Pioneering novelist and short-story writer Nicholasa Mohr broke onto the literary scene of ethnic autobiography in the early 1970s, but it took another decade for other Puerto Rican women writers in the United States to follow the path that she cut. From the late 1970s on, a dynamic group of these writers have expanded the landscape of American literature. Kissing the Mango Tree is the first and only book to examine the works of the most popular Puerto Rican women writers from the perspective of feminist literary criticism. Rivera reconstructs the ethno-feminist aesthetic of Judith Ortiz Cofer, Sandra María Esteves, Nicholasa Mohr, Aurora Levins Morales, Rosario Morales, Esmeralda Santiago, and Luz María Umpierre-Herrera. In separate chapters dedicated to each of these writers, the author locates their works within the framework of feminist theory and literature, seeing them as "women with macho asserting their creative powers to record their own versions of their memories, to own their own bodies. . . They transform the way we look at the process of growing up and becoming a woman, at the relationship with our mothers and our daughters, at the fluidity of our lives, at our notions of nationhood . . ." This groundbreaking study is accompanied by a complete bibliography of the six writers' works and secondary sources of feminist, Latino, and ethno-poetic criticism and theory.

Seventeen-year-old Victoria Pickersgill, the only child of an upper middle class Jamaican couple, finds her idyllic life turned upside down when her family suffers a tragic loss. That seminal moment in her life is eclipsed, however, when she discovers that her parents have been keeping a shocking secret. At first, she wants to learn more but is quickly overwhelmed by what she finds. Hiding a deep-seated shame, she decides to put it all behind her in the same tight-lipped tradition of her family. When she meets Stephen Blake, a handsome, self-confident boy, she falls devotedly in love with him. But Stephen has a secret of his own that brings their relationship to a sudden end, devastating Victoria. Surprisingly it is Jean King, the family's housekeeper, who becomes her anchor, guiding her until she leaves for college with the goal of leaving her demons behind. But the past intrudes on the present. Stephen comes back into her life six years after breaking her heart, determined to get her back. And new revelations regarding that long buried secret, forces Victoria to ask herself if it's possible to chart her future if she cannot face her past.

This book is an in-depth study of Latina girls, portrayed in five coming-of-age narratives by using spaces and places as hermeneutical tools. The texts under study here are Julia Alvarez’s Return to Sender (2009), Norma E. Cantú’s Canícula: Snapshots of a Girlhood en la Frontera (1995), Mary Helen Ponce’s Hoyt Street: An Autobiography (1993), and Esmeralda Santiago’s When I Was Puerto Rican (1993) and Almost a Woman (1998). Unlike most representations of Latina girls, which are characterized by cultural inaccuracies, tropes of exoticism, and a tendency to associate the host society with modernity and their girls’ cultures of origin with backwardness and oppression, these texts contribute to reimagining the social differently from what the dominant imagery offers. By illustrating the vexing phenomena the characters have to negotiate on a daily basis (such as racism, sexism, and displacement), these narratives open avenues for a critical exploration of the legacies of colonial modernity. This book, therefore, not only enables an analysis of how the girls’ development is shaped by these structures of power, but also shows how such legacies are reversed as the characters negotiate their identities. It breaks with the longstanding characterization of young people, and especially Latina girls, as voiceless and deprived of agency, showing readers that this youth group also has say in controlling their lifeworlds.

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Cynbel & Zothia tells the story of two young people engaged in a unique but emblematic love affair. There is an extraordinary garden, a mysterious one nurtured by Cynthia's great-great-grandmother Solange, which was anointed by God and is now sustained by her family. It is in this garden that Cynthia wants Zorobabel, her lover, to kiss her for the very first time.

NATIONAL BESTSELLER • A coming-of-age classic about a young girl growing up in Chicago • Acclaimed by critics, beloved by readers of all ages, taught in schools and universities alike, and translated around the world—from the winner of the 2019 PEN/Nabokov Award for Achievement in International Literature. “Cisneros draws on her rich [Latino] heritage...and seduces with precise, spare prose, creat[ing] unforgettable characters we want to lift off the page. She is not only a gifted writer, but an absolutely essential one.” —The New York Times Book Review The House on Mango Street is one of the most cherished novels of the last fifty years. Readers from all walks of life have fallen for the voice of Esperanza Cordero, growing up in Chicago and inventing for herself who and what she will become. “In English my name means hope,” she says. “In Spanish it means too many letters. It means sadness, it means waiting." Told in a series of vignettes—sometimes heartbreaking, sometimes joyous—Cisneros’s masterpiece is a classic story of childhood and self-discovery and one of the greatest neighborhood novels of all time. Like Sinclair Lewis’s Main Street or Toni Morrison’s Sula, it makes a world through people and their voices, and it does so in language that is poetic and direct. This gorgeous coming-of-age novel is a celebration of the power of telling one’s story and of being proud of where you're from.

"The 34th Degree" is a continuation of the thrilling adventure that began with "The Promised War, " featuring Israeli counter-terrorism agent Sam Deker.