A collection of short stories by Fred Arroyo.

Latina/o/x places exist as both tangible physical phenomena and gatherings created and maintained by creative cultural practices. In this collection, an interdisciplinary group of contributors critically examines the many ways that varied Latina/o/x communities cohere through cultural expression. Authors consider how our embodied experiences of place, together with our histories and knowledge, inform our imagination and reimagination of our surroundings in acts of placemaking. This placemaking often considers environmental sustainability as it helps to sustain communities in the face of xenophobia and racism through cultural expression ranging from festivals to zines to sanctuary movements. It emerges not only in specific locations but as movement within and between sites; not only as part of a built environment, but also as an aesthetic practice; and not only because of efforts by cultural, political, and institutional leaders, but through mass media and countless human interactions. A rare and crucial perspective on Latina/o/x people in the Midwest, Building Sustainable Worlds reveals how expressive culture contributes to, and sustains, a sense of place in an uncertain era.

Drawing on critical and sociocultural frameworks, this volume presents narrative studies by or about Latinas in which they speak up about issues of identity and education. Using narratives, self-identification stories, and testimonios as theory, methodology, and advocacy, this volume brings together a wide range of Latinx perspectives on education identity, bilingualism, and belonging. The narratives illustrate the various ways erasure and human agency shape the lives and identities of Latinas in the United States from primary school to higher education and beyond, in their schools and communities. Contributors explore how schools and educational institutions can support student agency by adopting a transformative activist stance through curricula, learning contexts, and policies. Chapters contain implications for teaching and come together to showcase the importance of explicit activist efforts to combat erasure and engage in transformative and emancipatory education.

Sown in Earth is a collection of personal memories that speak to the larger experiences of hardworking migratory men. Often forgotten or silenced, these men are honored and remembered in Sown in Earth through the lens of Arroyo’s memories of his father. Arroyo recollects his father’s anger and alcohol abuse as a reflection of his place in society, in which his dreams and disappointments are patterned by work and poverty, loss and displacement, memory and belonging. In Sown in Earth, Arroyo often roots his thoughts and feelings in place, expressing a deep connection to the small homes he inhabited in his childhood, his warm and hazy memories of his grandmother’s kitchen in Puerto Rico, the rivers and creeks he fished, and the small cafés in Madrid that inspired writing and reflection in his adult years. Swirling in romantic moments and a refined love for literature, Arroyo creates a sense of belonging and appreciation for his life despite setbacks and complex anxieties along the way. By crafting a written journey through childhood traumas, poverty, and the impact of alcoholism on families, Fred Arroyo clearly outlines how his lived experiences led him to become a writer. Sown in Earth is a shocking yet warm collage of memories that serves as more than a memoir or an autobiography. Rather, Arroyo recounts his youth through lyrical prose to humanize and immortalize the hushed lives of men like his father, honoring their struggle and claiming their impact on the writers and artists they raised.

The mystery stories and other popular fiction of Mary Roberts Rinehart (1876-1958) brought her wealth and fame, but she was much more than a writer. She was a well-known American, respected and loved during a time when few women achieved national influence.Her early life was conventional enough. Trained as a nurse, she met and married a physician, with whom she had three sons. She was living the stereotypical life of a young matron in Allegheny (now part of Pittsburgh), when her husband's investments evaporated during a stock market crash. She began writing as a means to supplement the family income. Rinehart became a prolific writer. In addition to her mysteries, she wrote serious fiction, plays, poems, magazine articles, and editorials. Her regular contributions to the Saturday Evening Post were immensely popular and helped the magazine mold middle-class taste and manners.In this fascinating account of a woman ahead of her time, Cohn illuminates the tensions that pervaded Rinehart's life. Rinehart's commercial success conflicted with her domestic roles of wife and mother; she often endured periods of illness and depression but also pursued adventure, including a job as the first woman war correspondent at the Belgian front during World War I. Throughout, Cohn presents Rinehart as a woman of many complexities whose zest for life always prevailed.

Crossing California is a cinematic and unforgettable look at the end of an era, the turning point when the idealism of the sixties gave way to the pragmatism of the eighties. California Avenue, in Chicago’s West Rogers Park neighborhood, separates the upper-middle-class Jewish families on the west from the mostly middle-class Jewish households east of the divide. This funny and heartbreaking novel, which spans the Iran hostage crisis through the inauguration of Ronald Reagan as president, tells the story of three families and their teenage children living on either side of California. It follows their loves, heartaches, friendships, and losses during a memorable and defining moment of American history.

Provides an introduction to American pulp fiction during the twentieth century with brief author biographies and lists of their works.

Remember that the dream of one is the dream of everyone. Ernest is searching for a place where he can live beyond his past. His family has returned to Puerto Rico, and Ernest remains in the States, desiring only distance from his memories of childhood displacement and work, his parentsÕ tumultuous relationship, and his own love for Magdalene. Magdalene, too, looks to move beyond her memories as she follows ErnestÕs family home, seeking resolution to her motherÕs hurtful secrets, her fatherÕs unknown identity, and her love for Ernest. As Ernest moves through the fields of Michigan, as Magdalene traverses the jungles of Puerto Rico and the shores of the Caribbean, they discover that their dreams and identities are linked within the framework of their families and their pasts. Together, Ernest and Magdalene must come to terms with the secrets and mistakes made by the previous generation, the histories of disloyalty and abandonment, of secrecy and sorrow. Their struggles take place in a region of lost names, where loves and memories are banished and found. Fred Arroyo writes a story in two voices, following Ernest and Magdalene by turns in prose that is elegant and lyrical. His words evoke another world lush with the scent of salt spray, the taste of mangoes, and the rush of leaves, alive with characters whose ardors and pathos are achingly real. Arroyo explores the ebb and flow between past and present and themes that are enduring. Ultimately, Ernest and Magdalene must live with more than their memories; they must rediscover the intimacies of the region of lost names.

The importance of Chicago in American culture has made the city's place in the American imagination a crucial topic for literary scholars and cultural historians. While databases of bibliographical information on Chicago-centered fiction are available, they are of little use to scholars researching works written before the 1980s. In The Chicago of Fiction: A Resource Guide, James A. Kaser provides detailed synopses for more than 1,200 works of fiction significantly set in Chicago and published between 1852 and 1980. The synopses include plot summaries, names of major characters, and an indication of physical settings. An appendix provides bibliographical information for works dating from 1981 well into the 21st century, while a biographical section provides basic information about the authors, some of whom are obscure and would be difficult to find in other sources. Written to assist researchers in locating works of fiction for analysis, the plot summaries highlight ways in which the works touch on major aspects of social history and cultural studies (i.e., class, ethnicity, gender, immigrant experience, and race). The book is also a useful reader advisory tool for librarians and readers who want to identify materials for leisure reading, particularly since genre, juvenile, and young adult fiction, as well as literary fiction, are included.

NATIONAL BESTSELLER A bold, clever, and sublimely sinister collection that dares to ask the question: “Are you ready to be un-settled?” Featuring stories by: Norris Black • Amber Blaeser-Wardzala • Phoenix Boudreau • Cherie Dimaline • Carson Faust • Kelli Jo Ford • Kate Hart • Shane Hawk • Brandon Hobson • Darcie Little Badger • Conley Lyons • Nick Medina • Tiffany Morris • Tommy Orange • Mona Susan Power • Marcie R. Rendon • Waubgeshig Rice • Rebecca Roanhorse • Andrea L. Rogers • Morgan Talty • D.H. Trujillo • Theodore C. Van Alst Jr. • Richard Van Camp • David Heska Wanbli Weiden • Royce Young Wolf • Mathilda Zeller Many Indigenous people believe that one should never whistle at night. This belief takes many forms: for instance, Native Hawaiians believe it summons the Hukai’po, the spirits of ancient warriors, and Native Mexicans say it calls Lechuza, a witch that can transform into an owl. But what all these legends hold in common is the certainty that whistling at night can cause evil spirits to appear—and even follow you home. These wholly original and shiver-inducing tales introduce readers to ghosts, curses, hauntings, monstrous creatures, complex family legacies, desperate deeds, and chilling acts of revenge. Introduced and contextualized by bestselling author Stephen Graham Jones, these stories are a celebration of Indigenous peoples’ survival and imagination, and a glorious reveling in all the things an ill-advised whistle might summon.