This pathbreaking synthesis of history, anthropology, and linguistics gives an unprecedented view of the first two hundred years of the Spanish colonization of the Yucatec Maya. Drawing on an extraordinary range and depth of sources, William F. Hanks documents for the first time the crucial role played by language in cultural conquest: how colonial Mayan emerged in the age of the cross, how it was taken up by native writers to become the language of indigenous literature, and how it ultimately became the language of rebellion against the system that produced it. Converting Words includes original analyses of the linguistic practices of both missionaries and Mayas-as found in bilingual dictionaries, grammars, catechisms, land documents, native chronicles, petitions, and the forbidden Maya Books of Chilam Balam. Lucidly written and vividly detailed, this important work presents a new approach to the study of religious and cultural conversion that will illuminate the history of Latin America and beyond, and will be essential reading across disciplinary boundaries.

This book of poems and stark, vivid illustrations is rooted in the female soul of indigenous Mexico. The Tzotzil women of the Chiapas Highlands are the poets and the artists. Ambar Past, who collected the poems and drawings, includes a moving essay about their poetics, beliefs, and history. In the 1970s, living among the Maya, Past watched the people endure as an epidemic swept through a village. No help came. Many children died. One mother offered her dead child a last sip of Coca-Cola and uttered a prayer: Take this sweet dew from the earth, take this honey. It will help you on your way. It will give you strength on your path. Incantations like this—poems about birth, love, hate, sex, despair, and death—coupled with primitive illustrations, provide a compelling insight into the psychology of these Mayan women poets. The Cinco Puntos edition of Incantations is a facsimile of the original handmade edition produced by the Taller Leñateros. It was reviewed in The New York Times. At the age of twenty-three, Ambar Past left the United States for Mexico. She lived among the Mayan people, teaching the techniques of native dyes and learning to speak Tzotzil. She is the creator of the graphic arts collective Taller Leñateros in Chiapas and was a founding member of Sna Jolobil, a weaving cooperative for Mayan artisans.

Unwriting Maya Literature provides an important decolonial framework for reading Maya texts that builds on the work of Maya authors and intellectuals such as Q’anjob’al Gaspar Pedro González and Kaqchikel Irma Otzoy. Paul M. Worley and Rita M. Palacios privilege the Maya category ts’íib over constructions of the literary in order to reveal how Maya peoples themselves conceive of artistic creation. This offers a decolonial departure from theoretical approaches that remain situated within alphabetic Maya linguistic and literary creation. As ts’íib refers to a broad range of artistic production from painted codices and textiles to works composed in Latin script, as well as plastic arts, the authors argue that texts by contemporary Maya writers must be read as dialoguing with a multimodal Indigenous understanding of text. In other words, ts’íib is an alternative to understanding “writing” that does not stand in opposition to but rather fully encompasses alphabetic writing, placing it alongside and in dialogue with a number of other forms of recorded knowledge. This shift in focus allows for a critical reexamination of the role that weaving and bodily performance play in these literatures, as well as for a nuanced understanding of how Maya writers articulate decolonial Maya aesthetics in their works. Unwriting Maya Literature places contemporary Maya literatures within a context that is situated in Indigenous ways of knowing and being. Through ts’íib, the authors propose an alternative to traditional analysis of Maya cultural production that allows critics, students, and admirers to respectfully interact with the texts and their authors. Unwriting Maya Literature offers critical praxis for understanding Mesoamerican works that encompass non-Western ways of reading and creating texts.

As part of the larger, ongoing movement throughout Latin America to reclaim non-Hispanic cultural heritages and identities, indigenous writers in Mexico are reappropriating the written word in their ancestral tongues and in Spanish. As a result, the long-marginalized, innermost feelings, needs, and worldviews of Mexico's ten to twenty million indigenous peoples are now being widely revealed to the Western societies with which these peoples coexist. To contribute to this process and serve as a bridge of intercultural communication and understanding, this groundbreaking, three-volume anthology gathers works by the leading generation of writers in thirteen Mexican indigenous languages: Nahuatl, Maya, Tzotzil, Tzeltal, Tojolabal, Tabasco Chontal, Purepecha, Sierra Zapoteco, Isthmus Zapoteco, Mazateco, Ñahñu, Totonaco, and Huichol. Volume 1 contains narratives and essays by Mexican indigenous writers. Their texts appear first in their native language, followed by English and Spanish translations. Frischmann and Montemayor have abundantly annotated the English, Spanish, and indigenous-language texts and added glossaries and essays that trace the development of indigenous texts, literacy, and writing. These supporting materials make the anthology especially accessible and interesting for nonspecialist readers seeking a greater understanding of Mexico's indigenous peoples. The other volumes of this work will be Volume 2: Poetry/Poesía and Volume 3: Theater/Teatro.

The Yucatan Peninsula draws many North American and European travelers each year to view the ruins of the pre-Columbian Classical Maya civilization and the abundant native flora and fauna. For these travelers, as well as armchair travelers and students, Gary Bevington has prepared the first general English-language introduction to Yucatec Maya, the native language of the people indigenous to the region. Written in nontechnical terms for learners who have a basic knowledge of simple Mexican Spanish, the book presents easily understood, practical information for anyone who would like to communicate with the Maya in their native language. In addition to covering the pronunciation and grammar of Maya, Bevington includes invaluable tips on learning indigenous languages "in the field." Most helpful are his discussions of the cultural and material worlds of the Maya, accompanied by essential words and expressions for common objects and experiences. A Maya-English-Spanish glossary with extensive usage examples and an English-Maya glossary conclude the book. Note: The supplemental audiocasette, Spoken Maya for Travelers and Students, is now available as a free download.

Yucatec Maya, the most widely spoken Maya language, can be heard throughout Mexico's Yucatan Peninsula, in Belize, and in parts of Guatemala. This unique guide is the perfect reference for visitors to the rainforests, beaches, and spectacular archaeological sites of the Maya regions. Ideal for travelers, linguists, and anthropologists, it includes: 2,700 total dictionary entries; Spanish equivalents for all entries; phonetic pronunciation for all Maya words and phrases; a basic Maya grammar guide; and practical cultural information.

This authoritative work is the first visual dictionary of Maya glyphs published since the script's complete deciphering, offering a much-needed, comprehensive catalogue of 1100 secured glyphs. Each entry includes the illustrated glyph, its phonetic transcription, Mayan equivalent, part of speech, and meaning. About the Author John Montgomery was an illustrator, epigrapher, writer, and PhD candidate in the field of Pre-Columbian Art at the University of New Mexico. He taught art history at the South-western Indian Polytechnic Institute in Albuquerque. A long and varied experience in Central America first inspired his interest in the ancient Maya. His glyphic illustrations are based on a lifetime of involvement with Maya glyph decipherment.

Cover Flap This is the fifth novel in the “Maya’s Aura” series. This naughty novel of magic and mayhem begins with Maya’s visit to her great grandmother who lives on an island in Boston Bay. She gives Maya some family heirlooms, including a crystal pendant and an iron ring. The crystal causes her to dream. Not her dreams, but the dreams of the original owner, a woman from the late 1700’s. In order to find out more about these mystical heirlooms, Maya travels to Cambridge, England to track down her family’s heritage. While partying at the infamous Strawberry Faire, she makes friends with some local witchlets who have just come out of the broom closet. She goes with them to a Witches’ Sabbat in hopes of meeting more experienced witches who may know more about her heirlooms. She meets all sorts of witches at the Sabbat. Some skilled, some good, some fun, some fake, and some who are absolutely terrifying. About the Author Skye Smith is my pen name. My family convinced me not to use my real name because my stories are so critical of predator males. You'll understand and forgive me this as you fall in love with sweet Maya, my main character. For those of you who like stories about vampires, witches, and magic, you won’t be disappointed by my very different, more realistic take on it all. My vampires are parasites wearing business suits. My witches are healers ignored by the modern world. My magic is based on aura’s, and everyone has felt or seen an aura at least once in their lives. Other Novels By The Same Author: The Hoodsman – 12 historical adventures set in the Norman conquest. Knut – many historical adventures set in the Viking Era. The Pistoleer – 9 historical adventures set in the English Civil War. Maya’s Aura – 8 new age adventures while tripping around the world. 1. “The Awakening” - She discovers her strange aura. 2. “The Refining” - She learns how to use her aura. 3. “The Ashram” - She searches for answers in India 4. “Goa to Nepal” - She follows a quest into the Himalayas 5. “The Charred Coven” - She fights black craft in England. 6. “The Crystal Witch” - She learns psychic craft in England 7. “The Redemptioner” - Psychic dreams of her ancestor Britta. 8. “Destroy the Tea Party” - Britta’s adventures in Boston in 1773.

The rich findings of recent exploration and research are incorporated in this completely revised and greatly expanded sixth edition of this standard work on the Maya people. New field discoveries, new technical advances, new successes in the decipherment of Maya writing, and new theoretical perspectives on the Maya past have made this new edition necessary.