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This third volume of plays by Cherrie Moraga confronts the changing California landscape of the 1990s, as anti-immigrant, anti-youth, and English Only legislation sweeps across the farmworker towns and multi-racial urban communities of the state. Both plays were developed through interviews conducted with residents in the two towns of Watsonville and East Palo Alto. Both towns stand in the shadow of the first world culture of the University: East Palo Alto is a poor neighbour of Stanford University south of San Francisco, while Watsonville, further south, has seen the University of California at Santa Cruz devour the nearby Pacific coastline. These plays document the incursion of the white world of power and authority into poor, racially mixed communities. But they are more than reports of the times. In vividly realised drama, Moraga shows the communities mounting their own bold resistance to cultural domination and the threat of economic enslavement. The indigenous and feminist consciousness of the two communities brings them together to struggle against their oppressors, from within and without.

This is the number one source book for the theft of the 2004 presidential election and control of the 2008 presidential contest, compiled by the reporters Rev. Jesse Jackson calls "the Woodward & Bernstein of the 2004 election". This blunt, hard-hitting digest outlines and sources point-by-point what happened in Ohio to in 2004 to give George W. Bush a second term. Written by the two reporters who made this a global story, there is no more essential guidebook for electoral politics in the new millennium.

Indian Trains is about small town Indians, about community and family, about thieves, prostitutes, train stealers, drug dealers, loners, jerks, dreaming alcoholics, and the ones who did everything but all of that. It is about an entirely new tribe: urban mixed-bloods of multiple tribes who are respectful of where their ancestors have come from but are increasingly going to Indian powwows, Indian bars, and Urban Native organizations for cultural fulfillment rather than only returning to reservations to find out who they are. They are about 70 percent of the Indian population - the truly unsung peoples of America.

Claribel Alegría, born in Estelí, Nicaragua, in 1924, is one of the great voices in twentieth-century Latin American poetry. She left her family’s Nicaraguan coffee plantation to spend her childhood in exile in El Salvador. Her writing of the 1950s and 1960s reflects the views of the “Committed Generation” of Central America, seeking social and political justice for its citizens. She shared the Casas de las Americas poetry prize in 1978 with Nicaraguan poet Gioconda Belli.In 1979, when the Sandinistas overthrew the Somoza regime, she returned to Nicaragua to help it rebuild. While both countries claim her, she credits the 1980 assassination of Salvadoran archbishop Oscar Romero as the pivotal event of her revolutionary commitment.Alegría’s mature work reflects her anger and sense of loss over the murdered and “disappeared” throughout Latin America. “Because of them I called myself a cemetery,” she notes. She praises women poets giving voice to the victims of state terror. Her major works include I Survive (1978), Flowers from the Volcano (1981), Sorrow (1999), and Casting Off(2003). In this volume, published in Madrid as Otredad in 2011, she separates her writing from her daily existence: “She who writes is the other one.”

This sinewy novel chronicles life on a wrecking crew in the Over-the-Rhine neighbourhood of Cincinnati - the battles men fight with society, each other, and their own minds.

These poems were collected and edited at Solentiname in Nicaragua in 1977 by the Venezuelan poet and workshop originator Mayra Jimenez.The Solentiname colony was established on an island at the southern end of Lake Nicaragua in 1965. Father Ernesto Cardenal lived there for 12 years celebrating the Mass, teaching the Gospel, and encouraging the islanders to create paintings and poetry. Then came the Sandinista revolution, in which Father Cardenal participated. The poems written by the children and adults of Solentiname were saved, collected, and finally published in Managua in 1980.Father Ernesto Cardenal decided in the middle 1970s that revolution in Nicaragua could not be peacefully achieved. As a result, he occupied a difficult vocation, as priest, poet, and revolutionary. Eventually, with the success of the revolution, he was appointed Minister of Culture in 1979.