"The Last Lords of Lalenque" is an extraordinary firsthand account of life among the Lacandon Indians of Naha in southern Mexico. A community of 250 whose genealogy has been obscured by the absence of a written tradition, the Lacandones may nevertheless be traced back linguistically and culturally to the great Maya civilization. They are the sole inheritors of an oral tradition that preserves-more than 400 years after the Spanish Conquest-a cosmology, a morality and a psychology as sophisticated as our own. Journalist and novelist Victor Perera and linguist Robert Bruce have lived among the Lacandones, chronicling their imperiled Mayan culture.

The Last Lords of Lalenque is an extraordinary firsthand account of life among the Lacandon Indians of Nah in southern Mexico. A community of 250 whose genealogy has been obscured by the absence of a written tradition, the Lacandones may nevertheless be traced back linguistically and culturally to the great Maya civilization. They are the sole inheritors of an oral tradition that preserves-more than 400 years after the Spanish Conquest-a cosmology, a morality and a psychology as sophisticated as our own. Journalist and novelist Victor Perera and linguist Robert Bruce have lived among the Lacandones, chronicling their imperiled Mayan culture.

Two leading Maya scholars tell this story of the rediscovery of the queen of Maya cities--Palenque--deep in the forest-clad mountains of southeastern Mexico. 150 illustrations.

Despite recent developments in epigraphy, ethnopoetics, and the literary investigation of colonial and modern materials, few studies have compared glyphic texts and historic Maya literatures. Parallel Worlds examines Maya writing and literary traditions from the Classic period until today, revealing remarkable continuities across time. In this volume, contributions from leading scholars in Maya literary studies examine Maya discourse from Classic period hieroglyphic inscriptions to contemporary spoken narratives, focusing on parallelism to unite the literature historically. Contributors take an ethnopoetic approach, examining literary and verbal arts from a historical perspective, acknowledging that poetic form is as important as narrative content in deciphering what these writings reveal about ancient and contemporary worldviews. Encompassing a variety of literary motifs, including humor, folklore, incantation, mythology, and more specific forms of parallelism such as couplets, chiasms, kennings, and hyperbatons, Parallel Worlds is a rich journey through Maya culture and pre-Columbian literature that will be of interest to students and scholars of anthropology, ethnography, Latin American history, epigraphy, comparative literature, language studies, indigenous studies, and mythology.

Before massive deforestation began in the 1960s, the Lacandón jungle, which lies on the border of Mexico and Guatemala, was part of the largest tropical rain forest north of the Amazon. The destruction of the Lacandón occurred with little attention from the international press—until January 1, 1994, when a group of armed Maya rebels led by a charismatic spokesperson who called himself Subcomandante Marcos emerged from jungle communities and briefly occupied several towns in the Mexican state of Chiapas. These rebels, known as the Zapatista National Liberation Army, became front-page news around the globe, and they used their notoriety to issue rhetorically powerful communiqués that denounced political corruption, the Mexican government’s treatment of indigenous peoples, and the negative impact of globalization. As Brian Gollnick reveals, the Zapatista communiqués had deeper roots in the Mayan rain forest than Westerners realized—and he points out that the very idea of the jungle is also deeply rooted, though in different ways, in the Western imagination. Gollnick draws on theoretical innovations offered by subaltern studies to discover “oral traces” left by indigenous inhabitants in dominant cultural productions. He explores both how the jungle region and its inhabitants have been represented in literary writings from the time of the Spanish conquest to the present and how the indigenous people have represented themselves in such works, including post-colonial and anti-colonial narratives, poetry, video, and photography. His goal is to show how popular and elite cultures have interacted in creating depictions of life in the rain forest and to offer new critical vocabularies for analyzing forms of cross-cultural expression.

The ancient Maya city of Lakam Ha has a new, young ruler, K'inich Janaab Pakal. His mother and prior ruler, Sak K’uk, has selected his wife, the next queen. Lalak is a shy and homely young woman from a nearby city who relates better to animals than people. She is chosen as Pakal’s wife because of her pristine lineage to B’aakal dynasty founders ̶ but also because she is no beauty. Arriving at Lakam Ha, she is overwhelmed by its sophisticated, complex society and expectations of the royal court. Her mother-in-law, Sak K’uk, is critical and hostile, resenting any intrusion between herself and her son. She chose Lalak to avoid being displaced in Pakal’s affections, and does everything she can to keep it this way. The official name she confers on Lalak exposes her view of the girl as a breeder of future rulers: Tz’aabk’u Ahau, the Accumulator of Lords who sets the royal succession. Lalak struggles to learn her new role and prove her worth, facing challenges in her relationship with Pakal, for he is enamored of a beautiful woman banished from Lakam Ha by his mother. Pakal’s esthetic tastes and love of beauty affect his view of his homely wife. Lalak, however, is fated to play a pivotal role in Pakal’s mission to restore the spiritual portal to the Triad Gods that was destroyed in a devastating attack by archenemy Kan. Through learning sexual alchemy, Lalak brings the immense creative force of sacred union to rebuild the portal, but first Pakal must come to view his wife in a new light. In modern times, ten years after the discovery of the Red Queen's tomb, archeologist Francesca is studying new research about this mysterious royal woman in Mérida, Mexico. She teams up with British linguist Charlie to decipher an ancient manuscript left by her deceased grandmother. It provides clues about her grandmother's secrets that propel them into exploring her family history in a remote Maya village.

Icons of Power investigates why the image of the cat has been such a potent symbol in the art, religion and mythology of indigenous American cultures for three thousand years. The jaguar and the puma epitomize ideas of sacrifice, cannibalism, war, and status in a startling array of graphic and enduring images. Natural and supernatural felines inhabit a shape-shifting world of sorcery and spiritual power, revealing the shamanic nature of Amerindian world views. This pioneering collection offers a unique pan-American assessment of the feline icon through the diversity of cultural interpretations, but also striking parallels in its associations with hunters, warriors, kingship, fertility, and the sacred nature of political power. Evidence is drawn from the pre-Columbian Aztec and Maya of Mexico, Peruvian, and Panamanian civilizations, through recent pueblo and Iroquois cultures of North America, to current Amazonian and Andean societies. This well-illustrated volume is essential reading for all who are interested in the symbolic construction of animal icons, their variable meanings, and their place in a natural world conceived through the lens of culture. The cross-disciplinary approach embraces archaeology, anthropology, and art history.