Rant. Chant. Chisme. is the debut collection of poetry by south Texas native Amalia Ortiz, featuring writing from the first decade of her career. Readers will get a taste of life on the border from the perspective of a young woman of color struggling to write herself into existence. These poems introduce a unique new transcultural feminist viewpoint as the poems call for social and political change along the borderlands. Ortiz, an award-winning performance poet known for her dynamic delivery style, relinquishes control of her writing to the reader, but not without first imparting the theatrical stage directions stated in the book's title, which commands readers to recite these poems aloud in a spoken word celebration exploring culture, music, and place while encouraging the reader to embrace diversity and find their own storytelling voice.

Poetry. Latinx Studies. Native American Studies. Women's Studies. LGBTQIA Studies. Chicana Studies. Winner of a 2020 American Book Award in Oral Literature. THE CANCIÓN CANNIBAL CABARET & OTHER SONGS is a hybrid manuscript experimenting with poetry at the intersection of performance. As a text, it is a collection of post-apocalyptic prose poems and poem songs cannibalizing knowledge from before the fall of civilization. In performance, THE CANCIÓN CANNIBAL CABARET is a Xicana punk rock musical--part concept album, part radio play. Set in a not-so-distant dystopian future, La Madre Valiente, a refugee raised under the oppressive State, studies secretly to become the leader of a feminist revolution. Her emissaries, Las Hijas de la Madre, roam the land spreading her story, educating others, and galvanizing allies. Inspired by current issues of social injustice, this multidisciplinary musical performance piece is a refugee, people of color, feminist, and LGBTQ+ call to action.

San Antonio is often described as the “mother” of Texas cities—the oldest and, for two and a half centuries, the largest city in Texas. To many it is, as novelist Larry McMurtry once famously proclaimed, “the one truly lovely city in the state.” Long recognized as a cultural crossroads between two continents, writers in San Antonio, both native and visiting, have had a significant effect upon the city’s literary and cultural landscape. Novels were being written in the city by the late 1830s. Nineteenth century writers like Frederick Law Olmsted, Sydney Lanier, and O. Henry wrote effusively about San Antonio; Oscar Wilde found here “a thrill of strange pleasure.” Here the Mexican Revolution was called into being, and here were the political and literary origins of the Chicano Movement. Literary San Antonio provides dozens of examples of the interplay and cross-pollination of Anglo and Latino literary forms, ideas, and traditions that led to the creation of a unique borderlands or frontera literature. This city, with its winding, still-sleepy river and its story-shrouded springs; its ancient acequias and missions, now acknowledged as valued “world heritage” sites; its sacred battle grounds and historic military forts and bases; its several unique neighborhoods and barrios that have produced and been celebrated by generations of writers; its rich heritage of heroism and revolutionary passion; its endlessly celebratory ability to revel in its multiracial, multiethnic, multilingual roots and branches . . . this city is a good place to write, to write about, and to wander with a book in hand.

From book bans, to teacher firings, to racist content standards, the politics of teaching race and culture in schools have shifted dramatically in recent years. This 3rd edition of Rethinking Multicultural Education has been greatly revised and expanded to reflect these changing times, including sections on “Intersectional Identities,” “Anti-Racist Teaching Across the Curriculum,” “Teaching for Black Lives,” and “K-12 Ethnic Studies,” among others. Practical, rich in story, and analytically sharp, Rethinking Multicultural Education can help current and future educators as they seek to bring racial and cultural justice into their own classrooms.

Latinidad at the Crossroad: Insights into Latinx identity in the Twenty-First Century encompasses an interdisciplinary perspective on the complex range of latinidades and simultaneously advocates a more flexible (re)definition of the term that may overcome static collective representations of identity, ethnicity and belonging.

The Cambridge History of Latina/o American Literature emphasizes the importance of understanding Latina/o literature not simply as a US ethnic phenomenon but more broadly as an important element of a trans-American literary imagination. Engaging with the dynamics of migration, linguistic and cultural translation, and the uneven distribution of resources across the Americas that characterize Latina/o literature, the essays in this History provide a critical overview of key texts, authors, themes, and contexts as discussed by leading scholars in the field. This book demonstrates the relevance of Latina/o literature for a world defined by the migration of people, commodities, and cultural expressions.

Some truths can do more harm than good. This is what Isa comes to believe at the tender age of nine when she first has a dream about kissing a girl—an act that would never be acceptable to her family. By her late twenties, Isa has left her hometown in South Texas, so her conservative family won't discover that she’s gay, and immersed herself in the workaholic routine of law school. One fateful night, she experiments with a man, and subsequently ended up with an unwanted pregnancy. Meanwhile, Isa’s only sister, Cristina, loses the infant she spent years trying to conceive. Moving forward with her own pregnancy and giving the baby to Cristina seems like the perfect solution—until Isa bonds with the newborn. Still, the sisters move forward with the family adoption. Now everyone in the family has a secret. Twelve years later, after much deceit and loss has passed between the sisters, Isa decides to reveal both her sexuality and her niece’s true parentage to their family, against Cristina’s wishes—but before all can be exposed, tragedy strikes. Timely and gripping, Profound and Perfect Things is a story of two first-generation Mexican-American sisters striving to build a meaningful existence outside their traditional parent’s approval and ways of life—and an exploration of the boundaries of our responsibilities to those we love.

How have we thought “the body”? How can we think it anew? The body of mortal creatures, the body politic, the body of letters and of laws, the “mystical body of Christ”—all these (and others) are incorporated in the word Corpus, the title and topic of Jean-Luc Nancy’s masterwork. Corpus is a work of literary force at once phenomenological, sociological, theological, and philosophical in its multiple orientations and approaches. In thirty-six brief sections, Nancy offers us at once an encyclopedia and a polemical program—reviewing classical takes on the “corpus” from Plato, Aristotle, and Saint Paul to Descartes, Hegel, Husserl, and Freud, while demonstrating that the mutations (technological, biological, and political) of our own culture have given rise to the need for a new understanding of the body. He not only tells the story of this cultural change but also explores the promise and responsibilities that such a new understanding entails. The long-awaited English translation is a bold, bravura rendering. To the title essay are added five closely related recent pieces—including a commentary by Antonia Birnbaum—dedicated in large part to the legacy of the “mind-body problem” formulated by Descartes and the challenge it poses to rethinking the ancient problems of the corpus. The last and most poignant of these essays is “The Intruder,” Nancy’s philosophical meditation on his heart transplant. The book also serves as the opening move in Nancy’s larger project called “The deconstruction of Christianity.”