In this dazzling multidisciplinary tour of Mexico City, Mauricio Tenorio-Trillo focuses on the period 1880 to 1940, the decisive decades that shaped the city into what it is today. Through a kaleidoscope of expository forms, I Speak of the City connects the realms of literature, architecture, music, popular language, art, and public health to investigate the city in a variety of contexts: as a living history textbook, as an expression of the state, as a modernist capital, as a laboratory, and as language. Tenorio-Trillo's formal imagination allows the reader to revel in the free-flowing richness of his narratives, opening startling new vistas onto the urban experience. From art to city planning, from epidemiology to poetry, this book challenges the conventional wisdom about both Mexico City and the turn-of-the-century world to which it belonged. And by engaging directly with the rise of modernism and the cultural experiences of such personalities as Hart Crane, Mina Loy, and Diego Rivera, I Speak of the City will find an enthusiastic audience across the disciplines.

Latin America is a concept firmly entrenched in its philosophical, moral, and historical meanings. And yet, Mauricio Tenorio-Trillo argues in this landmark book, it is an obsolescent racial-cultural idea that ought to have vanished long ago with the banishment of racial theory. Latin America: The Allure and Power of an Idea makes this case persuasively. Tenorio-Trillo builds the book on three interlocking steps: first, an intellectual history of the concept of Latin America in its natural historical habitat mid-nineteenth-century redefinitions of empire and the cultural, political, and economic intellectualism; second, a serious and uncompromising critique of the current "Latin Americanism" which circulates in United States based humanities and social sciences; and, third, accepting that we might actually be stuck with "Latin America," Tenorio-Trillo charts a path forward for the writing and teaching of Latin American history. Accessible and forceful, rich in historical research and specificity, the book offers a distinctive, conceptual history of Latin America and its many connections and intersections of political and intellectual significance.Tenorio-Trillo's book is a masterpiece of interdisciplinary scholarship.

"Latin America" is a concept firmly entrenched in its philosophical, moral, and historical meanings. And yet, Mauricio Tenorio-Trillo argues in this landmark book, it is an obsolescent racial-cultural idea that ought to have vanished long ago with the banishment of racial theory. Latin America: The Allure and Power of an Idea makes this case persuasively.Tenorio-Trillo builds the book on three interlocking steps: first, an intellectual history of the concept of Latin America in its natural historical habitat--mid-nineteenth-century redefinitions of empire and the cultural, political, and economic intellectualism; second, a serious and uncompromising critique of the current "Latin Americanism"--which circulates in United States-based humanities and social sciences; and, third, accepting that we might actually be stuck with "Latin America," Tenorio-Trillo charts a path forward for the writing and teaching of Latin American history. Accessible and forceful, rich in historical research and specificity, the book offers a distinctive, conceptual history of Latin America and its many connections and intersections of political and intellectual significance. Tenorio-Trillo's book is a masterpiece of interdisciplinary scholarship.

In this dazzling multidisciplinary tour of Mexico City, Mauricio Tenorio-Trillo focuses on the period 1880 to 1940, the decisive decades that shaped the city into what it is today.    Through a kaleidoscope of expository forms, I Speak of the City connects the realms of literature, architecture, music, popular language, art, and public health to investigate the city in a variety of contexts: as a living history textbook, as an expression of the state, as a modernist capital, as a laboratory, and as language. Tenorio’s formal imagination allows the reader to revel in the free-flowing richness of his narratives, opening startling new vistas onto the urban experience.   From art to city planning, from epidemiology to poetry, this book challenges the conventional wisdom about both Mexico City and the turn-of-the-century world to which it belonged. And by engaging directly with the rise of modernism and the cultural experiences of such personalities as Hart Crane, Mina Loy, and Diego Rivera, I Speak of the City will find an enthusiastic audience across the disciplines.

Take a street-level tour of Mexico’s capital and learn how one of the world’s most extraordinary cities has transformed over the centuries.  Walking a City’sHistory is both a richly documented panoramic view of Mexico City’s long history and an intimate essay on its social and cultural fabric. In this book, Mauricio Tenorio-Trillo uses his expertise as a historian and his talents as a storyteller to bring the city to life.  Using influential moments in Mexico City’s history from the Battle of Tenochtitlán in 1521 to the present, Tenorio-Trillo illustrates the capital’s transformations against a national and global background. Walking a City’s History offers an original, unique perspective on the social, architectural, artistic, and political dimensions of Mexico City, guided by chronicles, literary works, historical accounts, and the author’s own lifetime of walks through the city.

Take a street-level tour of Mexico’s capital and learn how one of the world’s most extraordinary cities has transformed over the centuries.  Walking a City’sHistory is both a richly documented panoramic view of Mexico City’s long history and an intimate essay on its social and cultural fabric. In this book, Mauricio Tenorio-Trillo uses his expertise as a historian and his talents as a storyteller to bring the city to life.  Using influential moments in Mexico City’s history from the Battle of Tenochtitlán in 1521 to the present, Tenorio-Trillo illustrates the capital’s transformations against a national and global background. Walking a City’s History offers an original, unique perspective on the social, architectural, artistic, and political dimensions of Mexico City, guided by chronicles, literary works, historical accounts, and the author’s own lifetime of walks through the city.

This intriguing study of Mexico's participation in world's fairs from 1889 to 1929 explores Mexico's self-presentation at these fairs as a reflection of the country's drive toward nationalization and a modernized image. Mauricio Tenorio-Trillo contrasts Mexico's presence at the 1889 Paris fair—where its display was the largest and most expensive Mexico has ever mounted—with Mexico's presence after the 1910 Mexican Revolution at fairs in Rio de Janeiro in 1922 and Seville in 1929.Rather than seeing the revolution as a sharp break, Tenorio-Trillo points to important continuities between the pre- and post-revolution periods. He also discusses how, internationally, the character of world's fairs was radically transformed during this time, from the Eiffel Tower prototype, encapsulating a wondrous symbolic universe, to the Disneyland model of commodified entertainment.Drawing on cultural, intellectual, urban, literary, social, and art histories, Tenorio-Trillo's thorough and imaginative study presents a broad cultural history of Mexico from 1880 to 1930, set within the context of the origins of Western nationalism, cosmopolitanism, and modernism.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1997.

This intriguing study of Mexico's participation in world's fairs from 1889 to 1929 explores Mexico's self-presentation at these fairs as a reflection of the country's drive toward nationalization and a modernized image. Mauricio Tenorio-Trillo contrasts Mexico's presence at the 1889 Paris fair—where its display was the largest and most expensive Mexico has ever mounted—with Mexico's presence after the 1910 Mexican Revolution at fairs in Rio de Janeiro in 1922 and Seville in 1929. Rather than seeing the revolution as a sharp break, Tenorio-Trillo points to important continuities between the pre- and post-revolution periods. He also discusses how, internationally, the character of world's fairs was radically transformed during this time, from the Eiffel Tower prototype, encapsulating a wondrous symbolic universe, to the Disneyland model of commodified entertainment. Drawing on cultural, intellectual, urban, literary, social, and art histories, Tenorio-Trillo's thorough and imaginative study presents a broad cultural history of Mexico from 1880 to 1930, set within the context of the origins of Western nationalism, cosmopolitanism, and modernism.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1997.

This intriguing study of Mexico's participation in world's fairs from 1889 to 1929 explores Mexico's self-presentation at these fairs as a reflection of the country's drive toward nationalization and a modernized image. Mauricio Tenorio-Trillo contrasts Mexico's presence at the 1889 Paris fair—where its display was the largest and most expensive Mexico has ever mounted—with Mexico's presence after the 1910 Mexican Revolution at fairs in Rio de Janeiro in 1922 and Seville in 1929.Rather than seeing the revolution as a sharp break, Tenorio-Trillo points to important continuities between the pre- and post-revolution periods. He also discusses how, internationally, the character of world's fairs was radically transformed during this time, from the Eiffel Tower prototype, encapsulating a wondrous symbolic universe, to the Disneyland model of commodified entertainment.Drawing on cultural, intellectual, urban, literary, social, and art histories, Tenorio-Trillo's thorough and imaginative study presents a broad cultural history of Mexico from 1880 to 1930, set within the context of the origins of Western nationalism, cosmopolitanism, and modernism.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1997.

Offering a unique perspective on the very notions and practices of storytelling, history, memory, and language, Clio’s Laws collects ten essays (some new and some previously published in Spanish) by a revered voice in global history. Taking its title from the Greek muse of history, this opus considers issues related to the historian’s craft, including nationalism and identity, and draws on Tenorio-Trillo’s own lifetime of experiences as a historian with deep roots in both Mexico and the United States. By turns deeply ironic, provocative, and experimental, and covering topics both lowbrow and highbrow, the essays form a dialogue with Clio about idiosyncratic yet profound matters.Tenorio-Trillo presents his own version of an ars historica (what history is, why we write it, and how we abuse it) alongside a very personal essay on the relationship between poetry and history. Other selections include an exploration of the effects of a historian’s autobiography, a critique of history’s celebratory obsession, and a guide to reading history in an era of internet searches and too many books. A self-described exile, Tenorio-Trillo has produced a singular tour of the historical imagination and its universal traits.

¿Por qué un hecho histórico tan innegable como la integración —el mestizaje, la mescolanza entre todo tipo de pueblos e ideas— ha dado lugar a historias tan distintas entre Canadá, México y Estados Unidos? Mauricio Tenorio trata de explicar el devenir de esta diferencia entre lo que se ha conocido como "mestizaje" en la historia mexicana y en la estadounidense como miscegenation —¿por qué el mito de la mezcla? ¿por qué el tabú de la mezcla?—. Por otro lado, el libro propone una redefinición del mestizaje a escala norteamericana para enfrentar los violentos riesgos originados por la desigualdad, los populismos y la catástrofe ecológica.La desigualdad y la mentira de la raza han estado íntimamente unidas en Norteamérica. La lucha antirracista en Estados Unidos ha sostenido por décadas su apuesta por reivindicar identidades raciales y despreciar o negar el mestizaje.En México, después de hacer del mestizaje una idea de Estado, cada vez más se asume que el antirracismo debe ser como el de Estados Unidos. Este libro propone "mexicanizar" la historia de Estados Unidos y Canadá —porque no queda más que aceptar el mestizaje y utilizarlo para buscar mejores escenarios sociales— y "desgringar" los debates mexicanos alrededor de raza y desigualdad — que de manera creciente denuncian el mestizaje con nuevas categorías como "afromexicanos", "White Mexicans", "afromestizos", "mestizos reindigenizados"—.Este ensayo es una ventana actualizada a la complejidad de las paradojas y mitos que giran en torno a los temas que aborda, expresada con el desenfado y el ingenio característicos del autor.

Ecos de Historia, ¿para qué? es un homenaje al ya clásico Historia, ¿para qué?, publicado por Siglo XXI en 1980, que marcó un hito en los libros sobre historia dado que las nuevas generaciones de historiadores y especialistas criticaban la historiografía tradicional. Cuatro décadas después, este libro aparece como un emocionante desafío en el que los y las autoras actualizan y enriquecen la discusión desde perspectivas plurales, intergeneracionales y contemporáneas.Destaca la diversidad de los temas de reflexión: historia feminista, de género y de mujeres; las tradiciones indígenas en la historiografía novohispana; nuevas consideraciones para la enseñanza de una historia más incluyente; el ejercicio de autoconciencia que sólo la historia profesional puede tener sobre su propia producción, entre otros.Todos estos asuntos, iluminados por el conocimiento y la agudeza reflexiva de las plumas convocadas, convierten a Ecos de Historia, ¿para qué? en un estímulo extraordinario para quienes se dedican al oficio de historiar, así como para todo lector interesado en estos temas.

Fábula caleidoscópica, El urbanista es una serie de relatos, reuniones de textos fragmentarios rescatados entre los papeles póstumos de un viajero que ha recorrido las calles, plazas, parques, cafés, atardeceres y horarios de un puñado de ciudades y nos transmite en ellos un destino perfilado por el orden y el caos, calcados de la ciudad moderna, deidad ciega, maternal y monstruosa a un tiempo.

Este libro es el mapa aproximado de la historiografía del Porfiriato; como es evidente, hay capítulos de esta historia que están muy crecidos (por ejemplo, la economía) y otros más bien flacos de preguntas y respuestas. Y en todos los campos se lucha contra estereotipos más o menos firmes. Sobre este periodo puede decirse: mujeres y hombres trabajando.

En La paz. 1876 Mauricio Tenorio Trillo explora el concepto de paz y sus implicaciones en la historia moderna tomando el año de 1876 como eje por su relativo orden y estabilidad política. El autor analiza guerras civiles, dictaduras, elecciones y regímenes militares ocurridos hacia 1876, así como los procesos de industrialización de los Estados-nación modernos y explora sus connotaciones filosóficas, políticas, éticas y artísticas. Posteriormente explora la idea de la pax alrededor de 1876 como purgatorio político y pragmático, mantenido a través de acuerdos económicos, convenios entre naciones, desarrollo tecnológico, medidas imperialistas y pacifismo científico. Finalmente, Tenorio Trillo da cuenta de la forma en la que se comprendía el tiempo, el riesgo, la distancia, la ciencia y la practicidad en la era de la pax purgatorio.

Las caminatas urbanas, escribe Mauricio Tenorio Trillo, son como la paternidad: el único pecado cuya condena es mejor que la absolución. Un patasuelta empedernido, un pecador, recorre Berlín, Barcelona y Ciudad de México. Todas se le llenan de recuerdos propios y ajenos. Las ciudades le dicen qué era el mundo, quién era él. Berlín era y es una banca frente al lago Lietzensee, un árbol que habla con el viento, pero también un político asesinado a pocos pasos y una pastelería vienesa en una avenida parecida a San Cosme. Barcelona es experiencia geométrica y laberinto, mar y montaña, pero también turistas en patineta y ramblas donde se ofrecen sombreros de charro. La Ciudad de México es reloj chino y Porfiriato, una oficina de correos que es palacio, pero también un ubicuo olor a Pinol y la "adusta testa de un cerdo" a la que le tiembla el nenepil con cada cumbia.La caminata sugiere el pasado, pero hincha el presente. Dar fe de la ciudad en movimiento, escribe Tenorio, es escape propio. Para todo andarín, su oficio es consuelo y alivio: perderse, ser otro; la dicha del agotamiento y su consecuencia, no pensar. La tristeza cede ante el cansancio. A flor de pie es paseo alrededor, y también hacia adentro, caminata llena de melancolía y de ternura, de humor y de erudición. Un libro que, como las ciudades, se recorre, pero no se agota. Luis Madrigal

Puede que hoy sintamos más intensamente bajo nuestros pies el temblor de la destrucción de los monumentos. Movimientos como "Black Lives Matter", las justas reclamaciones de los descendientes de pueblos colonizados o las luchas por la memoria histórica tras las dictaduras del siglo XX han exigido reparaciones simbólicas que a menudo pasan por intervenir, retirar o demoler estatuas de personajes y acontecimientos heroificados por una sola versión de los hechos. Sin embargo, como nos invita a reconocer aquí Mauricio Tenorio, el subir y bajar de los monumentos es tan viejo como la propia historia. La auténtica novedad reside en el flamante monumento de nuestra era: el "selfie", la imagen que, gracias a la magia de las redes sociales, pretende congelar el gesto de destrucción como un acto monumental que rinde honores a la verdadera justicia y al definitivo progreso, y que ofrenda los escombros del presente en los altares de un futuro mejor, más ético y puro. Pero basta meter las manos en el barro del pasado para convencerse, con el autor, de que la historia no es sino una sucesión de infamias, y nada en ella nos indica que el porvenir tenga la capacidad de conjurar sus males. Frente al gesto reductor y estéril de la destrucción, Mauricio Tenorio propone buscar refugio en la ironía para alumbrar, con una buena dosis de autocrítica, la posibilidad de una relación con la historia que permita hacer cuentas con aquello que incomoda políticamente, mirándolo cara a cara. Repensando nuestros usos del discurso histórico y del espacio público, y, sobre todo, desmitificando sus poderes, tal vez podamos ofrecer a nuestra generación y a las que vengan algo más que ruinas.

In this dazzling multidisciplinary tour of Mexico City, Mauricio Tenorio-Trillo focuses on the period 1880 to 1940, the decisive decades that shaped the city into what it is today. Through a kaleidoscope of expository forms, I Speak of the City connects the realms of literature, architecture, music, popular language, art, and public health to investigate the city in a variety of contexts: as a living history textbook, as an expression of the state, as a modernist capital, as a laboratory, and as language. Tenorio-Trillo's formal imagination allows the reader to revel in the free-flowing richness of his narratives, opening startling new vistas onto the urban experience. From art to city planning, from epidemiology to poetry, this book challenges the conventional wisdom about both Mexico City and the turn-of-the-century world to which it belonged. And by engaging directly with the rise of modernism and the cultural experiences of such personalities as Hart Crane, Mina Loy, and Diego Rivera, I Speak of the City will find an enthusiastic audience across the disciplines.

Latin America is a concept firmly entrenched in its philosophical, moral, and historical meanings. And yet, Mauricio Tenorio-Trillo argues in this landmark book, it is an obsolescent racial-cultural idea that ought to have vanished long ago with the banishment of racial theory. Latin America: The Allure and Power of an Idea makes this case persuasively. Tenorio-Trillo builds the book on three interlocking steps: first, an intellectual history of the concept of Latin America in its natural historical habitat mid-nineteenth-century redefinitions of empire and the cultural, political, and economic intellectualism; second, a serious and uncompromising critique of the current "Latin Americanism" which circulates in United States based humanities and social sciences; and, third, accepting that we might actually be stuck with "Latin America," Tenorio-Trillo charts a path forward for the writing and teaching of Latin American history. Accessible and forceful, rich in historical research and specificity, the book offers a distinctive, conceptual history of Latin America and its many connections and intersections of political and intellectual significance.Tenorio-Trillo's book is a masterpiece of interdisciplinary scholarship.

"Latin America" is a concept firmly entrenched in its philosophical, moral, and historical meanings. And yet, Mauricio Tenorio-Trillo argues in this landmark book, it is an obsolescent racial-cultural idea that ought to have vanished long ago with the banishment of racial theory. Latin America: The Allure and Power of an Idea makes this case persuasively.Tenorio-Trillo builds the book on three interlocking steps: first, an intellectual history of the concept of Latin America in its natural historical habitat--mid-nineteenth-century redefinitions of empire and the cultural, political, and economic intellectualism; second, a serious and uncompromising critique of the current "Latin Americanism"--which circulates in United States-based humanities and social sciences; and, third, accepting that we might actually be stuck with "Latin America," Tenorio-Trillo charts a path forward for the writing and teaching of Latin American history. Accessible and forceful, rich in historical research and specificity, the book offers a distinctive, conceptual history of Latin America and its many connections and intersections of political and intellectual significance. Tenorio-Trillo's book is a masterpiece of interdisciplinary scholarship.

In this dazzling multidisciplinary tour of Mexico City, Mauricio Tenorio-Trillo focuses on the period 1880 to 1940, the decisive decades that shaped the city into what it is today.    Through a kaleidoscope of expository forms, I Speak of the City connects the realms of literature, architecture, music, popular language, art, and public health to investigate the city in a variety of contexts: as a living history textbook, as an expression of the state, as a modernist capital, as a laboratory, and as language. Tenorio’s formal imagination allows the reader to revel in the free-flowing richness of his narratives, opening startling new vistas onto the urban experience.   From art to city planning, from epidemiology to poetry, this book challenges the conventional wisdom about both Mexico City and the turn-of-the-century world to which it belonged. And by engaging directly with the rise of modernism and the cultural experiences of such personalities as Hart Crane, Mina Loy, and Diego Rivera, I Speak of the City will find an enthusiastic audience across the disciplines.

Take a street-level tour of Mexico’s capital and learn how one of the world’s most extraordinary cities has transformed over the centuries.  Walking a City’sHistory is both a richly documented panoramic view of Mexico City’s long history and an intimate essay on its social and cultural fabric. In this book, Mauricio Tenorio-Trillo uses his expertise as a historian and his talents as a storyteller to bring the city to life.  Using influential moments in Mexico City’s history from the Battle of Tenochtitlán in 1521 to the present, Tenorio-Trillo illustrates the capital’s transformations against a national and global background. Walking a City’s History offers an original, unique perspective on the social, architectural, artistic, and political dimensions of Mexico City, guided by chronicles, literary works, historical accounts, and the author’s own lifetime of walks through the city.

Take a street-level tour of Mexico’s capital and learn how one of the world’s most extraordinary cities has transformed over the centuries.  Walking a City’sHistory is both a richly documented panoramic view of Mexico City’s long history and an intimate essay on its social and cultural fabric. In this book, Mauricio Tenorio-Trillo uses his expertise as a historian and his talents as a storyteller to bring the city to life.  Using influential moments in Mexico City’s history from the Battle of Tenochtitlán in 1521 to the present, Tenorio-Trillo illustrates the capital’s transformations against a national and global background. Walking a City’s History offers an original, unique perspective on the social, architectural, artistic, and political dimensions of Mexico City, guided by chronicles, literary works, historical accounts, and the author’s own lifetime of walks through the city.

This intriguing study of Mexico's participation in world's fairs from 1889 to 1929 explores Mexico's self-presentation at these fairs as a reflection of the country's drive toward nationalization and a modernized image. Mauricio Tenorio-Trillo contrasts Mexico's presence at the 1889 Paris fair—where its display was the largest and most expensive Mexico has ever mounted—with Mexico's presence after the 1910 Mexican Revolution at fairs in Rio de Janeiro in 1922 and Seville in 1929.Rather than seeing the revolution as a sharp break, Tenorio-Trillo points to important continuities between the pre- and post-revolution periods. He also discusses how, internationally, the character of world's fairs was radically transformed during this time, from the Eiffel Tower prototype, encapsulating a wondrous symbolic universe, to the Disneyland model of commodified entertainment.Drawing on cultural, intellectual, urban, literary, social, and art histories, Tenorio-Trillo's thorough and imaginative study presents a broad cultural history of Mexico from 1880 to 1930, set within the context of the origins of Western nationalism, cosmopolitanism, and modernism.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1997.

This intriguing study of Mexico's participation in world's fairs from 1889 to 1929 explores Mexico's self-presentation at these fairs as a reflection of the country's drive toward nationalization and a modernized image. Mauricio Tenorio-Trillo contrasts Mexico's presence at the 1889 Paris fair—where its display was the largest and most expensive Mexico has ever mounted—with Mexico's presence after the 1910 Mexican Revolution at fairs in Rio de Janeiro in 1922 and Seville in 1929. Rather than seeing the revolution as a sharp break, Tenorio-Trillo points to important continuities between the pre- and post-revolution periods. He also discusses how, internationally, the character of world's fairs was radically transformed during this time, from the Eiffel Tower prototype, encapsulating a wondrous symbolic universe, to the Disneyland model of commodified entertainment. Drawing on cultural, intellectual, urban, literary, social, and art histories, Tenorio-Trillo's thorough and imaginative study presents a broad cultural history of Mexico from 1880 to 1930, set within the context of the origins of Western nationalism, cosmopolitanism, and modernism.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1997.

This intriguing study of Mexico's participation in world's fairs from 1889 to 1929 explores Mexico's self-presentation at these fairs as a reflection of the country's drive toward nationalization and a modernized image. Mauricio Tenorio-Trillo contrasts Mexico's presence at the 1889 Paris fair—where its display was the largest and most expensive Mexico has ever mounted—with Mexico's presence after the 1910 Mexican Revolution at fairs in Rio de Janeiro in 1922 and Seville in 1929.Rather than seeing the revolution as a sharp break, Tenorio-Trillo points to important continuities between the pre- and post-revolution periods. He also discusses how, internationally, the character of world's fairs was radically transformed during this time, from the Eiffel Tower prototype, encapsulating a wondrous symbolic universe, to the Disneyland model of commodified entertainment.Drawing on cultural, intellectual, urban, literary, social, and art histories, Tenorio-Trillo's thorough and imaginative study presents a broad cultural history of Mexico from 1880 to 1930, set within the context of the origins of Western nationalism, cosmopolitanism, and modernism.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1997.

Offering a unique perspective on the very notions and practices of storytelling, history, memory, and language, Clio’s Laws collects ten essays (some new and some previously published in Spanish) by a revered voice in global history. Taking its title from the Greek muse of history, this opus considers issues related to the historian’s craft, including nationalism and identity, and draws on Tenorio-Trillo’s own lifetime of experiences as a historian with deep roots in both Mexico and the United States. By turns deeply ironic, provocative, and experimental, and covering topics both lowbrow and highbrow, the essays form a dialogue with Clio about idiosyncratic yet profound matters.Tenorio-Trillo presents his own version of an ars historica (what history is, why we write it, and how we abuse it) alongside a very personal essay on the relationship between poetry and history. Other selections include an exploration of the effects of a historian’s autobiography, a critique of history’s celebratory obsession, and a guide to reading history in an era of internet searches and too many books. A self-described exile, Tenorio-Trillo has produced a singular tour of the historical imagination and its universal traits.

¿Por qué un hecho histórico tan innegable como la integración —el mestizaje, la mescolanza entre todo tipo de pueblos e ideas— ha dado lugar a historias tan distintas entre Canadá, México y Estados Unidos? Mauricio Tenorio trata de explicar el devenir de esta diferencia entre lo que se ha conocido como "mestizaje" en la historia mexicana y en la estadounidense como miscegenation —¿por qué el mito de la mezcla? ¿por qué el tabú de la mezcla?—. Por otro lado, el libro propone una redefinición del mestizaje a escala norteamericana para enfrentar los violentos riesgos originados por la desigualdad, los populismos y la catástrofe ecológica.La desigualdad y la mentira de la raza han estado íntimamente unidas en Norteamérica. La lucha antirracista en Estados Unidos ha sostenido por décadas su apuesta por reivindicar identidades raciales y despreciar o negar el mestizaje.En México, después de hacer del mestizaje una idea de Estado, cada vez más se asume que el antirracismo debe ser como el de Estados Unidos. Este libro propone "mexicanizar" la historia de Estados Unidos y Canadá —porque no queda más que aceptar el mestizaje y utilizarlo para buscar mejores escenarios sociales— y "desgringar" los debates mexicanos alrededor de raza y desigualdad — que de manera creciente denuncian el mestizaje con nuevas categorías como "afromexicanos", "White Mexicans", "afromestizos", "mestizos reindigenizados"—.Este ensayo es una ventana actualizada a la complejidad de las paradojas y mitos que giran en torno a los temas que aborda, expresada con el desenfado y el ingenio característicos del autor.

Ecos de Historia, ¿para qué? es un homenaje al ya clásico Historia, ¿para qué?, publicado por Siglo XXI en 1980, que marcó un hito en los libros sobre historia dado que las nuevas generaciones de historiadores y especialistas criticaban la historiografía tradicional. Cuatro décadas después, este libro aparece como un emocionante desafío en el que los y las autoras actualizan y enriquecen la discusión desde perspectivas plurales, intergeneracionales y contemporáneas.Destaca la diversidad de los temas de reflexión: historia feminista, de género y de mujeres; las tradiciones indígenas en la historiografía novohispana; nuevas consideraciones para la enseñanza de una historia más incluyente; el ejercicio de autoconciencia que sólo la historia profesional puede tener sobre su propia producción, entre otros.Todos estos asuntos, iluminados por el conocimiento y la agudeza reflexiva de las plumas convocadas, convierten a Ecos de Historia, ¿para qué? en un estímulo extraordinario para quienes se dedican al oficio de historiar, así como para todo lector interesado en estos temas.

Fábula caleidoscópica, El urbanista es una serie de relatos, reuniones de textos fragmentarios rescatados entre los papeles póstumos de un viajero que ha recorrido las calles, plazas, parques, cafés, atardeceres y horarios de un puñado de ciudades y nos transmite en ellos un destino perfilado por el orden y el caos, calcados de la ciudad moderna, deidad ciega, maternal y monstruosa a un tiempo.

Este libro es el mapa aproximado de la historiografía del Porfiriato; como es evidente, hay capítulos de esta historia que están muy crecidos (por ejemplo, la economía) y otros más bien flacos de preguntas y respuestas. Y en todos los campos se lucha contra estereotipos más o menos firmes. Sobre este periodo puede decirse: mujeres y hombres trabajando.

En La paz. 1876 Mauricio Tenorio Trillo explora el concepto de paz y sus implicaciones en la historia moderna tomando el año de 1876 como eje por su relativo orden y estabilidad política. El autor analiza guerras civiles, dictaduras, elecciones y regímenes militares ocurridos hacia 1876, así como los procesos de industrialización de los Estados-nación modernos y explora sus connotaciones filosóficas, políticas, éticas y artísticas. Posteriormente explora la idea de la pax alrededor de 1876 como purgatorio político y pragmático, mantenido a través de acuerdos económicos, convenios entre naciones, desarrollo tecnológico, medidas imperialistas y pacifismo científico. Finalmente, Tenorio Trillo da cuenta de la forma en la que se comprendía el tiempo, el riesgo, la distancia, la ciencia y la practicidad en la era de la pax purgatorio.

Las caminatas urbanas, escribe Mauricio Tenorio Trillo, son como la paternidad: el único pecado cuya condena es mejor que la absolución. Un patasuelta empedernido, un pecador, recorre Berlín, Barcelona y Ciudad de México. Todas se le llenan de recuerdos propios y ajenos. Las ciudades le dicen qué era el mundo, quién era él. Berlín era y es una banca frente al lago Lietzensee, un árbol que habla con el viento, pero también un político asesinado a pocos pasos y una pastelería vienesa en una avenida parecida a San Cosme. Barcelona es experiencia geométrica y laberinto, mar y montaña, pero también turistas en patineta y ramblas donde se ofrecen sombreros de charro. La Ciudad de México es reloj chino y Porfiriato, una oficina de correos que es palacio, pero también un ubicuo olor a Pinol y la "adusta testa de un cerdo" a la que le tiembla el nenepil con cada cumbia.La caminata sugiere el pasado, pero hincha el presente. Dar fe de la ciudad en movimiento, escribe Tenorio, es escape propio. Para todo andarín, su oficio es consuelo y alivio: perderse, ser otro; la dicha del agotamiento y su consecuencia, no pensar. La tristeza cede ante el cansancio. A flor de pie es paseo alrededor, y también hacia adentro, caminata llena de melancolía y de ternura, de humor y de erudición. Un libro que, como las ciudades, se recorre, pero no se agota. Luis Madrigal

Puede que hoy sintamos más intensamente bajo nuestros pies el temblor de la destrucción de los monumentos. Movimientos como "Black Lives Matter", las justas reclamaciones de los descendientes de pueblos colonizados o las luchas por la memoria histórica tras las dictaduras del siglo XX han exigido reparaciones simbólicas que a menudo pasan por intervenir, retirar o demoler estatuas de personajes y acontecimientos heroificados por una sola versión de los hechos. Sin embargo, como nos invita a reconocer aquí Mauricio Tenorio, el subir y bajar de los monumentos es tan viejo como la propia historia. La auténtica novedad reside en el flamante monumento de nuestra era: el "selfie", la imagen que, gracias a la magia de las redes sociales, pretende congelar el gesto de destrucción como un acto monumental que rinde honores a la verdadera justicia y al definitivo progreso, y que ofrenda los escombros del presente en los altares de un futuro mejor, más ético y puro. Pero basta meter las manos en el barro del pasado para convencerse, con el autor, de que la historia no es sino una sucesión de infamias, y nada en ella nos indica que el porvenir tenga la capacidad de conjurar sus males. Frente al gesto reductor y estéril de la destrucción, Mauricio Tenorio propone buscar refugio en la ironía para alumbrar, con una buena dosis de autocrítica, la posibilidad de una relación con la historia que permita hacer cuentas con aquello que incomoda políticamente, mirándolo cara a cara. Repensando nuestros usos del discurso histórico y del espacio público, y, sobre todo, desmitificando sus poderes, tal vez podamos ofrecer a nuestra generación y a las que vengan algo más que ruinas.