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In a small Mexican village deep down in the Southwest corner of Mexico, there was the finest jumping bean community in all the land. Farmer Blue had the most lush, fertile farm in the area. He was very proud of the fact that the famous jumping bean community lived on his farm. He created a special area called the Oasis where they were safe from harm and could flourish to their heart's content. Some people marveled at his jumping beans, others mocked him. "These are famous jumping beans", Farmer Blue would say. "They are circus jumpers and always have a home hereThe Oasis was the center of the village. All community gatherings happen here. All the beans came together here before they make their own way each day. In the center of the Oasis was a beautiful turquoise waterfall with a lagoon and a river that flows through the farmland. Farmer Blue maintained the oasis for the beans for 60 years, so they could live there peacefully.
Pedro the Sailor, a sequel to Abby's first book, Pedro the Mexican Jumping Bean, finds Pedro all grown up and living out his dream of being a sailor. This book's message is, there is someone for everyone; we can all fulfill our dreams, no matter what our circumstances.
Widely considered one of the most important voices in the Chicano literary canon, José Antonio Burciaga was a pioneer who exposed inequities and cultural difficulties through humor, art, and deceptively simple prose. In this anthology and tribute, Mimi R. Gladstein and Daniel Chacón bring together dozens of remarkable examples of Burciaga’s work. His work never demonstrates machismo or sexism, as he believed strongly that all Chicano voices are equally valuable. Best known for his books Weedee Peepo, Drink Cultura, and Undocumented Love, Burciaga was also a poet, cartoonist, founding member of the comedy troupe Cultura Clash, and a talented muralist whose well-known work The Last Supper of Chicano Heroes became almost more famous than the man. This first and only collection of Burciaga’s work features thirty-eight illustrations and incorporates previously unpublished essays and drawings, including selections from his manuscript “The Temple Gang,” a memoir he was writing at the time of his death. In addition, Gladstein and Chacón address Burciaga’s importance to Chicano letters. A joy to read, this rich compendium is an important contribution not only to Chicano literature but also to the preservation of the creative, spiritual, and political voice of a talented and passionate man.
May 4, 1885- the Feast of Saint Sebastian in Melilli, Sicily, celebrating the martyred saint and protector from the bubonic plague. But for young Nick Ilsanto, that day would turn into his worst nightmare, its tragedy propagating a new kind of plague, one spawned by avarice and hate, destined to bring America, and Europe, to its knees. Nick Ilsanto and the Scourge of the Black Hand details Nick’s twentyfour- year odyssey to find the man known as “il Lupo,” “the Wolf,” the cause of his nightmare and, eventually, the world’s. While pursuing the leader of the terrorist organization known as the Black Hand, Nick, driven by revenge, vows to destroy both “il Lupo” and the Hand- why the Wolf wants him, more than anyone else on earth, dead. A crime novel and love story featuring some of America’s most legendary figures, including P.T. Barnum, Teddy Roosevelt, and John L. Sullivan, “Nick Ilsanto” is also an epic tale of America’s reality and myths regarding justice, equality, racism and immigration.
Lena can recite the Scriptures by heart. Hoping to make her adored Papa proud of her and to make her white classmates notice her "Magic Mind," not her black skin, Lena vows to win the Bible-quoting contest. But winning does not bring Lena what she expected. Instead of honor, violence and death erupt and strike the one she loves most dearly. Lena, who has believed in vengeance, must now learn how to forgive.
After the breakup of his marriage and plagued by severe depression, Amos Grant loses his job as an award-winning reporter on a large metropolitan newspaper and is forced to return to Taterville, the small Florida cowboy town of his birth. He consents to his dying father's wish and takes over the family weekly newspaper and stays to care for his ailing mother. After ten years, he feels shackled. He hates his dull, unsophisticated life and dreams of the day when he can escape Taterville. But everything changes when Randy, his gay employee, is charged with the mysterious deaths of two teenage boys. In order to prove Randy's innocence, Amos must battle Carlton Potter, one of the richest ranchers in the state. In addition, he is threatened by Taterville's bigoted secret society. In the end, Amos realizes he must uncover the naked lies lurking behind the closed doors of Carlton Potter's mansion, even if it means discovering the stark truth about himself.
THE SLUM TRILOGY, BOOK TWO "Life turns on a dime," Robbie says in the final paragraphs of Book One-and the pages of Book Two fulfill his clichéd statement in ways he never could've foreseen. Little did they know they'd be dealing with the cold blooded murder of one of Julianna's employees, the fiery death of her brother, fear and hunger, and Julianna's near rape, as the island is thrown into turmoil. As Robbie's headquarters and Julianna's General Store become engulfed in flames, and the entire slum finds itself in a state of panic, Robbie must confront the reality of an island convulsed in unexpected upheaval, while at the same time support and comfort Julianna who struggles to bring life into a world that knows only death. Love, passion, and hope drive Slum Song: Disaster in the Wind-a fast-paced adventure which takes twists and turns to the point where Robbie and Julianna have difficulty holding onto the life they've built, but a life which thrusts them into a new beginning.
The second in a two-volume series, Moquis and Kastiilam, Volume II, 1680–1781 continues the story of the encounter between the Hopis, who the Spaniards called Moquis, and the Spaniards, who the Hopis called Kastiilam, from the Pueblo Revolt in 1680 through the Spanish expeditions in search of a land route to Alta California until about 1781. By comparing and contrasting Spanish documents with Hopi oral traditions, the editors present a balanced presentation of a shared past. Translations of sixteenth-, seventeenth-, and eighteenth-century documents written by Spanish explorers, colonial officials, and Franciscan missionaries tell the perspectives of the European visitors, and oral traditions recounted by Hopi elders reveal the Indigenous experience. The editors argue that only the Hopi perspective can balance the story recounted in the Spanish documentary record, which is biased, distorted, and incomplete (as is the documentary record of any European or Euro-American colonial power). The only hope of correcting those weaknesses and the enormous silences about the Hopi responses to Spanish missionization and colonization is to record and analyze Hopi oral traditions, which have been passed down from generation to generation since 1540, and to give voice to Hopi values and social memories of what was a traumatic period in their past. Volume I documented Spanish abuses during missionization, which the editors address specifically and directly as the sexual exploitation of Hopi women, suppression of Hopi ceremonies, and forced labor of Hopi men and women. These abuses drove Hopis to the breaking point, inspiring a Hopi revitalization that led them to participate in the Pueblo Revolt and to rebuff all subsequent efforts to reestablish Franciscan missions and Spanish control. Volume II portrays the Hopi struggle to remain independent at its most effective—a mixture of diplomacy, negotiation, evasion, and armed resistance. Nonetheless, the abuses of Franciscan missionaries, the bloodshed of the Pueblo Revolt, and the subsequent destruction of the Hopi community of Awat’ovi on Antelope Mesa remain historical traumas that still wound Hopi society today.