Loving Pedro Infante

A novel about love's labors lost at once hilarious and heartrending, "Loving Pedro Infante" unravels the fictions people weave to justify loving the wrong mate, and confirms Denise Chvez's reputation as one of the most vibrant Chicana storytellers.

After the modern Mexican state came into being following the Revolution of 1910, hyper-masculine machismo came to be a defining characteristic of "mexicanidad," or Mexican national identity. Virile men (pelados and charros), virtuous prostitutes as mother figures, and minstrel-like gay men were held out as desired and/or abject models not only in governmental rhetoric and propaganda, but also in literature and popular culture, particularly in the cinema. Indeed, cinema provided an especially effective staging ground for the construction of a gendered and sexualized national identity. In this book, Sergio de la Mora offers the first extended analysis of how Mexican cinema has represented masculinities and sexualities and their relationship to national identity from 1950 to 2004. He focuses on three traditional genres (the revolutionary melodrama, the cabaretera [dancehall] prostitution melodrama, and the musical comedy "buddy movie") and one subgenre (the fichera brothel-cabaret comedy) of classic and contemporary cinema. By concentrating on the changing conventions of these genres, de la Mora reveals how Mexican films have both supported and subverted traditional heterosexual norms of Mexican national identity. In particular, his analyses of Mexican cinematic icons Pedro Infante and Gael García Bernal and of Arturo Ripstein's cult film El lugar sin límites illuminate cinema's role in fostering distinct figurations of masculinity, queer spectatorship, and gay male representations. De la Mora completes this exciting interdisciplinary study with an in-depth look at how the Mexican state brought about structural changes in the film industry between 1989 and 1994 through the work of the Mexican Film Institute (IMCINE), paving the way for a renaissance in the national cinema.

A 13-year-old girl growing up in Mexico is visited by her 30-year-old future self in this powerful Young Adult novel in verse about accepting yourself. Out of nowhere, a lady comes up to Anamaría and says she's her, from the future. But Anamaría's thirteen, she knows better than to talk to some weirdo stranger. Girls need to be careful, especially in Ciudad Juárez, Mexico--it's the 90's and fear is overtaking her beloved city as cases of kidnapped girls and women become alarmingly common. This thirty-year-old "future" lady doesn't seem to be dangerous but she won't stop bothering her, switching between cheesy Hallmark advice about being kind to yourself, and some mysterious talk about saving a girl. Anamaría definitely doesn't need any saving, she's doing just fine. She works hard at her strict, grade-obsessed middle school--so hard that she hardly gets any sleep; so hard that the stress makes her snap not just at mean girls but even her own (few) friends; so hard that when she does sleep she dreams about dying--but she just wants to do the best she can so she can grow up to be successful. Maybe Thirty's right, maybe she's not supposed to be so exhausted with her life, but how can she ask for help when her city is mourning the much bigger tragedy of its stolen girls? This thought-provoking, moving verse novel will lead adult and young adult readers alike to vital discussions on important topics--like dealing with depression and how to recognize this in yourself and others--through the accessible voice of a thirteen-year-old girl. Alessandra Narváez Varela was born and raised in Ciudad Juárez, México. She earned a B.S. in Biology and an M.F.A. in Creative Writing from the University of Texas at El Paso, where she now teaches. This is her debut novel.

"A delightful novel...impossible to resist." —Barbara Kingsolver, Los Angeles Times Book Review Sofia and her fated daughters, Fe, Esperanza, Caridad, and la Loca, endure hardship and enjoy love in the sleepy New Mexico hamlet of Tome, a town teeming with marvels where the comic and the horrific, the real and the supernatural, reside.

Rocío Esquibel is a girl growing up in a Southern New Mexico town with her mother and sister. She defines her neighborhood by its trees—the willow, the apricot and the one they call the marking-off tree. Rocio knows she was born in the closet where she and her sister now take turns looking at the picture of Jesus whose eyes light up in the dark. But at night she enters a magical realm, and in her imaginary Blue Room, she can fly. At first she is a mesmerized observer of the lives of older girls and their boyfriends, but as she finds a job at the local hospital, and discovers a passion for drama and stories, Rocio begins to make her own choices in love and work. Alive with the taste of tamales and the lyrical tang of the Esquibels’ talk, The Last of the Menu Girls becomes a rich celebration of Chicano culture, and a universal story of finding one’s way in the world.

Divorced, thirtysomething Teresina spends her time working in a small dusty town near El Paso, Texas, but her life begins a series of turns when she meets Lucio, who ties her heart in knots with a string of empty promises, and joins the Pedro Infante FanC

Pedro Infante. Irresistible galán de la pantalla grande. Su imagen provoca mareos y suspiros de añoranza a las mexicanas y le proporciona a Tere çvila, Secretaria del Club de Admiradores de Pedro Infante #256, el ideal soñado con que mide a los varones, por demás reales, de su existencia. Tere vive en Cabritoville, Nuevo México, un pueblito fronterizo donde no caben secretos, y sabe muy bien que no podrá ocultar mucho tiempo su amorío con Lucio, el hombre casado que la trae loca — cuando no está robándose unas horas con él en el Motel Sands. Aœn más difícil que guardar el secreto le resulta mantener interesado al tornadizo de Lucio, ni hablar de los permanentes sermones que le suelta Irma, su mejor amiga, acerca del pésimo gusto que tiene para elegir amantes. Tere emprende la bœsqueda del sentido de su vida soltera y dificultad, bebiendo Tecate en un tugurio que mucho ha frecuentado, mirando videos de las películas de Pedro Infante que son su vida y que tal vez ya haya repasado hasta el exceso. Luego empieza a separar la lujuria y el amor verdadero, la ensoñación cinemática y el destino rasposo y complicado que a ella le pertenece si lo quiere.