Robo Sacer engages the digital humanities, critical race theory, border studies, biopolitical theory, and necropolitical theory to interrogate how technology has been used to oppress people of Mexican descent—both within Mexico and in the United States—since the advent of the North American Free Trade Agreement (NAFTA) in 1994. As the book argues, robo-sacer identity emerges as transnational flows of bodies, capital, and technology become an institutionalized state of exception that relegates people from marginalized communities to the periphery. And yet the same technology can be utilized by the oppressed in the service of resistance. The texts studied here represent speculative stories about this technological empowerment. These texts theorize different means of techno-resistance to key realities that have emerged within Mexican and Chicano/a/x communities under the rise and reign of neoliberalism. The first three chapters deal with dehumanization, the trafficking of death, and unbalanced access to technology. The final two chapters deal with the major forms of violence—feminicide and drug-related violence—that have grown exponentially in Mexico with the rise of neoliberalism. These stories theorize the role of technology both in oppressing and in providing the subaltern with necessary tools for resistance. Robo Sacer builds on the previous studies of Sayak Valencia, Irmgard Emmelhainz, Guy Emerson, Achille Mbembe, and of course Giorgio Agamben, but it differentiates itself from them through its theorization on how technology—and particularly cyborg subjectivity—can amend the reigning biopolitical and necropolitical structures of power in potentially liberatory ways. Robo Sacer shows how the cyborg can denaturalize constructs of zoē by providing an outlet through which the oppressed can tell their stories, thus imbuing the oppressed with the power to combat imperialist forces.

Honorable Mention, Latin American Studies Association Mexico Section Best Book in the Humanities After the end of the Mexican Revolution in 1917, postrevolutionary leaders hoped to assimilate the country’s racially diverse population into one official mixed-race identity—the mestizo. This book shows that as part of this vision, the Mexican government believed it could modernize “primitive” Indigenous peoples through technology in the form of education, modern medicine, industrial agriculture, and factory work. David Dalton takes a close look at how authors, artists, and thinkers—some state-funded, some independent—engaged with official views of Mexican racial identity from the 1920s to the 1970s. Dalton surveys essays, plays, novels, murals, and films that portray indigenous bodies being fused, or hybridized, with technology. He examines José Vasconcelos’s essay “The Cosmic Race” and the influence of its ideologies on mural artists such as Diego Rivera and José Clemente Orozco. He discusses the theme of introducing Amerindians to medical hygiene and immunizations in the films of Emilio “El Indio” Fernández. He analyzes the portrayal of indigenous monsters in the films of El Santo, as well as Carlos Olvera’s critique of postrevolutionary worldviews in the novel Mejicanos en el espacio. Incorporating the perspectives of posthumanism and cyborg studies, Dalton shows that technology played a key role in race formation in Mexico throughout the twentieth century. This cutting-edge study offers fascinating new insights into the culture of mestizaje, illuminating the attitudes that inform Mexican race relations in the present day. A volume in the series Reframing Media, Technology, and Culture in Latin/o America, edited by Hector Fernandez L'Hoeste and Juan Carlos Rodriguez

Imagining Latinidad examines how Latin American migrants use technology for public engagement, social activism, and to build digital, diasporic communities. Thanks to platforms like Facebook and YouTube, immigrants from Latin America can stay in contact with the culture they left behind. Members of these groups share information related to their homeland through discussions of food, music, celebrations, and other cultural elements. Despite their physical distance, these diasporic virtual communities are not far removed from the struggles in their homelands, and migrant activists play a central role in shaping politics both in their home country and in their host country. Contributors are: Amanda Arrais, Karla Castillo Villapudua, David S. Dalton, Jason H. Dormady, Carmen Gabriela Febles, Álvaro González Alba, Yunuen Ysela Mandujano-Salazar, Anna Marta Marini, Diana Denisse Merchant Ley, Covadonga Lamar Prieto, María del Pilar Ramírez Gröbli, David Ramírez Plascencia, Jessica Retis, Nancy Rios-Contreras, and Patria Román-Velázquez. Imagining Latinidad: Digital Diasporas and Public Engagement Among Latin American Migrants is now available in paperback for individual customers.

This critical anthology of writings by Carlos Monsiváis represents a foundational set of texts by an exceptional (yet under‑translated) Mexican cultural critic. Fatefully, Faithfully Feminist situates the urgencies of social movements as they developed in real time. Spanning from 1973 to 2008, Monsiváis’s essays, which were originally compiled by scholar Marta Lamas, analyze the role of women in a patriarchal culture from pre‑Columbian times to the present. This critical edition offers extensive annotation and cultural background to understand the cogent, but particularly Mexican arguments that Monsiváis makes, many of which are extremely relevant in today’s political economy in the US and the world. Norma Klahn and Ilana Luna’s translation, critical introduction, and commentary consider issues of context, history, and conventions, framing Monsiváis’s debates in relation to global feminist history and human rights struggles.

Vision, Technology and Subjectivity in Mexican Cyberpunk Literature interrogates an array of cyberpunk and post-cyberpunk science fiction novels and short stories from Mexico whose themes engage directly with visual technologies and the subjectivities they help produce – all published during and influenced by the country’s neoliberal era. This book argues that television, computers, and smartphones and the literary narratives that treat them all correspond to separate-yet-overlapping scopic regimes within the country today. Amidst the shifts occurring in the country’s field of vision during this period, the authors of these cyberpunk and post-cyberpunk narratives imagine how these devices contribute to producing specular subjects—or subjects who are constituted in large measure by their use and interaction with visual technologies. In doing so, they repeatedly recur to the posthuman figure of the cyborg in order to articulate these changes; Stephen C. Tobin therefore contends that the literary cyborg becomes a discursive site for working through the problematics of sight in Mexico during the globalized era. In all, these “specular fictions” represent an exceptional tendency within literary expression—especially within the cyberpunk genre—that grapples with themes and issues regarding the nature of vision being increasingly mediated by technology.

During the twenty-first century, Mexico has escalated extractive concessions at the same time that it has positioned itself as an international leader in the fight against climate change. Cultural production emergent from this contradiction frames this impasse as a crisis of imagination. Subjunctive Aesthetics studies how contemporary writers, filmmakers, and visual artists grapple with the threat that climate change and extractivist policies pose to Mexico's present and future. It explores how artists rise to the challenge of envisioning alternative forms of territoriality (ways of being in relation to the environment) through strategies ranging from rewriting to counterfactual speculation. Whereas ecocritical studies have often focused on art's evidentiary role—its ability to visualize and prove the urgency of environmental damage—author Carolyn Fornoff argues that what unites the artists under consideration is their use of more hypothetical, uncertain representational modes, or "subjunctive aesthetics." In English, the subjunctive is a grammatical mode that articulates the imagined, desired, and possible. In the Spanish language, it is even more widely used to express doubts, denials, value judgments, and emotions. Each chapter of Subjunctive Aesthetics takes up one of these modalities to examine how Mexican artists, writers, and filmmakers activate approaches to the planet not just as it is, but as it could be or should be.

This volume explores how Latin American and Latinx creators have engaged science fiction to explore posthumanist thought. Contributors reflect on how Latin American and Latinx speculative art conceptualizes the operations of other, non-human forms of agency, and engages in environmentalist theory in ways that are estranging and open to new forms of species companionship. Essays cover literature, film, TV shows, and music, grouped in three sections: “Posthumanist Subjects” examines Latin(x) American iterations of some of the most common figurations of the posthuman, such as the cyborg and virtual environments and selves; “Slow Violence and Environmental Threats” understands that posthumanist meditations in the hemisphere take place in a material and cultural context shaped by the catastrophic destruction of the environment; the chapters in “Posthumanist Others” shows how the reimagination of the self and the world that posthumanism offers may be an opportunity to break the hold that oppressive systems have over the ways in which societies are constructed and governed.