Winner of the Pulitzer Prize for History (1976). The extraordinary biography of a pioneer hero of the frontier Southwest from the author of Great River. Originally published in 1975, this Pulitzer Prize for History–winning biography chronicles the life of Archbishop Jean Baptiste Lamy (1814–1888), New Mexico’s first resident bishop and the most influential, reform-minded Catholic official in the region during the late 1800s. Lamy’s accomplishments, including the endowing of hospitals, orphanages, and English-language schools and colleges, formed the foundation of modern-day Santa Fe and often brought him into conflict with corrupt local priests. His life story, also the subject of Willa Cather’s Death Comes for the Archbishop, describes a pivotal period in the American Southwest, as Spanish and Mexican rule gave way to much greater influence from the United States and Europe. Historian and consummate stylist Paul Horgan has given us a chronicle filled with hardy, often extraordinary adventure, and sustained by Lamy’s magnificent strength of character. “Lamy of Santa Fe stands as a beacon in American biography.” —James M. Day, author of Paul Horgan “Lamy of Santa Fe is a classic work. Not only is the research exemplary but so is the narrative artistry, the work of history as art.” —Robert Gish, author of Nueva Granada: Paul Horgan and the Modern Southwest “Historians, and general readers as well, seeking vivid portrayal of the Southwest’s political, social and cultural traditions will find [this book] rewarding . . . the historical and literary heritage of Americans in general will be the richer for Mr. Horgan’s painstaking effort.” —Southwestern Historical Quarterly

In 1968, a young, recently ordained Colombian priest leaves behind everything to start a new parish in the jungles of Panama. Father Héctor Gallego soon discovers that his parishioners live as indentured servants. Inspired by liberation theology, he sets into motion a plan to liberate them. Father Gallegos is successful, but his work places him on a collision course with General Omar Torrijos, the nation’s absolute ruler. On January 9, 1971, military operatives abduct the priest. He is never seen or heard from again, but he remains very much alive in the minds of Panamanians who, still today, clamor for his case to be brought to justice. Although The Saint of Santa Fe is a work of fiction, the novel is based on the real-life experiences of Héctor Gallego and the campesinos who worked alongside him to create a just society. This sweeping novel tells many stories, including that of Edilma, the priest’s sister who since age eleven has been searching for the meaning of his death. The Saint of Santa Fe is a story of faith, heroism, and sacrifice that’s reminiscent of Graham Greene’s The Power and the Glory and Miguel de Unamuno’s San Manuel Bueno, mártir.

The miracle stories surrounding Sainte Foy form one of the most complete sets of material relating to a medieval saint's cult and its practices. Pamela Sheingorn's superb translation from the Medieval Latin texts now makes this literature available in English. The Book of Sainte Foy recounts the virgin saint's martyrdom in the third century (Passio), the theft of her relics in the late ninth century by the monks of the monastery at Conques (Translatio), and her diverse miracles (Liber miraculorum); also included is a rendering of the Provençal Chanson de Sainte Foy, translated by Robert L. A. Clark. The miracles distinguish Sainte Foy as an unusual and highly individualistic child saint displaying a fondness for gold and pretty things, as well as a penchant for playing practical jokes on her worshippers. In his record of Sainte Foy, Bernard of Angers, the eleventh-century author of the first parts of the Liber miraculorum, emphasized the saint's "unheard of" miracles, such as replacing missing body parts and bringing dead animals back to life. The introduction to the volume situates Sainte Foy in the history in the history of hagiography and places the saint and her monastery in the social context of the high Middle Ages. Sheingorn also evokes the rugged landscape of south central France, the picturesque village of Conques on the pilgrimage road, and, most important, the golden, jewel-encrusted reliquary statue that medieval believers saw as the embodiment of Sainte Foy's miracle-working power. In no other book will readers enjoy such a comprehensive portrait of Sainte Foy and the culture that nurtured her.

This series of line drawings by legendary Santera (saint-maker) Marie Romero Cash, depict many of the popular saints painted by the santeros of the eighteenth and nineteenth centuries in Northern New Mexico. "The saints have always been an integral part of the culture," Marie says, "so much so that in the eighteenth and nineteenth centuries in New Mexico the art of the religious folk art of the santero became a part of its history. In creating this coloring book, my goal was to not only impart knowledge about the santero culture, but to provide images that could be colored in by children or adults, and could also be used for many other purposes, including embroidery or various decorative arts." Each full-page image is suitable for coloring by children at playtime or in a classroom setting. Easy to read information on many popular patron saints is included, as is the feast day of each saint. Teachers will find this coloring book a valuable teaching tool. There is also an author preface and an article about Marie Romero Cash by well-known journalist, Kay Lockridge. Born in Santa Fe, Marie Romero Cash has been a Santera (saint-maker) for over thirty years. Her award-winning works are in major museums and private collections throughout the United States, Mexico, Africa and The Vatican. She has written several books and magazine articles on the culture and religion of Northern New Mexico and has lectured widely on the subject for the New Mexico Endowment for the Humanities.

The villa de Santa Fe was founded in 1610. These burial records from 1726-1834 often include the age of the deceased and names of spouses or parents. There is an index of deceased and an index of parents, spouses, and others.

Presents delicious and easy to prepare recipes and dishes from the northern region of Mexico.

"Whatever is felt upon the page without being specifically named there—that, one might say, is created." This famous observation appears inWilla Cather on Writing, a collection of essays and letters first published in 1949. In the course of it Cather writes, with grace and piercing clarity, about her own fiction and that of Sarah Orne Jewett, Stephen Crane, and Katherine Mansfield, among others. She concludes, "Art is a concrete and personal and rather childish thing after all—no matter what people do to graft it into science and make it sociological and psychological; it is no good at all unless it is let alone to be itself—a game of make-believe, of re-production, very exciting and delightful to people who have an ear for it or an eye for it."

Richly illustrated with examples of eighteenth- and nineteenth-century art from northern New Mexico's village churches, Santos is an in-depth investigation into the artistic heritage of the New Mexican santero (saint maker). It is also an important study of northern New Mexican artisans and their craft. Along with photographer Jack Parsons, Marie Romero Cash visited every church in the region and documented, identified, and measured each santos. Together they photographed more than 500 pieces, including 19 moradas (places of worship for Penitentes) and the Archdiocese of Santa Fe Collection housed at the Museum of International Folk Art. Cash's extensive research into these formerly "anonymous" artisans fills a gap in the study of this unique form, making Santos indispensable for art historians and the general reader interested in the culture and art of the American Southwest.

A biography of the saint as both mystic and man: “The single best book about Francis now available in English” (Commonweal). In this towering work, Andre Vauchez draws on the vast body of scholarship on Francis of Assisi, particularly the important research of recent decades, to create a complete and engaging portrait of the saint. He also explores how the memory of Francis was shaped by contemporaries who recollected him in their writings, and completes the book by setting “il Poverello” in the context of his time, bringing to light what was new, surprising, and even astonishing in the life and vision of this man. The first part of the book is a fascinating reconstruction of Francis’s life and work. The second and third parts deal with the texts—hagiographies, chronicles, sermons, personal testimonies, etc.—of writers who recorded aspects of Francis’s life and movement as they remembered them, and used those remembrances to construct a portrait of Francis relevant to their concerns. Finally, Vauchez explores those aspects of Francis’s life, personality, and spiritual vision that were unique to him, including his experience of God, his approach to nature, his understanding and use of Scripture, and his impact on culture as well as culture’s impact on him. “Considered one of the great spiritual leaders of humankind, Francis of Assisi was also a man of many faces and personas: ascetic, the founder of a religious order, a romantic hero, a mystic, a defender of the poor, a promoter of peace. But as Vauchez emphasizes—and this biography constantly reminds us—Francis was also a flesh-and-blood human being . . . A bracing, erudite account of a mystic’s life.” —Booklist

Death Comes for the Archbishop is the story, not of death, but of life, for Miss Cathers Archbishop Latour died of having lived. She is concerned, not with any climactic moment in a career, but with the whole broad view of the career. There is no climax, short of the gentle end.One summer evening in the year 1848, three Cardinals and a missionary Bishop from America were dining together in the gardens of a villa in the Sabine hills, overlooking Rome. The villa was famous for the fine view from its terrace. The hidden garden in which the four men sat at table lay some twenty feet below the south end of this terrace, and was a mere shelf of rock, overhanging a steep declivity planted with vineyards. A flight of stone steps connected it with the promenade above. The table stood in a sanded square, among potted orange and oleander trees, shaded by spreading ilex oaks that grew out of the rocks overhead. Beyond the balustrade was the drop into the air, and far below the landscape stretched soft and undulating; there was nothing to arrest the eye until it reached Rome itself.It was early when the Spanish Cardinal and his guests sat down to dinner. The sun was still good for an hour of supreme splendour, and across the shining folds of country the low profile of the city barely fretted the skylineindistinct except for the dome of St. Peter's, bluish grey like the flattened top of a great balloon, just a flash of copper light on its soft metallic surface. The Cardinal had an eccentric preference for beginning his dinner at this time in the late afternoon, when the vehemence of the sun suggested motion.The light was full of action and had a peculiar quality of climaxof splendid finish. It was both intense and soft, with a ruddiness as of much-multiplied candlelight, an aura of red in its flames. It bored into the ilex trees, illuminating their mahogany trunks and blurring their dark foliage; it warmed the bright green of the orange trees and the rose of the oleander blooms to gold; sent congested spiral patterns quivering over the damask and plate and crystal. The churchmen kept their rectangular clerical caps on their heads to protect them from the sun. The three Cardinals wore black cassocks with crimson pipings and crimson buttons, the Bishop a long black coat over his violet vest.