Mexican American

Every woman in Millie Delacroix's family is cursed - kind of. Birth control just doesn't work for them. Like ever. Going to the altar knocked up is pretty much a family tradition. And 24-year-old Millie refuses to let that happen to her - again. Especially now that she's responsible for raising her brothers and sister. A life of celibacy is her best defense - at least until the kids are grown and can take care of themselves. And, really, what's 10 years with no sex? No men. No sex. No love. It's a fool-proof plan. Until she meets Luc Valencia.

Many scholars have come to think of the European Christian mission to the Americas as an inevitable success. But in its early period it was very much on the brink of failure. In 1576, Indigenous Mexican communities suffered a catastrophic epidemic that took almost two million lives and simultaneously left the colonial church in ruins. In the crisis and its immediate aftermath, Spanish missionaries and surviving pueblos de indios held radically different visions for the future of Christianity in the Americas.

To his contemporaries in Gilded Age Manhattan, Guillermo Eliseo was a fantastically wealthy Mexican, the proud owner of a luxury apartment overlooking Central Park, a busy Wall Street office, and scores of mines and haciendas in Mexico. But for all his obvious riches and his elegant appearance, Eliseo was also the possessor of a devastating secret: He was not, in fact, from Mexico at all. Rather, he had begun life as a slave named William Ellis, born on a cotton plantation in Texas during the waning years of King Cotton.

Until now, you've only heard one side of the story, about migrants crossing borders, drawn to the promise of a better life. In reality, Mexicans were on this land long before any borders existed. Here's the true story of America, from the Mexican American perspective.

The Witch is dead. And the discovery of her corpse - by a group of children playing near the irrigation canals - propels the whole village into an investigation of how and why this murder occurred. Rumors and suspicions spread. As the novel unfolds in a dazzling linguistic torrent, with each unreliable narrator lingering on new details, new acts of depravity or brutality, Melchor extracts some tiny shred of humanity from these characters that most would write off as utterly irredeemable, forming a lasting portrait of a damned Mexican village.

Topanga Canyon is home to two couples on a collision course. Los Angeles liberals Delaney and Kyra Mossbacker lead an ordered, sushi-and-recycling existence in a newly gated hilltop community: He is a sensitive nature writer, she an obsessive realtor. Mexican illegals Candido and America Rincon desperately cling to their vision of the American Dream as they fight off starvation in a makeshift camp deep in the ravine.

Luis J. Rodriguez writes about race, culture, identity, and belonging and what these all mean and should mean (but often fail to) in the volatile climate of our nation. His passion and wisdom inspire us with the message that we must come together if we are to move forward.

As the heyday of the Chicano Movement of the late 1960s to early '70s fades further into history and as more and more of its important figures pass on, so too does knowledge of its significance. Thus, Chicano Movement for Beginners is an important attempt to stave off historical amnesia. It seeks to shed light on the multifaceted civil rights struggle known as "El Movimiento" that galvanized the Mexican American community, from laborers to student activists, giving them not only a political voice to combat prejudice and inequality, but also a new sense of cultural awareness....

Between 1910 and 1920, vigilantes and law enforcement-including the renowned Texas Rangers - killed Mexican residents with impunity. The full extent of the violence was known only to the relatives of the victims. The Injustice Never Leaves You offers an invaluable account of why these incidents happened, what they meant at the time, and how a determined community ensured that the victims were not forgotten.

Told in a series of voices, Calling for a Blanket Dance takes us into the life of Ever Geimausaddle through the multigenerational perspectives of his family as they face myriad obstacles. His father’s injury at the hands of corrupt police, his mother's struggle to hold on to her job and care for her husband, the constant resettlement of the family, and the legacy of centuries of injustice all intensify Ever’s bottled-up rage. Meanwhile, all of Ever’s relatives have ideas about who he is and who he should be.

American Brujeria is about the fascinating blend of American and Mexican folk magic currently used by those living in the US but whose roots are steeped in Mexican culture. This type of Mexican American folk magic, which the author calls “American brujeria”, features its own unique saints and spirits as well as familiar ones, such as the infamous Santa Muerte.

The essays gathered in The Early Imperial Republic move beyond the question of whether the new republic was an empire, investigating instead where, how, and why it was one. They use the category of empire to situate the early United States in the global context its contemporaries understood, drawing important connections between territorial conquests on the continent and American incursions.

Ulysses S. Grant, 18th President of the United States and commander of the Union forces in the Civil War, tells the story of his life in his own words. In this opening volume, Grant covers his early years, including his time at the U.S. military academy at West Point and his service during the Mexican War under Zachary Taylor. Grant wrote his memoirs in order to rescue his family from debt and they were published as he lay dying of throat cancer. Today, they are an American classic.

Just Like Us tells the story of four high school students whose parents entered this country illegally from Mexico. All four of the girls have grown up in the United States, and all four want to live the American dream, but only two have documents. As the girls attempt to make it into college, they discover that only the legal pair see a clear path forward. A coming-of-age story about girlhood and friendship, as well as the resilience required to transcend poverty, Just Like Us is also a book about identity.

"Los mexicanos tienen que convencerse de que no solamente son generadores de mano de obra", dice el autor de este ensayo político. Se trata de una mirada crítica a los mexicanos y a la forma en la que enfrentan su realidad como nación. El autor, conocido como "El Mexicano Desconocido", es un mexicano más que enfrenta a sus compatriotas "con su naturaleza mentirosa", la transformación de las familias mexicanas y los sentimientos encontrados que despierta México entre sus ciudadanos.

Emilia and Gregorio spent their childhood following their grandmother through the mountains of central México, gathering the ingredients she used for curandera work and learning about the supernatural world. When she passes away, the siblings are left alone. So they scrape together their money and pay coyotes to smuggle them to their father in the United States. The siblings are exhausted before they even reach the border, where the coyotes seize Emilia for their own harsh ends.

In the court of the “King”, everyone knows their place. But as the Artist wins hearts and egos with his ballads, uncomfortable truths emerge that shake the Kingdom to its core. Part surreal fable and part narco-lit romance, this prize-winning novel from Yuri Herrera questions the price of keeping your integrity in a world ruled by patronage and power.

Prieta is a term of endearment. When I tell people who don’t speak Spanish what prieta means—dark or the dark one—their eyes pop open and a small gasp escapes. I see the offense they feel for me sprinkled on their faces like the freckles I will never have. How do I tell them that when I heard Ita say Prieta, I felt the caress of her strong hands on the top of my head as she braided my hair?

In the heart of the Great Depression, Rancho Las Moras, like everywhere else in Texas, is gripped by the drought of the Dust Bowl, and resentment is building among white farmers against Mexican Americans. All around town, signs go up proclaiming “No Dogs or Mexicans” and “No Mexicans Allowed.” When Estrella organizes a protest against the treatment of tejanos in their town of Monteseco, Texas, her whole family becomes a target of “repatriation” efforts to send Mexicans “back to Mexico”—whether they were ever Mexican citizens or not.

Claudia Garcia crossed the border because her toddler, Natalia, could not hear. Leaving behind everything she knew in Mexico, Claudia recounts the terror of migrating alone with her toddler and the incredible challenges she faced advocating for her daughter’s health in the United States. When she arrived in Texas, Claudia discovered that being undocumented would mean more than just an immigration status—it would be a way of living, of mothering, and of being discarded by even those institutions we count on to care.