San Antonio Poet Laureate Carmen Tafolla captures her hometown — the city of her ancestors for the past three centuries — in poems that celebrate its history as a cosmopolitan multilingual cultural crossroads. Discover San Antonio’s corazón in Tafolla’s poetry, accompanied by historic and contemporary photographs that convey its enduring sense of place. The little river that has charmed so many rises at “the biological hub of the northern half of this hemisphere” (Dr. Karen Stothert) in a spring that Frederick Law Olmsted described as being “among the gems of the natural world.” A century ago, San Antonio gave Oscar Wilde “a thrill of strange pleasure.” J. Frank Dobie claimed that “every Texan has two hometowns — his own and San Antonio,” and Will Rogers declared it to be “one of the three unique cities of America.” To Larry McMurtry, “San Antonio has kept an ambiance that all the rest of our cities lack.” Carmen Tafolla calls forth the soul of this place — the holy home of the waters, called Yanaguana by los Indios — and celebrates the many cultures that have made of it “un rebozo bordado de culturas y colores.”

San Antonio poet laureate Carmen Tafolla captures her hometown—the city of her ancestors for the past three centuries—in poems that celebrate its history as a cosmopolitan multilingual cultural crossroads. Discover San Antonio's corazón in Tafolla's poetry, accompanied by historic and contemporary photographs that convey its enduring sense of place. A century ago, San Antonio gave Oscar Wilde "a thrill of strange pleasure." J. Frank Dobie claimed that "every Texan has two hometowns—his own and San Antonio," and Will Rogers declared it to be "one of the three unique cities of America." To Larry McMurtry, "San Antonio has kept an ambiance that all the rest of our cities lack." Carmen Tafolla calls forth the soul of this place—the holy home of the waters, called Yanaguana by los indios—and celebrates the many cultures that have made of it "un rebozo bordado de culturas y colores."

A rancher's stubborn refusal to be flooded out by the Army Corps of Engineers led him to mount an extraordinary crusade against California's most powerful forces of the time--the 60s water lobby. He created a new environmental coalition, helped save the wild rivers of the north coast, and vitally affected the future water policies of the state.

With bountiful salmon and fertile plains, the Duwamish River has drawn people to its shores over the centuries for trading, transport, and sustenance. Chief Se’alth and his allies fished and lived in villages here and white settlers established their first settlements nearby. Industrialists later straightened the river’s natural turns and built factories on its banks, floating in raw materials and shipping out airplane parts, cement, and steel. Unfortunately, the very utility of the river has been its undoing, as decades of dumping led to the river being declared a Superfund cleanup site. Using previously unpublished accounts by Indigenous people and settlers, BJ Cummings’s compelling narrative restores the Duwamish River to its central place in Seattle and Pacific Northwest history. Writing from the perspective of environmental justice—and herself a key figure in river restoration efforts—Cummings vividly portrays the people and conflicts that shaped the region’s culture and natural environment. She conducted research with members of the Duwamish Tribe, with whom she has long worked as an advocate. Cummings shares the river’s story as a call for action in aligning decisions about the river and its future with values of collaboration, respect, and justice.

Emmy Pérez’s poetry collection With the River on Our Face flows through the Southwest and the Texas borderlands to the river’s mouth in the Rio Grande Valley/El Valle. The poems celebrate the land, communities, and ecology of the borderlands through lyric and narrative utterances, auditory and visual texture, chant, and litany that merge and diverge like the iconic river in this long-awaited collection. Pérez reveals the strengths and nuances of a universe where no word is “foreign.” Her fast-moving, evocative words illuminate the prayers, gasps, touches, and gritos born of everyday discoveries and events. Multiple forms of reference enrich the poems in the form of mantra: ecologist’s field notes, geopolitical and ecofeminist observations, wildlife catalogs, trivia, and vigil chants. “What is it to love / within viewing distance of night / vision goggles and guns?” is a question central to many of these poems. The collection creates a poetic confluence of the personal, political, and global forces affecting border lives. Whether alluding to El Valle as a place where toxins now cross borders more easily than people or wildlife, or to increased militarization, immigrant seizures, and twenty-first-century wall-building, Pérez’s voice is intimate and urgent. She laments, “We cannot tattoo roses / On the wall / Can’t tattoo Gloria Anzaldúa’s roses / On the wall”; yet, she also reaffirms Anzaldúa’s notions of hope through resilience and conocimiento. With the River on Our Face drips deep like water, turning into amistad—an inquisition into human relationships with planet and self.

Lush and chilling, with razor-sharp edges and an iron core of hope, this bewitching, powerhouse novel of two girls fighting back against the violence the world visits on them will stun and enchant readers. Girls have been going missing in the woods… When Natasha’s sister disappears, Natasha desperately turns to Della, a local girl rumored to be a witch, in the hopes that magic will bring her sister home. But Della has her own secrets to hide. She thinks the beast who’s responsible for the disappearances is her own mother—who was turned into a terrible monster by magic gone wrong. Natasha is angry. Della has little to lose. Both are each other’s only hope. From the author of Ghost Wood Song, this eerie contemporary fantasy is perfect for fans of Wilder Girls and Bone Gap. Praise for Ghost Wood Song: “A gorgeous, creepy gem of a book.” —Claire Legrand, New York Times bestselling author of Furyborn and Sawkill Girls "It will make your heart dance." —Jeff Zentner, Morris Award-winning author of The Serpent King and Goodbye Days "Strikes the perfect balance of atmospheric chills, dark familial secrets, and a yearning for the warm comforts of home.” —Erin A. Craig, New York Times bestselling author of House of Salt and Sorrows “Waters' debut features a bisexual lead with both male and female love interests, an atmospheric southern gothic setting, and, for the musically inclined, lots of folk and bluegrass references.” —Booklist “Haunting and alluring.” —Kirkus

River Hymns is the lyrical journey of a young black man's spiritual reckoning with his family history.

The classic novel of fly fishing and spirituality republished with a new Afterword by the author. Since its publication in 1983, The River Why has become a classic. David James Duncan's sweeping novel is a coming-of-age comedy about love, nature, and the quest for self-discovery, written in a voice as distinct and powerful as any in American letters. Gus Orviston is a young fly fisherman who leaves behind his comically schizoid family to find his own path. Taking refuge in a remote cabin, he sets out in pursuit of the Pacific Northwest's elusive steelhead. But what begins as a physical quarry becomes a spiritual one as his quest for self-knowledge batters him with unforeseeable experiences. Profoundly reflective about our connection to nature and to one another, The River Why is also a comedic rollercoaster. Like Gus, the reader emerges utterly changed, stripped bare by the journey Duncan so expertly navigates.

Living in the northwest of Mexico, the Cucapá people have relied on fishing as a means of subsistence for generations, but in the last several decades, that practice has been curtailed by water scarcity and government restrictions. The Colorado River once met the Gulf of California near the village where Shaylih Muehlmann conducted ethnographic research, but now, as a result of a treaty, 90 percent of the water from the Colorado is diverted before it reaches Mexico. The remaining water is increasingly directed to the manufacturing industry in Tijuana and Mexicali. Since 1993, the Mexican government has denied the Cucapá people fishing rights on environmental grounds. While the Cucapá have continued to fish in the Gulf of California, federal inspectors and the Mexican military are pressuring them to stop. The government maintains that the Cucapá are not sufficiently "indigenous" to warrant preferred fishing rights. Like many indigenous people in Mexico, most Cucapá people no longer speak their indigenous language; they are highly integrated into nonindigenous social networks. Where the River Ends is a moving look at how the Cucapá people have experienced and responded to the diversion of the Colorado River and the Mexican state's attempts to regulate the environmental crisis that followed.