Mexican Magazine

This volume features approximately 600 entries that represent the major writers, literary schools, and cultural movements in the history of Mexican literature. A collaborative effort by American, Mexican, and Hispanic scholars, the text contains bibliographical, biographical, and critical material--placing each work cited within its cultural and historical framework. Intended to enrich the English-speaking public's appreciation of the rich diversity of Mexican literature, works are selected on the basis of their contribution toward an understanding of this unique artistry. The dictionary contains entries keyed by author and works, the length of each entry determined by the relative significance of the writer or movement being discussed. Each biographical entry identifies the author's literary contribution by including facts about his or her life and works, a chronological list of works, a supplementary bibliography, and, when appropriate, critical notes. Authors are listed alphabetically and cross-referenced both within the text and the index to facilitate easy access to information. Selected bibliographical entries are also listed alphabetically by author and include both the original title and English translation, publisher, date and place of publication, and number of pages.

Winner of the 2006 Thomas J. Lyon Book Award in Western American Literary Studies, presented by the Western Literature Association In The Emergence of Mexican America, John-Michael Rivera examines the cultural, political, and legal representations of Mexican Americans and the development of US capitalism and nationhood. Beginning with the Mexican-American War of 1846-1848 and continuing through the period of mass repatriation of US Mexican laborers in 1939, Rivera examines both Mexican-American and Anglo-American cultural production in order to tease out the complexities of the so-called “Mexican question.” Using historical and archival materials, Rivera's wide-ranging objects of inquiry include fiction, non-fiction, essays, treaties, legal materials, political speeches, magazines, articles, cartoons, and advertisements created by both Mexicans and Anglo Americans. Engaging and methodologically venturesome, Rivera's study is a crucial contribution to Chicano/Latino Studies and fields of cultural studies, history, government, anthropology, and literary studies.

“Brutally honest... a deeply extraordinary and original work.” - SEBASTIAN JUNGER. With an estimated 250,000 people killed in 15 years, the Mexican drug war is the most violent conflict in the Western world. It shows no sign of abating. In this book, Dr Teun A. Voeten analyzes the dynamics of the violence. He argues it is a new type of war called hybrid warfare: multidimensional, elusive and unpredictable, fought at different levels, with different intensities with multiple goals. The war ISIS has declared against the West is another example of hybrid warfare. Voeten interprets drug cartels as ultra-capitalist predatory corporations thriving in a neoliberal, globalized economy. They use similar branding and marketing strategies as legitimate business. He also looks at the anthropological, individual level and explains how people can become killers. Voeten compares Mexican sicarios, West African child soldiers and Western jihadis and sees the same logic of cruelty that facilitates perpetrating ‘inhumane’ acts that are in fact very human.

The Mexican Revolution of 1910–1920 is among the world’s most visually documented revolutions. Coinciding with the birth of filmmaking and the increased mobility offered by the reflex camera, it received extraordinary coverage by photographers and cineastes—commercial and amateur, national and international. Many images of the Revolution remain iconic to this day—Francisco Villa galloping toward the camera; Villa lolling in the presidential chair next to Emiliano Zapata; and Zapata standing stolidly in charro raiment with a carbine in one hand and the other hand on a sword, to mention only a few. But the identities of those who created the thousands of extant images of the Mexican Revolution, and what their purposes were, remain a huge puzzle because photographers constantly plagiarized each other’s images. In this pathfinding book, acclaimed photography historian John Mraz carries out a monumental analysis of photographs produced during the Mexican Revolution, focusing primarily on those made by Mexicans, in order to discover who took the images and why, to what ends, with what intentions, and for whom. He explores how photographers expressed their commitments visually, what aesthetic strategies they employed, and which identifications and identities they forged. Mraz demonstrates that, contrary to the myth that Agustín Víctor Casasola was “the photographer of the Revolution,” there were many who covered the long civil war, including women. He shows that specific photographers can even be linked to the contending forces and reveals a pattern of commitment that has been little commented upon in previous studies (and completely unexplored in the photography of other revolutions).

Mexico today is one of the most dangerous places in the world to report the news, and Mexicans have taken to the street to defend freedom of expression. As Benjamin T. Smith demonstrates in this history of the press and civil society, the cycle of violent repression and protest over journalism is nothing new. He traces it back to the growth in newspaper production and reading publics between 1940 and 1976, when a national thirst for tabloids, crime sheets, and magazines reached far beyond the middle class. As Mexicans began to view local and national events through the prism of journalism, everyday politics changed radically. Even while lauding the liberty of the press, the state developed an arsenal of methods to control what was printed, including sophisticated spin and misdirection techniques, covert financial payments, and campaigns of threats, imprisonment, beatings, and even murder. The press was also pressured by media monopolists tacking between government demands and public expectations to maximize profits, and by coalitions of ordinary citizens demanding that local newspapers publicize stories of corruption, incompetence, and state violence. Since the Cold War, both in Mexico City and in the provinces, a robust radical journalism has posed challenges to government forces.