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Borderlands migration has been the subject of considerable study, but the authorship has usually reflected a north-of-the-border perspective only. Gathering a transnational group of prominent researchers, including leading Mexican scholars whose work is not readily available in the United States and academics from US universities, Mexican Migration to the United States brings together an array of often-overlooked viewpoints, reflecting the interconnectedness of immigration policy. This collection’s research, principally empirical, reveals significant aspects of labor markets, family life, and educational processes. Presenting recent data and accessible explanations of complex histories, the essays capture the evolving legal frameworks and economic implications of Mexico-US migrations at the national and municipal levels, as well as the experiences of receiving communities in the United States. The volume includes illuminating reports on populations ranging from undocumented young adults to elite Mexican women immigrants, health-care rights, Mexico’s incorporation of return migration, the impact of Deferred Action for Childhood Arrivals on higher education, and the experiences of young children returning to Mexican schools after living in the United States. Reflecting a multidisciplinary approach, the list of contributors includes anthropologists, demographers, economists, educators, policy analysts, and sociologists. Underscoring the fact that Mexican migration to the United States is unique and complex, this timely work exemplifies the cross-border collaboration crucial to the development of immigration policies that serve people in both countries.
“Olivarez steps into the ‘inbetween’ standing between Mexico and America in these compelling, emotional poems. Written with humor and sincerity” (Newsweek). Named a Best Book of the Year by Newsweek and NPR. In this “devastating debut” (Publishers Weekly), poet José Olivarez explores the stories, contradictions, joys, and sorrows that embody life in the spaces between Mexico and America. He paints vivid portraits of good kids, bad kids, families clinging to hope, life after the steel mills, gentrifying barrios, and everything in between. Drawing on the rich traditions of Latinx and Chicago writers like Sandra Cisneros and Gwendolyn Brooks, Olivarez creates a home out of life in the in-between. Combining wry humor with potent emotional force, Olivarez takes on complex issues of race, ethnicity, gender, class, and immigration using an everyday language that invites the reader in, with a unique voice that makes him a poet to watch. “The son of Mexican immigrants, Olivarez celebrates his Mexican-American identity and examines how those two sides conflict in a striking collection of poems.” —USA Today
"The Latino Reader" presents the full history of this important American literary tradition, from its mid-sixteenth-century beginnings to the present day. The wide-ranging selections include works of history, memoir, letters, and essays, as well as fiction, poetry, and drama.
This volume addresses the notion of (in)hospitality in the culture, literature, and thought of Chicanx and Latinx in the United States. It underscores those “stranger others” against whom nativist fear and state violence are directed: undocumented migrants, refugees, and asylum seekers. Critical analyses focus on the topics of immigration and state violence, hospitality in written and visual narratives, and the role of hospitality in the translation of academic and literary works. All essays explore the conditional character of hospitality towards Chicanx and Latinx and its attending myths and discourses. Dwelling on the predicament that individuals and groups face as strangers, unwelcome guests, and unwilling hosts, the essays also explore the ways in which Chicanx and Latinx writers, artists, and filmmakers may or may not challenge the guest-host relationship. The ethical concern that runs through the volume considers material history and the institutional, disciplinary regulation of the uncertainty of hospitality acts as factors determining the narratives about foreign others.
This volume explores and compares linguistic practices among young people in linguistically and culturally diverse urban spaces.
Peabody Award–winning journalist Michele Norris offers a transformative dialogue on race and identity in America, unearthed through her decade-long work at The Race Card Project. The prompt seemed simple: Race. Your Thoughts. Six Words. Please Send. The answers, though, have been challenging and complicated. In the twelve years since award-winning journalist Michele Norris first posed that question, over half a million people have submitted their stories to The Race Card Project inbox. The stories are shocking in their depth and candor, spanning the full spectrum of race, ethnicity, identity, and class. Even at just six words, the micro-essays can pack quite a punch, revealing, fear, pain, triumph, and sometimes humor. Responses such as: You’re Pretty for a Black girl. White privilege, enjoy it, earned it. Lady, I don’t want your purse. My ancestors massacred Indians near here. Urban living has made me racist. I’m only Asian when it’s convenient. Many go even further than just six words, submitting backstories, photos, and heirlooms: a collection much like a scrapbook of American candor you rarely get to see. Our Hidden Conversations is a unique compilation of stories, richly reported essays, and photographs providing a window into America during a tumultuous era. This powerful book offers an honest, if sometimes uncomfortable, conversation about race and identity, permitting us to eavesdrop on deep-seated thoughts, private discussions, and long submerged memories. The breadth of this work came as a surprise to Norris. For most of the twelve years she has collected these stories, many were submitted by white respondents. This unexpected panorama provides a rare 360-degree view of how Americans see themselves and one another. Our Hidden Conversations reminds us that even during times of great division, honesty, grace, and a willing ear can provide a bridge toward empathy and maybe even understanding.
La India María—a humble and stubborn indigenous Mexican woman—is one of the most popular characters of the Mexican stage, television, and film. Created and portrayed by María Elena Velasco, La India María has delighted audiences since the late 1960s with slapstick humor that slyly critiques discrimination and the powerful. At the same time, however, many critics have derided the iconic figure as a racist depiction of a negative stereotype and dismissed the India María films as exploitation cinema unworthy of serious attention. By contrast, La India María builds a convincing case for María Elena Velasco as an artist whose work as a director and producer—rare for women in Mexican cinema—has been widely and unjustly overlooked. Drawing on extensive interviews with Velasco, her family, and film industry professionals, as well as on archival research, Seraina Rohrer offers the first full account of Velasco's life; her portrayal of La India María in vaudeville, television, and sixteen feature film comedies, including Ni de aquí, ni de allá [Neither here, nor there]; and her controversial reception in Mexico and the United States. Rohrer traces the films' financing, production, and distribution, as well as censorship practices of the period, and compares them to other Mexploitation films produced at the same time. Adding a new chapter to the history of a much-understudied period of Mexican cinema commonly referred to as "la crisis," this pioneering research enriches our appreciation of Mexploitation films.
Through a series of case studies by leading anthropologists, Cool Anthropology highlights the many different approaches that scholars have used to engage the public with their research. Editors Kristina Baines and Victoria Costa showcase efforts to make meaningful connections with communities outside the walls of academia, moving anthropological thinking beyond the discipline. Through their focus on collaborative efforts, contributors push against the exclusivity of "knowledge production" to ask how engaging communities as both producers and consumers of academic research helps to promote anthropology better and do anthropology better.