This story takes place in the early 16th Century; a time when the world seemed to be expanding at an almost exponential rate. It occurs in South America in a land known as Maya: this is not a tale of what was, but rather, a story of what might have been if I had been in charge of that era. The main character, Cuauhtmoc, is born in a small village in the northwestern part of Maya: the story line follows his life from birth, through birdman-school, where he learns to become a birdman and carry messages. The account unwinds, telling of his adventures, his fights with pirate raiders as well as some of his own people; and by end of the book he is twelve years of age and is sent to the City of Emperors by the Commander of the soldiers garrison.

This story takes place in the early 16th Century; a time when the world seemed to be expanding at an almost exponential rate. It occurs in South America in a land known as Maya: this is not a tale of what was, but rather, a story of what might have been if I had been in charge of that era. In the second story, Cuauhtémoc is sent to the City of Emperors. He meets the old Emperor and in the process accidentally gives him a new name. He meets the three Crown Princes; gets into another fight with pirate raiders as well as several of his own people; saves the life of a young girl and very nearly kills the Sun’s High Priest: it was a busy week, even for him. The tale unwinds and in the end, Maya has a new Emperor, when the old Emperor dies . . . or does he? If you want to know more; read the book.

From the migration of the Aztecs to the rise of the empire and its eventual demise, this book covers Aztec history in full, analyzing conceptions of time, religion, and more through codices to offer an inside look at daily life. This book focuses on two main areas: Aztec history and Aztec culture. Early chapters deal with Aztec history—the first providing a visual record of the story of the Aztec migration and search for their destined homeland of Tenochtitlan, and the second exploring how the Aztecs built their empire. Later chapters explain life in the Aztec world, focusing on Aztec conceptions of time and religion, the Aztec economy, the life cycle, and daily life. The book ends with an account of the fall of the empire, as illustrated by Aztec artists. With sections concerning a wide variety of topics—from the Aztec pantheon to war, agriculture, childhood, marriage, diet, justice, the arts, and sports, among many others—readers will gain an expansive understanding of life in the Aztec world.

This volume of essays, all authored by practicing Jungian psychoanalysts, examines and illuminates ways of working with individual analytic and therapeutic clients in the context of powerful and current collective forces, in the United States and beyond. One of Carl Jung’s central achievements was his clear recognition that the psyche is a locus not only of individual and personal experiences but also of social, collective, and even cosmological experiences. This important insight on Jung’s part both opens broad vistas for psychoanalytic practice and poses potential challenges for the psychoanalytic practitioner attempting to understand and aid the individual client amidst the pressure of intense collective energies, especially amidst collective crises. Among the themes treated in this volume are principles of non-violence, environmental activism, feminism, ecological shifts due to the pandemic, the Chingada complex, mass shootings, industrial farming of animals, and death anxiety. Jungian Analysis in a World on Fire will be of interest to Jungian, psychoanalytic, and depth-oriented analysts and therapists engaged in how best to work with individual clients in a time of social, political, and environmental crisis. It will also be valuable for scholars interested in understanding the impact of contemporary, collective traumas on individual psychology.

Animal Matter uses primary excavation, zooarchaeological, and isotope data from the study of nearly 200 jaguars, pumas, wolves, rattlesnakes, and golden eagles that were sacrificed or offered to the Moon Pyramid of Teotihuacan, 1-550 AD, to take readers on a journey through the complex entanglements of ritual performances that were part of the process of sovereignty for this ancient city.

Few genres were as popular and as enduring in twentieth-century Mexico as the Western. Christopher Conway’s lavishly illustrated Heroes of the Borderlands tells the surprising story of the Mexican Western for the first time, exploring how Mexican authors and artists reimagined US film and comic book Westerns to address Mexican politics and culture. Broad in scope, accessible in style, and multidisciplinary in approach, this study examines a variety of Western films and comics, defines their political messaging, and shows how popular Mexican music reinforced their themes. Conway shows how the Mexican Western responds to historical and cultural topics like the trauma of the Conquest, mestizaje, misogyny, the Cult of Santa Muerte, and anti-Americanism. Full of memorable movie stills, posters, lobby cards, comic book covers, and period advertising, Heroes of the Borderlands redefines our understanding of Mexican popular culture by uncovering a vibrant genre that has been hiding in plain sight.