During the nineteenth and early twentieth centuries, a majority of the Mexican immigrant population in the United States resided in Texas, making the state a flashpoint in debates over whether to deny naturalization rights. As Texas federal courts grappled with the issue, policies pertaining to Mexican immigrants came to reflect evolving political ideologies on both sides of the border.  Drawing on unprecedented historical analysis of state archives, U.S. Congressional records, and other sources of overlooked data, Naturalizing Mexican Immigrants provides a rich understanding of the realities and rhetoric that have led to present-day immigration controversies. Martha Menchaca’s groundbreaking research examines such facets as U.S.-Mexico relations following the U.S. Civil War and the schisms created by Mexican abolitionists; the anti-immigration stance that marked many suffragist appeals; the effects of the Spanish American War; distinctions made for mestizo, Afromexicano, and Native American populations; the erosion of means for U.S. citizens to legalize their relatives; and the ways in which U.S. corporations have caused the political conditions that stimulated emigration from Mexico.  The first historical study of its kind, Naturalizing Mexican Immigrants delivers a clear-eyed view of provocative issues.

Founded by Mexican American men in 1929, the League of United Latin-American Citizens (LULAC) has usually been judged according to Chicano nationalist standards of the late 1960s and 1970s. Drawing on extensive archival research, including the personal papers of Alonso S. Perales and Adela Sloss-Vento, No Mexicans, Women, or Dogs Allowed presents the history of LULAC in a new light, restoring its early twentieth-century context. Cynthia Orozco also provides evidence that perceptions of LULAC as a petite bourgeoisie, assimilationist, conservative, anti-Mexican, anti-working class organization belie the realities of the group’s early activism. Supplemented by oral history, this sweeping study probes LULAC’s predecessors, such as the Order Sons of America, blending historiography and cultural studies. Against a backdrop of the Mexican Revolution, World War I, gender discrimination, and racial segregation, No Mexicans, Women, or Dogs Allowed recasts LULAC at the forefront of civil rights movements in America.

No Safe Spaces opens up a conversation beyond narrow polemics . . . Although cross-racial casting has been the topic of heated discussion, little sustained scholarship addresses both the historical precedents and theoretical dimensions. Pao illustrates the tensions and contradictions inherent not only in stage representations, but also in the performance of race in everyday life. A wonderful book whose potential readership goes well beyond theater and performance scholars. ---Josephine Lee, University of Minnesota "Non-traditional casting, increasingly practiced in American theater, is both deeply connected to our country's racial self-image(s) and woefully under-theorized. Pao takes on the practice in its entirety to disentangle the various strands of this vitally important issue." ---Karen Shimakawa, New York University No Safe Spaces looks at one of the most radical and enduring changes introduced during the Civil Rights era---multiracial and cross-racial casting practices in American theater. The move to cast Latino/a, African American, and Asian American actors in classic stage works by and about white Europeans and Americans is viewed as both social and political gesture and artistic innovation. Nontraditionally cast productions are shown to have participated in the national dialogue about race relations and ethnic identity and served as a source of renewed creativity for the staging of the canonical repertory. Multiracial casting is explored first through its history, then through its artistic, political, and pragmatic dimensions. Next, the book focuses on case studies from the dominant genres of contemporary American theater: classical tragedy and comedy, modern domestic drama, antirealist drama, and the Broadway musical, using a broad array of archival source materials to enhance and illuminate its arguments. Angela C. Pao is Associate Professor of Comparative Literature at Indiana University. A volume in the series Theater: Theory/Text/Performance

Throughout most of the twentieth century, thousands of Mexicans traveled north to work the sugar beet fields of the Minnesota–North Dakota Red River Valley. North for the Harvest examines the evolution of the relationships between American Crystal Sugar Company, the sugar beet growers, and the migrant workers. Though popular convention holds that corporations and landowners invariably exploited migrant workers, Norris reveals that these relationships were more complex. The company often clashed with growers, sometimes while advocating for workers. And many growers developed personal ties with their migrant workers, while workers themselves often found ways to leverage better pay and working conditions from the company.Ultimately, the lot of workers improved as the years went by. As one worker explained, something historic occurred for his family while working in the Red River Valley: “We broke the chain there.”“North for the Harvest is beautifully conceived, very well written, and nuanced and original in its arguments. Norris demonstrates that labor relations in the Red River Valley beet industry was a ‘three-corner game’ that cannot be fully understood without examining all the players.” David Vaught, author of Cultivating California: Growers, Specialty Crops, and Labor, 1875–1920“This story of the long-established and productive contributions of Latinos to Minnesota and North Dakota needs to be heard. It has never been told in such depth and with such style.” Jeffrey Kolnick, Associate Professor of History, Southwest Minnesota State University

Chicano/a fiction is often understood as a literature of resistance to the dominant U.S. Anglo culture and society. But reducing this rich literary production to a single, binary opposition distorts it in fundamental ways. It conflates literature with life, potentially substituting a literature of protest for social activism that could provoke real changes in society. And it overlooks the complex range of responses to Anglo society that actually animates Chicano/a fiction. In this paradigm-shifting book, Patrick L. Hamilton analyzes works by Rudolfo Anaya, Ana Castillo, Denise Chávez, Rolando Hinojosa, Arturo Islas, John Rechy, Alfredo Véa, and Helena María Viramontes to expand our understandings of the cultural interactions within the United States that are communicated by Chicano/a fiction. He argues that the narrative ethics of “resistance” within the Chicano/a canon is actually complemented by ethics of “persistence” and “transformation” that imagine cultural differences within the United States as participatory and irreducible to simple oppositions. To demonstrate these alternative ethics, Hamilton adapts the methodology of cognitive mapping; that is, he treats the chosen fictional texts as mental maps that are constructed around and communicative of the narrative’s ethics. As he reads these cognitive maps, which envision Chicano/a culture as being part of U.S. society rather than as “resistant” and separate, Hamilton asserts that the authors’ conception of cultural difference speaks more usefully to current sociopolitical debates, such as those about gay marriage and immigration reform, than does the traditional “resistant” paradigm.

Araceli Tinajero's Orientalismo en el modernismo hispanoamericano falls within the present revisionist trend with respect to Spanish American modernism of the late nineteenth and early twentieth century. The text's uniqueness stems from its focus on allusions to images, artifacts, and thought from the East—primarily Japan—found in central and peripheral writings within the Spanish American movement.

Months before Alma López’s digital collage Our Lady was shown at the Museum of International Folk Art in 2001, the museum began receiving angry phone calls from community activists and Catholic leaders who demanded that the image not be displayed. Protest rallies, prayer vigils, and death threats ensued, but the provocative image of la Virgen de Guadalupe (hands on hips, clad only in roses, and exalted by a bare-breasted butterfly angel) remained on exhibition. Highlighting many of the pivotal questions that have haunted the art world since the NEA debacle of 1988, the contributors to Our Lady of Controversy present diverse perspectives, ranging from definitions of art to the artist’s intention, feminism, queer theory, colonialism, and Chicano nationalism. Contributors include the exhibition curator, Tey Marianna Nunn; award-winning novelist and Chicana historian Emma Pérez; and Deena González (recognized as one of the fifty most important living women historians in America). Accompanied by a bonus DVD of Alma López’s I Love Lupe video that looks at the Chicana artistic tradition of reimagining la Virgen de Guadalupe, featuring a historic conversation between Yolanda López, Ester Hernández, and Alma López, Our Lady of Controversy promises to ignite important new dialogues.