In this study of sex, gender, sexual violence, and power along the border, Bernadine Marie Hernandez brings to light under-heard stories of women who lived in a critical era of American history. Elaborating on the concept of sexual capital, she uses little-known newspapers and periodicals, letters, testimonios, court cases, short stories, and photographs to reveal how sex, violence, and capital conspired to govern not only women's bodies but their role in the changing American Southwest. Hernandez focuses on a time when the borderlands saw a rapid influx of white settlers who encountered elite landholding Californios, Hispanos, and Tejanos. Sex was inseparable from power in the borderlands, and women were integral to the stabilization of that power. In drawing these stories from the archive, Hernandez illuminates contemporary ideas of sexuality through the lens of the borderland's history of expansionist, violent, and gendered conquest. By extension, Hernandez argues that Mexicana, Nuevomexicana, Californiana, and Tejana women were key actors in the formation of the western United States, even as they are too often erased from the region's story.

The main people (according to Chapman) “are seven or eight youths who might be called nice Dead End kids. These lads love practical jokes, hang out in a beer parlor in a Western town, and talk endlessly about females and their conquests over same. But they are sham hoodlums; they are good kids from good families trying to grow up. Their leader is a fascinating young man nicknamed Beau, who has a crazy twinkle in his eye and a supple imagination. When things grow dull with his companions, he cheers them up with tales of the ideal town, where the boys stay downstairs and send their parents up to bed. In his [ideal] town, Sneaky Falls, Idaho…it is the mothers who enlist in the Navy and their sons run around like crazy mailing them packages of cookies. This chap Beau…has invented for the gang the ideal female. She is slinky, sexy and willing, being from Sneaky Falls, where only one word is spoken. The word is 'Yes.' The girl’s name is Bernardine…The only really unhappy member of the crowd is a character named Wormy. Wormy wants to be a big wheel, a conquering male, the way the others say they are—but somehow he can’t make it. His attempts at playing wolf never succeed, and none of the girls in the town will date him. His mother’s watchful affection bores and irks him. In one great, desperate effort to become important in the eyes of his companions, he hangs out in a hotel lobby and makes passes until he succeeds with an older woman who must be at least in her twenties, maybe thirties. Wormy’s adventure is agonizing and funny."

“[Evaristo’s] chef d’oeuvre; a masterful dissection of the life of a 74 year-old, British-Caribbean gay man.” —The Huffington Post * Winner of the Ferro-Grumley Award for LGBT Fiction * A Top Ten Favorite of the American Library Association’s Gay, Lesbian, Bisexual, and Transgender Round Table’s 2015 Over the Rainbow List Barrington Jedidiah Walker is seventy-four and leads a double life. Born and bred in Antigua, he’s lived in Hackney, London, for years. A flamboyant, wisecracking character with a dapper taste in retro suits, and a fondness for Shakespeare, Barrington is a husband, father, grandfather—and also secretly gay lovers with his childhood friend, Morris. His deeply religious and disappointed wife, Carmel, thinks he sleeps with other women. When their marriage goes into meltdown, Barrington wants to divorce Carmel and live with Morris, but after a lifetime of fear and deception, will he manage to break away? With an abundance of laugh-out-loud humor and wit, Mr. Loverman explodes cultural myths and shows the extent of what can happen when people fear the consequences of being true to themselves. “Evaristo’s confident control of the language, her vibrant use of humor, rhythm and poetry, and the realistic mix of Caribbean patois with both street and the Queen’s English . . . fix characters in the reader’s mind.” —The New York Times Book Review “The novel proves to be revolutionary in its honest portrayal of gay men . . . and Evaristo’s writing is both intelligible and compelling.” —Library Journal “Evaristo crafts a colorful look at a unique character confronting social normativity with a well-tuned voice and a resonant humanity.” —Publishers Weekly

Bernadine's mother is teaching her daughter how to show manners and respect. Bernadine is sometimes unaware of how she behaves but she shows improvement thanks to her mother.

Today most of us enjoy the work of famed Renaissance artist Michelangelo by perusing art books or strolling along the galleries of a museum—and the luckier of us have had a chance to see his extraordinary frescoes on the ceiling of the Sistine Chapel. But as Bernadine Barnes shows in this book, even a visit to a well-preserved historical sight doesn’t quite afford the experience the artist intended us to have. Bringing together the latest historical research, she offers us an accurate account of how Michelangelo’s art would have been seen in its own time. As Barnes shows, Michelangelo’s works were made to be viewed in churches, homes, and political settings, by people who brought their own specific needs and expectations to them. Rarely were his paintings and sculptures viewed in quiet isolation—as we might today in the stark halls of a museum. Instead, they were an integral part of ritual and ceremonies, and viewers would have experienced them under specific lighting conditions and from particular vantages; they would have moved through spaces in particular ways and been compelled to relate various works with others nearby. Reconstructing some of the settings in which Michelangelo’s works appeared, Barnes reassembles these experiences for the modern viewer. Moving throughout his career, she considers how his audience changed, and how this led him to produce works for different purposes, sometimes for conventional religious settings, but sometimes for more open-minded patrons. She also shows how the development of print and art criticism changed the nature of the viewing public, further altering the dynamics between artist and audience. Historically attuned, this book encourages today’s viewers to take a fresh look at this iconic artist, seeing his work as they were truly meant to be seen.