"Over two million of the nation's eleven million undocumented immigrants have lived in the United States since childhood. Due to a broken immigration system, they grow up to uncertain futures. In Lives in Limbo, Roberto G. Gonzales introduces us to two groups: the college-goers, like Ricardo, whose good grades and strong network of community support propelled him into higher education, only to land in a factory job a few years after graduation, and the early-exiters, like Gabriel, who failed to make meaningful connections in high school and started navigating dead-end jobs, immigration checkpoints, and a world narrowly circumscribed by legal limitations. This ethnography asks why highly educated undocumented youth ultimately share similar work and life outcomes with their less-educated peers, even as higher education is touted as the path to integration and success in America. Gonzales bookends his study with discussions of how the prospect of immigration reform, especially the Deferred Action for Childhood Arrivals (DACA) program, could impact the lives of these young Americans"--Provided by publisher.

Pushing the boundaries of Latinx literature and what constitutes a borderlands poetics. Throughout Roberto Tejada’s body of work, the renowned poet and celebrated critic has explored themes of Latinx culture, politics, history, language, and ecologies. In his latest collection, Why the Assembly Disbanded, he presents a unique contribution to Latinx letters that reflects on the relations between the United States and Latin America, especially their real and symbolic borderlands. Immersive, postmodern, and philosophical, Why the Assembly Disbanded provides an associative, critical Latinx aesthetic connecting the Mexico–United States borderlands to Latin America’s neo-baroque heritage. Migrants, settlers, tourists, and exiles moving across various hemispheric landscapes are featured in these exuberant, capacious, and self-reflexive poems. Tejada relates the ravages of white supremacy in our culture that, together with immigrant precarity, turn home into a place of foreboding and impending eviction, even as a dream-weather makes room at last for scenes of possibility and attainment in the account of human history. The sweeping futuristic vistas open on to narratives of colonial extraction, human displacement, abuses of capitalism, mass media spectacle, the antagonism of language and technical images in the sensorium of urban and digital life-worlds, and the relations of desire encouraged by pictures and words in the economy of attention. Los Angeles and Mexico City figure prominently in poems committed to voicing modes of formation and community in an intersectional reckoning of personhoods prompted in work by artists Betye Saar, Amiri Baraka, Connie Samaras, and Rubén Ortiz Torres. With language given to pageantry, tonal precision, and a hopeful lyric radiance that can accommodate ecstasy and justice, Roberto Tejada’s carnivalesque, borderland imagery pushes the boundaries of Latinx literature. World-building by way of reverie, speculation, and retro-futurist tableaux, and with vivid, sometimes violent particularity, his poems enact hallucinatory realities of the hemisphere: an imagination that triangulates history, lyricism, and art as social practice.