University of Arizona Press

In 1919, the brother of one of the West’s most famous Indian traders was shot to death in a remote corner of the Navajo Nation. Part history, part true crime, The Sons of Gunshooter reexamines the killing and subsequent murder trial, while simultaneously embedding the story in a much larger saga of colonization and resistance. The result is a book that’s sweeping in its scope and surgical in its approach. Rewinding the clock to 1868, the authors follow the intertwining paths of two families to offer a riveting, deeply personal account that has been hailed as “a new way of doing historiography.” One of the authors is a descendant of participants in the case; the other is an investigative journalist. By merging DinÉ oral traditions with archival evidence, they succeed in upending one false narrative after another. The Sons of Gunshooter is an inspiring new take on a history we thought we knew.

Winner of the 2025 Ambroggio Prize This award-winning bilingual collection intertwines the lives of a Renaissance painter and a modern migrant worker, offering a fresh perspective on art and migration. In this highly imaginative work, the lives of the northern Renaissance painter Hieronymus Bosch (1450–1516) and an imagined contemporary migrant worker named Juan Coyoc, later known as Juan DomÍnguez, run in parallel as they mirror each other across languages, time, and continents. By comparing and at times intertwining these two poetic narratives, the book explores themes of art, migration, narco-violence, family, spirituality, and the idea that every human being represents all humanity at any moment in history. Both Hieronymus Bosch and Juan DomÍnguez become relatable and intimate figures, part of our own story. Written in simple, sharp language, the book employs surprising imagery and a novel structure to blur the boundaries between reality and fiction, while examining the intricacies of the human condition—from the life of Saint Anthony to the violent acts of narcos across Central America and the U.S.-Mexico border. With formal sophistication and philosophical depth, this work enriches the tradition of poetry about both migration and art, contributing to the literary heritage of Mexico and the United States over the past several decades.

We Gon’ Be Alright: Resistance and Healing in Black Movement Spaces, 2012–2021 is a profound exploration of Black activism and organizing during a pivotal decade in American history. Rev. Dr. Stephanie M. Crumpton explores the practices of care, reflection, and creativity that Black activists employed to heal and resist amidst the sociopolitical turbulence from the Obama era through the first Trump presidency. This period, marked by the myth of a “post-racial” America, saw a resurgence in racial violence and hate crimes, culminating in the 2021 Capitol insurrection. Against this backdrop, Crumpton captures the resilience and ingenuity of Black movement workers as they navigated these challenges. Drawing on oral histories and personal narratives, Crumpton provides an intimate look at the lived experiences of thirty-seven full-time community organizers. These activists and organizers share their strategies for maintaining an ethic of care that sustains them while fighting against both external oppression and internal community struggles. The book highlights how contemporary Black resisters have leveraged a growing understanding of trauma and healing to enhance their activism. This blend of historical knowledge and modern therapeutic practices has equipped them with a broader array of tools to support their communities. Rooted in womanist practical theology, We Gon’ Be Alright emphasizes the interconnectedness of white supremacy with other forms of oppression such as sexism, homophobia, and classism. Crumpton’s work underscores the necessity of “deep, deep healing” to address these multifaceted threats to Black life. This book is an essential resource for scholars, activists, and anyone interested in understanding the dynamics of Black resistance and healing in contemporary America. Through its detailed examination of the past decade, it offers valuable insights into the ongoing struggle for Black humanity, dignity, and a thriving future.

In the remote mountains of Oaxaca, the Beatniks have arrived. María Sabina, the renowned Mazatec healer, spends her days in the small town of Huautla de Jiménez selling produce at the market and foraging under the new moon for the sacred mushrooms that grow near her home - her holy children, Carne de Dios, or Flesh of the Gods. But her life changes forever when an amateur mycologist from New York, with a cameraman in tow, visits her to experience for himself the mushroom ceremony, or velada, he knows only from whispers in anthropological records. When he publishes an unauthorized article about his experience in LIFE Magazine 1957, the stage is set for an explosive encounter between the burgeoning international counterculture and the woman who became an unwilling icon of the psychedelic revolution. Homero Aridjis's novel, vividly translated by Chloe Garcia Roberts, tells the story of the motley crew of bohemians, researchers, and holy fools, both real and imagined, who descend on the town of Huautla de Jiménez searching for inspiration, distraction, and salvation in the sacred mushrooms. These seekers melt in and out of a narrative infiltrated by the slipstream logic of dreams. As John Lennon plays jazz on the patio of the Hotel Grande, Juan Rulfo contemplates horror movies, and Allen Ginsberg recites mantras at Philip Lamantia's wedding, María Sabina's life is increasingly thrown into turmoil. Carne de Dios is a masterful and often humorous blend of history, myth, and poetic imagination, captured in a translation that mirrors the hallucinatory beauty of Aridjis's original Spanish. Aridjis's intimate portrayal of María Sabina, informed by his personal connection to her, serves as both a tribute to her enduring legacy and a critical reflection on the wave of global interest in mushroom culture still gaining momentum today. This English translation includes an introduction by the translator and an afterword by the author.