No me agarran viva. -1983.

“We’re everywhere, and it’s time to come out of the closet: I speak of the tongue-tied generation, buyers of books with titles like Master Spanish in Ten Minutes a Day while You Nap. . . . We grew up listening to the language—usually in the kitchens of extended family—but we answered back mostly in English.” Demetria Martínez wields her trademark blend of humor and irony to give voice to her own “tongue-tied generation” in this notable series of essays, revealing her deeply personal views of the world. Martínez breaks down the barriers between prayer and action, between the border denizen and the citizen of the world, and between patriarchal religion and the Divine Mother. She explores her identity as a woman who has within her the “blood of the conquered and the conqueror,” and who must daily contend with yet a third world—white America.

A novel that blends politics, history and romance with unfailing gentleness, unforeseeable, explosive events determine the actions of the characters but never interrupt the work's lyrical structure. Carmen Rojas, the heroine, was a child when, in 1932, she witnessed the brutality of the El Salvadoran National Guard, who murdered 30,000 rioting peasants. The tragedy shapes her political consciousness, and, although she marries an American and lives in Washington, D.C., she cannot escape its memory. Thirty years later, she returns home to attend her mother's funeral and to care for her sickly father, and discovers a diary kept by her mother's American lover in the months before the 1932 uprisings.

DIVArgues for the saliency of the category of the subaltern over that of class./div

A New York Times Notable Book • "A complex, engaging novel...Sapogonia will establish Castillo as one of our finest Chicana novelists." --Rudolfo Anaya The author of So Far From God, Ana Castillo confronts the complex issues of race and identity facing those of mixed heritage through the struggles of Máximo Madrigal, an expatriate of Sapogonia, the metaphorical homeleand of all mestizos. Subtly political, it demonstrates how warring blood within a single body resists any peaceful resolution.

These four germinal essays by John Beverley sparked the widespread discussion and debate surrounding testimonio--the socially and politically charged Latin American narrative of witnessing--that culminated, with David Stoll's highly publicized attack on Rigoberta Menchu's celebrated testimonial text. Challenging Hardt and Negri's "Empire, Beverley's extensive new introduction examines the broader historical, political, and ethical issues that this literature raises, tracing the development of testimonio from its emergence in the Cold War era to the rise of a globalized economy and of U.S. political hegemony. Informed by postcolonial studies and the current debate over multiculturalism and identity politics, "Testimonio reaches across disciplinary boundaries to show how this particular literature at once represents and enacts new forms of agency on the part of previously repressed social subjects, as well as its potential as a new form of "alliance politics" between those subjects and artists, scientists, teachers, and intellectuals in a variety of local, national, and international contexts.

Comprised of both a one-act and a two-act play, this powerful dramatic pairing centers on Sister Dianna Ortiz, who was kidnapped, raped, and tortured by U.S.-sponsored Guatemalan security forces in 1989.