowing the cultures of the past and of the other is crucial in societies dominated by short-term and parochial thinking, and that today's hyper-audiovisuality requires historians to use modern media to offer their knowledge as alternatives to the "perpetual present" in which we live.

The U.S.-Mexico border has earned an enduring reputation as a site of violence. During the past twenty years in particular, the drug wars—fueled by the international movement of narcotics and vast sums of money—have burned an abiding image of the border as a place of endemic danger into the consciousness of both countries. By the media, popular culture, and politicians, mayhem and brutality are often portrayed as the unavoidable birthright of this transnational space. Through multiple perspectives from both sides of the border, the collected essays in These Ragged Edges directly challenge that idea, arguing that rapidly changing conditions along the U.S.-Mexico border through the nineteenth, twentieth, and twenty-first centuries have powerfully shaped the ebb and flow of conflict within the region. By diving deeply into diverse types of violence, contributors dissect the roots and consequences of border violence across numerous eras, offering a transnational analysis of how and why violence has affected the lives of so many inhabitants on both sides of the border. Contributors include Alberto Barrera-Enderle, Alice Baumgartner, Lance R. Blyth, Timothy Bowman, Elaine Carey, William D. Carrigan, Jose Carlos Cisneros Guzman, Alejandra Diaz de Leon, Miguel Angel Gonzalez-Quiroga, Santiago Ivan Guerra, Gerardo Gurza-Lavalle, Sonia Hernandez, Alan Knight, Jose Gabriel Martinez-Serna, Brandon Morgan, and Joaquin Rivaya-Martinez, Andrew J. Torget, and Clive Webb.

Analyzes the raucous career of one of the Mexican Revolution's central figures