More than 300,000 copies in print! Enjoy learning how to maintain true priorities and restore calmness to marriage, family life, your relationship with God, and the workplace. Includes individual/group study guide.

On March 1, 1966, the voters of Tucson approved the Pueblo Center Redevelopment Project—Arizona’s first major urban renewal project—which targeted the most densely populated eighty acres in the state. For close to one hundred years, tucsonenses had created their own spatial reality in the historical, predominantly Mexican American heart of the city, an area most called “la calle.” Here, amid small retail and service shops, restaurants, and entertainment venues, they openly lived and celebrated their culture. To make way for the Pueblo Center’s new buildings, city officials proceeded to displace la calle’s residents and to demolish their ethnically diverse neighborhoods, which, contends Lydia Otero, challenged the spatial and cultural assumptions of postwar modernity, suburbia, and urban planning. Otero examines conflicting claims to urban space, place, and history as advanced by two opposing historic preservationist groups: the La Placita Committee and the Tucson Heritage Foundation. She gives voice to those who lived in, experienced, or remembered this contested area, and analyzes the historical narratives promoted by Anglo American elites in the service of tourism and cultural dominance. La Calle explores the forces behind the mass displacement: an unrelenting desire for order, a local economy increasingly dependent on tourism, and the pivotal power of federal housing policies. To understand how urban renewal resulted in the spatial reconfiguration of downtown Tucson, Otero draws on scholarship from a wide range of disciplines: Chicana/o, ethnic, and cultural studies; urban history, sociology, and anthropology; city planning; and cultural and feminist geography.

The works of Chicanas and other women of color--from the commemorative poetry of Patricia Preciado Martin and Lorna Dee Cervantes to the fiction of Helena Maria Viramontes to the underpass murals of Judy Baca--expose highway construction as not only a racist but also a sexist enterprise. In colorful paintings, East Los Angeles artists such as David Botello, Carlos Almaraz, and Frank Romero satirize, criticize, and aestheticize the structure of the freeway. Local artists paint murals on the concrete piers of a highway interchange in San Diego's Chicano Park. The Rondo Days Festival in St. Paul, Minnesota, and the Black Archives, History, and Research Foundation in the Overtown neighborhood of Miami preserve and celebrate the memories of historic African American communities lost to the freeway.Bringing such efforts to the fore in the story of the freeway revolt, The Folklore of the Freeway moves beyond a simplistic narrative of victimization.

Their dark legacy dates from before the dawn of recorded human history. Their reach echoes through the ages, an evil too terrible to comprehend and a strength to rival the greatest angels of heaven and the foulest of the fallen from hell. They are Legion, a horde of countless demons acting as one, united in mind and purpose. When Scott Macklin's father dies, Scott begins to uncover the secrets behind his father's involvement with a mysterious group known as The shadowed Ones. With a conspiracy of dark forces pressing in from every side, Scott finds that he is not alone in opposing Legion. He is joined by Douglas Prichard, a dedicated military commander; Father William Los Cruzado, a priest with a shady past; and Dr. Rachel Walters, a skilled hostage negotiator. Together they must face this force of darkness known as Legion. With little but their faith to guide them, they must hold back a rising tide of evil that threatens to consume the souls of all mankind, without falling prey to their own human feelings.

The #1 New York Times bestselling “queen of paranormal romance” (USA Today) is back with a sexy series starring a Chicago crime family that hides a dark, mystical secret... Whether it’s fast cars or fast women, Stefano Ferraro gets what he wants. When he’s not fodder for the paparazzi, he commands Ferraro family businesses—both legitimate and illegitimate. While their criminal activity is simply a rumor yet to be proven, no one knows the real truth. The Ferraros are a family of shadow riders capable of manipulating light and dark, an ability Stefano thought ran in his family alone—until now… With little left to her name, Francesca Cappello has come to Chicago in hopes of a new life. She wasn’t expecting to attract the attention of a man with primal hunger in his eyes, driven to claim her as his to protect and to please. And if he discovers her secret, it could ruin her...

Emplumada is Lorna Dee Cervantes’s first book, a collection of poems remarkable for their surface clarity, precision of image, and emotional urgency. Rooted in her Chicana heritage, these poems illuminate the American experience of the last quarter century and, at a time when much of what is merely fashionable in American poetry is recondite and exclusive, Cervantes has the ability to speak to and for a large audience.