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  • Contributors


Pattie Cowell has taught American literature, American studies, and women’s studies at Colorado State University for more than thirty years. “Resisting the Border” is part of a larger project exploring storytelling in the northern grasslands. She has had so much fun collecting regional stories that she takes hard the recognition that now it is time to sit still and write.

James H. Cox is an associate professor of English and the associate director of Native American and indigenous studies at the University of Texas at Austin. He is the author of Muting White Noise: Native American and European American Novel Traditions (2006) and The Red Land to the South: American Indian Writers and Indigenous Mexico (2012).

Tom Lynch is an associate professor in the English Department at the University of Nebraska, Lincoln, where he teaches ecocriticism and place-oriented literature. He is the author of Xerophilia: Ecocritical Explorations in Southwestern Literature. He has coedited two collections, The Bioregional Imagination: Literature, Ecology, Place (with Cheryll Glotfelty and Karla Armbruster) and Artifacts and Illuminations: Critical Essays on Loren Eiseley (with Susan N. Maher). He is at work on a comparative ecocritical study of literature of the US West and the Australian Outback, which might someday become a book. And he is the next editor of Western American Literature.

Jennifer A. Reimer is the James R. Gray Lecturer in Chicano/a Studies Reading & Composition in the Department of Ethnic Studies at the University of California, Berkeley, where she earned her PhD in comparative ethnic studies. She has an MFA in writing from the University of San Francisco. Her creative work has appeared in Our Stories, The Denver Quarterly, The Berkeley Poetry Review, The Chaffey Review, 580 Split, Tinfish, Puerto del Sol, Weave, Zoland, and 14 Hills. She was the recipient of the 2011 Gloria Anzaldúa Award for Independent Scholars, awarded by the Women’s Committee of the American Studies Association. She’s a cofounder of Achiote Press and lives in Oakland. [End Page 494]


Alfredo de Batuc (1950), born in Mexico, studied art there before moving to Los Angeles, where he now lives. He was influenced by European Surrealism and by film, both at play in his most famous work, the mural of Dolores del Río, included in this issue. His battle with crippling Guillain-Barré syndrome, which settled in his hands, making him unable to paint, is the subject of a touching documentary by Eric Minh Swenson, Alfredo de Batuc: Liberation of an Artist; it can be found on YouTube.

Joan (Chea-Se-Quah) Hill (b. 1930) is a Creek tribal member with Cherokee ancestry. She was born in Muskogee, Oklahoma, and still lives there. She has won numerous awards for her paintings of historical and cultural scenes, usually characterized by vivid colors.

Alexandre Hogue (1898-1994), associated with the influential Dallas Nine, is best known for southwestern and Midwestern paintings during the 1930s, ’40s, and ’50s, particularly of the Dust Bowl. He promoted his regionalist aesthetic in articles in Southwest Review, along with writers such as Henry Nash Smith.

Richard Rogers is an Australian artist known for bold, colorful paintings of the Australian outback. With a love for the bush and wide open spaces, he seeks to capture the beauty and harshness of the ancient continent and often embodies an acknowledgment of the presence of the indigenous people prior to European settlement. More of his work can be seen at

Gladys Roldan-de-Moras (b. 1965) was born in Monterrey, Mexico, to a Colombian father and Mexican mother. She sees her light-filled and colorful paintings as tributes to her Latin roots. Although she moved to Texas in 1984 to attend the University of Texas/Austin and now lives in San Antonio, she returns often to Mexico to paint. She considers her work representational impressionism and has won awards from the American Impressionist Society. For more information, see [End Page 495]



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