This compelling young adult graphic memoir, based on real events, tells the story of Gricelda, a fifteen-year-old Mexican girl who attempts to cross the border into America with her mother and younger brother in search of a better life. Their treacherous journey, filled with both heartbreak and hope, begins in Tijuana, where they are transported from house to house by strangers. Here they meet the mysterious smuggler el Güero, who promises to lead the young family through the mountains and the scorching heat of the desert and beyond. Can he prove himself by keeping them safe during the crossing? Will America be the country of dreams like they imagined? Or will adjusting to their new life in California be another type of struggle for Gricelda and her family? With captivating illustrations inspired by the graffiti and stencil art prevalent during the 2006 political uprising in Oaxaca, as well as local textiles and embroidery, Travesía is Gricelda’s first-person account, derived from interviews with author Michelle Gerster and told in both English and Spanish, of crossing the Mexico-US border. Timely and relevant, Travesía is a vibrant and powerful testament to the desperation and resilience of millions of migrating people who endure the pain of leaving their old lives behind to embark on the perilous journey across borders in search of a new life. 100% of royalties from the sale of this book will be donated to Centro Legal de la Raza, a legal services agency protecting and advancing the rights of low-income, immigrant, Black, and Latinx communities through bilingual legal representation, education, and advocacy. Ages 12 and up. This publication meets the EPUB Accessibility requirements and it also meets the Web Content Accessibility Guidelines (WCAG-AA). It is screen-reader friendly and is accessible to persons with disabilities. A book with many images, which is defined with accessible structural markup. This book contains various accessibility features such as alternative text for images, table of contents, page-list, landmark, reading order and semantic structure.

¡Lea esta maravillosa historia, no se lo pierda! Travesía de dos inmigrantes es una historia maravillosa de la vida real de Bartolomé y Maribel. Es una narración en lenguaje sencillo, pero valiente. Es una historia para el buen lector latinoamericano. Encontrará drama y suspense en todas sus páginas. La presente historia ilustra momentos de felicidad y angustia de dos personajes que se aventuraron a viajar a los EE.UU. en busca de nuevas oportunidades de trabajo para, así, ayudar a sus hijos y familia. Atraídos por el país de las bonanzas, por su economía, que no era muy buena ya que en su país no podían salir adelante para poder progresar. Esta historia es una narración sencilla de la odisea que les tocó vivir, de su peregrinaje desde la República de Perú hasta Los Ángeles, en Norteamérica. Una travesía fantástica de sacrificio y sufrimiento, un viaje por tierra, aire y mar que duró un año y cinco meses. En esa época pasaron por Nicaragua, Centro América, cuando estaban gobernando los sandinistas, un gobierno comunista totalitario con su dictadura. Para Bartolomé y Maribel, al llegar a la frontera de Piedras Blancas con Juan José de Costa Rica y Nicaragua. En la entrada se veía un gigantesco letrero que decía "Nicaragua Libre jamás se arrodillará ante los yanquis". ¡Qué emoción para ellos al ver aquella frase! Sus corazones latían fuertemente de alegría, sus ojos se nublaron como queriendo llorar. Pero en unos minutos, todo cambió. Al ingresar al país, se llevaron una gran decepción al encontrarlo todo diferente. No había ni taxis ni empresas de transportes que los llevaran a Guatemala. Sólo podían viajar en los vagones de carga que iban a México. Como medio de transporte de carga sólo veían una carreta grande jalada por un caballo, un buey o un burro. Mientras sus hijos andaban cargados con bultos por su pueblo, por las solitarias carreteras bajo el ardiente calor. Amigo, si quieres saber más de un gobierno comunista, no dejes de leer esta maravillosa historia.

"The School of Architecture at the Catholic University of Valparaiso, Chile, underwent a transformation in 1952 when a group of young architects led by Alberto Cruz began teaching at the school. The Valparaiso School, as it became known, acquired an international reputation for its radical stance and its commitment to dialogue between architects and other disciplines. From 1970 onwards, it began to focus much of its research and design activity on the Open City project, which had been created by a group of architects, artists and poets with a vision of a city with "no master plan, no imposed ordering devices, and no hierarchical networks of infrastructure." Originally set up as a laboratory-type environment, this alternative community has since become a place of residence and work for like-minded people. Valparaiso School: Open City Group provides an insight into this radical experiment in urban development through a series of essays and photographs."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Long before the advent of the global economy, foreign goods were transported, traded, and exchanged through myriad means, over short and long distances. Archaeological tools for identifying foreign objects, such as provenance studies, stylistic analyses, and economic documentary sources reveal non-local materials in historic and prehistoric assemblages. Trade and exchange represent more than mere production and consumption. Exchange of goods also led to an exchange of cultural and social experiences. Discoveries of the sources of alien objects surpass archaeological expectations of exchange and geographic distance, revealing important technological advances. With thirteen case studies from around the world, this comprehensive work provides a fresh perspective on material culture studies. Evidence of ongoing negotiation between individuals, villages, and nations provides insight into the impact of trade on the micro-, meso-, and macro-level. Covering a wide array of time periods and areas, this work will be of interest to archaeologists, anthropologists, and anyone working in cultural studies.

In Painted Pottery of Honduras Rosemary Joyce describes the development of the Ulua Polychrome tradition in Honduras from the fifth to sixteenth centuries AD, and critically examines archaeological research on these objects that began in the nineteenth century. Previously treated as a marginal product of Classic Maya society, this study shows that Ulua Polychromes are products of the ritual and social life of indigenous societies composed of wealthy farmers engaged in long-distance relationships extending from Costa Rica to Mexico. Drawing on concepts of agency, practice, and intention, Rosemary Joyce takes a potter's perspective and develops a generational workshop model for innovation by communities of practice who made and used painted pottery in serving meals and locally meaningful ritual practices.

Focusing on marriage figurines—double human figurines that represent relations formed through social alliances—Hendon, Joyce, and Lopiparo examine the material relations created in Honduras between AD 500 and 1000, a period of time when a network of social houses linked settlements of a variety of sizes in the region. The authors analyze these small, seemingly insignificant artifacts using the theory of materiality to understand broader social processes. They examine the production, use, and disposal of marriage figurines from six sites—Campo Dos, Cerro Palenque, Copán, Currusté, Tenampua, and Travesia—and explore their role in rituals and ceremonies, as well as in the forming of social bonds and the celebration of relationships among communities. They find evidence of historical traditions reproduced over generations through material media in social relations among individuals, families, and communities, as well as social differences within this network of connected yet independent settlements. Material Relations provides a new and dynamic understanding of how social houses functioned via networks of production and reciprocal exchange of material objects and will be of interest to Mesoamerican archaeologists, anthropologists, and art historians.