Tenochtitlan, 1519. Motecuhzoma, leader of the Mexica Confederacy, rules over the largest domain in all of Mesoamerica and has every expectation that his nation will continue to reign supreme... but the arrival of strange foreigners will test that confidence. Driven by God, gold, and glory, the uncouth interlopers are led by Hernando Cortes and command weapons that can shake the sky. They hail from a faraway land called Spain, and they may have sinister designs. Their disruptive presence demands a response, and the choice Motecuhzoma must make could elevate his nation to new heights or cause its ruin. Combining the superb research of the Moundville Duology with the gripping battles of the Conqueror Series, this award-winning novel draws upon modern scholarship to recount an event still unique today: the epic collision of two civilizations separated for millennia. Editorial Reviews "A captivating, well-plotted, bicultural dramatization of the months prior to Motecuhzoma's meeting with Cortés, deftly transporting the reader 500 years back into the eyes and intimate relationships of key participants--Mesoamerican and European, emperor and counselor, conqueror and slave." --Andrew Rowen, author of Encounters Unforeseen: 1492 Retold "The story weaves a rich tapestry of Spanish conquistadors and native Mexica--commonly known as the Aztecs--as well as the neighboring native tribes, that transports readers to the lush jungles and grand cities of pre-Hispanic Mexico. The writing is clear and easy to read, with just enough Spanish and Nahuatl to add deep flavors without slowing the pace." --Casey Robb, author of The Devil's Grip "The Serpent and the Eagle is expertly written and painstakingly researched.... Rickford has captured a fascinating historical moment and turned it into an absorbing story that makes the history come alive." --Jim White, author of Borders in Paradise "In The Serpent and the Eagle, Edward Rickford has achieved wonderful world-building/scene-setting to the extent that even if you aren't familiar with the history surrounding the novel, you can pick this book up and enjoy it regardless." --Aaron Booth, author of Life Eternal "The Serpent and the Eagle is another literary text that may offer the reader exits out of the colonial wound of indignity and entrances into the enunciative reclamation of silenced historical, social, and cultural spaces." --C.T. Mexica, Ph. D, Arizona State University "Told through multiple points of view, Rickford's words flow from the page like silk, engrossing the reader in insatiable Spanish hunger for gold and the anxiety Cortez's conquest brings to the native Mexica." --K.M. Pohlkamp, author of Apricots and Wolfsbane Winner of the 2017 Best in Category Prize in the 2017 Chaucer Book Awards for historical fiction.

One hundred twenty-six best-loved fables of Aesop.

The Serpent of Stars (Le serpent d¢étoiles, 1993; reprinted 1999 Grasset) takes place in rural southern France in the early part of the century. The novel’s elusive narrative thread ties landscape to character to an expanse just beyond our grasp. The narrator encounters a shepherding family and glimpse by glimpse, each family member and the shepherding way of life is revealed to us. The novel culminates in a large shepherds’ gathering where a traditional Shepherd’s Play—a kind of creation myth that includes in its cast The River, The Sea, The Man, and The Mountain—is enacted. The work’s proto-environmental world view as well as its hybrid form—part play, part novel—makes The Serpent of Stars astonishingly contemporary. W.S. Merwin’s "Green Fields" begins, "By this part of the century few are left who believe/in the animals for they are not there in the carved parts/of them served on plates and the pleas from slatted trucks..." This novel leaves the reader believing not only in the animals, but the terrain they are part of, the people who tend them, and the life all these elements together compose.

When the fighting of the Mexican Revolution died down in 1920, the national government faced the daunting task of building a cohesive nation. It had to establish control over a disparate and needy population and prepare the country for global economic competition. As part of this effort, the government enlisted the energy of artists and intellectuals in cultivating a distinctly Mexican identity. It devised a project for the incorporation of indigenous peoples and oversaw a vast, innovative program in the arts. The Eagle and the Virgin examines the massive nation-building project Mexico undertook between 1920 and 1940. Contributors explore the nation-building efforts of the government, artists, entrepreneurs, and social movements; their contradictory, often conflicting intersection; and their inevitably transnational nature. Scholars of political and social history, communications, and art history describe the creation of national symbols, myths, histories, and heroes to inspire patriotism and transform workers and peasants into efficient, productive, gendered subjects. They analyze the aesthetics of nation building made visible in murals, music, and architecture; investigate state projects to promote health, anticlericalism, and education; and consider the role of mass communications, such as cinema and radio, and the impact of road building. They discuss how national identity was forged among social groups, specifically political Catholics, industrial workers, middle-class women, and indigenous communities. Most important, the volume weighs in on debates about the tension between the eagle (the modernizing secular state) and the Virgin of Guadalupe (the Catholic defense of faith and morality). It argues that despite bitter, violent conflict, the symbolic repertoire created to promote national identity and memory making eventually proved capacious enough to allow the eagle and the virgin to coexist peacefully. Contributors. Adrian Bantjes, Katherine Bliss, María Teresa Fernández, Joy Elizabeth Hayes, Joanne Hershfield, Stephen E. Lewis, Claudio Lomnitz, Rick A. López, Sarah M. Lowe, Jean Meyer, James Oles, Patrice Olsen, Desmond Rochfort, Michael Snodgrass, Mary Kay Vaughan, Marco Velázquez, Wendy Waters, Adriana Zavala