Trinity University Press

When Jennifer Case became pregnant unexpectedly with her second child, she was overwhelmed at the prospect of caring for another child in a society with high expectations and low support for mothers. She sought to reclaim control over, if not her changing body, then at least her rapidly declining mental health. Immersing herself in research, Case learned that the United States has one of the highest maternal death rates among developed countries. One in every five women develops a mental health issue as a result of pregnancy. It became clear to her that in order to address the sexism and isolation mothers face—including the racism that further marginalizes women of color—we must recognize these as social problems that affect us all.

We Are Animals draws attention to these issues by examining key moments in Case’s life where her experience as both a woman in twenty-first-century America and a child-bearing mammal, and the conflicts between these two identities, were brought into sharp relief. From the surprising salve of parasocial interactions on baby forums to the not so surprisingly intertwined history of industrial dairy farming and wearable breast pumps, Case explores an array of realities that give historical and cultural context to the experience of motherhood.

The essays collected here offer a balm for women who have struggled in silence over childbirth trauma, conflicted responses to motherhood, or a deeply felt intuition that what their bodies needed as mothers did not match what society provided. They also offer a much needed, nuanced perspective for policymakers, activists, and medical professionals who continue to shape women’s experience of motherhood.

David Lesch is a modern-day Renaissance man whose work has spanned continents and allowed him to explore cultures near and far. An acclaimed scholar, educator, author, and conflict resolution specialist, he has advised five U.S. presidential administrations at the highest levels about the head-spinning political, religious, and cultural complexities of the Middle East. He is the author or editor of seventeen books, including The History of the Middle East since the Rise of Islam, Syria: A Modern History, and The Arab-Israeli Conflict: A History.

Long before, as the number one draft pick for the Los Angeles Dodgers in 1980, Lesch followed his American dream, playing with many baseball greats until a shoulder injury sidelined him. He later became a distinguished professor of Middle East studies at Trinity University in San Antonio and was soon tapped by the United Nations, the U.S. State Department, and policy centers and governments internationally.

Dodgers to Damascus documents a part of the world that has been shrouded in mystery and plagued by conflict, power struggles, and warfare, and offers a firsthand glimpse inside modern Syria, its neighboring countries, and their connections to the rest of the world.
Lesch’s work in Syria resulted in a tenuous relationship with President Bashar al-Assad and many tense situations, including a poisoned meal that almost cost him his life. His encounters with elected officials, diplomats, spies, and conflict resolution specialists have all the elements of a Hollywood thriller and parallel his personal story of loss, crisis, and redemption.

“Woodsqueer” is sometimes used to describe the mindset of a person who has taken to the wild for an extended period of time. Gretchen Legler is no stranger to life away from the rapid-fire pace of the twenty-first century, which can often lead to a kind of stir-craziness. Woodsqueer chronicles her experiences intentionally focusing on not just making a living but making a life—in this case, an agrarian one more in tune with the earth on eighty acres in backwoods Maine.

Building a home with her partner, Ruth, on their farm means learning to live with solitude, endless trees, and the wild animals the couple come to welcome as family. Whether trying to outsmart their goats, calculating how much firewood they need for the winter, or bartering with neighbors for goods and services, they hone life skills brought with them (carpentry, tracking and hunting wild game) and other skills they learn along the way (animal husbandry, vegetable gardening, woodcutting).

Legler’s story is at times humbling and grueling, but it is also amusing. A homage to agrarian American life echoing the back-to-the-land movement popularized in the mid-twentieth century, Woodsqueer reminds us of the benefits of living close to the land. Legler unapologetically considers what we have lost in America, in less than a century—individually and collectively—as a result of our urban, mass-produced, technology-driven lifestyles.
Illustrated with rustic pen-and-ink illustrations, Woodsqueer shows the value of a solitary sojourn and both the pathway to and possibilities for making a sustainable, meaningful life on the land. The result, for Legler and her partner, is an evolution of their humanity as they become more physically, emotionally, and even spiritually connected to their land and each other in a complex ecosystem ruled by the changing seasons.

After quitting her job with an awkward text to her boss, Lucie Frost planned to live out her early retirement fantasy. Except she was lost, an empty nester with no job, no structure, no identity, and no clear purpose. Everything changed after she binge-watched the television program 90 Day Fiancé one day, which led to a stream of answers to her question about midlife stagnation: What do we do with our lives when our jobs or children are no longer making those decisions for us?

Her trivia-filled memoir, How the Hell Did I Not Know That?, follows the first year of Frost’s postretirement era, a year when curiosity pulled her off the couch and into a world where she discovered how to build a fulfilling life from the smallest of wonders—things like how to unboil an egg with urine (but why, oh why?), where the vice president of the United States lives (something we should know?), and why the sky is blue (wait, didn’t we learn that in third grade?).

How the Hell Did I Not Know That? is a witty and honest companion, a girlfriend, if you will, for women in midlife who are struggling to find their place in the world, who are concerned about misogyny, climate change, and the industrial prison complex, just not while watching the latest episode of The Bachelor. Frost shows us that women “of a certain age” need to take themselves seriously while remembering to laugh at inappropriate things and that they can find meaning in life by relying on the power of curiosity.

How Books Can Save Democracy argues that American democracy is in crisis as healthy disagreement has pivoted into negative, winner-take-all contests. Michael Fischer proposes that literature is an essential tool to rekindle the relationships and mutual understanding that functional democracies require.

By participating in reading, writing, and discussions about literature with diverse perspectives—whether in classrooms or book clubs or at public festivals—we can discover how to embrace our differences rather than fear them, enabling the empathy and collaborative spirit needed to sustain a democratic society.

How Books Can Save Democracy illustrates how literature, from classics to contemporary works, fosters nuanced thinking and the ability to find common ground despite our differences. Fischer draws insightful connections and examines how great literature throughout history has diagnosed societal democratic challenges, discussing the works of Zadie Smith, Charles Dickens, Alexis de Tocqueville, Hannah Arendt, Philip Roth, Ezra Klein, Bishop Desmond Tutu, and many others. For anyone concerned about polarization and democratic backsliding, he provides evidence that the reading, writing, and discussion of powerful texts may be our most valuable and overlooked democratic resource.

How Books Can Save Democracy is essential reading for educators, community leaders, and anyone concerned about the future of American democracy. Now more than ever we need works of literature to help us benefit from our differences instead of being threatened by them, and our bookshelves may hold the solution to this pressing civic challenge.

In Death Watch, the National Book Award-winning poet Gerald Stern uses powerful prose to sift through personal and prophetic history and contemplate his own mortality. Characteristically audacious, uncompromising, funny, and iconoclastic, Stern looks back at his life and forward in time to how his story will play out. Wrestling with his identity in Judaism, he explores how his name was uprooted from its origins, as so much of his life will be willfully disrupted from the expectations of his parents and the norms of a predictable path.

Stern recounts his life, itself “a grand digression,” which takes him from Pittsburgh, to the Army, to Paris on the GI Bill, and back to the United States, where he immerses himself in the literary culture around him. Stern’s early and traumatic loss of his older sister provides the occasion to imagine what her life might have been, and he revels in his past love affairs, the many women beloved in his life. He recollects books that occupy his recent reading—the work of W.G. Sebald, Blaise Cendrars, and Louis-Ferdinand Céline—and how memory is always at the heart of literary accomplishment and what creates the staying power of great literature.

Death Watch is as an account of a beloved poet's final journey; a vivid, passionate, and, at times, whimsical look at the gamble of living life to its fullest, choosing the life of a poet, philosopher, prophet, lover, radical, and perpetual troublemaker.

Definitive and daring, The Ecopoetry Anthology is the authoritative collection of contemporary American poetry about nature and the environment--in all its glory and challenge. From praise to lament, the work covers the range of human response to an increasingly complex and often disturbing natural world and inquires of our human place in a vastness beyond the human.

To establish the antecedents of today's writing,The Ecopoetry Anthology presents a historical section that includes poetry written from roughly the mid-nineteenth to the mid-twentieth century. Iconic American poets like Walt Whitman and Emily Dickinson are followed by more modern poets like Wallace Stevens, William Carlos Williams, Ezra Pound, and even more recent foundational work by poets like Theodore Roethke, Elizabeth Bishop, Robert Hayden, and Muriel Rukeyser. With subtle discernment, the editors portray our country's rich heritage and dramatic range of writing about the natural world around us.

On the Sponge Islands follows Julia Martin’s journey through the Greek Dodecanese, where she returns three times over five years to trace the cultural and ecological legacy of sponge diving. Drawn by the ancient marine life of the Aegean Sea, Martin finds that the porosity of sponges—once symbols of utility and wonder—has also made them vulnerable, mirroring the fragility of the ecosystem and the communities entwined with it.

Her first visit introduces a cast of islanders—Manuel, Aphrodite, and Lefteris—whose stories reveal the rise and fall of the sponge trade and its entanglement with environmental devastation. The islands bear scars of conflict, both human and ecological, yet the Aegean remains a luminous force.

On her second journey, Martin is recovering from cancer treatment. Her encounters deepen with old and new friends, including Orfeas—a man whose name echoes mythic returns from death. Her reflections grow more personal as she begins to see the sponge islands both as a microcosm of the global environmental crisis and as a place where recovery, both human and ecological, may be possible.

By 2022, during her final visit amid the postpandemic, restoration has become central. The tiny island of Halki, once emblematic of decline, reimagines itself as the first “Gr-Eco” island, powered by green technology. On Rhodes, Martin meets Zinovia, a pioneering female diver and activist scientist who embodies the region’s future.

Through Martin’s elegant, searching prose, On the Sponge Islands connects natural history, personal recovery, and environmental reckoning. It is a story of extinction and resilience, suffering and beauty, fragility and hope. Above all, it insists that it’s not too late—not yet.

Throughout his nearly thirty-year career at the San Antonio Express-News, Vincent T. Davis has perfected his craft of finding the extraordinary in ordinary lives. The Front Porch: Stories from the Soul of San Antonio presents a mosaic of the community composed of individual profiles of San Antonians. This luminous collection, which gathers some of Davis’s finest work, takes readers through San Antonio’s neighborhoods to trace the cultural and human legacy of a city built on the margins.

Drawn by the lives of those rarely seen in headlines, Davis puts readers in places they’ve never been, including at a rural country rodeo where old wranglers watch the next generation, at a reunion of Vietnam veterans paying tribute to a fallen comrade, and in the sanctuary of a Baptist church where the women wear fine church hats of all sizes and colors during Sunday worship. He discovers the vulnerability of forgotten communities and pulls back the veil on his own family’s rich narratives, including a beautiful Mother’s Day tribute and his “Granddaddy,” Theodore H. Martin, the cigar-smoking World War II veteran whose spellbinding tales in Columbus, Georgia, taught young Vince “the magical sway of stories.”


This isn’t just a book about San Antonio. Readers will come to care about people they never knew existed, whom they may have passed or caught a glimpse of on the street. And by the final page, they will understand something profound: Every community is rich with untold stories waiting for someone who cares enough to listen, stories passed from one person to another, one generation to another, one culture to another.

Nirenberg: The Education of a Texas Public Servant offers a compelling portrait of Ron Nirenberg’s eight-year tenure as mayor of San Antonio, the seventh largest city in the United States. From 2017 to 2025, Nirenberg guided the city through times of crisis and opportunity with a compassionate, pragmatic approach that defied partisan expectations and earned broad popular support. Winning six elections and numerous referenda, he became San Antonio’s longest-serving mayor since Henry Cisneros.

In this candid memoir, Nirenberg reflects on the formative moments that shaped his path to public service. Born to a multicultural family and raised in Texas, he overcame early obstacles and was driven by a sense of purpose from a young age. After completing his education, he worked on public policy initiatives across the country, collaborating with future leaders like Barack Obama and Cory Booker to inspire civic engagement among youth.

As mayor, Nirenberg guided San Antonio through the global Covid-19 pandemic, establishing a model of leadership that others throughout the country emulated. He also led the city out of a devastating winter storm that shut down the entire state and compassionately dealt with the aftermath of public outrage in response to the murder of George Floyd. His vision for growth in San Antonio, a city poised to become a cultural and economic hub in Texas, turned thought into action as he led the way in creating nationally recognized initiatives in workforce development, affordable housing, education, and equity-driven city planning.

At a time of rising polarization and political uncertainty, Nirenberg is both a hopeful call to civic action and a behind-the-scenes account of how to lead with integrity and impact in today’s challenging political landscape.

Out There recounts one man’s search to lead an authentic life, an adventure that takes him all over the world and through some of the biggest societal changes of recent history. From a distance, this could be a typical American story: boy grows up in a religious home, joins the military to defend his country, returns home to attend university, then becomes a firefighter. That would be typical if it weren’t for the fact that he’s gay and was open in places that historically excluded people like him.

As a nineteen-year-old from a fundamentalist family, Lance Garland worked hard to qualify for Navy SEAL training, then sailed across the Pacific on a warship where he met his first boyfriend. After his partner was sexually assaulted by a superior, the two men became witnesses in a court-martial that was complicated by the military’s “Don’t Ask, Don’t Tell” policy. After he was discharged from the Navy, Garland discovered time in nature as a way to heal from the experiences of his youth. While sailing, backpacking ,and climbing in the Pacific Northwest, he navigates the challenges of becoming a first-generation college student, equal rights activist, and the first openly gay fireman in the Seattle fire department.

Out There is a memoir of a man out in the wilderness, both physically and socially, on a journey to find a place to call his own. It is for anyone who has felt like an outsider or hasn’t found their place yet.

The Ecopoetry Anthology is the authoritative book of contemporary American poetry about nature and the environment. Ann Fisher-Wirth and Laura-Gray Street, the editors of the daring first volume, have reunited to create Attached to the Living World. The second anthology explores the issues and conversations in ecopoetry over the past decade and features more than 150 established and emerging poets, including Mildred Barya, Nickole Brown, Simmons Buntin, Lauren Camp, Iris Jamahl Dunkle, Vievee Francis, CMarie Fuhrman, Ross Gay, Erin Hollowell, Marie Howe, Petra Kuppers, J. Drew Lanham, Ada Limόn, Aimee Nezhukumatathil, January Gill O’Neil, Catherine Pierce, Tracy K. Smith, Brian Teare, and Natasha Tretheway. With a foreword by Camille Dungy and an introduction by Margaret Ronda, the poems gathered here provide vital visions to nurture our imaginations and spur us to act.

The anthology delves into the multifaceted ecological crises of our time, highlighting the toxic aftermath of industrial progress and the inequities of environmental racism. It underscores the stark realities faced by communities at the frontline of climate change, emphasizing the overlaps of land degradation and social injustice. Despite themes of loss and devastation, the work is imbued with a current of hope, showcasing poetry’s ability to inspire a reconnection with the natural world. It also amplifies the voices of indigenous poets, offering invaluable perspectives on land stewardship and cultural resilience in the face of ongoing colonial impacts. These contributions speak to the essential role of native knowledge and practices in habitat preservation and cultural survival.

Taken as a whole, the anthology emerges as a powerful call to action, urging collective reflection on our carbon footprint and a shared commitment to sustainable futures. It stands as a profound exploration of the intersections of ecological awareness, social justice, and poetic expression, inviting readers to contemplate their place in the broader web of life.

In the spirit of Eat, Pray, Love, Carol Wright Folbre’s story is of a young suburban Texas woman’s path to self-discovery in the early 1980s. Newly married, she embarked with her husband on a journey that morphed into an eighteen-month reassessment and discovery of her core skills, values, and presumptions.

Folbre’s travels across India, Nepal, China, and Russia were replete with challenge and adventure. Travel by foot, plane, passenger and industrial rail, bus rooftop, riverboat, bicycle, camelback, and donkey cart landed her in places she had never imagined and introduced her to centuries- and millennia-old cultures she had only read about in books. Staying in yurts, hostels, monasteries, and teahouses along the way, she met many people who captivated her. 

What started as a headstrong journey driven by a Western tourist’s curiosity became a progression of discovery as Folbre learned the value of getting lost and embracing surprises, listening deeply, and finding strength in the unknown. Throughout her travels, she journaled and illustrated her encounters. What emerged was a framework for her to rethink her worldview and adopt a journey-over-destination and process-over-outcome perspective, recognizing a way of living that holds as many questions as answers and can be genuinely beautiful.

One afternoon in fall 2015 Cristina Devereaux Ramírez’s mother called and, with a tone of urgency in her voice, asked her to come to the house and take a look at something she had discovered when she was sorting through boxes in the attic. When Ramírez arrived, she found her family sifting through papers in an old vegetable box, reading some of the more than 750 pages of Spanish language poems, short stories, fables, and dichos Ramírez’s maternal grandmother, Ramona González, had written. Some pieces were works in progress, complete with word and phrase strikethroughs and handwritten notes in the margins, while others were neatly typed prose or what might have been final drafts. None of González’s writings had seen the outside of that box for decades, at least since 1995 when the family matriarch passed away.

González—or Doña Ramona, as she was often called—was born in 1906 in the El Paso border barrio of Chihuahuita, sometimes referred to as the Ellis Island of the Southwest. Her writing celebrates the rich Mexican American culture of Chihuahuita, a neighborhood the National Trust for Historic Preservation identified in 2016 as one of America’s most endangered historic places. A mother, corner grocery store owner, published writer, and community activist, González was one of the few Tejanas profiled in Worthy Mothers of Texas, 1776–1976

A Story of Stories from a Texas Border Barrio, Ramírez chronicles the life of her abuela with the care of a granddaughter and, with the eye of a scholar, analyzes selections from González’s work and its significance to El Paso history, Chicano literature, border barrio folklore, and cross-border civic movements in the mid-twentieth century.

In spring 2014 Peggy Kokernot Kaplan, a former Trinity University athlete and cofounder of the women’s track team, emailed her alma mater’s athletic department asking the school to post statistics from the team’s 1975 season. It’s no surprise that they couldn’t fulfill her request, for Trinity had sparse records from the 1970s—not just for track and field but for most performances by female athletes before 1991, when the school joined a NCAA Division III conference.

What started as a humble email request nearly a decade ago has culminated in From the Sidelines to the Headlines: The Legacy of Women's Sports at Trinity University, an expansive book aimed at filling in the gaps in coverage of half a century of women’s intercollegiate sports. Former Trinity athlete Betsy Gerhardt Pasley and historian Doug Brackenridge, along with other members of the Trinity community, have collected hundreds of long-forgotten documents and conducted dozens of interviews with former students, coaches, and administrators to tell the fascinating, multifaceted story of women’s sports at this liberal arts school in San Antonio, Texas.

While the book focuses primarily on the post–Title IX years between 1972 and 1999, its scope extends to Trinity’s founding in 1869, illuminating the century-long evolution of women in competitive sports, at Trinity and elsewhere, before Title IX. The story, told alongside the cultural shifts that formed the social and athletic context for female athletes of the day, also documents the decision Trinity and other institutions of higher learning faced after Title IX: Should they adhere to a commercial model, in which a focus on athletics often overshadowed academics, or strive for a more balanced student-athlete, nonscholarship model? Trinity chose the latter and has decades of national championships and academic accolades to show for it.

Witness to War presents a compelling visual record of a young American man’s venture in Mexico as the country veered into revolution in the early 1900s. Walter Elias Hadsell, a skilled photographer who had recently graduated as a mining engineer, documented a critical period of foreign investment in Mexico’s mining industry and, in the process, captured scenes of Mexican life in other cities.

Susan Toomey Frost draws from an extensive collection of Hadsell’s original photographic prints to narrate his ten years in Mexico. The images in Witness to War follow him from his time as a mining engineer in Mexico to his 1917 return to mining in Arizona, his home state.

Planning for a future career in photography, Hadsell soon acquired the Kodak franchise for Veracruz, Mexico’s most important port since colonial times. He documented the damage done in Mexico City during a ten-day uprising in 1913 that led to the assassination of Mexican president Francisco Madero.

Veracruz became a vortex for U.S. interference in the Mexican Revolution when President Woodrow Wilson invaded the country in 1914 in an attempt to thwart Mexico's successor president and to favor opposing forces. Hadsell, as a resident American citizen, had immediate access to the military operation as it unfolded. His images are essential historical records of Wilson’s intervention in Mexican affairs.

Hadsell’s camera recorded images of a defenseless city disrupted by the landing of thousands of American troops. With no exit plan, U.S. forces remained for seven months before abruptly departing. Hadsell’s personal life took a tragic turn with the death of his wife, who left him with three young children, all born in Mexico. He endured another tragedy with the loss of his Veracruz studio during a period of anti-Americanism, though he ultimately left a rich legacy documenting U.S.-Mexico relations at a critical time.

Looking for adventure and continuing a process of self-discovery, Janisse Ray has repeatedly set out to immerse herself in wildness, to be wild, and to learn what wildness can teach us. From overwintering with monarch butterflies in Mexico to counting birds in Belize, the stories in Wild Spectacle capture her luckiest moments—ones of heart-pounding amazement, discovery of romance, and moving toward living more wisely. In Ray’s worst moments she crosses boundaries to encounter danger and embrace sadness.

Anchored firmly in two places Ray has called home—Montana and southern Georgia—the sixteen essays here span a landscape from Alaska to Central America, connecting common elements in the ecosystems of people and place. One of her abiding griefs is that she has missed the sights of explorers like Bartram, Sacagawea, and Carver: flocks of passenger pigeons, routes of wolves, herds of bison. She craves a wilder world and documents encounters that are rare in a time of disappearing habitat, declining biodiversity, and a world too slowly coming to terms with climate change.

In an age of increasingly virtual, urban life, Ray embraces the intentionality of trying to be a better person balanced with seeking out natural spectacle, abundance, and less trammeled environments. She questions what it means to travel into the wild as a woman, speculates on the impacts of ecotourism and travel in general, questions assumptions about eating from the land, and appeals to future generations to make substantive change.

Wild Spectacle explores our first home, the wild earth, and invites us to question its known and unknown beauties and curiosities.

Mary Parrish was reading in her home when the Tulsa race massacre began on the evening of May 31, 1921. Parrish’s daughter, Florence Mary, called the young journalist and teacher to the window. “Mother,” she said, “I see men with guns.” The two eventually fled and unwittingly became eyewitnesses to the death of hundreds of Black Oklahomans and the destruction of the Greenwood district, a prosperous, primarily Black area known nationally as Black Wall Street. The Nation Must Awake is Parrish’s first-person account, compiled along with the recollections of nearly two dozen others, of what is now recognized as the single worst incident of racial violence in U.S. history.

San Antonio 365: On This Day in History tells one story a day in the history of the Alamo City, from popular lore to lesser known events critical to understanding its people and culture. The result is a treasure trove of remarkable tales highlighting small ripples that created big waves in the region’s history.

The stories in San Antonio 365 are fun and enlightening slices of history, but they also highlight our collective need to learn from the past. Internationally known as a center of business and tourism, San Antonio has also been the site of significant episodes in the fight for equal rights and justice, the importance of economic and cultural diversity, and the evolution of good government. Among the 365 stories are the anti-Communist riot at Municipal Auditorium led against Emma Tenayuca, the segregation of cinemas and swimming pools, and the 1955 integration of San Antonio schools.

Charming anecdotes and quotes bring each story to life. For instance, did you know that Butch Cassidy and the Sundance Kid cooled their heels on the streets of San Antonio a few miles from what would became Interstate 10—where the rock group R.E.M. filmed their iconic video “Everybody Hurts”? A lively essay introducing each month underscores the important ways that history is never just about the past.

As Kurt Vonnegut said, “History is merely a list of surprises. It can only prepare us to be surprised yet again.” San Antonio 365 brings to life more than three hundred years of surprises, highlighting both historical moments that have been overlooked and those told again and again—and the compelling characters who shaped the city.

Native Texan: Stories from Deep in the Heart is a lively and personal tour of small town and big city Texas in search of what makes the state unique. Nationally acclaimed columnist Joe Holley is widely loved for his popular “Native Texan” column, which appears in the Houston Chronicle. In thirty stories curated from column archives, Holley introduces readers to his favorite people and places across the state. From interviews on the “weird” streets of Austin and his search for ghosts in Bigfoot to a decades-long love affair with everything about Marathon and hikes on the back trails of the Big Bend, Holley is a masterful storyteller. His instincts are backed by a seasoned journalist’s passion to measure legends and tall tales against investigations into what really happened. He reveals small-town Texas, and some small towns within the largest cities, with a style that has proven popular with readers and a keen eye for a unique spin on an old story. The result is an entertaining and certainly surprising view of the Lone Star state.

Observed in Mexico and parts of the United States, El Día de Muertos, or Day of the Dead, is a celebratory holiday. Los Muertos is the first anthology of fiction relating to or inspired by this bicultural tradition. Each of the two dozen Mexican and Mexican American writers featured here has a unique affinity for the myriad ideas connected closely to the El Día de Muertos—some in less obvious ways. The stories connect to the metaphors and connotations related to memorializing the dead, some reflecting on the ritualized and religious aspects of what has become a commercialized holiday and others reacting to such cultural appropriations.

In celebration and reconciliation, stories like Alessandra Narváez Varela’s, told from the point of view of a Día de los Muertos wreath, and Marytza Rubio’s, about a young woman trying to rewrite a young man’s death through parallel dimensions, illustrate the ways Latino cultures process death. From Kirstin Valdez Quade’s little girl struggling to accept her mother’s abandonment to David Rice’s character forgiving himself in remembrance of his daughter’s namesake, each character fully embraces what it means to look death in the face and celebrate the losses of the departed. From solemn ofrendas and milagros to everyday acts far removed from any trace of pan de muerto or papel picado, these diverse stories call us to appreciate the holiday’s broader cultural significance.

Writers include Ana Gloria Álvarez Pedrajo, Rosa Beltrán, Ana García Bergua, Ana Castillo, Lucha Corpi, Elizabeth Gonzalez James, Diana López, Lorraine M. López, Alberto Reyes Morgan, Manuel Muñoz, Alessandra Narváez-Varela, Guadalupe Nettel, Daniel A. Olivas, Pedro Ángel Palou, Rene S Perez II, Kirstin Valdez Quade, David Rice, Alberto Ríos, Ito Romo, Marytza K. Rubio, Socorro Venegas, and Désirée Zamorano.

Flat track roller derby is one of the country’s fastest growing sports. What started as a single league in Austin, Texas, a couple of decades ago has grown into an international phenomenon, with nearly two thousand leagues around the world.

Rollergirls captures the spirit of the game, which is poised to become an Olympic sport, and highlights the women who have become known as the godmothers of modern-day roller derby. Documentary photographer Felicia Graham takes readers on a visual tour of more than 160 black-and-white images, showcasing the confidence it takes to become a rollergirl and the camaraderie that develops among the players. Focusing on the Texas League, where it all began, Graham celebrates the culture and personality of flat track derby everywhere.

Despite their different reasons for joining the sport, women of varying professions, ages, and lifestyles have made roller derby uniquely their own. With tongue-in-cheek team names like the Hotrod Honeys and personas like Sparkle Plenty and Buckshot Betty, the players use their brains and brawn to master the strategic game while also expanding the sport internationally. It’s all done with bravado and a brash sense of humor unique to full-contact sports.

Graham has been photographing the Texas Rollergirls on and off the track, in Texas and on the international circuit, for more than a decade. Spending untold hours with the league and collecting thousands of photographs of pivots and blockers, adoring crowds, and the sweat of the bench, she has created a visual narrative of women who embody the freedom of flying around the track. In these pages, readers learn how regular girls become rollergirls--determined, athletic, intimidating, and powerful, all on their own terms.

Nature isn't only in a park or wilderness. It’s right outside our door. Sometimes it’s on the door or comes inside to find us. Nature is the jumping spider on the screen, the assassin bug in the shower, and the cluster of ladybugs at the lamp. It is the moss on brick where gutters spill, a sycamore sprout in the storm drain, and the trash can lid turned into a bird bath.

Joanna Brichetto is a neurodiverse, late-blooming naturalist with a sharp eye. Despite having chronic illnesses, she spends much of her time exploring nature and has an infectious, almost zealous love for the flora and fauna near and in her Nashville home. In This Is How a Robin Drinks, Brichetto weaves observation, reflection, and commentary with unsentimental wit and an earthy humor into an urban almanac of fifty-two short lyrical essays.

Each piece offers a sketch of everyday wonders in everyday habitat loss. Nature is the dead sparrow in the pickup line at the elementary school, a full moon over the electric substation, and the cicada chorus that doesn’t make a days-long migraine any better (but doesn’t make it any worse either). Nature is under our feet, over our heads, and beside us—the very places we need to know first. Arranged by season, the pieces in this collection celebrate nature—just as it is—on the sidewalk and in the backyard, the park, and the parking lot.

Elephants have captivated the human imagination for as long as they have roamed the earth, appearing in writings and cultures from thousands of years ago and still much discussed today. In Thirty-Three Ways of Looking at an Elephant, veteran scientific writer Dale Peterson has collected thirty-three essential writings about elephants from across history, with geographical perspectives ranging from Africa and Southeast Asia to Europe and the United States. An introductory headnote for each selection provides additional context and insights from Peterson’s substantial knowledge of elephants and natural history.

The first section of the anthology, “Cultural and Classical Elephants,” explores the earliest mentions of elephants in African mythology, Hindu theology, and Aristotle and other ancient Greek texts. “Colonial and Industrial Elephants” finds elephants in the crosshairs of colonial exploitation in accounts pulled from memoirs commoditizing African elephants as a source of ivory, novel targets for bloodsport, and occasional export for circuses and zoos. “Working and Performing Elephants” gives firsthand accounts of the often cruel training methods and treatment inflicted on elephants to achieve submission and obedience.

As elephants became an object of scientific curiosity in the mid-twentieth century, wildlife biologists explored elephant families and kinship, behaviors around sex and love, language and self-awareness, and enhanced communications with sound and smell. The pieces featured in “Scientific and Social Elephants” give readers a glimpse into major discoveries in elephant behaviors. “Endangered Elephants” points to the future of the elephant, whose numbers continue to be ravaged by ivory poachers. Peterson concludes with a section on fictional and literary elephants and ends on a hopeful note with the 1967 essay “Dear Elephant, Sir,” which argues for the moral imperative to save elephants as an act of redemption for their systematic abuse and mistreatment at human hands.

Essential to understanding the history and experience of this beloved and misunderstood creature, Thirty-Three Ways of Looking at an Elephant is a must for any elephant lover or armchair environmentalist.

In Navigating Rocky Terrain, a nature memoir in essays, Laurie Roath Frazier explores the subterranean in search of footholds to move forward in an ever-changing landscape. The journey begins soon after her mother’s diagnosis of dementia. As Frazier hikes through Canyon Lake Gorge, an enormous scar left behind by a megaflood, questions emerge. What is life like in cracked and disturbed places? How do people and places—plants, animals, and the land—heal following a disturbance? How does life flourish in the shadow of an uncertain future? These questions continue to guide Frazier through the limestone terrain of the Texas Hill Country.

Each essay delves into the geology and ecology of a special place: a gorge, a cave, a sinkhole, a disappearing river—key features in the crumbling spaces, the holes and cracks, of karst terrain. Along the way Frazier meets scientists and citizen scientists, cavers, and master naturalists who lend their voices to her stories. Together they delve into such ecological issues as extreme weather events, habitat fragmentation, land use, population growth, water conservation, invasive species, and dark sky initiatives.

These hopeful, curiosity-driven essays examine how we begin to heal personally and ecologically. Frazier shares her experiences of illness, the pandemic, and the death of loved ones, including her parents, as she sets out on mini-expeditions close to home. As she searches for caves on a thirty-acre family property and makes plans to restore the land, she weaves stories of the karst she encounters above and below with her own. The journey ultimately uncovers the complex connections between the surface and the subterranean, and in the landscape of the human.

At the start of the twentieth century, South Texas was a melting of troops training for deployment in World War I and thousands of refugees fleeing the Mexican Revolution. With the influx of immigrants and injured veterans returning from the war, the area was in desperate need of a charity hospital to serve the burgeoning community. The city of San Antonio and Bexar County each contributed half the funding to build the Robert B. Green Memorial Hospital, named for a socially conscious county judge and Texas state senator.

The Green hospital filled a critical need and was completed just in time to care for victims of the 1918 flu epidemic. One hundred years later, the hospital is one of many in the University Health System, which continues to fulfill the diverse health care needs of South Texas.University Health System at 100 chronicles the compelling history of a nationally recognized teaching hospital and its network of outpatient healthcare centers with archival photographs and extended captions. Highlights include the 1955 creation of the property tax funded Bexar County Hospital District; the 1968 founding of the University of Texas Medical School at San Antonio; now called UT Health San Antonio; and the 1999 opening of the Texas Diabetes Institute. The book also looks ahead to the next one hundred years as medical advancements and concerns and the needs of the South Texas region continue to evolve. Whatever the future of health care holds, the University Health System aims to continue the mission that has guided it from the beginning—to treat all those in need in the community with compassion, respect and skill.

Immigrants from the archipelago of the Spanish Canary Islands off the coast of Western Africa played a vital role in San Antonio’s early history. Canary Islanders in Texas tells the story of the fifty-five Canary Islanders who arrived in South Texas in 1731 and founded the original municipality of San Fernando de Béxar (renamed San Antonio in the nineteenth century after Texas’s independence from Mexico). Through the reflections and records of María Curbelo, the last surviving member of the original settlers, readers learn of the many challenges these early settlers faced, including the assignment of land grants, distribution of riverine water, and protesting perceived monopolies of labor for the construction of homes and other structures by Franciscan missionaries. For over a century Canary Islanders and their descendants controlled municipal policy in San Antonio, Their influence began to decline beginning in 1845, however, with the annexation of Texas and the introduction of United States governance.

More than five thousand isleños live in San Antonio today, many of them descendants of the original settlers. Their influence can be seen in the city’s history, culture, music, and philanthropy. Their legacy is celebrated through numerous cultural groups and organizations.

In a remote corner of the Arctic in 1941, a meteor shower flashed across the sky for an unusually long time. Taking this to be a sign, one of the local Inuit proclaimed himself Jesus Christ. Another proclaimed himself God. Anyone who didn’t believe in them was Satan. Violence ensued.

At the End of the World isn’t just the remarkable story of a series of murders that occurred on the Belcher Islands, a group of wind-blasted rocks in Canada’s Hudson Bay. It’s also a starting place for a deeper cultural exploration. Against the backdrop of the murders, which highlight the fact that senseless violence in the name of religion is not a contemporary phenomenon and that a even people as seemingly peaceful as the Inuit can turn to chaos at the hands of one person’s delusion, Millman addresses the burgeoning dawn of the digital era, following the murders’ trail to show how our obsession with screens is not unlike a cult and offering a warning cry against the erosion of humanity and the destruction of the environment. The story becomes a confluence of the consequences of generational trauma, outside religious evangelism, systemic racism against indigenous people, the perilous passage from the natural to the digital world, and what it means to be human in a time of technological dominance and climate disasters.

At the End of the World, available for the first time in paperback, is not a straightforward tale of true crime but an examination of many of the issues that have become dominant in the global conversation. In snippets of reflection, Millman asks us to look north for answers to many of the questions we all hold, literally, in our hands.

ArteKids board books show children the world of art through imaginative paintings, sculpture, photographs, and drawings, with text in English and Spanish. Vamos, Body! Head to Toe in English y Español introduces children to body concepts by connecting them to art in a unique, fun, and colorful way. Cheeks (mejillas), chins (barbillas), and eyes (ojos) are represented by masterful artworks from around the world. Faces (caras) come alive through the paintings of Adan Hernandez, Kehinde Wiley, and Ed Saavedra. Bodies (cuerpos) crawl, sit, and walk in pre-Columbian sculpture and Latin American wood carvings. A child’s hand (mano) strokes his mother’s face in a woodblock print by Taiso Yoshitoshi, and cousins (primas) embrace through a swirl of Barbara Carasco’s screen printed hearts. Madeleine Budnick’s wonderful collages and designs weave together words and images that prove bodies are amazing. (Nuestros cuerpos son increíbles!) Work from the collections of the San Antonio Museum of Art, by masters like José Francisco Borges, Richard Duardo, Roberto de la Selva, Charles Criner, David Martinez, Rojelio Reyes Rodriguez, Grace Albee, and Luis Gonzalez Palma, is incorporated along with phrases and words in English and Spanish, making bilingual learning and art exciting for young learners and their teachers and parents.

The ArteKids bilingual board books are made sturdy for little hands and “awesomundo” for bright minds! The series also includes Outside Todo el Dia!, Hello, Círculos!, 1, 2, 3, Sí!, Animal Amigos!, Colores Everywhere!, and Black and Blanco! Vamos, Body! Head to Toe in English y Español invites children to dance and play using language and imagery that ignites their imagination.

The Last Speaker of Bear is the patchwork story of a life spent traveling in the north from Alaska to Siberia. Lawrence Millman first visited northern Canada as a child and has spent four decades since on some thirty-five expeditions in search of undeveloped landscapes and traditional cultures, not to mention untamed wildlife. While much of his experience is centered in Canada—including territories from Yukon to Quebec and Newfoundland/Labrador—he includes stories from villages in Greenland, Iceland, and Norway as well.

Early on, Millman developed a reverence for the wisdom of indigenous and native communities with histories spanning centuries: Inuit, Inuk, Innu, Alutiiq, Cree, and others. Whether dining on mushrooms, fungus, tobacco leaves, or unusual foods that would have made even Andrew Zimmern or Anthony Bourdain turn up their noses, or exploring northern tundras, rugged mountains, or remote islands, he paints a picture of people often living in tenuous conditions but rooted in a faith that their worlds will provide for them. Relationships with bears, caribou, reindeer, walruses, seals, whales, and abundant avian life serve spiritual, companionship, and sustenance purposes. Traditions grounded in family and community rituals thrive, as do lost languages, natural medicine, and time-honored ways to survive difficult circumstances.. 

In this collection of vignettes, Millman reminds us of the potency of endangered knowledge as well as the importance of paying close attention to the natural world. He opens our eyes to a life in remote places thousands of miles from the fast-paced, urban world so many of us inhabit.

In (Don’t) Stop Me If You’ve Heard This Before, Peter Turchi combines personal narrative and close reading of a wide range of stories and novels to reveal how writers create the fiction that matters to us. Building on his much-loved Maps of the Imagination: The Writer as Cartographer, Turchi leads readers and writers to an understanding of how the intricate mechanics of storytelling—including shifts in characters’ authority, the subtle manipulation of images, careful attention to point of view, the strategic release of information, and even digressing from the (apparent) story—can create powerful effects.

Using examples from Dickens, Chekhov, and Salinger, and Twain to more contemporary writers including Toni Morrison, Alice Munro, E. L. Doctorow, Jenny Erpenbeck, Adam Johnson, Mohsin Hamid, Jai Chakrabarti, Yoko Ogawa, Richard Powers, Deborah Eisenberg, Olga Tokarczuk, Rachel Cusk, and Colson Whitehead, Turchi offers illuminating insights into the inner workings of fiction as well as practical advice for writers looking to explore their craft from a fresh angle beyond the fundamentals of character and setting, plot, and scene.

While these essays draw from decades of teaching undergraduate and graduate students, they also speak to writers working on their own. In “Out of the Workshop, into the Laboratory,” Turchi discusses how anyone can make the most of discussions of stories or novels in progress, and in “Reading Like a Writer” he provides guidelines for learning from writing you admire. Perhaps best of all, these essays by a writer the Houston Chronicle has called “one of the country’s foremost thinkers on the art of writing” are as entertaining as they are edifying, always reminding us of the power and pleasure of storytelling.

Few American cities enjoy the likes of San Antonio's visual links with its dramatic past. The Alamo and four other Spanish missions, recently marked as a UNESCO World Heritage site, are the most obvious but there are a host of landmarks and folkways that have survived over the course of nearly three centuries that still lend San Antonio an "odd and antiquated foreignness." Adding to the charm of the nation's seventh largest city is the San Antonio River, saved to become a winding linear park through the heart of downtown and beyond and a world model for sensitive urban development. San Antonio's heritage has not been preserved by accident. The wrecking balls and headlong development that accompanied progress in nineteenth-century San Antonio roused an indigenous historic preservation movement—the first west of the Mississippi River to become effective.

Its thrust has increased since the mid-1920s with the pioneering work of the San Antonio Conservation Society. In Saving San Antonio, Texas historian Lewis Fisher peels back the myths surrounding more than a century of preservation triumphs and failures to reveal a lively mosaic that portrays the saving of San Antonio's cultural and architectural soul. The process, entertaining in the telling, has reverberated throughout the United States and provided significant lessons for the built environments and economies of cities everywhere.

In Tides: The Science and Spirit of the Ocean, writer, sailor, and surfer Jonathan White takes readers across the globe to discover the science and spirit of ocean tides. 

In the Arctic, White shimmies under the ice with an Inuit elder to hunt for mussels in the dark cavities left behind at low tide; in China, he races the Silver Dragon, a twenty-five-foot tidal bore that crashes eighty miles up the Qiantang River; in France, he interviews the monks that live in the tide-wrapped monastery of Mont Saint-Michel; in Chile and Scotland, he investigates the growth of tidal power generation; and in Panama and Venice, he delves into how the threat of sea level rise is changing human culture—the very old and very new. 

Tides combines lyrical prose, colorful adventure travel, and provocative scientific inquiry into the elemental, mysterious paradox that keeps our planet’s waters in constant motion. Photographs, scientific figures, line drawings, and sixteen color photos dramatically illustrate this engaging, expert tour of the tides.

How do we find a way to exist equitably in the world without exhausting our natural and cultural resources? Exploring how to create belonging, among both human and nonhuman animals, is our essential work. Parents have the added responsibility of conveying this charge to their children in a way that centers hope and empowerment over guilt and fear.

In Satellite, Simmons Buntin delves into the idea of belonging—in place, time, family, and community—in sixteen essays written over nearly two decades. The pieces range throughout the desert Southwest, on both sides of the U.S.-Mexico border, and as far afield as Mount Saint Helens, eastern Montana, northern Vermont, Sweden, and even the moon (if a telescope atop Kitt Peak counts). Buntin examines the beauty and challenges of raising a family and creating more sustainable communities in the Sonoran Desert—and, more broadly, in any of America’s diverse cultural and ecological landscapes. How should community be defined? How do we protect heritage in an age of globalization? How do we find renewal following personal and place-based trauma? What forms may grace take, and how can parents pass that dignity on to their children?

Fortunately, it is a responsibility both shared and rewarding, funny and phenomenal, for at every turn there is a new discovery, a new insight, a new integration between ourselves and the world that culminates, when we succeed, in a vibrant sense of place. Buntin searches for a balance between the built and natural environments and the beings that inhabit them in a way that enables us not only to survive but to thrive together.

All the Powerful Invisible Things is an eloquent memoir of self-discovery and a chronicle of outdoor life. Refusing “impoverished ideas of passion,” Gretchen Legler writes about the complexities of being a woman who fishes and hunts, as well as about the more intimate terrain of family and sexuality. The result is a unique literary confluence filled with the ineffable graces of the natural world.

She writes: “I used to hate being a woman. When I was young, I believed I was a boy. Throughout college I never knew what it was like to touch a woman, to kiss a woman, to have a woman as a friend. All of my friends were men. I am thirty years old now, and I feel alone. I am not a man. Knowing this is like an earthquake. Just now all the lies are starting to unfold. I don’t blend in as well or as easily as I used to. I refuse to stay on either side of the line.”

Like many women, Legler finds that her presence identifies the unmarked boundaries of where she is and is not welcome, learning when it is advantageous to pass as male and when it is better to disappear into the woods and trees around her. This contrasts sharply with her experience of nature as a source of spiritual sustenance, a space of unparalleled freedom where she can lose herself in something larger.

Twenty-five years after it was first published, All the Powerful Invisible Things remains a highwater mark for women writing about the outdoors and is one of the few works to tackle the intricacies of gender identity and sexuality with transcendental aplomb.

San Antonio is in the national spotlight as one of the fastest growing and most dynamic emerging major cities in America. Yet local lore has it that every Texan has two hometowns—his own and San Antonio. The Alamo City's charm, colorful surroundings, and diverse cultures combine to make it one of the most interesting places in Texas and the nation. In San Antonio Uncovered, Mark Rybczyk examines some of the city's internationally known legends and lore (including ghost stories) and takes a nostalgic look at landmarks that have disappeared. He also introduces some of the city’s characters and unusual features, debunks local myths, and corrects common misconceptions.

Rybczyk embraces San Antonio's peculiarities by chronicling the cross-country journey of the World’s Largest Boots to their home in front of North Star Mall; the origins of the Frito corn chip and chewing gum; the annual Cornyation of King Anchovy; and Dwight Eisenhower's stint as the football coach at St Mary’s University.

This completely updated, new edition of San Antonio Uncovered highlights San Antonio as a modern, thriving city with the feel of a small town that sees beauty in the old and fights to save it, even something as seemingly insignificant as an old Humble Oil Station; and its diverse inhabitants as those who appreciate the blending of the old and the new at the Tobin Center and fight to save what’s left of the Hot Wells Hotel.

The word “terroir” refers to the climate and soil in which something is grown. Natasha Sajé applies this idea to the environments that nurture and challenge us, exploring in particular how the immigrant experience has shaped her identity. She revisits people and literature across her life, including her experiences as the child of European refugees in suburban New Jersey, taken under the wing of a widowed neighbor; a winter spent waitressing in Switzerland; her marriage to a Jamaican man in Baltimore; and finally her marriage to a woman in Salt Lake City.

This memoir-in-essays combines poetic lyricism with incisive commentary on nationality, race, ethnicity, gender, sexual orientation, and class. Reminding us that change is constant in our lives, Sajé asks how terroir creates identity. Throughout, the English language is her most fertile ground.

William Carlos Williams (1883–1963) emerged alongside Pound, Eliot, Stevens, Frost, and Yeats as one of the foremost poets of the 20th century. Paterson, Williams's epic masterpiece, raised everyday American speech to the highest levels of poetic imagination. A finalist for the national Book Award and a New York Times Notable Book, William Carlos Williams: A New World Naked is a remarkable, rich blend of art and scholarship. From a small-town doctor who delivered more than 3,000 babies to an extraordinary revolutionary, Paul Mariani unfolds Williams' life and times while simultaneously letting the reader inside the poet's mind and language in this definitive masterwork.

In a collection of musings that is as much historical record as it is memoir, Coleen Grissom provides a unique view of life on and off an American university campus. As an administrator and faculty member at Trinity University in San Antonio for over five decades, Grissom has seen the feminist movement take hold, the sexual revolution take off, and the tragic deaths of students, friends, and family. Her honest, witty, and acerbic words have urged students, their parents, and the community at large to become lifelong readers and to aspire to a life well-lived.

As our treatment of nonhuman animals is increasingly implicated in planetary crises—from climate change to global pandemics to unprecedented rates of biodiversity loss and species extinction—it’s clear that an urgent reconsideration of our relationship to other animals is not only necessary but overdue.

How we write about animals, how we represent them in our poems and stories, doesn’t simply reflect how we relate to them in the world; it also shapes how we treat them. Any cultural shift in how we conceive of other animals requires a shift in how we read and write about them. The New Sentience seeks to help catalyze this shift by ushering in a new kind of animal poetry, what editors Ashley Capps and Allison Titus dub “kinpoetics.” Whereas animals in Western poetry have disproportionately functioned as symbols, the poems in this anthology foreground a meaningful awareness of animal sentience and subjectivity, depicting other animals as individuals with dynamic selfhood, personalities, and emotional lives.

Stylistically wide-ranging, the poets featured here, among them Wendell Berry, Lucille Clifton, E. E. Cummings, Mary Oliver, Ross Gay, and Margaret Atwood, apply scrutinous lyrical attention to the animal experience in such surprising and illuminating ways that the reader can’t avoid an earnest reexamination of what humans owe our more-than-human kin. With humility, empathy, and curiosity, the work in this anthology reaffirms the vital connections between humans, animals, and the natural world. This pioneering book will impel readers to a deeper understanding of the lives of the creatures that share our planet and will inspire poets and writers to a more compassionate, meaningful engagement with animal subjects and lives.

America is at a crossroads. Conflicting political and social perspectives reflect a need to collectively define our moral imperatives, clarify cultural values, and inspire meaningful change. In that patriotic spirit, nearly two hundred writers, artists, scientists, and political and community leaders have come together since the 2016 presidential election to offer their impassioned letters to America, in a project envisioned by the online journal Terrain.org and collected, with 50 never-before-published letters, in Dear America: Letters of Hope, Habitat, Defiance, and Democracy. In the inaugural piece in Terrain.org’s Letters to America series, Alison Hawthorne Deming writes, “Think of the great spirit of inventiveness the Earth calls forth after each major disturbance it suffers. Be artful, inventive, and just, my friends, but do not be silent.” Joining Deming are renowned artists and thinkers including Seth Abramson, Ellen Bass, Jericho Brown, Francisco Cantú, Kurt Caswell, Victoria Chang, Camille T. Dungy, Tarfia Faizullah, Blas Falconer, Attorney General Bob Ferguson, David Gessner, Katrina Goldsaito, Kimiko Hahn, Brenda Hillman, Jane Hirshfield, Linda Hogan, Pam Houston, Robin Wall Kimmerer, Karen An-hwei Lee, Christopher Merrill, Kathryn Miles, Kathleen Dean Moore, Aimee Nezhukumatathil, Naomi Shihab Nye, Elena Passarello, Dean Rader, Scott Russell Sanders, Lauret Savoy, Gary Soto, Pete Souza, Kim Stafford, Sandra Steingraber, Arthur Sze, Scott Warren, Debbie Weingarten, Christian Wiman, Robert Wrigley, and others.

Dear America reflects the evolution of a moral panic that has emerged in the nation. More importantly, it is a timely congress of the personal and the political, a clarion call to find common ground and conflict resolution, all with a particular focus on the environment, social justice, and climate change. The diverse collection features personal essays, narrative journalism, poetry, and visual art from nearly 130 contributors—many pieces never before published—all literary reactions to the times we live in, with a focus on civic action and social change as we approach future elections. As Scott Minar writes, we must remain steadfast and look to the future: “Despair can bring us very low, or it can make us smarter and stronger than we have ever been before.”

At eighteen, Vermont-native Leath Tonino ventured west to attend college in Colorado. Upon hearing his destination, many of Tonino’s friends and family predicted that he’d never come back; he’d make the “land of endless space and sky, its ranges and their storms” his home. “The West will swallow you,” one said, in a tone that felt like part warning and part prophecy.

More than a decade later Tonino continues to call Vermont his home. But despite his love of New England and his admiration for writers who sing the praises of their native ground, he concedes that he is, as Gary Snyder once phrased it, “promiscuous with landscapes.” Tonino has spent the intervening years since college traversing “the alphabet of the American West from AZ to CA to UT to WY” and writing about its mysterious and powerful beauty. The resulting musings are collected in The West Will Swallow You, the title of which is a nod to the words that stayed with him and that, in many ways, turned out to be true.

Although the adventures gathered here range widely in terrain and tone, the western landscape is always front and center—focusing on Arizona’s remote Kaibab Plateau, where Tonino worked as a biologist studying raptor communities, in San Francisco’s overgrown nooks and crannies and pigeon-flocked park benches, on ranches in Wyoming, at campsites in Nevada, in the mountains of Colorado, and “in libraries and national monuments, in people, in a midnight fox’s eyes, in the rushing wind.”

"This soulful collection is perfect for fans of The Moth or Humans of New York." — Publishers Weekly

People in San Antonio love to tell stories. Worth Repeating: San Antonio Stories is a collection of forty true tales, epic adventures, and intimate revelations from the heart of one of America’s fastest growing and most culturally diverse cities.

There is the hilarious chronicle of being crowned Turkey Queen of Cuero, as well as stories of finding one’s place as an immigrant or refugee, the heartbreak of being on the AIDS epidemic’s front lines, and the redemption in writing My Little Pony fan fiction. From the birth of a Freedom Rider to the origins of a literary legend, from the search for a murdered mother’s memories to passing our abilities and disabilities along to our children, the pieces here are as varied and nuanced as the city its authors have called home at one time or another.

They might not all take place in Texas, but every story has roots in its streets, suburbs, and history. Whether it’s an account of being stranded in Uganda, growing up in a Mexican border barrio, catching swine flu in Thailand, being among Harvard University’s first Black architecture students, growing up in Iran, or leaving India for a new life in Texas, each story has a soul that is puro San Antonio. From last chances to first tries, all of these personal narratives were originally performed in front of an audience at Worth Repeating, Texas Public Radio’s live storytelling series.

Writers include Heather Armstrong, Tanveer Arora, Jennie Badger, Kiran Kaur Bains, Marion Barth, Sheila Black, Barbara Bowie, Norma Elia Cantú, Kelly Grey Carlisle, Cary Clack, Jess Elizarraras, Georgia Erck, Tiffany Farias-Sokoloski, Elizabeth Fauerso, Everett L. Fly, Larry Garza, Lorenzo Gomez III, Mike Knoop, David W. Lesch, Rey Lopez, Vanessa Martinez, Collin McGrath, Joaquin Muerte, Sanford Nowlin, Tori Pool, Wendy Rigby, Alex Rubio, Jonathan Ryan, Yara Samman, John Phillip Santos, Burgin Streetman, Whitley Strieber, Barbara S. Taylor, Michael Taylor, Kirsten Thompson, Clay Utley, Cristina Van Dusen, Eddie Vega, Ayon Wen-Waldron, and Bria Woods.

Texas, Being: A State of Poems collects more than forty-five poems from a beautiful and brutal state. Some are about the music of their languages. Some speak to the dead, some to the sun, and others to omissions of history. One concerns a hedgehog cactus, and another a roller rink. From “Happy, Texas” to “Palestine, TX,” from seashores to skeletons to Selena, all are in one way or another about Texas, but good poems are always about more than one thing.

Selected by Jenny Browne, 2017 poet laureate of Texas, these poems draw a picture of one of America’s vastly sublime yet most audaciously independent corners. In these diverse voices, the state is a lovely and painful contradiction of space and meaning. Texas is a place “where blind catfish cruise” and wild asters grow. It’s a frame of mind where Jenny Boully writes “the history is unending” and Mexican American studies professor Christopher Carmona can “feel the slowness of time.” Jorge Luis Borges wrote of it as “an endless plain / Where a man’s cry dies a lonely death.” Victoria Chang writes that “there is so / much sky that even birds / get lost."

Andrea “Vocab” Sanderson describes her hometown as a “fiercely loving city tougher on the outside / but smooth as pecan shells,” and Naomi Shihab Nye reminds us to “be patient, sure there’s lots of bad around, / but more room for good too, with all this empty.” Whether it is Joshua Edwards imagining his photographer father or Primo Feliciano Marín’s declaration “Hail Texas, fraught with charms unknown,” these voices, past and present, give us a glimpse into the poetic soul of the nation’s most willful state.

Poets include Robert A. Ayres, Curtis Bauer, Jan Beatty, Layla Benitez-James, Jorge Luis Borges, Jenny Boully, Catherine Bowman, Susan Briante, Bobby Byrd, Christopher Carmona, Aline B. Carter, Rosemary Catacalos, Victoria Chang, Hayan Charara, Joshua Edwards, Tarfia Faizullah, Carrie Fountain, Vievee Francis, Mag Gabbert, Miriam Bird Greenberg, Lucy Griffith, Aaron Hand, Fady Joudah, Jim LaVilla-Havelin, Emma Lazarus, J. Estanislao Lopez, Primo Feliciano Marín, Pablo Miguel Martínez, Walter McDonald, Jasminne Mendez, Townsend Miller, Ange Mlinko, Naomi Shihab Nye, Shin Yu Pai, Cecily Parks, Emmy Pérez, Octavio Quintanilla, Iliana Rocha, Andrea “Vocab” Sanderson, ire’ne lara silva, Jeff Sirkin, Margo Tamez, Lao Yang, Loretta Diane Walker, Emily Winakur, and Matthew Zapruder.

Lila Banks Cockrell has been an important voice in San Antonio politics and public life for more than six decades. In Love Deeper Than a River, she recalls her life as a public servant in the city she loves and, as member of the Greatest Generation, recounts how coming of age during Prohibition, the Great Depression, World War II, and the burgeoning civil rights movement influenced her political views and kindled her passion to serve her country and community. Love Deeper Than a River details the era of Cockrell’s life that many San Antonians are familiar with, including her four terms as the first woman mayor of San Antonio, between 1975 and 1991, and her service on countless municipal commissions, civic boards, foundations, and conservancies in the 1990s and into the early twenty-first century. Her life stands as an inspiration for everyone, including new generations of civic leaders.

When you stray from a trail and strike out into the woods, you are bushwhacking. The term implies a physical thrashing about—pushing past branches, slicing through thickets, leaping across downed trees—but it also implies a certain fortitude and resilience to seek places unknown. In Bushwhacking, Jennifer McGaha borrows the term, likening it to what writers do when faced with the equally daunting blank page. Exploring the wilderness of your inner life means leaving a relatively comfortable place and going where no path exists. Writers face similar, unknown obstacles when forging a route to a final draft.

Part writing memoir, part nature memoir, and part meditation on a life well lived, Bushwhacking draws on McGaha’s experiences running, hiking, biking, paddling, and getting lost across the Appalachian Mountains of western North Carolina to offer readers encouragement and practical suggestions to accompany them on their writing and life journeys. Each essay links one of McGaha’s forays into the wilderness to an insight about the creative process. An almost-failed attempt at zip lining becomes a lesson on getting out of one’s comfort zone. The thrum of a hummingbird’s wings, an autumn sunset, and a hound dog’s bay at a bear on the path are impromptu master classes in finding inspiration in the small, the ordinary, and the unexpected.

With humility, humor, and hard-won wisdom, Bushwhacking honors writing craft traditions and offers fresh insights into how close communion with nature can transform your writing and your life.

An island is a world out of time and place, separated by literal and figurative oceans, where the confines of reality are tenuous and magic may be possible. Iceland—with its relative isolation, enchanting mythologies, creative people, and the otherworldly wild beauty of its glaciers, geysers, volcanos, and fjords—encompases this special magic in the minds of many, including writer Kurt Caswell.

Vividly illustrated by Julia Oldham, Iceland Summer recounts Caswell’s journey traversing the country by foot and bus accompanied by his lifelong friend Scott. The pair set out from Reykjavík and travel clockwise along the Ring Road, stopping along the way for backcountry walking trips. Caswell immerses himself in the natural beauty and charming eccentricities of the tiny island nation. With his drinking and hiking buddy by his side, and fueled by a steady diet of Brennivín (fermented grain mash) and pylsur (Icelandic hot dogs), he explores the Hornstrandir peninsula, walks to the famed Dettifoss waterfall, waits for a glimpse of the lake monster Lagarfljótsormurinn at Egilsstaðir, visits the world’s only penis museum, and pays homage to centuries of Icelandic literary tradition at the Árni Magnússon Institute.

Writing in the tradition of other pairs who have traveled in Iceland, like W. G. Collingwood and Jón Stefánsson, and W. H. Auden and Louis MacNeice, Caswell meditates on the value of wild places in the modern world, travel as both pastime and occupation, the nature of friendship, and walking, food, and literature. Scott is the Sancho Panza to Caswell’s Don Quixote, offering a ribald humor that grounds Caswell’s flights into the romantic. The two travel well together and together arrive at the understanding that what anchors them both is their lifelong friendship.

Brackenridge Park began its life as a heavily wooded, bucolic driving park at the turn of the twentieth century. Over the next 120 years it evolved into the sprawling, multifaceted jewel San Antonians enjoy today, home to the San Antonio Zoo, the state’s first public golf course, the Japanese Tea Garden, the Sunken Garden Theater, and the Witte Museum.

The land that Brackenridge Park occupies, near the San Antonio River headwaters, has been reinvented many times over. People have gathered there since prehistoric times. Following the city’s founding in 1718, the land was used to channel river water into town via a system of acequias; its limestone cliffs were quarried for building materials; and it was the site of a Civil War tannery, headquarters for two military camps, a plant nursery, and a racetrack.

The park continues to be a  site of national acclaim even while major sections have fallen into disrepair. The more than 400 acres that constitute San Antonio’s flagship urban park are made up of half a dozen parcels stitched together over time to create an uncommon varied landscape. Uniquely San Antonian, Brackenridge is full of romantic wooded walks and whimsical public spaces drawing tourists, locals, wildlife, and waterfowl.

Extensively researched and illustrated with some two hundred archival photographs and vintage postcards, Brackenridge: San Antonio’s Acclaimed Urban Park is the first comprehensive look at the fascinating story of this unique park and how its diverse layers evolved to create one of the city’s foremost gathering places.

The spaces we inhabit– from homes and workspaces to city streets—mediate community, creativity, and our very identity. Using insights from environmental psychology, design, and architecture, The Shaping of Us shows how the built and natural worlds subtly influence our behavior, health, and personality. Exploring ideas such as “ruin porn” and “ninja-proof seating,” mysteries of how we interact with the physical spaces around us are revealed. From caves and cathedrals to our current housing crisis and the dreaded open-plan office, Lily Bernheimer demonstrates that, for our well-being, we must reconnect with the power to shape our spaces.

Have you ever wondered why we adorn our doorframes with moldings? What does Wikipedia’s open-source technology have to teach us about the history and future of urban housing? What does your desk say about your personality?

From savannahs and skyscrapers to co-working spaces, The Shaping of Us shows that the built environment supports our well-being best when it echoes our natural habitats in some way. In attempting to restore this natural quality to human environments, we often look to other species for inspiration. The real secret to building for well-being, Bernheimer argues, is to reconnect humans with the power to shape our surroundings. When people are involved in forming and nurturing their environments, they feel a greater sense of agency, community, and pride, or “collective efficacy.” And when communities have high rates of collective efficacy, they tend to have less litter, vandalism, and violent crime.

Playful and accessible, The Shaping of Us is a delightful read for designers, professionals, and anyone wanting to understand how spaces make us tick and how to fix the broken bits of our world.

Barry Lopez had no illusions about the seriousness of our global crisis, yet he also felt a deep conviction about the power of hope and the sources of renewal in the living world. Syntax of the River is an extended conversation spanning three days between Lopez and Julia Martin in which he explores what this juxtaposition means for him as a writer.

On the first day Lopez reflects on years watching the McKenzie  River near his home in Oregon. He describes the quality of attention he learned from intimacy with the place itself: a very fine distinction between silence and stillness, the rich complexities of the present moment, and the syntax of interrelationships between living things.

The second day is concerned with craft: the work of making sentences and books. Lopez shares his practical strategies for writing and revising a manuscript and goes on to speak about vulnerability. He says he often experienced a deep sense of doubt about his capacity to achieve whatever he was trying to do in a particular project. Over time, though, this characteristic experience of not-knowing became a kind of fuel for his work, and even a weapon at times.

On the final day, Lopez ponders the idea of writing as a praxis, a way of life, even a prayer for the earth, while concurrently being terrified by the portents of its destruction. Here, the experience of being an attentive participant emerges as his core teaching. Over the decades he developed a practice of attention that was endlessly curious and enthralled by the living world, what he calls its pattern or syntax. Despite acclaim as a celebrated writer, throughout his career Lopez humbly tasked himself with making a combination of wonder and horror work together to effectively communicate a life journey of contemplation, exploration, and discovery.

At Great Salt Lake, near Robert Smithson’s iconic earthwork Spiral Jetty, a motley crew of scientists walks the mudflats to study fossils in the making. This reputedly dead sea is home to tar seeps, pools of raw oil (nicknamed ‘death traps’) that act as a preservative, encasing organisms as they were in life.

In this spare landscape, an intricate web of life unfurls. Halophiles―salt-hungry microorganisms―tint the brackish water pink and orange; crystals of gypsum stud the ground, glistening underfoot; and pelicans and other migratory birds stop for a crucial rest. Barn owls and seagulls flirt with their prey around the seeping constellations, sometimes falling prey to the oil themselves. Gretchen Henderson came to the tar seeps, a kind of natural asphalt, after recovering from being hit by a car as she walked in a crosswalk―a manmade asphalt. Like the spiraling artwork that made Great Salt Lake’s north shore famous, Henderson’s associations of life and death, degeneration and regeneration, and injury and healing coalesced. As she reexamined pressing issues that this delicate area revealed about the climate crisis, her sense of ecology spiraled into other ways of perceiving the lake’s entangled lives.

How do we move beyond narrow concepts of wounded and healed, the beautiful and the ugly, to care for ecosystems that evolve over time? How do we confront our vulnerability to recognize kindred dynamics in our living planet? Through shifting lake levels, bird migrations, microbial studies, environmental arts, and cultural histories shaped by indigenous knowledges and colonial legacies, Life in the Tar Seeps contemplates the ways that others have understood this body of water, enlivening more than this region alone. As Henderson witnesses scientists, arts curators, land managers, and students working collaboratively to steward a challenging place, she grows to see the lake not as dead but as a watershed for shifting perceptions of any overlooked place, offering a meditation on environmental healing across the planet.

Henderson interweaves her journey with her own vivid photographs of tar seeps and pelican death assemblages, historic maps and contemporary art, as a wayfinding guide for exploring places of our own.

The phrase “an animal a thousand miles miles long,” attributed to Aristotle, refers to a sprawling body that cannot be seen in its entirety from a single angle, a thing too vast and complicated to be knowable as a whole.

For Leath Tonino, the animal a thousand miles long is the landscape of his native Vermont. Tonino grew up along the shores of Lake Champlain, situated between Vermont’s Green Mountains and New York’s Adirondacks. His career as a nature and travel writer has taken him across the country, but he always turns his eye back on his home state. “All along,” he writes, “I’ve been exploring various parts of the animal, trying to make a prose map of its body—not to understand it in a conclusive or definitive way but rather to celebrate it, to hint at its possibilities.”

This fragmented yet deep search is the overarching theme of the twenty essays in The Animal One Thousand Miles Long. Tonino posits that geography, natural history, human experience, and local traditions, seasons, and especially atypical outings—on skis, bicycles, sleds, and boogie boards—can open us to a place and, simultaneously, open a place to us.

He looks closely at the 262-mile length of Vermont, but his underlying mission is to demonstrate our collective need to better understand the meaning of place, especially the ones we call home and think we know best. From Laredo to Jackson Hole, San Francisco to Burlington, his sensibility is applicable to us all.

In his signature piece, “Seven Lengths of Vermont,” he traverses the length of the state in seven different ways—a twenty-day hike, 500 miles on bicycle, a thirty-six-ride hitchhiking tour, 260 miles in a canoe, ten days swimming Lake Champlain, a three-week ski trek, and a two-hour “vast and fast” flyover. He plots each route with blue ink on maps strung across his office. “Each inky thread was an animal a thousand miles long,” he writes. “Vermont appeared before me as a menagerie.”

What Bill Bryson's A Walk in the Woods did for the Appalachian Trail and Peter Mayle's A Year in Provence did for the South of France, Tonino's affinity for the land he calls home gives a new perspective on the Green Mountain State. His infectious love of the outdoors, the ground of everyday life, should inspire us to explore the places just outside our own front door.

The harrowing account of San Antonio’s great flood of 1921

On September 9, 1921, a tropical depression stalled just north of San Antonio and within hours overwhelmed its winding network of creeks and rivers. Floodwaters ripped through the city’s Latino West Side neighborhoods, killing more than eighty people. Meanwhile a wall of water crashed into the central business district on the city’s North Side, wreaking considerable damage.

The city’s response to this disaster shaped its environmental policies for the next fifty years, carving new channels of power. Decisions about which communities would be rehabilitated and how thoroughly were made in the political arena, where the Anglo elite largely ignored the interlocking problems on the impoverished West Side that flowed from poor drainage, bad housing, and inadequate sanitation.

Instead the elite pushed for the $1.6 million construction of the Olmos Dam, whose creation depended on a skewed distribution of public benefits in one of America’s poorest big cities. The discriminatory consequences, channeled along ethnic and class lines, continually resurfaced until the mid-1970s, when Communities Organized for Public Services, a West Side grassroots organization, launched a successful protest that brought much-needed flood control to often inundated neighborhoods. This upheaval, along with COPS’s emergence as a power broker, disrupted Anglo domination of the political landscape to more accurately reflect the city’s diverse population.

West Side Rising is the first book focused squarely on San Antonio’s enduring relationship to floods, which have had severe consequences for its communities of color in particular. Examining environmental, social, and political histories, Char Miller demonstrates that disasters can expose systems of racism, injustice, and erasure and, over time, can impel activists to dismantle these inequities. He draws clear lines between the environmental injustices embedded in San Antonio’s long history and the emergence of grassroots organizations that combated the devastating impact floods could have on the West Side.

Nelson Wolff, Bexar County judge and former San Antonio mayor, has been an active participant in the city’s political and business community for five decades. His first book, Transforming San Antonio, highlighted four major initiatives that created the economic revitalization of the Southwest’s most vibrant city: building the AT&T Center; expanding the River Walk north to the Pearl Brewery; securing the Toyota manufacturing plant; and building the JW Marriott San Antonio Hill Country Resort and two adjacent PGA golf courses.

The Changing Face of San Antonio explores six transformative city and countywide efforts that have emerged in the past decade: the Mission Reach expansion of the iconic River Walk, an eight-mile extension of one of the city's most valued resources; the renovation of the San Antonio Municipal Auditorium into the Tobin Center for the Performing Arts; the much-needed expansion of the University Health System; criminal justice reform; the city’s efforts to become a tech leader in biomedicine, aerospace, and cybersecurity; and the creation of BiblioTech, the country's first all-digital public library. Wolff offers an insider’s view of the key issues that shaped these efforts.

With journalistic ease, Wolff uses his unique point of view to convey the complexity of each endeavor—who said what to whom, when, and how—at a lively pace.The Changing Face of San Antonio reflects his passion for San Antonio and, as one might expect, his confidence in the paths taken under his leadership to help the city achieve its goals.

There’s no such thing as the middle of nowhere. Everywhere is the middle of somewhere for some living being. That was Suzanne Stryk’s mantra as she journeyed through her home state on a mission to re-create Thomas Jefferson’s Notes on the State of Virginia. The founding father’s work surveys the region’s natural history and, as one might expect from a philosopher-statesman living more than 230 years ago, is fact packed and formally written.

The Middle of Somewhere takes a different approach—to interpret Virginia land and life from a contemporary perspective and an artist’s point of view. Stryk kayaks pristine swamps in river country, wanders the galleries of the Virginia Museum of Fine Arts, hikes rocky trails crisscrossing the Appalachians, and strolls the dusty streets of old coal towns. In these sacred spaces she encounters frogs, millipedes, ravens, dragonflies, sparrows, turtles, and many other species that claim a particular place as home.

Weaving in historical anecdotes and personal memories, Stryk relates her encounters with all of these beings in their “somewheres.” The creatures in their habitats and the people she meets are characters in the book, a tapestry of essays, lush sketches, and ephemera. Stryk’s multimedia collages, composed of dead bugs, tourist pamphlets, road maps, pressed leaves, rusty farm equipment, animal bones, and handwritten directions, all artistically arranged over USGS topographic maps, bring the narrative to life.

Stryk’s personal reflections and conversational tone make readers feel as if they are traveling across Virginia with a friend, one who is at times funny and at other times deeply reflective. As we accompany her, she challenges us to travel slowly, tread lightly, and look closely at each somewhere that defines a place.

Leonardo da Vinci was obsessed with water. The famed Italian Renaissance artist meticulously drew every aspect of rivers, from the nature of water drops to the ways currents create and destroy the earth’s surface. His obsession led him to become a professional hydraulic engineer and an expert on the physics of water. He disproved Aristotle’s 1,800-year-old theory of the water cycle and developed the one we use today. He discovered the nature of erosion and heretically disproved the biblical flood. He created beautiful maps and drawings of river currents and of his audacious plans to reroute the Arno River for war and peace.

It is obvious to David Ladensohn, who has been fly-fishing for forty years, that Leonardo would have made the perfect fishing guide. The artist’s keen sense of humor and winning personality would have made him a wonderful companion. He knew more about how rivers work than any person before him and would have been outstanding at reading the water to figure out where the fish are. Beginning with Leonardo’s remarkable biography—from underprivileged child to celebrity whose company was sought by competing rulers in Italy and France—and taking readers through the inspirations that led him to fall in love with waterways, Ladensohn makes the connection between the artist’s life and his own deep knowledge of the art of fly-fishing. His adventures have led him to seek out the most unique, storied, and traveled fly-fishing locales in the world, including Argentina, Mexico, Cuba, Bhutan, Italy, Slovenia, Australia, Canada, New Zealand, Brazil, Costa Rica, Bahamas, Ireland, England, and Mongolia.

Ladensohn's research on Leonardo led him to native rivers in Italy to scholars at Oxford and the inside of Windsor Castle, where he studied the finest of Leonardo’s original water drawings. The illustrations, which remain little known even today, are reproduced here in color, many for the first time. Fly-Fishing with Leonardo da Vinci is meant to inform and entertain anyone interested in the artist or fly-fishing and their unlikely intersection.

Much ink has been spilled over the men of the Mexican Revolution, but far less has been written about its women. Kathy Sosa, Ellen Riojas Clark, and Jennifer Speed set out to right this wrong in Revolutionary Women of Texas and Mexico, which celebrates the women of early Texas and Mexico who refused to walk a traditional path.

The anthology embraces an expansive definition of the word revolutionary by looking at female role models from decades ago and subversives who continue to stand up for their visions and ideals. Eighteen portraits introduce readers to these rebels by providing glimpses into their lives and places in history. At the heart of the portraits are the women of the Mexican Revolution (1910–1920)⁠—women like the soldaderas who shadowed the Mexican armies, tasked with caring for and treating the wounded troops. Filling in the gaps are iconic godmothers⁠ like the Virgin of Guadalupe and La Malinche whose stories are seamlessly woven into the collective history of Texas and Mexico. Portraits of artists Frida Kahlo and Nahui Olin and activists Emma Tenayuca and Genoveva Morales take readers from postrevolutionary Mexico into the present.

Portraits include a biography, an original pen-and-ink illustration, and a historical or literary piece by a contemporary writer who was inspired by their subject’s legacy. Sandra Cisneros, Laura Esquivel, Elena Poniatowska, Carmen Tafolla, and other contributors bring their experience to bear in their pieces, and historian Jennifer Speed’s introduction contextualizes each woman in her cultural-historical moment. A foreword by civil rights activist Dolores Huerta and an afterword by scholar Norma E. Cantú bookend this powerful celebration of women who revolutionized their worlds.

The car bomb assassination of Maltese investigative journalist Daphne Caruana Galizia in 2017 shocked the European Union and put the world’s spotlight on an island so small that few knew it was an independent country and even fewer could find it on the map. But Caruana Galizia’s death didn’t come as a surprise to those who lived there.

Ryan Murdock had visions of living a slow-paced island life on the Mediterranean while writing about his experiences, so in 2011 he moved from Canada to Malta. To the casual visitor, Malta is a sleepy place with sun-soaked shorelines and ancient fortified harbors. Murdock imagined it to be an archipelago island of warm weather, gorgeous views, busy cafes, and grilled fish dinners. On the surface, it was.

The six years Murdock spent in Malta revealed an insular culture whose fundamental baseline is amoral familism, a worldview in which any action taken to benefit one’s family or oneself is justifiable, regardless of whether it is legal or ethical. In such a place murder may or may not be wrong, depending on what one thinks of another’s politics. This pervasive perspective created a culture of corruption that rose all the way to the top of the island nation. The office of the prime minister was implicated in Caruana Galizia’s murder, and the investigation continues to reveal a government mired in money laundering, human trafficking, fuel smuggling, and the sale of EU passports to Russian and Middle Eastern oligarchs.

Interspersed with personal narrative, Murdock delves into Malta’s unique geopolitical, cultural, ethnic, and religious history—one that transformed it from a hub of prehistoric rule into a modern society where a powerful cabal of political and business leaders nearly got away with murder.

To Be Honest is a play script and series of essays reflecting on the ways Muslims are perceived and spoken of in America. With funding from a Mellon Foundation grant, several professors conducted more than two hundred hours of qualitative interviews in Texas with people across religious and political spectrums. Their conversations confirm expected polarizations and reveal new, troubling perspectives.

To Be Honest is a “documentary theater” script born from these interviews, which were used to help create monologues that give a face to the nuanced complexity of what is rarely said aloud. The monologues touch on non-Muslim millennials’ understandings of Islam, racism’s intersection with Islamophobia, the fatigue of “activist” Muslims, the impact of intervention in the Middle East on U.S. military veterans, feminist readings of the hijab, the Trump presidency, and more.

Six essays contextualize the script’s underlying themes and provide material for further study. In these polarizing times, To Be Honest illuminates the striking reality that Americans have vastly different experiences with Islam, from evangelicals who work to convert Muslims with the aim of “helping them achieve peace” to Muslim youth who struggle to make sense of why society dissects their religion.

Students, scholars, readers, and theatergoers will come away with insights that allow them to move beyond limited views of Islam by listening to and engaging with others. To Be Honest is an important script for staging and a valuable tool for dialogue across ideological perspectives.

Three hundred years ago San Antonio was founded as a strategic outpost of presidios and missions on the edge of northern New Spain, imposing Spanish political and religious principles on this contested, often hostile region. The city’s many Catholic missions bear architectural witness to the time of their founding, but few have walked these sites without wondering who once lived there and what they saw, valued, and thought.

San Antonio 1718 presents a wealth of art that depicts a rich blending of sometimes conflicted cultures -- explorers, colonialists, and indigenous Native Americans -- and places the city’s founding in context. The book is organized into three sections, accompanied by five discussions by internationally recognized scholars with expertise in key aspects of eighteenth-century northern New Spain. The first section, “People and Places,” features art depicting the lives of ordinary people. Such art is rare since most painting and sculpture from this period was made in service to the church, the crown, or wealthy families. They provide compelling insight into how those living in the Spanish Colonies viewed gender, social organization, ethnicity, occupation, dress, home and workplace furnishings, and architecture. Since portraiture was the most popular genre of eighteenth-century and early nineteenth-century Mexican painting, the second section, “Cycle of Life,” includes a selection of individual and family portraits representing people during different stages of life. The third and largest section is devoted to the church.

Throughout the colonial period, Catholic evangelization of New Spain went hand in hand with military, economic, and political expansion. All the major religious orders—the Franciscans, the Dominicans, the Jesuits, and the Augustinians—played significant roles in proselytizing indigenous populations of northern New Spain, establishing monasteries and convents to support these efforts.

In San Antonio 1718, more than 100 portraits, landscapes, religious paintings, and devotional and secular objects reveal the visual culture that reflected and supported this region’s evolving world view, signaling how New Spain saw itself, its vast colonial and religious ambitions, in an age prior to the emergence of an independent Mexico and, subsequently, the state of Texas.

Written in the 1950s and discovered by family members years after her death, Margaret Brown Kilik’s shocking coming-of-age novel of the emotional and sexual brutality of young women’s lives in wartime San Antonio deserves a place on the shelf alongside classic novels like Sylvia Plath’s The Bell Jar and Carson McCullers’s The Member of the Wedding.

The Duchess of Angus reworks Kilik’s unusual personal history (her mother spent the 1930s running flophouse hotels all over the United States, leaving Margaret to be brought up by a host of relatives) into a riveting portrait of a young woman navigating a conflicted and rapidly changing world, one in which sex promises both freedom from convention and violent subjection to men’s will. Strikingly modern in its depiction of protagonist Jane Davis and her gorgeous, unreadable friend Wade Howell, The Duchess of Angus covers some of the same emotional territory as novels like Emma Cline’s The Girls and Robyn Wasserman’s Girls on Fire.

Includes an introduction by Jenny Davidson and contextual essays by Laura Hernández-Ehrisma and Char Miller.

Writer, teacher, and adventurer Kurt Caswell has spent his adult life canoeing, hiking, and pedaling his way toward a deeper understanding of our vast and varied world. Getting to Grey Owl: A Man's Journey across Four Continents chronicles over twenty years of Caswell’s travels as he buys a rug in Morocco, rides a riverboat in China, attends a bullfight in Spain, climbs four mountains in the United Kingdom, and backpacks a challenging route through Iceland’s wild Hornstrandir Peninsula. Writing in the tradition of such visionary nomads as Hermann Hesse, Robert Louis Stevenson, Bruce Chatwin, Paul Theroux, Pico Iyer, Samuel Taylor Coleridge, and William Wordsworth, Caswell travels through wild and urban landscapes, as well as philosophical and ideological vistas, championing the pleasures of a wandering life. Far from the trappings of the everyday, he explores a range of ideas: the meaning of roads and pathways, the story of Cain and Abel, nomadic life and the evolution of the human animal, the role of agriculture in the making of the modern world, and the fragility of love.

The future of the world’s ice is at a critical juncture marked by international debate about climate change and almost daily reports about glaciers and ice shelves breaking, oceans rising, and temperatures spiking across the globe. These changing landscapes and the public discourse surrounding them are changing fast. It is science wrought with mystery, and for Beth Peterson it became personal.

A few months after Peterson moved to a tiny village on the edge of Europe’s largest glacier, things began to disappear. The glacier was melting at breakneck pace, and people she knew vanished: her professor went missing while summiting a volcano in Japan, and a friend wandered off a mountain trail in Norway. Finally, Peterson took a harrowing forty-foot fall while ice climbing.

Peterson’s effort to make sense of these losses led to travels across Scandinavia, Italy, England and back to the United States. She visited a cryonics institute, an ice core lab, a wunderkammer, Wittgenstein’s cabin, and other museums and libraries. She spoke with historians, guides, and scientists in search of answers. Her search for a noted glacier museum in Norway led to news that the renowned building had set on fire in the middle of the night before and burned to the ground.

Dispatches from the End of Ice is part science, part lyric essay, and part research reportage—all structured around a series of found artifacts (a map, a museum, an inventory, a book) in an attempt to understand the idea of disappearance. It is a brilliant synthesis of science, storytelling, and research in the spirit of essayists like Robert Macfarlane, John McPhee, and Joni Tevis. Peterson’s work veers into numerous terrains, orbiting the idea of vanishing and the taxonomies of loss both in an unstable world and in our individual lives.

Rambling Prose is a collection of essays by Steven Kellman, culled from his lifetime of work on comparative literature, criticism, and film studies. Filled with wordplay and surprising insight, the collection demonstrates his range as an essayist and invites us to explore the human experience through refined literary analysis.

Kellman explores such topics as animal rights, silence, mortality, eroticism, film, and language with his unique critical perspective and offers complex investigations of eternal human quandaries that raise more questions than they answer. Two original pieces complement the remaining twenty-six, which appeared in the Chronicle Review, the Hedgehog Review, Puerto Del Sol, and other publications from 1980 to 2016.

Kellman’s nuanced explorations of moments in history like the intersection of Camus and the HIV/AIDS epidemic in the United States or the combined comedy and tragedy of writers running for office challenge us to understand our world through the lens of good prose. His deft navigation of the implications of language helps parse the cultural impact of words in instances ranging from Pauline Kael’s revolutionary film criticism to Esperanto’s use in popular media. The intellectually curious will find validation and insight into favorite authors and critics, while those just approaching the literary world may be inspired to delve deeper.

Witty and insightful, Kellman entertains and educates, pokes fun at institutions, and honors the contributions of those who have come before him. Rambling Prose is a book for anyone who loves language and believes in the power, both positive and negative, of words to change the world.

Brown and Holley are interested in place and what makes people who they are. With particular interest in how people take the hand they’ve been dealt—fate, family, circumstance, luck—and craft a life for themselves, the authors celebrate the grit and gumption of these Texas originals. Introducing quirky characters and tenacious spirits, Holley’s stories seek out the personality of the small town while Brown’s photographs capture the essence of a changing landscape. Hometown Texas aims not to be nostalgic or sentimental but rather to show readers an unknown Texas—one that, while not vanishing, is certainly on the wane.

Organized into five topographical, geographic, and cultural sections—East, West, North, South, and Central—three dozen stories and more than eighty complementary images work to create a parallel narrative to reveal what Brown has described as the “collective, various, remarkably complex soul that makes Texas unique.”

Hometown Texas is an exploration across miles and cultures, of well-traveled roads and forgotten byways, deep into the heart of Texas.

Cary Clack has captured the hearts and minds of Texans since the mid-1990s, gaining a national reputation as an incisive and sensitive journalist and developing a significant following as a columnist. Originally from San Antonio, he worked with the Martin Luther King Jr. Center for Nonviolent Social Change in Atlanta (writing CNN commentaries for Coretta Scott King) to hone his communication skills and broaden his social sensibilities. Returning to his hometown, he quickly became known as a writer who profiled everyday heroes and captured stories unique to the Texas experience, adding a critical local perspective to national news. His columns are infused with a sense of humility and a keen examination of the humanness in others.

Following sixteen years as a journalist, Clack pursued interests in politics, social policy, and service, including work with the mayor of San Antonio, U.S. congressman Joaquin Castro, and others.

More Finish Lines to Cross is a collection of Clack’s best short- and long-form columns since his return to the San Antonio Express-News in 2019. It includes more than eighty pieces about the issues of the day, from Donald Trump, Joe Biden, and the war in Ukraine to the impact of COVID, the death of George Floyd, and the mass shooting of schoolchildren in Uvalde, Texas. Along the way we meet the people who influenced Clack, which in turn reminds us to reflect on how we become the people we are and what inspires us to be better members of our communities.

Greetings from San Antonio: Historic Postcards of the Alamo City is a collection of more than six hundred color and black-and-white photo postcards, many of them quite rare, that yield a compelling visual narrative of the city in the early twentieth century, when postcards were at their height of popularity. Presented unaltered and accompanied by concise descriptive text, the postcards provide a distinctive visual portrait of a captivating and unique city during the early years of its transformation into the multicultural mecca it is today.

Once little more than party fuel, tequila has graduated to the status of fine sipping spirit. How the Gringos Stole Tequila traces the spirit's evolution in America from frat-house firewater to luxury good. But there's more to the story than tequila as upmarket drinking trend. Author Chantal Martineau spent several years immersing herself in the world of tequila -- traveling to visit distillers and agave farmers in Mexico, meeting and tasting with leading experts and mixologists around the United States, and interviewing academics on either side of the border who have studied the spirit.

The result is a book that offers readers a glimpse into the social history and ongoing impact of this one-of-a-kind drink. It addresses issues surrounding the sustainability of the limited resource that is agave, the preservation of traditional production methods, and the agave advocacy movement that has grown up alongside the spirit's swelling popularity. In addition to discussing the culture and politics of Mexico's most popular export, this book also takes readers on a colorful tour of the country's Tequila Trail, as well as introducing them to the mother of tequila: mezcal.

The incomparable Rebecca Solnit, author of more than a dozen acclaimed, prizewinning books of nonfiction, brings the same dazzling writing to the essays in Encyclopedia of Trouble and Spaciousness. As the title suggests, the territory of Solnit’s concerns is vast, and in her signature alchemical style she combines commentary on history, justice, war and peace, and explorations of place, art, and community, all while writing with the lyricism of a poet to achieve incandescence and wisdom.

Gathered here are celebrated iconic essays along with little-known pieces that create a powerful survey of the world we live in, from the jungles of the Zapatistas in Mexico to the splendors of the Arctic. This rich collection tours places as diverse as Haiti and Iceland; movements like Occupy Wall Street and the Arab Spring; an original take on the question of who did Henry David Thoreau’s laundry; and a searching look at what the hatred of country music really means.

Solnit moves nimbly from Orwell to Elvis, to contemporary urban gardening to 1970s California macramé and punk rock, and on to searing questions about the environment, freedom, family, class, work, and friendship. It’s no wonder she’s been compared in Bookforum to Susan Sontag and Annie Dillard and in the San Francisco Chronicle to Joan Didion.

The Encyclopedia of Trouble and Spaciousness proves Rebecca Solnit worthy of the accolades and honors she’s received. Rarely can a reader find such penetrating critiques of our time and its failures leavened with such generous heapings of hope. Solnit looks back to history and the progress of political movements to find an antidote to despair in what many feel as lost causes. In its encyclopedic reach and its generous compassion, Solnit’s collection charts a way through the thickets of our complex social and political worlds. Her essays are a beacon for readers looking for alternative ideas in these imperiled times.

Along with the movement Humans of New York, a project to share the stories of New Yorkers, Humans of San Antonio is part of the Global Humans Project, a network of major cities around the world dedicated to capturing a glimpse into the lives of the everyday citizen. From Amsterdam to India to Rio de Janeiro, San Antonio joins the ranks of cities photographed and shown through social media to the rest of the world.

Michael Cirlos is the photojournalist behind Humans of San Antonio, a social media project founded in 2012 that combines photography and storytelling to promote the spirit of San Antonio's growing downtown community. Humans of San Antonio, the book, is the culmination of more than four years of photographs that highlight the people, culture, and vibrancy of San Antonio.

The city center is very important to San Antonio. It stands as the Alamo City's urban core; a hub that links the rest of the city to its heart. As a community that has weathered the national economic imbalance and proven itself a leader in urban redevelopment and 21-century innovation, San Antonio embraces change while continuing to celebrate the diversity, history, and individuality that makes it so completely unique.

Humans of San Antonio reflects the heart of San Antonio and symbolizes the importance of the people who make up its melting pot of cultures. Michael Cirlos's photography captures individual storytelling images in an unassuming, unscripted way to illustrate the essence of humanity. Each photograph tells the story of a citizen of downtown, and through images and his subject's own stories, Michael is able to communicate not just the human vulnerability to fear, sadness, and anger but also its resilience, strength, hope, tolerance, and perseverance. His unobtrusive nature, compassion and warmth, show how deeply committed he is to photographing the peak moments of San Antonio real life to humanize the individual and to collect flashes of culture.

Humans of San Antonio is at once uniquely individual as a photography collection while celebrating the international collaborative that forms its roots. Each personal history maps out the family, friends, and neighbors that populate a lifetime and encourages the reader to explore San Antonio's cultural differences by showcasing the diversity it honors.

The Artist’s Field Guide to Yellowstone introduces readers to the wildlife of the Greater Yellowstone Ecosystem through the works of fifty of the region’s distinguished writers and artists. This robust anthology of eclectic artwork and inspiring storytelling offers an enlivened take on the traditional field guide and argues for the intrinsic value of this world-renowned ecosystem.

Yellowstone naturalist and artist Katie Shepherd Christiansen has compiled this sensible field guide and elegant art book to highlight the unique biodiversity of the Greater Yellowstone Ecosystem, organized across four habitat strata: sky, earth, soil, and water. Writers and artists pair up to reveal new ways of understanding key species through prose, poetry, and artwork. The addition of scientific descriptions provides a natural history frame, and Christiansen’s illustrations of ecologically connected species bring life to every page.

Contributors hail from the Greater Yellowstone area. Writers are Elise Atchison, Rick Bass, Todd Burritt, Tom Campbell, Lyn Dalebout, Matt Daly, Joanne Dornan, Gary Ferguson, Matt Hart, Geneen Marie Haugen, Susan Marsh, Craig Mathews, Arthur Middleton, Doug Peacock, Karen Reinhart, Kelsey Sather, Jack Turner, Rebecca Watters, Tina Welling, Marylee White, Connie Wieneke, Todd Wilkinson, and Terry Tempest Williams. Artists are Kalon Baughan, Tamara Callens, Meredith Campbell, Sue Cedarholm, Derek DeYoung, Loretta Domaszewski, Katy Ann Fox, Dave Hall, Dwayne Harty, Laney Hicks, DG House, Will Hunter, S. J. Karikó, Laney, Jennifer Lowe-Anker, Mimi Matsuda, James Prosek, Robert Schlenker, Jocelyn Slack, Tucker Smith, Kay Stratman, Kara Tripp, Shannon Troxler, Kathryn Mapes Turner, John Wasson, Carrie Wild, and Monte Yellow Bird Sr.

What might the lives of contemporary monastics teach us about putting down roots? Whereas many of us are constantly on the go, stressed out, and focused on productivity, the life of a monk prioritizes staying put and paying attention. Many monks take a vow of stability that commits them to their home monastery, leading them to develop a deep connection with and knowledge of the land they inhabit. The monastic life teaches those who practice it to move more slowly through the world, and the monastic sense of place may even hold a key to responding to the growing ecological crisis threatening our environment.

Dwelling in the Wilderness examines how contemporary Benedictine Roman Catholic monks in the American West fall in love with their landscapes and how, in troubled times, we might do the same. Jason Brown travels to four monasteries—the New Camaldoli Hermitage in Big Sur, California; the Abbey of Our Lady of New Clairvaux in Vina, California; Our Lady of Guadalupe Trappist Abbey in Carlton, Oregon; and the Monastery of Christ in the Desert in Abiquiu, New Mexico—and spends time with the monks there, following their daily routine of prayer and tending to the land. He learns how the places they inhabit are essential to their daily spiritual practice and how they construct deeper theological meaning from the natural world.

Illustrated with Brown’s photography of monastic landscapes, his journey journey as a pilgrim anthropologist is astute, insightful, and intimate. He explores theories of environmental perception, philosophy, and symbolic landscapes in accessible language. Bringing theological reflection to the power of contemplative ecology in an era many are calling the Anthropocene, or the age of human domination, he leads us to reconsider our relationship with our natural homes.

In Putting on the Dog, Melissa Kwasny explores the age-old relationship between humans and the animals that have provided us with our clothing: leather, wool, silk, feathers, pearls, and fur. From silkworms grown on plantations in Japan and mink farms off Denmark’s western coast to pearl beds in the Sea of Cortés, Kwasny offers firsthand accounts of traditions and manufacturing methods—aboriginal to modern—and descriptions of the marvel and miracle of the clothing itself. What emerges is a fresh look at the cultural history of fashion.

Kwasny travels the globe to visit both large-scale industrial manufacturers and community-based, often subsistence production by people who have spent their lives working with animals—farmers, ranchers, tanners, weavers, shepherds, and artisans. She examines historical rates of consumption and efforts to move toward sustainability, all while considering animal welfare, worker safety, environmental health, product accountability, and respect for indigenous knowledge and practice.

At its heart, Putting on the Dog demonstrates how what we choose to wear represents one of our most profound engagements with the natural world.

Trinity University: Honoring the Past, Shaping the Future showcases the stories, moments, and people of the Trinity community’s 150-year journey. From its beginnings in a lone building in Tehuacana to its roots today in the heart of San Antonio, Trinity’s story is one of resilience, ambition, and success. Founded with the vision to create a new university of the highest order, Trinity’s commitment to innovative learning and enterprise have transformed challenge into opportunity and shaped the university into the esteemed private liberal arts and sciences institution it is today.

Early entrepreneurs such as the Munger brothers and Marrs McLean paved the way for the current entrepreneurship program and Stumberg competitions. Forward-thinking programs such as the Office of Experiential Learning, the Student Success Center, and the Collaborative for Learning and Teaching also supplement Trinity’s twenty-five academic departments. Trinity University reflects on all these stories and documents the institution’s vision for what a liberal arts education can become.

Open Midnight weaves two parallel stories about the great wilderness—Brooke Williams’s year alone with his dog ground truthing wilderness maps of southern Utah, and that of his great-great-great-grandfather, who in 1863 made his way with a group of Mormons from England across the wilderness almost to Utah, dying a week short. The book is also about two levels of history—personal, as represented by William Williams, and collective, as represented by Charles Darwin, who lived in Shrewsbury, England, at about the same time as Williams.

As Brooke Williams begins researching the story of his oldest known ancestor, he realizes that he has few facts. He wonders if a handful of dates can tell the story of a life, writing, “If those points were stars in the sky, we would connect them to make a constellation, which is what I’ve made with his life by creating the parts missing from his story.” Thus William Williams becomes a kind of spiritual guide, a shamanlike consciousness that accompanies the author on his wilderness and life journeys, and that appears at pivotal points when the author is required to choose a certain course.

The mysterious presence of his ancestor inspires the author to create imagined scenes in which Williams meets Darwin in Shrewsbury, sowing something central in the DNA that eventually passes to Brooke Williams, whose life has been devoted to nature and wilderness.

Brooke Williams’s inventive and vivid prose pushes boundaries and investigates new ways toward knowledge and experience, inviting readers to think unconventionally about how we experience reality, spirituality, and the wild. The author draws on Jungian psychology to relate how our consciousness of the wild is culturally embedded in our psyche, and how a deep connection to the wild can promote emotional and psychological well-being.

Williams's narrative goes beyond a call for conservation, but in the vein of writers like Joanna Macy, Bill Plotkin, David Abram, the author argues passionately for the importance of wildness is to the human soul. Reading Williams's inspired prose provides a measure of hope for protecting the beautiful places that we all need to thrive.

Open Midnight is grounded in the present by Williams’s descriptions of the Utah lands he explores. He beautifully evokes the feeling of being solitary in the wild, at home in the deepest sense, in the presence of the sublime. In doing so, he conveys what Gary Snyder calls “a practice of the wild” more completely than any other work.

Williams also relates an insider’s view of negotiations about wilderness protection. As an advocate working for the Southern Utah Wilderness Alliance, he represents a minority in meetings designed to open wilderness lands to roads and hunting. He portrays the mindset of the majority of Utah’s citizens, who argue passionately for their rights to use their lands however they wish.

The phrase “open midnight,” as Williams sees it, evokes the time between dusk and dawn, between where we’ve been and where we’re going, and the unconscious where all possibilities are hidden.

María Sánchez is obsessed with what she cannot see. As a field veterinarian following in the footsteps of generations before her, she travels the countryside of Spain bearing witness to a life eroding before her eyes—words, practices, and people slipping away because of depopulation, exploitation of natural resources, inadequate environmental policies, and development encroaching on farmland and villages. Sánchez, the first woman in her family to dedicate herself to what has traditionally been a male-dominated profession, rebuffs the bucolic narrative of rural life often written by—and for consumption by—people in cities, describing the multilayered social complexity of people who are proud, resilient, and often misunderstood.
Sánchez interweaves family stories of three generations with reflections on science and literature. She focuses especially on the often dismissed and undervalued generations of women who have forgone education and independence to work the land and tend to family. In doing so, she asks difficult questions about gender equity and labor. Part memoir and part rural feminist manifesto, Land of Women acknowledges the sacrifices of Sánchez’s female ancestors who enabled her to become the woman she is.
A bestseller in Spain, Land of Women promises to ignite conversations about the treatment and perception of rural communities everywhere.

With his characteristic talent for finding the connections between writing and the stuff of our lives (most notably in his earlier hit Maps of the Imagination: The Writer as Cartographer), Peter Turchi ventures into new, and even more surprising, territory. In A Muse and a Maze, Turchi draws out the similarities between writing and puzzle-making and its flip side, puzzle-solving. He teases out how mystery lies at the heart of all storytelling. And he uncovers the magic—the creation of credible illusion—that writers share with the likes of Houdini and master magicians.

In Turchi’s associative narrative, we learn about the history of puzzles, their obsessive quality, and that Benjamin Franklin was a devotee of an ancient precursor of sudoku called Magic Squares. Applying this rich backdrop to the requirements of writing, Turchi reveals as much about the human psyche as he does about the literary imagination and the creative process.

With the goal of giving writers new ways to think about their work and readers new ways to consider the books they encounter, A Muse and a Maze suggests ways in which every piece of writing is a kind of puzzle. The work argues that literary writing is defined, at least in part, by its embrace of mystery; offers tangrams as a model for the presentation of complex characters; compares a writer’s relationship to his or her narrator to magicians and wizards; offers the maze and the labyrinth as alternatives to the more common notion of the narrative line; and concludes with a discussion of how readers and writers, like puzzle solvers, not only tolerate but find pleasure in difficulty.

While always balancing erudition with accessibility, Turchi examines the work of writers as various as A. A. Milne, Dashiell Hammett, Truman Capote, Anton Chekhov, Alison Bechdel, F. Scott Fitzgerald, Antonya Nelson, Vladimir Nabokov, Charles D’Ambrosio, Michael Ondaatje, Alice Munro, Thomas Bernhard, and Mark Twain, elaborating and illuminating ways in which their works expand and deliver on the title’s double entendre, A Muse and a Maze.

With 100 images that range from movie stills from Citizen Kane and Butch Cassidy and the Sundance Kid to examples of sudokus, crosswords, and other puzzles; from Norman Rockwell’s famous triple self-portrait to artwork by Charles Richie; and from historical arcana to today’s latest magic, A Muse and a Maze offers prose exposition, images, text quotations, and every available form of wisdom, leading the reader step-by-step through passages from stories and novels to demonstrate, with remarkable clarity, how writers evolve their eventual creations.

At the center of San Antonio’s growth from a small pioneering town to a major western metropolis sits CPS Energy, the largest municipally owned energy utility in the United States and an innovator in harnessing, conserving, and capitalizing on natural energy resources.

The story of modern energy in San Antonio begins in 1860, when the San Antonio Gas Company started manufacturing gas for streetlights in a small plant on San Pedro Creek, using tree resin that arrived by oxcart. The company grew from a dark, dusty frontier town with more saloons than grocery stores to a bustling crossroads to the West and, ultimately, a twentieth-first-century American city. Innovative city leaders purchased the utility from a New York–based holding company in 1942, and CPS Energy as we know it today was born.

In Powering the City, Catherine Nixon Cooke discusses the rise and fall of big holding companies, the impact of the Great Depression and World War II--when 25 percent of the company’s workforce enlisted in the armed forces--on the city’s energy supply, and the emergence of nuclear energy and a nationally acclaimed model for harnessing solar and wind energy.

Known and relatively unknown events are recounted, including Samuel Insull’s move to Europe after his empire crashed in 1929; President Franklin Roosevelt’s Public Utility Holding Company Act of 1935, which made it possible for the city to purchase the San Antonio Public Service Company; the city's competition with the Guadalupe Blanco River Authority, whose champion was Congressman Lyndon Johnson, in which the city emerged victorious in a deal that today returns billions in financial benefit; legal wranglings such as one that led to the establishment of Valero Energy Corporation; and energy’s role in the Southwest Research Institute and the South Texas Medical Center, HemisFair 1968, Sea World, Fiesta Texas, and Morgan’s Wonderland.

Images from CPS's archive of historic photographs, some dating as far back as the early 1900s; back issues of its in-house magazine; and the Institute of Texas Cultures provide rich material to illustrate the story.

As CPS Energy celebrates seventy-five years of city ownership, the region's industrial, scientific, and technological innovation are due in part to the company’s extraordinary impact on San Antonio.

My Heart Is Not Blind: On Blindness and Perception is a collection of stunning portraits of blind and visually impaired people taken by photographer Michael Nye. Each image is accompanied by an intimate story told by the subject concerning his or her experiences and unique perspective.

The causes of vision loss range from genetic predispositions (retinitis pigmentosa) or disease (glaucoma) to external circumstances such as accidents (struck by a train) or violence (gunshot wound). The people in this diverse group differ not only in their particular conditions and losses but also in their cultural and socio-economic backgrounds. Taken as a whole, however, the accounts of adapting to changing modes of perception are bound by a common theme of resilience, revealed in shared reactions and unexpected insights.

The subjects depicted in My Heart Is Not Blind share their experiences and unique perspectives in a personal narratives that accompany their respective portraits. Most speak of the transition from sight to vision loss, and how that has changed—and not changed—their ability to perceive the surrounding world. Some question the classification of blindness as a disability. One participant proposes that blindness may, in some ways, even aid in perception, musing, “if you can always see the sun, you can never discover the stars.”

My Heart Is Not Blind offers a window into the world of the blind and visually impaired, revealing surprising similarities and fascinating differences alongside compelling accounts of survival, adaptation, and heightened understanding. The collection invites us to reconsider what we think we know about blindness in order to gain a deeper understanding of vision and perception.

To create the "Confluence of Civilizations" mural commissioned for the 1968 World's Fair in San Antonio, Texas, Juan O'Gorman collected natural stones from all over Mexico—twelve colors in all—field stones that the artist knew would never fade or change their hue. Juan O'Gorman: A Confluence of Civilizations follows the life of Juan O'Gorman and covers the creation of this spectacular piece of midcentury public art that stands the test of time not just in vibrancy but as one of the most influential works created by a storied Mexican artist.

Juan O'Gorman was a not only a painter and a muralist, a mosaic artist, a critic, and a professor, but he was also an architect and a revolutionary; possibly most famous for his close friendship with Diego Rivera and Frida Kahlo and as designer of their infamous two-house studio in Mexico City—Casa Azul—linked by a symbolic bridge.

To celebrate San Antonio's "HemisFair" Exposition in 1968, Juan created the giant mosaic mural that still adorns one wall of the Lila Cockrell Theater along San Antonio's famed River Walk. The design plans for the five ton mosaic measured 2600 square feet and consisted of 540 numbered panels, each weighting about 90 pounds.

The Kronkosky Foundation Story provides a broad review of the twenty-five-year history of the Albert and Bessie Mae Kronkosky Charitable Foundation. Albert and Bessie Mae Kronkosky were committed to creating a legacy of “profound good” through charitable giving across four Texas counties that were dear to their hearts. The private foundation, formed in 1995 with a mission focused on health and human services (especially for children and the elderly), arts, and culture, has had a significant impact on San Antonio and the surrounding area.

The book recounts the Kronkosky family’s history and how they came into the wealth that eventually led to the foundation’s creation. The nonprofit organization’s story is one of exemplary management and wide-ranging positive impact on a community, and an examination of how local giving has changed in recent decades.

The Kronkosky Charitable Foundation exists in perpetuity, and their story stands as a testament to philanthropic commitment to a community.

Mary Bonner: Impressions of a Printmaker is the definitive account of the life of an iconic Texas artist known for her delicate etchings and prints of the places and people that make South Texas unique. Mary Bonner begins with the artist’s early years in San Antonio and continues through her awakening as an artist at the Woodstock colony in upstate New York in summer 1922 to her years in France under the instruction of master printmaker Édouard Henri Léon. In Paris, Bonner began entering her work in juried exhibitions, and these early Paris prints were met with some acclaim. She came into her own when she began experimenting with a more innovative and modern style, exemplified by Les cowboys, a three-part frieze inspired by memories of her family’s ranch in Texas.

After several years of dedicated study in Paris, Bonner began splitting her time between San Antonio and Paris. By 1928 she had begun to take on the causes of art and conservation in San Antonio, devoting less time to her own work. She spent the last years of her life at the family residence in San Antonio and died in 1935 at age forty-eight. Bonner’s legacy, both as an accomplished artist and as a steadfast advocate for the arts, lives on, especially in San Antonio.

Mary Bonner is copublished with the National Trust for Historic Preservation and Villa Finale. The book will accompany a retrospective of Bonner’s work at the McNay Art Museum in San Antonio. This edition includes a new preface, an introduction by McNay curator Lyle Williams, and an afterword by Jane Lewis, director of Villa Finale.

The Grand Canyon National Park has been called many things, but home isn't often one of them. Yet after years of traveling the globe, Nathaniel Brodie found his home there.

Steel on Stone is Brodie's account of living in the canyon during the eight years he worked on a National Park Service trail crew, navigating a vast and unforgiving land. Embedded alongside Brodie and his crew, readers experience precipitous climbs to build trails, dangerous search-and-rescue missions, rockslides, spelunking expeditions, and rafting trips through the canyon on the Colorado River. From Brodie's chronicles of tracking cougars and dodging rampaging pack mules to adjusting to seasons spanning triple-digit heat and inaccessibility during the winter, we learn about the life cycle of this iconic park, whose complex ecosystems coexist with humans, each one seeking a deeply personal experience, and the subcultures and hierarchies that form deep within the canyon.

Following in the steps of naturalists like John Wesley Powell and Edward Abbey, Brodie reveals the park’s nearly two million square miles. He deftly weaves histories and tall tales from canyon aficionados living and dead into his own story. Over time he comes to realize that home is not always a place on a map but instead is deeply defined by the people we encounter, including those who finally call us to move on.

Steel on Stone is a love letter to the Grand Canyon and those who have given years of their lives to work its trails so that we may understand and enjoy it today as the transformative landscape we seek.

Gerald Stern has been a significant presence and an impassioned and idiosyncratic voice in twentieth and twenty-first-century American poetry. Insane Devotion is a retrospective of his career and features fourteen writers, critics, and poets examining the themes, stylistic traits, and craft of a poet who has shaped and inspired American verse for generations.

The essays and interviews in Insane Devotion paint a broad picture of a man made whole by the influence of the written word. They touch on the contentious and nuanced stance of Judaism in the breadth of Stern’s work and explore Stern’s capacious memory and his use of personal history to illuminate our common humanity. What is revealed is a poet of complexity and heart, often tender, often outraged. As Philip Levine writes in his lyrical foreword to the volume, Stern is both sweet and spiky, “a born teacher who can teach me to see the universe in an acorn and hear the music of the lost in an empty Pepsi can.”

In the Loop: A Political and Economic History of San Antonio, is the culmination of urban historian David Johnson’s extensive research into the development of Texas’s oldest city. Beginning with San Antonio’s formation more than three hundred years ago, Johnson lays out the factors that drove the largely uneven and unplanned distribution of resources and amenities and analyzes the demographics that transformed the city from a frontier settlement into a diverse and complex modern metropolis.

Following the shift from military interests to more diverse industries and punctuated by evocative descriptions and historical quotations, this urban biography reveals how city mayors balanced constituents’ push for amenities with the pull of business interests such as tourism and the military. Deep dives into city archives fuel the story and round out portraits of Sam Maverick, Henry B. Gonzales, Lila Cockrell, and other political figures.

Johnson reveals the interplay of business interests, economic attractiveness, and political goals that spurred San Antonio’s historic tenacity and continuing growth and highlights individual agendas that influenced its development. He focuses on the crucial link between urban development and booster coalitions, outlining how politicians and business owners everywhere work side by side, although not necessarily together, to shape the future of any metropolitan area, including geographical disparities. Three photo galleries illustrate boosterism’s impact on San Antonio’s public and private space and highlight its tangible results.

In the Loop recounts each stage of San Antonio’s economic development with logic and care, building a rich story to contextualize our understanding of the current state of the city and our notions of how an American city can form.

Aureliano Urrutia, a prominent physician in Mexico City, built Miraflores garden after immigrating to Texas during the Mexican Revolution. A man of science, he valued nature, art, literature, history, and community. The garden, whose name roughly translates to “behold the flowers,” was built primarily from 1921 to 1945. Its plants, architecture, sculpture, and artisanship formed a cultural landscape reflecting Urrutia’s love for and memory of his homeland. Though recent decades have rendered much of the garden decayed and barely recognizable, it is now part of San Antonio’s historic Brackenridge Park. Miraflores: San Antonio’s Mexican Garden of Memory recounts the garden’s history and celebrates the importance of the cultural, historical, and artistic meaning of a place.

ArteKids board books show children the world of art through imaginative paintings, sculpture, photographs, and drawings, with text in English and Spanish. Outside Todo el Día! Nature in English y Español introduces children to the wonders of nature by connecting them to art in a unique, fun, and colorful way. Terms for outdoor concepts like sky/cielo, water/aqua, mountain/montaña, flora (tree/árbol and flower/flor), and fauna are represented by masterful artworks from around the world. The contrast of night (noche) and day (día) are shown through Latin American needlework and an Ansel Adams photograph. The seasons (primavera, verano, otoño, invierno) are expressed in bluebonnets by Julian Onderdonk, a beach scene by Pablo Camus, and the cottonwoods of Joseph Henry Sharp. Madeleine Budnick’s wonderful collages and designs weave together phrases and images that bring the wind, sun, and oceans to life. Work from the collections of the San Antonio Museum of Art, by masters like Alfred Thompson Bricher, Alma Nungarrayi Granites, Betty Carrington, Winslow Homer, Nicolino Calyo, Martin Johnson Heade, Armand Guillaumin, Ernest Lawson, and Lori LeJeune, is incorporated with phrases and words in English and Spanish, making bilingual learning and art exciting for young learners and their teachers and parents.

The ArteKids bilingual board books are made sturdy for little hands and “awesomundo” for bright minds! The series also includes Vamos, Body!, Hello, Círculos!, 1, 2, 3, Sí!, Animal Amigos!, Colores Everywhere!, and Black and Blanco! Outside Todo el Día! Nature in English y Español! invites children to explore the world outside through language and imagery that ignites their imagination.

Long before cities were scrambling to go green and eco-conscious commuters were sensibly strapping on their bike helmets, New Haven, Connecticut, was envisioning a plan for its growth taken from the challenging ideas of the City Beautiful Movement and its call for civic monumentality. In a 1910 plan commissioned from legendary landscape architect Frederick Law Olmsted and prominent architect Cass Gilbert, New Haven's leaders charted new ground by incorporating revolutionary models for studying social and demographic data and using that information to help guide the physical plan for the city's growth. The visionary result is a gem of American urban planning history that became a benchmark in discussions about the shape the new American city would take in the twentieth century.

This facsimile edition of the 1910 Plan for New Haven, available to general readers for the first time, includes a critical contemporary review of the century-old plan. Architectural scholar Alan Plattus and urban economist Douglas Rae contribute modern perspectives on the plan's importance to the development of both New Haven and American urbanism in the current rediscovery of urban livability and sustainability. The lessons of master urban planners like Cass and Gilbert have never been more valuable and can guide an exploration of how American urbanism has evolved and where it is going in the twenty-first century.

Dogs, like humans, have memories, instincts, fears, and loyalties. But, as far as we know, dogs do not get swept up in nostalgia, speculation, or self-analysis. Although they have hopes, they are not driven by regrets. In Crossing the Plains with Bruno, Annick Smith weaves together a memoir of travel and relationship, western history and family history, human love and animal love centering around a two week road trip across the Great Plains she and her 95 pound chocolate lab, Bruno, took in the summer of 2003. It is a chain of linked meditations, often triggered by place, about how the past impinges on the present and how the present can exist seemingly sans past.

Traveling from her rural homestead in Montana to pick up her nearly 100-year-old mother from her senior residence on Chicago’s North Side and bring her to the family’s beach house on a dune overlooking Lake Michigan, Smith often gets lost in memory and rambling contemplation. Bruno’s constant companionship and ever present needs force her to return to the actual, reminding her that she, too, is an animal whose existence depends on being alert to the scents, sights, hungers, and emotions of the moment.

Passing through wide open spaces, dying ranch towns, green cornfields, and Midwestern hamlets, Annick is immersed in memories of her immigrant Hungarian Jewish family, her childhood days in Chicago, her early marriage, and ultimate immigration west. Triggered by random encounters along the way, she’s taken back to life as a young mother, her career as a writer and filmmaker who produced the classic A River Runs Through It, the death of her husband, and the thrill of a late romance. A lifetime of reflection played out one mile at a time.

Crossing the Plains with Bruno is a story narrated by a woman beset by the processes of aging, living with the imminent reality of a parent’s death, but it is the dog that rides shotgun, like Sancho Panza to Don Quixote, that becomes the reminder of the physical realities outside our own imaginations.

A Rock between Two Rivers is the story of a man coming to terms with the environmental legacy of his family’s ranch in Dimmitt County, Texas, and reckoning with the birthright he’ll leave for the generations who follow. What began for Hugh Fitzsimons as a mission to expose local ecological hazards from hydraulic fracking has turned into a lifelong ache to understand the more complicated story of how his family changed the land inherited from his grandfather, and deeper still, how the land irrevocably changed the family.

Water is the lens through which this fifth-generation rancher tells his story. While the discovery of oil in this part of Texas fueled the region's growth, water has the upper hand, determining where people live and how they make their living. Agriculture, ranching, drilling for oil, and now fracking all require water, with each pursuit requiring more and more but giving back less and less to the communities they’ve helped enrich. In A Rock between Two Rivers, Fitzsimons struggles with the inheritance he wants for his own children, one that considers the future consequences of our actions toward the land we are born to and owns the broader threats to our natural resources that loom in the near distance.

Interweaving a family narrative of a life built on the U.S.-Mexico border and the history of European colonization with its brutal consequences on the land and indigenous peoples, Fitzsimons explores how our attitudes toward this precious resource have changed alongside our relationship to the places we call home.

East Austin, a mile from downtown Austin, Texas’s capital city, is a historically working-class neighborhood that in recent years has become an arts district and hotbed for real estate developers targeting a young urban population. The shops and restaurants that for decades served Latino and African American residents are being crowded out by coffee shops, cocktail bars, and upscale bakeries hoping to attract newer residents. The resulting tensions, part of a trend debated in cities across the country, have received national media attention.

After years of observing the fragmentation of east Austin’s Latino and African American communities, photographer John Langmore began to chronicle the historic neighborhood and its residents. His aim was to capture the gentrifying neighborhood’s unique nature and to make Texans aware of the people and places negatively affected by the state’s growth.

Fault Lines features more than a hundred color and black-and-white photographs taken between 2006 and 2010, during which time Langmore was fully aware that the window for capturing the east Austin community was rapidly closing. Indeed today many of the neighborhood places, and even the people, have been lost to development and increasing rents and property taxes.

The book features a foreword by Michael King, a longtime political reporter for the Austin Chronicle; essays by east Austin resident Wilhelmina Delco, Austin’s first African American elected official and a ten-term member of the Texas House of Representatives, and Johnny Limón, a sixty-six-year resident of east Austin and a prominent member of the neighborhood’s Latino community; and an epilogue by Langmore.

At age forty, Parker surrendered to her Swept Away meets Swiss Family Robinson fantasy of running an inn far from her home in the Pacific Northwest. For the next twenty-plus years Parker ran La Finca Caribe, an eco-lodge in Vieques, Puerto Rico. What started as a rough-and-tumble dream grew into a paradise enjoyed by guests from around the world. Sketchbook in hand, Parker chronicled her daily adventures living with the land. La Finca is a lively graphic memoir about a woman creating a new life amid countless challenges, including hurricanes that led her to reconsider everything. It is a story about trusting oneself, self-discovery, accepting disappointment and loss, and falling in love with a place.

In Not So Golden State, leading environmental historian Char Miller looks below the surface of California's ecological history to expose some of its less glittering conundrums. In this necessary work, Miller asks tough questions as we stand at the edge of a human-induced natural disaster in the region and beyond. He details policy steps and missteps in public land management and examines the impact of recreation on national forests, parks, and refuges, assessing efforts to restore wild land habitat, riparian ecosystems, and endangered species.

Why, during a devastating five-year drought, is the Central Valley’s agribusiness still irrigating its fields as if it were business as usual? What’s unusual, Miller reveals, is that northern counties rich in groundwater sell it off to make millions while draining their aquifers toward eventual mud.

Why, when contemporary debate over oil and gas drilling questions reasonable practices, are extractive industries targeting Chaco Canyon National Historic Park and its ancient sites, which are of inestimable value to Native Americans? How do we begin to understand “local,” a concept of hope for modern environmentalism? After all, Miller says, what we define as local determines how we might act in its defense.

To inhabit a place requires placed-based analyses, whatever the geographic scope—examinations rooted in a precise, physical reality. To make a conscientious life in a suburb, floodplain, fire zone, or coastline requires a heightened awareness of these landscapes’ past so that we can develop an intensified responsibility for their present condition and future prospects. Building a more robust sense of justice is the key to creating resilient, habitable, and equitable communities.

Miller turns to Aldo Leopold’s insight that “all history consists of successive excursions from a single starting point,” a location humans return to "again and again to organize another search for a durable scale of values.” This quest, a reflection of our ambition to know ourselves in relation to time and space, to organize our energy and structure our insights, is as inevitable as it is unending.

Turning his focus to the tensions along the California coastline, Miller ponders the activities of whale watching and gazing at sea otters, thinking about the implications of the human desire to protect endangered flora and fauna, which makes the shoreline a fraught landscape and a source of endless stories about the past and present.

In the Los Angeles region these connections are more obvious, given its geography. The San Gabriel Mountains rise sharply above the valleys below, offering some of the steepest relief on the planet. Three major river systems—the Santa Ana, San Gabriel, and Los Angeles—cut through the range’s sheer canyons, carrying an astonishing amount of debris that once crashed into low-lying areas with churning force. Today the rivers are constrained by flood-control dams and channels. Major wildfires, sparked by annual drought, high heat, and fierce Santa Ana winds, move at lightning speed and force thousands to flee.

The city’s legendary smog, whose origins lie in car culture, was fueled in part by oil brought to the region's surface in the late nineteenth century. It left Angelenos gasping for breath as climatic conditions turned exhaust into a toxic ozone layer trapped by the mountains that back in the day were hard to see. Clearing the befouled skies took decades.

Every bit as complex is the enduring effort to regenerate riparian health and restore wildlife habitat in a concrete-hardened landscape. The emerging tensions are similar to those threading through the U.S. Forest Service’s management of the Angeles National Forest, exacerbated whenever a black bear ambles into a nearby subdivision.

How we build ourselves into these spaces depends on the removal of competing users or uses: a historic strawberry patch gives way to a housing development, a memorial forest goes up in smoke, a small creek tells a larger tale of the human impress, and struggles over water—a perennial issue in this dry land—remind us we're not as free of the past as we'd like to think.

Neither are we removed from the downwind consequences of our choice to live in fire’s path. The West does not burn every summer; it just seems that way. And not every fire is a smoke signal of distress. Picking through the region’s fiery terrain is as tricky as trying to extinguish a roaring blaze in the August heat. There are lessons to be had by examining how we respond to the annual conflagrations.

The Wallow Fire, which in 2011 burned hundreds of thousands of acres in remote Arizona, sparked equal amounts of political grandstanding and hand-wringing about wildfire-fighting strategies. Beyond the headlines and flashy, smoke-filled images lay another reality. The creation of defensible space and the thinning of forests communities—signs of homeowners' and state and federal agencies' proactive intervention—meant few structures burned during the monthlong firestorm. That such good news is rarely reported is part and parcel of another ethical dilemma too rarely acknowledged: the decision to live in fire zones should come coupled with homeowners’ responsibility to do all they can to ensure their homes don't go up in smoke. How they build their homes and landscape its environs are essential steps in defending their space. That obligation comes with another, made clear in the 2013 Yarnell Hill, which took the lives of nineteen firefighters. To make our houses fire-safe is to give firefighters a fighting chance.

This reciprocity and the social compact it depends on require us to believe we inhabit common ground with our neighbors, a realization that should build a stronger sense of community. But it's a tough concept to promote in a bewilderingly antisocial political environment, when budgets for fire prevention are slashed as part of larger efforts to defund the nation-state. Or when the very reasons some seek to live in isolated, mountainous environs clash with the larger need to act in concert with their communities. Fires illuminate many things, not least the ties that bind and those that are frayed.

Miller develops his argument from a variety of places and perspectives. Most of the pieces ask a series of questions about a particular landscape—Gila National Forest, Death Valley, Zion, Arches, and Rocky Mountain National Parks, and a host of other iconic western scenic spots. Why do we conceive of wilderness as a preserve, separate and inviolate? Who benefits—or does not—from the idea that such landscapes are, or ought to be, untrammeled? Why has this intellectual construction, and the preservationist ethos it depends on, come to dominate contemporary environmentalism?

Related queries bubble up after Miller spends time in the newest national park, Pinnacles in central California, or one of the most venerable, the Grand Canyon in northern Arizona. What impact has the long history of tourism and recreation had on these public lands? Maintaining trails that weave through the Yosemite Valley is an arduous, incessant task made more difficult by the visitors pouring in to John Muir’s favorite terrain or rushing to rock climb in Minerva Hoyt’s beloved Joshua Tree. Still more daunting is the prospect of sustained ecological restoration and habitat regeneration under current conditions and those that climate change is generating across the West.

Once again Aldo Leopold can be a guide. “A member of a biotic team is shown by an ecological interpretation of history,” he once observed, adding that many “historical events, hitherto explained solely in terms of human enterprise, were actually biotic interactions between people and land.” Only when “the concept of land as a community really penetrates our intellectual life” will history, as a subject and methodology, become fully realized.

Not So Golden State contributes powerfully toward the realization of this enduring cross-generational endeavor.

Agave dates back to the Aztec civilization as an important crop in Mexico. Since the 1600s, the people of western Mexico have cultivated blue agave from the red volcanic soil that blankets the region, to make what we know as tequila. The Spirit of Tequila celebrates the tradition, culture, and myth of this iconic drink. Joel Salcido traveled across the state of Jalisco capturing images of distilleries and artisanal tequileras, including blue agave fields at sunset, the agave's pineapple-like centers (piñas), elegantly shadowed barrel rooms (añejos), and, of course, the agave farmers themselves.

Nearly ninety photographs, taken with a medium format camera—some in full-color, some in duotone—reveal not only the tequila making process but also the region’s traditions of culture and religion. Haunting and beautiful, a church spire is juxtaposed with a firework celebration in honor of the Virgen de Guadalupe. A Mexican charro rides through the streets of Arandas. Near Atotonilco, a horse pulls a traditional plow through the fields to irrigate. Exploring the rooms and techniques hidden in the distilleries of legendary tequilas Herradura, Sauza, Jose Cuervo, Don Julio, and others, The Spirit of Tequila celebrates a craft that is rooted deep in the culture of Mexico.