During Mexico's first century of independence, European and American explorers rediscovered its pre-Hispanic past. Finding the jungle-covered ruins of lost cities and artifacts inscribed with unintelligible hieroglyphs—and having no idea of the age, authorship, or purpose of these antiquities—amateur archaeologists, artists, photographers, and religious writers set about claiming Mexico's pre-Hispanic patrimony as a rightful part of the United States' cultural heritage. In this insightful work, Tripp Evans explores why nineteenth-century Americans felt entitled to appropriate Mexico's cultural heritage as the United States' own. He focuses in particular on five well-known figures—American writer and amateur archaeologist John Lloyd Stephens, British architect Frederick Catherwood, Joseph Smith, founder of the Church of Jesus Christ of Latter-Day Saints, and the French émigré photographers Désiré Charnay and Augustus Le Plongeon. Setting these figures in historical and cultural context, Evans uncovers their varying motives, including the Manifest Destiny-inspired desire to create a national museum of American antiquities in New York City, the attempt to identify the ancient Maya as part of the Lost Tribes of Israel (and so substantiate the Book of Mormon), and the hope of proving that ancient Mesoamerica was the cradle of North American and even Northern European civilization. Fascinating stories in themselves, these accounts of the first explorers also add an important new chapter to the early history of Mesoamerican archaeology.

"Evans has meticulously researched his subject and writes in an elegant and clear prose style that makes his book a pleasure to read.... In short, this is an outstanding scholarly book that should be of interest to Mayanists, art historians, and students of American literature and history." —The Americas "Romancing the Maya will be required (and enjoyable) reading for students of the Maya. And its careful analysis of visual expositions—including the subjective uses of photography—makes it especially appropriate for the undergraduate classroom." —The Journal of Latin American Anthropology "This work will appeal to general readers because of its subject: ancient Mexico and its first investigators. The archaeologists treated here are some of the most fascinating and rakish in the history of the field. Some were real Indiana Jones types." —Khristaan Villela, Director, Thaw Art History Center, College of Santa Fe During Mexico's first century of independence, European and American explorers rediscovered its pre-Hispanic past. Finding the jungle-covered ruins of lost cities and artifacts inscribed with unintelligible hieroglyphs—and having no idea of the age, authorship, or purpose of these antiquities—amateur archaeologists, artists, photographers, and religious writers set about claiming Mexico's pre-Hispanic patrimony as a rightful part of the United States' cultural heritage. In this insightful work, Tripp Evans explores why nineteenth-century Americans felt entitled to appropriate Mexico's cultural heritage as the United States' own. He focuses in particular on five well-known figures—American writer and amateur archaeologist John Lloyd Stephens, British architect Frederick Catherwood, Joseph Smith, founder of the Church of Jesus Christ of Latter-Day Saints, and the French migr photographers Dsir Charnay and Augustus Le Plongeon. Setting these figures in historical and cultural context, Evans uncovers their varying motives, including the Manifest Destiny-inspired desire to create a national museum of American antiquities in New York City, the attempt to identify the ancient Maya as part of the Lost Tribes of Israel (and so substantiate the Book of Mormon), and the hope of proving that ancient Mesoamerica was the cradle of North American and even Northern European civilization. Fascinating stories in themselves, these accounts of the first explorers also add an important new chapter to the early history of Mesoamerican archaeology.

Kate promised her dying father to protect her brother and return a Mayan god statue to its temple. But the price to save her kidnapped brother is the valuable artifact, so keeping one promise means breaking the other. Facing a trek through the jungle, Kate must rely on a guide she doesn’t trust… yet whose touch makes her yearn for more. Max prefers to work alone, however his DSF assignment is to guide Kate while covertly finding proof her brother sold black-market antiquities. And sticking close to this delectable and vulnerable woman proves more dangerous to Max than all the threats in the jungle. Max and Kate must outrun smugglers and an earthquake in a race that takes them to England and into the jungle. But as perilous as their quest becomes, when desire flares between them, risking their lives seems simple next to risking their hearts.

Six-pack abs, cutthroat competition, nonstop drama. The second book in a hot new series inspired by one champion's teen years.

Long before clinch covers and bodice rippers, romance novels had a bad reputation as the lowbrow lit of desperate housewives and hopeless spinsters. But why were these books-the escape and entertainment of choice for millions of women-singled out for scorn and shame? Dangerous Books for Girls examines the secret history of the genre's bad reputation-from the "damned mob of scribbling women" in the nineteenth century to the sexy mass-market paperbacks of the twentieth century-and shows how romance novels have inspired and empowered generations of women to dream big, refuse to settle, and believe they're worth it. For every woman who has ever hidden the cover of a romance-and every woman who has been curious about those "Fabio books"-Dangerous Books For Girls shows why there's no room for guilt when reading for pleasure.

A NEW YORK TIMES BESTSELLER In this unforgettable debut novel, an Indian-American Muslim teen copes with Islamophobia, cultural divides among peers and parents, and a reality she can neither explain nor escape. Seventeen-year-old Maya Aziz is torn between worlds. There’s the proper one her parents expect for their good Indian daughter: attending a college close to their suburban Chicago home and being paired off with an older Muslim boy her mom deems “suitable.” And then there is the world of her dreams: going to film school and living in New York City—and pursuing a boy she’s known from afar since grade school. But in the aftermath of a horrific crime perpetrated hundreds of miles away, her life is turned upside down. The community she’s known since birth becomes unrecognizable; neighbors and classmates are consumed with fear, bigotry, and hatred. Ultimately, Maya must find the strength within to determine where she truly belongs.

Marshall’s poems traverse familial mythography to investigate contemporary politics, Blackness, reproductive justice, and the stakes of race and interracial partnership, queerness, and love. With an unflinching seriousness she interrogates womanhood, meditates on race and queerness, and considers the monetary, mental, and physical costs of adopting or birthing a Black child.