This exotic coloring book for grownups presents 30 creative art activities based on Day of the Dead sugar skulls, printed on high quality extra-thick paper.
Passionate and provocative, this novel faces the issue of our society's sexual McCarthyism head-on, especially as it manifests in abuses of "hostile environment" sexual "harassment" law. Lupe Diego, a lapsed Catholic philosophy professor with a feminine Spanish name, faces accusations after a relationship goes sour. Encountering gender prejudice along the way, plus faced with losing his career, Lupe finds a renewed faith. Even as he sees gay friends fall under a wave charges, when tyrannical sexual ideology rocks the campus...
Inspired by the Mexican holiday Day of the Dead (Dia de los Muertos), this quirky folk art coloring book offers 32 fun and playful "Sugar Skull" art activities that will take you on a playful journey of patterning, shading, and coloring. Beautifully colored examples are provided, along with a handy guide to basic art techniques. This therapeutic coloring book is perfect for decorating with markers, colored pencils, gel pens, or watercolors. Each design is printed on one side only of archival-grade, acid-free, 200-year paper. Each perforated page detaches easily for gifting or display.
"Whether it's the Magician shooting the sugar skull bullseye each time, the High Priestess seeing her reflection in the water (thus revealing her inner truth in the form of a sugar skull), or the Fool feeling confident that he will create and manifest the perfect sugar skull by the time he finishes his journey, we all have an unrealized version of our true potential lying in wait. Let the light-hearted illustrations and color palettes of The Sugar Skull Tarot Deck offer you all the inspiration you need to be the best person you can truly be. So when you are finally reflecting on the outside how you've been feeling on the inside, you will be presented to the world as you've always seen yourself-confident, magical, and ready to give and receive love"--
A tribute to Mexico’s most important holiday, this extraordinary and definitive volume documents the immense creativity displayed by this popular annual celebration. While there have been other books about the Day of the Dead, most are long out of print and aridly academic. This book features both exceptional “traditional” Indigenous material—such as vibrant folk art and crafts, flamboyant costumes and masks, special food and drink—but also a much more funky, modern approach that blends lively music and dance, colorful parades, cutting-edge contemporary street art, and a festive atmosphere that engages all of the senses with handmade altars, flowers, painted skulls, toys, paintings, murals, and other art objects. Featuring hundreds of specially commissioned photographs and voluminous in-depth research, the book is lavishly illustrated and designed with an aesthetic that draws on both traditional material as well as Mexico’s contemporary street art style. Blending visual elements inspired by the country’s pre-Hispanic heritage, European influences, and modern art trends, the book explores the evolution of the Day of the Dead and the special role it plays. This book is the definitive, authentic resource for all things Day of the Dead.
Award-winning Mexican-American and Indigenous author Jennifer Givhan brings us an exquisitely written, spell-binding psychological thriller—weaving together folk magick with personal and cultural empowerment—that is perfect for fans of Mexican Gothic. When Eva’s husband is arrested for the murder of a friend, she must confront her murky past and embrace her magick to find out what really happened that night on the river. Eva Santos Moon is a burgeoning Chicana artist who practices the ancient, spiritual ways of brujería and curanderisma, but she’s at one of her lowest points—suffering from disorienting blackouts, creative stagnation, and a feeling of disconnect from her magickal roots. When her husband, a beloved university professor and the glue that holds their family together, is taken into custody for the shocking murder of their friend, Eva doesn’t know whom to trust—least of all, herself. She soon falls under suspicion as a potential suspect, and her past rises to the surface, dredging up the truth about an eerily similar death from her childhood. Struggling with fragmented memories and self-doubt, an increasingly terrified Eva fears that she might have been involved in both murders. But why doesn’t she remember? Only the dead women know for sure, and they’re coming for her with a haunting vengeance. As she fights to keep her family out of danger, Eva realizes she must use her magick as a bruja to protect herself and her loved ones, while confronting her own dark history. River Woman, River Demon is a mysterious incantation of reckoning with the past and claiming one’s unique power and voice.
“[Norman Lock’s fiction] shimmers with glorious language, fluid rhythms, and complex insights.” —NPR When U.S. Army chaplain Robert Winter first meets Emily Dickinson, he is fascinated by the brilliance of the strange girl immersed in her botany lessons. She will become his confidante, obsession, and muse over the years as he writes to her of his friendship with the aspiring politician Abraham Lincoln, his encounter with the young newspaperman Samuel Clemens, and his crisis of conscience concerning the radical abolitionist John Brown. Bearing the standard of God and country through the Mexican War and the Mormon Rebellion, Robert seeks to lessen his loneliness while his faith is eroded by the violence he observes and ultimately commits. Emily, however, remains as elusive as her verse on his rare visits to Amherst and denies him solace, a rejection that will culminate in a startling epiphany at the very heart of his despair. Powerfully evocative of Emily Dickinson’s life, times, and artistry, this fifth stand-alone book in The American Novels series captures a nation riven by conflicts that continue to this day. Norman Lock is the award-winning author of novels, short fiction, and poetry, as well as stage and radio plays. He lives in Aberdeen, New Jersey, where he is at work on the next books of The American Novels series.
Funny Bones tells the story of how the amusing calaveras—skeletons performing various everyday or festive activities—came to be. They are the creation of Mexican artist José Guadalupe (Lupe) Posada (1852–1913). In a country that was not known for freedom of speech, he first drew political cartoons, much to the amusement of the local population but not the politicians. He continued to draw cartoons throughout much of his life, but he is best known today for his calavera drawings. They have become synonymous with Mexico’s Día de los Muertos (Day of the Dead) festival. Juxtaposing his own art with that of Lupe’s, author Duncan Tonatiuh brings to light the remarkable life and work of a man whose art is beloved by many but whose name has remained in obscurity. The book includes an author’s note, bibliography, glossary, and index.
The surprising true story of Mexico’s hunt, arrest, and conviction of its first female serial killer For three years, amid widespread public outrage, police in Mexico City struggled to uncover the identity of the killer responsible for the ghastly deaths of forty elderly women, many of whom had been strangled in their homes with a stethoscope by someone posing as a government nurse. When Juana Barraza Samperio, a female professional wrestler known as la Dama del Silencio (the Lady of Silence), was arrested—and eventually sentenced to 759 years in prison—for her crimes as the Mataviejitas (the little old lady killer), her case disrupted traditional narratives about gender, criminality, and victimhood in the popular and criminological imagination. Marshaling ten years of research, and one of the only interviews that Juana Barraza Samperio has given while in prison, Susana Vargas Cervantes deconstructs this uniquely provocative story. She focuses, in particular, on the complex, gendered aspects of the case, asking: Who is a killer? Barraza—with her “manly” features and strength, her career as a masked wrestler in lucha libre, and her violent crimes—is presented, here, as a study in gender deviance, a disruption of what scholars call mexicanidad, or the masculine notion of what it means to be Mexican. Cervantes also challenges our conception of victimhood—specifically, who “counts” as a victim. The Little Old Lady Killer presents a fascinating analysis of what serial killing—often considered “killing for the pleasure of killing”—represents to us.