Still Nowhere in an Empty Vastness is a collection of essays and manifestos engaging hemispheric desires and borderland eventualities in the geopolitical imagination of the Americas, reflecting the fear and fantasies prompted by metaphors of occupation, displacement, and counter-conquest.

Pushing the boundaries of Latinx literature and what constitutes a borderlands poetics. Throughout Roberto Tejada’s body of work, the renowned poet and celebrated critic has explored themes of Latinx culture, politics, history, language, and ecologies. In his latest collection, Why the Assembly Disbanded, he presents a unique contribution to Latinx letters that reflects on the relations between the United States and Latin America, especially their real and symbolic borderlands. Immersive, postmodern, and philosophical, Why the Assembly Disbanded provides an associative, critical Latinx aesthetic connecting the Mexico–United States borderlands to Latin America’s neo-baroque heritage. Migrants, settlers, tourists, and exiles moving across various hemispheric landscapes are featured in these exuberant, capacious, and self-reflexive poems. Tejada relates the ravages of white supremacy in our culture that, together with immigrant precarity, turn home into a place of foreboding and impending eviction, even as a dream-weather makes room at last for scenes of possibility and attainment in the account of human history. The sweeping futuristic vistas open on to narratives of colonial extraction, human displacement, abuses of capitalism, mass media spectacle, the antagonism of language and technical images in the sensorium of urban and digital life-worlds, and the relations of desire encouraged by pictures and words in the economy of attention. Los Angeles and Mexico City figure prominently in poems committed to voicing modes of formation and community in an intersectional reckoning of personhoods prompted in work by artists Betye Saar, Amiri Baraka, Connie Samaras, and Rubén Ortiz Torres. With language given to pageantry, tonal precision, and a hopeful lyric radiance that can accommodate ecstasy and justice, Roberto Tejada’s carnivalesque, borderland imagery pushes the boundaries of Latinx literature. World-building by way of reverie, speculation, and retro-futurist tableaux, and with vivid, sometimes violent particularity, his poems enact hallucinatory realities of the hemisphere: an imagination that triangulates history, lyricism, and art as social practice.

The author offers a comprehensive study of Mexican photography from the early twentieth century to today, demonstrating how images have shaped identities in Mexico, the United States, and in the borderlands where the two nations and cultures intersect-the shared image environment. Cross-cultural expisodes that are contradictory, especially in terms of cultural and sexual difference are discussed. Analyzing such topics as territory, sexuality, and social and ethnic relations in image making, the author traces the connective thread that photography has provided between Mexican and U.S. American intellectual and cultural production, and in doing so, defines both nations.==Back cover.

A beautiful presentation of a new suite of works made for the Menil Collection by Allora & Calzadilla The Puerto Rico-based collaborative duo Allora & Calzadilla created Specters of Noon as a group of seven large-scale works specifically for the Menil Collection. The ensemble is orchestrated around the idea of solar noon, a notion derived from Surrealist texts by Caillois, Césaire, and others that probe the transcultural mythology of noon--a time when shadows vanish and delirious visions momentarily reign. The works include light projections, guano, ship engines, live vocal performance, and coal. Using the Menil's Surrealist holdings as a point of departure, Specters of Noon is infused throughout with a Caribbean perspective that addresses the instability of environmental and colonial politics; one work is a power transformer damaged in Hurricane Maria that is half-sheathed in bronze. Filled with stunning installation photography and insightful texts both commissioned and reprinted, this volume captures the spirit of Jennifer Allora (b. 1974) and Guillermo Calzadilla's (b. 1971) deeply researched and multifaceted work.

These transcendent, lyrical essays on the West announced Gretel Ehrlich as a major American writer—“Wyoming has found its Whitman” (Annie Dillard). Poet and filmmaker Gretel Ehrlich went to Wyoming in 1975 to make the first in a series of documentaries when her partner died. Ehrlich stayed on and found she couldn’t leave. The Solace of Open Spaces is a chronicle of her first years on “the planet of Wyoming,” a personal journey into a place, a feeling, and a way of life. Ehrlich captures both the otherworldly beauty and cruelty of the natural forces—the harsh wind, bitter cold, and swiftly changing seasons—in the remote reaches of the American West. She brings depth, tenderness, and humor to her portraits of the peculiar souls who also call it home: hermits and ranchers, rodeo cowboys and schoolteachers, dreamers and realists. Together, these essays form an evocative and vibrant tribute to the life Ehrlich chose and the geography she loves. Originally written as journal entries addressed to a friend, The Solace of Open Spaces is raw, meditative, electrifying, and uncommonly wise. In prose “as expansive as a Wyoming vista, as charged as a bolt of prairie lightning,” Ehrlich explores the magical interplay between our interior lives and the world around us (Newsday).

Sara Lupita Olivares’s Migratory Sound, winner of the 2020 CantoMundo Poetry Prize, looks back to generational narratives of Mexican American migration, examining linguistic and geographic boundaries as it journeys north along routes of seasonal fieldwork and factory labor. “Whether enacting a bird migration, or the uprooting of people relocating north, or the private movement from sleep to alert vigilance,” series editors Carolina Ebeid and Carmen Giménez Smith observe, “Olivares’s stark poetry concerns the precarious idea of place and its underlying ‘unplace.’ She makes evident how every place bears a relationship with an elsewhere, an over there sometimes situated underneath.”

This comprehensive, lavishly illustrated catalogue offers an in-depth survey of the incredibly vital but often overlooked legacy of Los Angeles's African American artists, featuring many never-before-seen works.

"When the Twin Towers suddenly reappear in the Badlands of South Dakota, twenty years after their fall, nobody can explain their return. To the tens of thousands drawn to the 'American Stonehenge' - including Parker and Zema, siblings driving from LA to Michigan - the towers seem to sing, even though everybody hears a different song. And on the ninety-third floor of the South Tower, Jesse Presley, the stillborn twin of the most famous singer who ever lived, suddenly awakens. Over the days and months and years to come, he's driven mad by a voice in his head that sounds like his but isn't, and by the memory of a country where he survived in his brother's place." -- Back cover.

Frames, Erasures, Graffiti --Writing in Relation --Guidestars, Tangles, Hauntologies.

This is the extraordinary story of an indomitable Australian woman going to the back of beyond and triumphing over adversity. It is a story about bush people and their generosity, filled with wonderful characters. Most of all, it is the story of a woman's love for her man and the adventure it took her on. 'After falling in love with my husband, Rick, I moved to a property called McAllister in the remote Gulf Country of far north Queensland, where I found myself living in a shed with a 44-gallon drum for my stove and a shower rose and a bucket in a tree for the bathroom!' When 22-year-old Jenny Old followed her heart to the vastness of the Gulf of Carpentaria, she had no idea of the primitive conditions she'd find herself in. Often her only contact with the outside world was through her two-way radio. Stretched to the limits, she achieved more than she ever thought herself capable of. With every setback and in the toughest of times when the odds seemed insurmountable, she learnt to dust herself off, find a smile and just keep on going. For eighteen years Jenny and Rick battled flood, drought, cyclones and personal hardship. Yet their world was a big as the landscape in which they lived, filled as it was with generosity, wonderful characters and the joy of life. At McAllister they established an oasis for their family and friends. Jenny's motto is: life throws many curve balls at us, but it's how we deal with them that counts. This is the extraordinary story of a woman of the bush and her indomitable spirit.