In The Places of Modernity in Early Mexican American Literature, 1848-1948, José F. Aranda Jr. describes the first one hundred years of Mexican American literature. He argues for the importance of interrogating the concept of modernity in light of what has emerged as a canon of earlier pre-1968 Mexican American literature. In order to understand modernity for diverse communities of Mexican Americans, he contends, one must see it as an apprehension, both symbolic and material, of one settler colonial world order giving way to another more powerful colonialist but imperial vision of North America. Letters, folklore, print culture, and literary production demonstrate how a new Anglo-American political imaginary revised and realigned centuries-old discourses on race, gender, class, religion, citizenship, power, and sovereignty. The "modern," Aranda argues, makes itself visible in cultural productions being foisted on a "conquered people," who were themselves beneficiaries of a notion of the modern that began in 1492. For Mexican Americans, modernity is less about any particular angst over global imperial designs or cultures of capitalism and more about becoming the subordinates of a nation-building project that ushers the United States into the twentieth century.

José F. Aranda Jr. demonstrates how the burdens of modernity become the dominant discursive logic for understanding why people of Mexican descent nonetheless wrote and invested in print culture without any guarantee of its social, cultural, or political efficacy.

A Planetary Lens delves into the history of the photo-book, the materiality of the photographic image on the page, and the cultural significance of landscape to reassess the value of print, to locate the sites where stories resonate, and to listen to western women’s voices. From foundational California photographers Anne Brigman and Alma Lavenson to contemporary Native poets and writers Leslie Marmon Silko and Joy Harjo, women artists have used photographs to generate stories and to map routes across time and place. A Planetary Lens illuminates the richness and theoretical sophistication of such composite texts. Looking beyond the ideologies of wilderness, migration, and progress that have shaped settler and popular conceptions of the region, A Planetary Lens shows how many artists gather and assemble images and texts to reimagine landscape, identity, and history in the U.S. West. Based on extensive research into the production, publication, and circulation of women’s photo-texts, A Planetary Lens offers a fresh perspective on the entangled and gendered histories of western American photography and literature and new models for envisioning regional relations.

The Comic Book Western explores how the myth of the American West played out in popular comics from around the world.

Speculative Wests investigates representations of the American West in terms of both region and genre, looking at speculative westerns (science fiction, fantasy, and horror) as well as at other speculative texts that feature western settings.

This study is a reinterpretation of nineteenth-century Mexican American history, examining Mexico's struggle to secure its northern border with repatriates from the United States, following a war that resulted in the loss of half Mexico's territory. Responding to past interpretations, Jose Angel Hernández suggests that these resettlement schemes centred on developments within the frontier region, the modernisation of the country with loyal Mexican American settlers, and blocking the tide of migrations to the United States to prevent the depopulation of its fractured northern border. Through an examination of Mexico's immigration and colonisation policies as they developed in the nineteenth century, this book focuses primarily on the population of Mexican citizens who were 'lost' after the end of the Mexican American War of 1846–8 until the end of the century.