From 1983 to 1987, author Mark Dunn worked as a court clerk for a justice of the peace in Travis County, Texas, where, he says, "I learned more about human nature . . . than I could have learned in any other job I might have taken up as a bushy-tailed kid from Tennessee." Based on interviews with 200 justices of the peace from all parts of Texas, Texas People's Court promises to take readers on a tour of what it means to be a Texas justice of the peace: an experience that is by turns hilarious, sobering, heart-wrenching, and, from one end to the other, fascinating. Here in the Texas justice court, wrongs can be righted and lives changed in profound ways. A priceless family necklace might finally be restored to the rightful owner; an occupational driver's license fortuitously granted. A death inquest may become an opportunity for family reflection and valediction, with the attending judge as sympathetic witness. In each of its chapters, Texas People's Court takes up a different aspect, duty, or area of thought related to the profession of justice of the peace taken from conversations with JPs throughout the state of Texas--from those who serve in its most populous municipalities to rural county JPs--putting a human face on the responsibilities, attitudes, and perspectives that motivate their judgments. The result is a thoroughly entertaining, sympathetic view of what Dunn calls "the day-to-day observation of human conflict in microcosm."

Amid the rise of neoliberalism, globalization, and movements for civil rights and global justice in the post–World War II era, Chicanxs in film, music, television, and art weaponized culture to combat often oppressive economic and political conditions. They envisioned utopias that, even if never fully realized, reimagined the world and linked seemingly disparate people and places. In the latter half of the twentieth century, Chicanx popular culture forged a politics of the possible and gave rise to utopian dreams that sprang from everyday experiences. In Chicanx Utopias, Luis Alvarez offers a broad study of these utopian visions from the 1950s to the 2000s. Probing the film Salt of the Earth, brown-eyed soul music, sitcoms, poster art, and borderlands reggae music, he examines how Chicanx pop culture, capable of both liberation and exploitation, fostered interracial and transnational identities, engaged social movements, and produced varied utopian visions with divergent possibilities and limits. Grounded in the theoretical frameworks of Walter Benjamin, Stuart Hall, and the Zapatista movement, this book reveals how Chicanxs articulated pop cultural utopias to make sense of, challenge, and improve the worlds they inhabited.