The Gringo S Hawk

This American author has now spent four decades being involved in Costa Rica’s terrestrial and marine habitats, documenting the challenges and triumphs of his attempts to make an environmentally conscious and sustainable living in this paradise. Jon Marañón offers a unique first-person account of nature and persons in conflict and the difficulties of meshing human existence into the recently pristine coastal rainforests of Costa Rica. His work promotes reader awareness of the natural environment, wildlife, ecosystems, and socioculture of this remote area of Costa Rica. Ecology and spirituality intertwine as he describes his journey in a mix of naturalist and lyrical prose that, along with humor and introspection, mark the style of The Gringo’s Hawk. The Gringo’s Hawk represents the culmination of Mr. Marañón’s social struggles and the roles he has played in conservation, education, social well-being, and in establishing national parks and marine reserves in his area.

The Hawk, John Cooper Baines, joins forces with an Indian nation to battle ruthless desperadoes, while in New Orleans, an old enemy sworn to kill the Hawk threatens a beautiful French girl and in the Southwest, war with Mexico begins.

Daggers in the Desert is a novel of adventure in the life of a simple Mexican cardboard-box collector (cartonero) and a US Border Patrol agent on the Rio Grande border of South Texas and Northern Mexico. Far from the life he had known in Georgia, the agent fights heat, drugs, coyotes (human smugglers), and himself in the dusty Laredo sector of the 1970s with a 97 percent Hispanic population.

Courage, daring, heroism and romance, turn it into a vivid fast-paced narrative that will satiate lovers of action adventure literature, giving them a true to life picture of famous Mexican revolutionary Pancho Villa.

Color illustration on front cover of two men and a woman, one man in a red military uniform, the other in a white shirt. The dark-haired woman is wearing a red dress, sitting in a chair, with her arms folded over her head. They are in front of a body of water with a fortress-like building in the background.

The year was 1846 – and the great American Southwest was the prize in an epic conflict. The U.S. Army and the army of Mexico met in a battle that would shape the course of history, while the legendary Apache warrior chief Mangas Coloradas looked on, determined to defend his ancestral lands and age-old tribal traditions against either of the invaders or both. On this bloody battlefield young Lieutenant Nathanial Barrington faced his first great test of manhood…as he began a career that would take him to the heart of the conflict sweeping over the West from Texas to New Mexico…and plunge him into passions that would force him to choose between two very different frontier beauties. This enthralling first novel of The Apache Wars Saga captures the drama and real history of a struggle in which no side wanted to surrender…in a series alive with all the excitement and adventures of brave men and women – white and Native American – who decided the future of America.

During the 1920s and 1930s, American minority artists and writers collaborated extensively with the Soviet avant-garde, seeking to build a revolutionary society that would end racial discrimination and advance progressive art. Making what Claude McKay called "the magic pilgrimage" to the Soviet Union, these intellectuals placed themselves at the forefront of modernism, using radical cultural and political experiments to reimagine identity and decenter the West. Shining rare light on these efforts, The Ethnic Avant-Garde makes a unique contribution to interwar literary, political, and art history, drawing extensively on Russian archives, travel narratives, and artistic exchanges to establish the parameters of an undervalued "ethnic avant-garde." These writers and artists cohered around distinct forms that mirrored Soviet techniques of montage, fragment, and interruption. They orbited interwar Moscow, where the international avant-garde converged with the Communist International. The book explores Vladimir Mayakovsky's 1925 visit to New York City via Cuba and Mexico, during which he wrote Russian-language poetry in an "Afro-Cuban" voice; Langston Hughes's translations of these poems while in Moscow, which he visited to assist on a Soviet film about African American life; a futurist play condemning Western imperialism in China, which became Broadway's first major production to feature a predominantly Asian American cast; and efforts to imagine the Bolshevik Revolution as Jewish messianic arrest, followed by the slow political disenchantment of the New York Intellectuals. Through an absorbing collage of cross-ethnic encounters that also include Herbert Biberman, Sergei Eisenstein, Paul Robeson, and Vladimir Tatlin, this work remaps global modernism along minority and Soviet-centered lines, further advancing the avant-garde project of seeing the world anew.