In a long sequence of prose poems, questionnaires, and standardized tests, The Boy in the Labyrinth interrogates the language of autism and the language barriers between parents, their children, and the fractured medium of science and school. Structured as a Greek play, the book opens with a parents' earnest quest for answers, understanding, and doubt. Each section of the Three Act is highlighted by "Autism Spectrum Questionnaires" which are in dialogue with and in opposition to what the parent perceives to be their relationship with their child. Interspersed throughout each section are sequences of standardized test questions akin to those one would find in grade school, except these questions unravel into deeper mysteries. The depth of the book is told in a series of episodic prose poems that parallel the parable of Theseus and the Minotaur. In these short clips of montage the unnamed "boy" explores his world and the world of perception, all the while hearing the rumblings of the Minotaur somewhere in the heart of an immense Labyrinth. Through the medium of this allusion, de la Paz meditates on failures, foundering, and the possibility of finding one's way.

When a whirlwind romance leads to a brutal murder and the disappearance of a young Nigerian woman, PI Emma Djan resorts to dangerous undercover work to track her down in Accra. Just as things at work are slowing down for PI Emma Djan, an old friend of her boss’s asks for help locating his missing daughter in Accra. According to her father, Ngozi had a bright future ahead of her when she became secretive and withdrawn. Suddenly, all she wanted to do was be with her handsome new beau, Femi, instead of attending law school in the fall. So when she disappears from her parents’ house in Nigeria in the middle of the night, they immediately suspect Femi was behind it and have reason to believe the pair has fled to Ghana. The case escalates quickly when Femi is found murdered at an opulent hotel in Accra, but there are no signs of Ngozi at the scene. Emma knows if she’s to have any hope of finding Ngozi, she must learn more about Femi, so she digs into his past and discovers he was part of a network of sex traffickers operating across West Africa. Fearing the worst, Emma resorts to dangerous undercover work in a desperate attempt to track Ngozi down before it’s too late.

This original study examines a vital but neglected aspect of the 1952 National Revolution in Bolivia; the activism of urban inhabitants. Many of these activists were Aymara-speaking people of indigenous origin who transformed the urban environment, politics and place of “indígenas” and “neighbors” within the city of La Paz. Luis Sierra traces how these urban residents faced racial discrimination and marginalization despite their political support for the Movimiento Nacionalista Revolucionario (MNR). La Paz's Colonial Specters reassesses the contingent, relational nature of Bolivia's racial categories and the artificial division between urban and rural activists. Building on rich established historiography on the indigenous people of Bolivia, Luis Sierra breaks new ground in showing the role of the neighborhoods in the process of urbanization, and builds upon analysis of the ways in which race, gender and class discourse shaped migrants interactions with other urban residents. Questioning how and why this multiclass and multi-ethnic group continued to be labelled by elites and the state as “un-modern” indigena, the author uses La Paz to demonstrate the ways in which race, class, and gender intertwine in urbanization and in conceptions of the city and nation. Of interest to scholars, researchers and advanced students of Latin American history, urban history, the history of activism and the history of ethnic conflict, this unique study covers the previously neglected first half of the 20th century to shed light on the urban development of La Paz and its racial and political divides.

Rusty Young was backpacking in South America when he heard about Thomas McFadden, a convicted English drug trafficker who ran tours inside Bolivia's notorious San Pedro prison. Intrigued, the young Australian journalist went to La Paz and joined one of Thomas's illegal tours. They formed an instant friendship and then became partners in an attempt to record Thomas's experiences in the jail. Rusty bribed the guards to allow him to stay and for the next three months he lived inside the prison, sharing a cell with Thomas and recording one of the strangest and most compelling prison stories of all time. The result is Marching Powder. This book establishes that San Pedro is not your average prison. Inmates are expected to buy their cells from real estate agents. Others run shops and restaurants. Women and children live with imprisoned family members. It is a place where corrupt politicians and drug lords live in luxury apartments, while the poorest prisoners are subjected to squalor and deprivation. Violence is a constant threat, and sections of San Pedro that echo with the sound of children by day house some of Bolivia's busiest cocaine laboratories by night. In San Pedro, cocaine--"Bolivian marching powder"--makes life bearable. Even the prison cat is addicted. Yet Marching Powder is also the tale of friendship, a place where horror is countered by humor and cruelty and compassion can inhabit the same cell. This is cutting-edge travel-writing and a fascinating account of infiltration into the South American drug culture.

"Tells the story of the courage and strength of a single mother and her daughters, who persevere in the face of loss."--Page 4 of cover.

Furious Lullaby is both a celebration of and a eulogy to the body in the twenty-first century. The collection, which examines the larger concepts of salvation and temptation in a world of blossoming strife, includes a series of aubades – dramatic poems culminating with the separation of lovers at dawn. The lovers suffer a metaphysical crisis, seeking to know what is good, what is evil, and how to truly know the difference. Knowing, however, invites the terrible into their world. The Devil, a seductive trickster, haunts the landscape as a voice who dares each inquisitor to learn about mortality, morality, the beautiful, and the unspeakable through direct experience. Furious Lullaby offers a departure from the lighter prose poetry of de la Paz’s Names above Houses and preserves the author’s concern with the nature of human grace.

"From saying hello and pronouncing your friend's name correctly to giving more than you take and saying I'm sorry, this simple concept book explores definitions of peace and actions small and big that foster it"--