Over the past century, women artists and writers have expressed diverse creative responses to the landscape of the Southwest. "The Desert Is No Lady" provides a cross-cultureal perspective on women by examining Anglo, Hispanic, and Native American women's artistic expressions and the effect of their art in defining the southwestern landscape. "The Desert Is No Lady" has been made into a motion picture of the same title by Women Make movies, New York, NY "A beautifully crafted book. . . . Although it varies in intensity, the response of women to the environment is virtually always different from the male frontiersman's view of the land as inanimate, boundless, conquerable and controllable." --Polly Wells Kaufman in "Women's Review of Books" "A powerful masterpiece." --Eve Gruntfest in "The Professional Geographer"

Over the past century, women artists and writers have expressed diverse creative responses to the landscape of the Southwest. The Desert Is No Lady provides a cross-cultureal perspective on women by examining Anglo, Hispanic, and Native American women's artistic expressions and the effect of their art in defining the southwestern landscape. The Desert Is No Lady has been made into a motion picture of the same title by Women Make movies, New York, NY "A beautifully crafted book. . . . Although it varies in intensity, the response of women to the environment is virtually always different from the male frontiersman's view of the land as inanimate, boundless, conquerable and controllable." ÑPolly Wells Kaufman in Women's Review of Books "A powerful masterpiece." ÑEve Gruntfest in The Professional Geographer

Praise for the earlier edition: "Students of modern American literature have for some years turned to Fifteen Modern American Authors (1969) as an indispensable guide to significant scholarship and criticism about twentieth-century American writers. In its new form--Sixteenth Modern American Authors--it will continue to be indispensable. If it is not a desk-book for all Americanists, it is a book to be kept in the forefront of the bibliographical compartment of their brains."--American Studies

A A A The product of 13 curriculum projects that involved several hundred educators nationwide, this volume provides faculty and administrators with a guide to multicultural curricular change-especially with respect to women. While womenA represent over halfA of the college students on campus, they are still represented only minimally in the allegedly "mainstream" curriculum. Women of color are far less visible in the curriculum than white women. A A A Both the process and the results of a Ford Foundation funded project are presented here in a format that allows browsing and promotes reading straight through. The volume is divided into three major sections, the first of which highlights the actual process of faculty transformation and administrative support essential to curricular changes as it occurred on two of the participating campuses, U.C.L.A. and George Washington University. Extensive multidisciplinary faculty development syllabi are provided. A A A Section Two conatins 37 transformed undergraduate course syllabi for courses in sociology, American history and literature, and more, with brief essays describing professors' encounters with teaching the new texts. Section Three is an invaluable interdisciplinary guide to teaching about Puerto Rican women, prepared by a team of scholars at SUNY, Albany. It provided information about Puerto Rican women inside and outside Puerto Rico, as well as teaching strategies for integrating such information into the traditional curriculum. A A A This volume shows that essential educational change-to meet the diversity of U.S. students-may be somewhat slower than one would wish, and more difficult, but it is complex, challenging, and intellectually exciting.

Winner, Spur Award for Best Contemporary Nonfiction (Western Writers of America) A Land Apart is not just a cultural history of the modern Southwest—it is a complete rethinking and recentering of the key players and primary events marking the Southwest in the twentieth century. Historian Flannery Burke emphasizes how indigenous, Hispanic, and other non-white people negotiated their rightful place in the Southwest. Readers visit the region’s top tourist attractions and find out how they got there, listen to the debates of Native people as they sought to establish independence for themselves in the modern United States, and ponder the significance of the U.S.-Mexico border in a place that used to be Mexico. Burke emphasizes policy over politicians, communities over individuals, and stories over simple narratives. Burke argues that the Southwest’s reputation as a region on the margins of the nation has caused many of its problems in the twentieth century. She proposes that, as they consider the future, Americans should view New Mexico and Arizona as close neighbors rather than distant siblings, pay attention to the region’s history as Mexican and indigenous space, bear witness to the area’s inequalities, and listen to the Southwest’s stories. Burke explains that two core parts of southwestern history are the development of the nuclear bomb and subsequent uranium mining, and she maintains that these are not merely a critical facet in the history of World War II and the militarization of the American West but central to an understanding of the region’s energy future, its environmental health, and southwesterners’ conception of home. Burke masterfully crafts an engaging and accessible history that will interest historians and lay readers alike. It is for anyone interested in using the past to understand the present and the future of not only the region but the nation as a whole.

When New Mexico became an alternative cultural frontier for avant-garde Anglo-American writers and artists in the early twentieth century, the region was still largely populated by Spanish-speaking Hispanos. Anglos who came in search of new personal and aesthetic freedoms found inspiration for their modernist ventures in Hispano art forms. Yet, when these arrivistes elevated a particular model of Spanish colonial art through their preservationist endeavors and the marketplace, practicing Hispano artists found themselves working under a new set of patronage relationships and under new aesthetic expectations that tied their art to a static vision of the Spanish colonial past. In A Contested Art, historian Stephanie Lewthwaite examines the complex Hispano response to these aesthetic dictates and suggests that cultural encounters and appropriation produced not only conflict and loss but also new transformations in Hispano art as the artists experimented with colonial art forms and modernist trends in painting, photography, and sculpture. Drawing on native and non-native sources of inspiration, they generated alternative lines of modernist innovation and mestizo creativity. These lines expressed Hispanos’ cultural and ethnic affiliations with local Native peoples and with Mexico, and presented a vision of New Mexico as a place shaped by the fissures of modernity and the dynamics of cultural conflict and exchange. A richly illustrated work of cultural history, this first book-length treatment explores the important yet neglected role Hispano artists played in shaping the world of modernism in twentieth-century New Mexico. A Contested Art places Hispano artists at the center of narratives about modernism while bringing Hispano art into dialogue with the cultural experiences of Mexicans, Chicanas/os, and Native Americans. In doing so, it rewrites a chapter in the history of both modernism and Hispano art. Published in cooperation with The William P. Clements Center for Southwest Studies, Southern Methodist University

Since Silent Spring was published in 1962, the number of texts about the natural world written by women has grown exponentially. The essays in Women Writing Nature: A Feminist View argue that women writing in the 20th century are utilizing the historical connection of women and the natural world in diverse ways. For centuries women have been associated with nature but many feminists have sought to distance themselves from the natural world because of dominant cultural representations which reflect women as controlled by powerful natural forces and confined to domestic spaces. However, in the spirit of Rachel Carson, some writers have begun to invoke nature for feminist purposes or have used nature as an agent of resistance. This collection considers women's writings about the natural world in light of recent and current feminist and ecofeminist theory and finds a variety of approaches and perspectives, both by the scholars and by the authors discussed, culminating with the voices of two women, activist and scientist Joan Maloof and Irish poet Rosemarie Rowley, who both write about the natural world from a feminist perspective.