Rain Gods

“America’s best novelist” (The Denver Post) brings back one of his most fascinating characters—Texas sheriff Hackberry Holland, cousin to lawman Billy Bob Holland—in this heart-pounding bestseller. In a heat-cracked border town, the bodies of nine illegal aliens—women and girls, killed execution-style—are unearthed in a shallow grave. Haunted by a past he can’t shake and his own private demons, Hack attempts to untangle the grisly case, which may lead to more bloodshed. Damaged young Iraq vet Pete Flores, who saw too much before fleeing the crime scene, and his girlfriend, Vikki Gaddis, are running for their lives. Sorting through the lowlifes who are hunting down Pete, and with Preacher Jack Collins, a Godfearing serial killer for hire, in the mix, Hack is caught up in a terrifying race for survival—for Pete, Vikki, and himself.

"The Rain God is a lost masterpiece that helped launch a legion of writers. Its return, in times like these, is a plot twist that perhaps only Arturo Islas himself could have conjured. May it win many new readers." — Luis Alberto Urrea, bestselling author of The House of Broken Angels and The Hummingbird’s Daughter "Rivers, rivulets, fountains and waters flow, but never return to their joyful beginnings; anxiously they hasten on to the vast realms of the Rain God." A beloved Southwestern classic—as beautiful, subtle and profound as the desert itself—Arturo Islas's The Rain God is a breathtaking masterwork of contemporary literature. Set in a fictional small town on the Texas-Mexico border, it tells the funny, sad and quietly outrageous saga of the children and grandchildren of Mama Chona the indomitable matriarch of the Angel clan who fled the bullets and blood of the 1911 revolution for a gringo land of promise. In bold creative strokes, Islas paints on unforgettable family portrait of souls haunted by ghosts and madness--sinners torn by loves, lusts and dangerous desires. From gentle hearts plagued by violence and epic delusions to a child who con foretell the coming of rain in the sweet scent of angels, here is a rich and poignant tale of outcasts struggling to live and die with dignity . . . and to hold onto their past while embracing an unsteady future.

Providing a rare longitudinal look at the cultural basis of this grassroots insurgency, The Rain Gods' Rebellion offers rare insight into the significance of oral history in forming Nahua collective memory and, by extension, culture.

Olmec Art at Dumbarton Oaks presents the Olmec portion of the Robert Woods Bliss Collection of Pre-Columbian Art. It illustrates all thirty-nine Olmec art objects in color plates and includes many complementary and comparative black-and-white illustrations and drawings. The body of Pre-Columbian art that Robert Bliss carefully assembled over a half-century between 1912 and 1963, amplified only slightly since his death, is a remarkably significant collection. In addition to their aesthetic quality and artistic significance, the objects hold much information regarding the social worlds and religious and symbolic views of the people who made and used them before the arrival of Europeans in the New World. This volume is the second in a series of catalogues that will treat objects in the Bliss Pre-Columbian Collection. The majority of the Olmec objects in the collection are made of jade, the most precious material for the peoples of ancient Mesoamerica from early times through the sixteenth century. Various items such as masks, statuettes, jewelry, and replicas of weapons and tools were used for ceremonial purposes and served as offerings. Karl Taube brings his expertise on the lifeways and beliefs of ancient Mesoamerican peoples to his study of the Olmec objects in teh Bliss collection. His understanding of jade covers a broad range of knowledge from chemical compositions to geological sources to craft technology to the symbolic power of the green stone. Throughout the book the author emphasizes the role of jade as a powerful symbol of water, fertility, and particularly, of the maize plant which was the fundamental source of life and sustenance for the Olmec. The shiny green of the stone was analogous to the green growth of maize. This fundamental concept was elaborated in specific religious beliefs, many of which were continued and elaborated by later Mesoamerican peoples, such as the Maya. Karl Taube employs his substantial knowledge of Pre-Columbian cultures to explore and explicate Olmec symbolism in this catalogue.

The ones holding pots on their laps were called "gods of rain." They outlasted the other types and became known as "rain gods."".

The author, William M. Eaton, brings to his studies of Pueblo Indian culture a unique background. He was commissioned as 2nd Lt. in the USAAF with specialized training as a celestial navigator...One day as he surveyed a petroglyph panel, he was impressed with the fact that the Pueblo Indian shaman had imprinted several star Panels, namely Ursa Major and Ursa Minor, into the petroglyph panel. One set of obscure dots soon led to another, and a remarkable source of astronomical data was developed including the utilization of Pleiades, Orion, and the star Capella. This data, some of which related to star panels announcing the summer and winter solstices, was intended to initiate the annual schedules of a number of Pueblo Indian events such as the Niman Dance in Summer Solstice, the Soyal Winter Solsice Ceremony, and the Momtcit Warrior Initiation Rites in late December.

Comprehensive and cross-referenced, this informative volume is a rich introduction to the world of nature as experienced by ancient peoples around the globe. 51 halftones.

Illustrated with scores of drawings and halftone photos, this guidebook to the mythology of Mexico and Central America focuses mainly on Mexican Highland and Maya areas, due to their importance in Mesoamerican history.