In this first translation in book form of his work, Latin American social commentator Carlos Monsivais presents an extraordinary chronicle of contemporary life south of the Rio Grande, ranging over subjects as various as Latino hip hop, Dolores del Rio, boleros, and melodrama. Monsivais's chronicles are laconic and satirical, taking as a constant theme the conflicts between Mexican and North American culture and between modern and traditional ways of life.

Postcards from the Baja California Border uses popular historical imagery--the vintage postcard--to tell a compelling, visually enriched geographical story about the border towns of Baja California.

A truly popular art form, the glamorous paintings of Mexican calendar girls have a long and fascinating historyas advertisements, enticements, and emblems of Mexican cultural heritage and pride. The result of years of research, this playful and informative book reproduces more than 150 vibrantly colorful calendar images, plus archival photographs and other materials that illuminate their creation. A fully bilingual text gives an overview of the calendars' social and cultural history, along with biographies of the talented artists who created them. Also including a foreword by the renowned Mexican cultural critic Carlos Monsivis, Mexican Calendar Girls presents this popular and delightful art as never before.

Hauntingly beautiful reproductions of the great Mexican artist's Self-Portrait (1926), The Deceased Dimas (1937), Girl with Death Mask (1938), Self-Portrait with Monkeys (1943), Doña Rosita Morillo (1944), and Still Life with Parrot (1951).

A Pulitzer Prize Finalist Rodriguez's acclaimed first book, Hunger of Memory raised a fierce controversy with its views on bilingualism and alternative action. Now, in a series of intelligent and candid essays, Rodriguez ranges over five centuries to consider the moral and spiritual landscapes of Mexico and the US and their impact on his soul.

"A sexy, emotional, and pitch-perfect romance." —NPR on Lush Money Opposites attract in this rivals-to-lovers romance from Lush Money author Angelina M. Lopez Guapo pobrecito her grandmother calls him. The “poor handsome man.” Professor Jeremiah Post, the poor handsome man, is in fact standing in the way of Alejandra “Alex” Torres turning Loretta’s, her grandmother’s bar, into a viable business. The hot brainiac who sleeps in one of the upstairs tenant rooms already has all of her Mexican American family’s admiration; she won’t let him have the bar and building she needs to resurrect her career, too. Alex blowing into town has rocked Jeremiah to his mild-mannered core, but the large, boisterous Torres clan is everything he never had. He doesn’t believe Alex has the best interest of her family, their community, or the bar’s legacy in mind. To protect all three, he’ll stand up to the tough and tattooed bartender with whom he now shares a bedroom wall—and resist the insta-lust they both feel. But when an old enemy threatens Loretta’s and the surrounding neighborhood, Alex and Jeremiah must combine forces. It will take her might and his mind to save the home they both desperately need. "Sparks fly and tempers flare in this passionate, un-put-downable rivals-to-lovers romance that launches a sizzling new series...Lopez seamlessly blends high-heat romance with discussions of Alex’s heritage and the fascinating history of 19th-century Mexican immigrants to the Kansas plains. This is a treasure." —Publishers Weekly, starred review

Hugo Brehme created an idyllic vision of Mexico that influenced photography, film, and literature for a hundred years. His beautifully composed, timeless images of lo mexicano—cacti and pyramids, Indian children and marketplaces, colonial buildings and snow-capped volcanoes and peaks—were widely distributed and acclaimed both in Mexico and internationally. Noted critic Olivier Debroise characterized Brehme as "both the first modern photographer of Mexico and the last representative of its old guard and of a certain nineteenth-century vision." Working in Mexico from 1905 until his death in 1954, he was an early mentor to Mexico's most famous photographer, Manuel álvarez Bravo, and a significant influence on Golden Age filmmakers Gabriel Figueroa and Emilio "El Indio" Fernández. Brehme-esque imagery even appears in the work of American filmmaker John Ford and Russian filmmaker Sergei Eisenstein. Timeless Mexico presents an outstanding selection of Hugo Brehme's photographs, ranging from imagery of the Mexican Revolution to scenic landscapes, colonial architecture, and the everyday life of indigenous peoples. Susan Toomey Frost, who has collected Brehme's photography for many years, provides an illuminating introduction to his life and work. She also describes his practice of printing and distributing his photographs as collectible postcards—a practice that, together with publication in countless books, magazines, and tourist brochures, gave Brehme's work the wide circulation that made his images of Mexico iconic. Art historian Stella de Sá Rego authoritatively discusses Brehme's place in the history of Mexican photography, especially within Pictorialism, as she reveals how a man from Eisenach, Germany, came to create an enduring visual mythology of the essence of Mexico.

Preserved buildings and historic districts, museums and reconstructions have become an important part of the landscape of cities around the world. Beginning in the 1970s, Tokyo participated in this trend. However, repeated destruction and rapid redevelopment left the city with little building stock of recognized historical value. Late twentieth-century Tokyo thus presents an illuminating case of the emergence of a new sense of history in the city’s physical environment, since it required both a shift in perceptions of value and a search for history in the margins and interstices of a rapidly modernizing cityscape. Scholarship to date has tended to view historicism in the postindustrial context as either a genuine response to loss, or as a cynical commodification of the past. The historical process of Tokyo’s historicization suggests other interpretations. Moving from the politics of the public square to the invention of neighborhood community, to oddities found and appropriated in the streets, to the consecration of everyday scenes and artifacts as heritage in museums, Tokyo Vernacular traces the rediscovery of the past—sometimes in unlikely forms—in a city with few traditional landmarks. Tokyo's rediscovered past was mobilized as part of a new politics of the everyday after the failure of mass politics in the 1960s. Rather than conceiving the city as national center and claiming public space as national citizens, the post-1960s generation came to value the local places and things that embodied the vernacular language of the city, and to seek what could be claimed as common property outside the spaces of corporate capitalism and the state.

Beginning about 1900, tourism greatly increased in the American Southwest, chiefly a response to the combined promotional efforts of the Santa Fe Railway and the Fred Harvey Company. Postcard images of Southwestern Native Americans in particular became a mainstay of a widespread advertising campaign to promote the region to potential travelers. Postcards also quickly became popular with visitors as collectibles and for expedient communications with friends and family back home. In New Mexico, hundreds of published images portrayed the beauty of the Pueblo villages, as well as views of economic and domestic activities, arts and crafts, and religious aspects of the various Pueblo communities in the northern part of the state.

In Looking for Mexico, a leading historian of visual culture, John Mraz, provides a panoramic view of Mexico’s modern visual culture from the U.S. invasion of 1847 to the present. Along the way, he illuminates the powerful role of photographs, films, illustrated magazines, and image-filled history books in the construction of national identity, showing how Mexicans have both made themselves and been made with the webs of significance spun by modern media. Central to Mraz’s book is photography, which was distributed widely throughout Mexico in the form of cartes-de-visite, postcards, and illustrated magazines. Mraz analyzes the work of a broad range of photographers, including Guillermo Kahlo, Winfield Scott, Hugo Brehme, Agustín Víctor Casasola, Tina Modotti, Manuel Álvarez Bravo, Héctor García, Pedro Meyer, and the New Photojournalists. He also examines representations of Mexico’s past in the country’s influential picture histories: popular, large-format, multivolume series replete with thousands of photographs and an assortment of texts. Turning to film, Mraz compares portrayals of the Mexican Revolution by Fernando de Fuentes to the later movies of Emilio Fernández and Gabriel Figueroa. He considers major stars of Golden Age cinema as gender archetypes for mexicanidad, juxtaposing the charros (hacienda cowboys) embodied by Pedro Infante, Pedro Armendáriz, and Jorge Negrete with the effacing women: the mother, Indian, and shrew as played by Sara García, Dolores del Río, and María Félix. Mraz also analyzes the leading comedians of the Mexican screen, representations of the 1968 student revolt, and depictions of Frida Kahlo in films made by Paul Leduc and Julie Taymor. Filled with more than fifty illustrations, Looking for Mexico is an exuberant plunge into Mexico’s national identity, its visual culture, and the connections between the two.