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"A memoir by a Mexican American woman that doubles as a love letter to the tough grandmother who raised her"--
Telling Moments collects contemporary short stories by a diverse group of twenty-four lesbian writers. Engaging themes of life and death, aging, motherhood, race, love, work, and travel, the writers offer brief glimpses into lesbian lives. The stories are by well-known contemporary writers—Gloria Anzaldúa, Mary Cappello, Emma Donoghue, Jewelle Gomez, Karla Jay, Anna Livia, Valerie Miner, Lesléa Newman, Minnie Bruce Pratt, Ruthann Robson, Sarah Schulman, and Jess Wells—and exciting newer voices, such as Donna Allegra and Marion Douglas. There are also stories from performance artists Carmelita Tropicana, Peggy Shaw, and Maya Chowdhry. Anna Livia’s protagonist appreciates her mother’s artful garden creation. Ruthann Robson tells of a survivor of the health care system. In Marion Douglas’s story a teenager dances with an alluring classmate. Donna Allegra’s strong construction worker copes with the death of her mother. And Karla Jay sets her character forth to swim with sharks. Most of the stories are accompanied by an author photo, biographical sketch, and—a most significant feature—a commentary from the author on her writing process and the autobiographical nature of her story, illustrating the truth behind the fiction.
"Cartwright tells the story of the Chagra brothers, Lee and Joe, as they get mixed up with the drug-running community along the border and in short order find themselves hopelessly entangled in a net cast by the DEA. Even readers unfamiliar with the well-publicized events of the book or of the dark, lawless aspect that often rules El Paso will find themselves pulled along by the plot: brigands and intrigue leap from almost every page, and the story just gets wilder the further into it you venture."—from an Amazon.com review Four pages into this rollicking good story, the central figure, Lee Chagra, comes alive: "[Lee] washed his morning cocaine down with strong coffee and remembered the time he had met Sinatra, how genuine he appeared." Everything you'll need to know and remember about Chagra—the son of Syrian immigrants to Mexico and an attorney who spun the world of dope-running, border-crossing, high-living outlaws along the El Paso–Juarez border around his finger like the gaudy rings he favored—can be neatly summarized in that one sentence. Chagra dies two pages later, yet he haunts the rest of this cautionary tale like a high-rolling specter. Gary Cartwright is a long-respected, award-winning journalist and contributing editor to Texas Monthly magazine. The author of numerous books, he has contributed stories to such national publications as Harper's, Life, and Esquire. He lives in Austin, Texas.
Presents a comprehensive history of the Mexican Revolution of 1911 and the cities of El Paso and Juarez, and contains essays and archival photographs about Pancho Villa and other revolutionaries of the time.
Twenty years after writing Drug Lord, Terrence Poppa decided the information in his book was more important than ever. In an important interview with the Texas Tribune, Poppa explains that ''the Mexico that I wrote about in the book describes the old order of things: Mexico under the PRI. In that sense, the book was out of date, because how drug trafficking operated under the PRI is completely different than how it works today in a new Mexico, under the democratically transformed Mexico...There has been a decoupling of the highest levels of power from drug trafficking now. It's important for people to understand that, so I had to bring the book up to date.''
Tom Miller's Southwest is a vortex of cockfights and cantinas, of black velvet paintings and tacky bolo ties, of eco-militants, border-crossers, and eccentric characters whose outlook is as spare and elemental as the desert that surrounds them. This is Miller's turf. With wit and insight, he reveals how the clichés of romanticism and capitalism have run amuck in his homeland. When a saguaro cactus outside Phoenix kills its own assassin, it becomes clear that no other guide to the Southwest manifests such a clear moral vision while reveling in the joy of this magnificent land and its people. Originally published by National Geographic as Jack Ruby's Kitchen Sink, it received the Gold Award for Best Travel Book in 2000 from the Society of American Travel Writers. Tom Miller has been writing about the American Southwest and Latin America for more than three decades. His ten books include The Panama Hat Trail, which follows the making and marketing of one Panama hat, and Trading with the Enemy, which Lonely Planet says "may be the best travel book about Cuba ever written." Miller began his journalism career in the underground press of the late '60s and early '70s, and has written articles for The New York Times, The Washington Post, The New Yorker, Smithsonian Magazine, Natural History, and Rolling Stone. He lives in Tucson, Arizona, with his wife, Regla.
In the title story of this collection, Isabela is minding her family’s restaurant, drinking her dad’s beer, when Frida Kahlo and the Virgen de Guadalupe walk in. Even though they’re dressed like cholas, the girl immediately recognizes Frida’s uni-brow and La Virgen’s crown. They want to give her advice about the quinceanera her parents are forcing on her. In fact, their lecture (don’t get pregnant, go to school, be proud of your indigenous roots) helps Isabela to escape her parents’ physical and sexual abuse. But can she really run away from the self-hatred they’ve created? These inter-related stories, mostly set in East Los Angeles, uncover the lives of a conflicted Mexican-American community. In “Sabado Gigante,” Bernardo drinks himself into a stupor every Saturday night. “Aqui no es mi tierra,” he cries, as he tries to ease the sorrow of a life lived far from home. Meanwhile, his son Gustavo struggles with his emerging gay identity and Maritza, the oldest daughter, is expected to cook and clean for her brother, even though they live in East LA, not Guadalajara or Chihuahua. In “Powder Puff,” Mireya spends hours every day applying her make-up, making sure to rub the foundation all the way down her neck so it looks like her natural color. But no matter how much she rubs and rubs, her skin is no lighter. Estella Gonzalez vividly captures her native East LA in these affecting stories about a marginalized people dealing with racism, machismo and poverty. In painful and sometimes humorous scenes, young people try to escape the traditional expectations of their family. Other characters struggle with anger and resentment, often finding innovative ways to exact revenge for slights both real and imagined. Throughout, music—traditional and contemporary—accompanies them in the search for love and acceptance.
Often dismissed by rock historians as a product of the antiseptic Californian country-music scene, an artist who relied on watered-down covers of classic rock n’ roll and pop standards, this description of Linda Ronstadt couldn’t be further from the truth. Throughout a recording career that has covered more than forty years she has recorded in a remarkable variety of styles from pure country to pop, light opera to big band standards and new wave to mariachi, often taking risks beyond the reach of many critically acclaimed artists. It would be hard, if not impossible, to find another vocalist who has had a more diversified career. In their press release for the album Winterlight her record company managed to convey exactly what it was that made Linda Ronstadt such a special artist. — “Versatile doesn’t begin to describe Linda Ronstadt’s astounding career – a wildly eclectic, devoutly adventurous journey through a myriad of styles and genres. Who else has worked with Philip Glass and Dolly Parton? Aaron Neville and Nelson Riddle? Ronstadt’s unforgettably gorgeous voice, at once technically dazzling and resonating with deep emotion, has woven a magical path from rock to mariachi, from country to opera, gathering critical and commercial success at every stop along the way." Linda Ronstadt - A Life In Music is an unauthorised biography that traces Linda Ronstadt's career from her days as a member of The Stone Poneys, her early solo albums, the critically acclaimed albums from the seventies, her work with Nelson Riddle , the foreign language recordings and her collaborations with Dolly Parton and Emmylou Harris. The book gives an in-depth analysis of every studio album and is supported by a background to her life and the influences, musical and social, that shaped her career. Appendices in the book include a comprehensive discography, chart statistics, details of Record Industry Association of America (RIAA) and British Phonographic Industry (BPI) awards along with a list of Grammy Award nominations and wins. The book includes a foreword written by Andrew Gold.