Rio Grande/Rio Bravo: Borderlands Culture and Tradition – serie

Through the ages and across cultures, women have carved out a domain in which their cooking allowed them to express themselves, strengthen family relationships, and create a world of shared meanings with other women. In ""Voices in the Kitchen"", Meredith E. Abarca features the voices of her mother and several other family members and friends, seated at their kitchen tables, to share the grassroots world view of these working-class Mexican and Mexican American women. In the kitchen, Abarca demonstrates, women assert their own sazon (seasoning), not only in their cooking but also in their lives. Through a series of oral histories, or charlas culinarias (culinary chats), the women interviewed address issues of space, sensual knowledge, artistic and narrative expression, and cultural and social change. From her mother's breakfast chilaquiles to the most elaborate traditional dinner, these women share their lives as they share their savory, symbolic, and theoretical meanings of food. The charlas culinarias represent spoken personal narratives, testimonial autobiography, and a form of culinary memoir, one created by the cooks-as-writers who speak from their kitchen space. Abarca then looks at writers-as-cooks to add an additional dimension to the understanding of women's power to define themselves. ""Voices in the Kitchen"" joins the extensive culinary research of the last decade in exploring the importance of the knowledge found in the practical, concrete, and temporal aspects of the ordinary practice of everyday cooking.

In "Claiming Rights and Righting Wrongs in Texas", Emilio Zamora traces the experiences of Mexican workers on the American home front during World War II as they moved from rural to urban areas and sought better-paying jobs in rapidly expanding industries. Contending that discrimination undermined job opportunities, Zamora investigates the intervention by Mexico in the treatment of workers, the U.S. State Department's response, and Texas' emergence as a key site for negotiating the application of the Good Neighbor Policy. He examines the role of women workers, the evolving political struggle, the rise of the liberal-urban coalition, and the conservative tradition in Texas. Zamora also looks closely at civil and labor rights - related efforts, implemented by the League of United Latin American Citizens (LULAC) and the Fair Employment Practice Committee.

Curanderas - traditional healers in Mexican culture - bridge the gaps between multiple planes of existence - spiritual and material, modern and pre-modern - dispensing medicinal herbs, prayers, and instruction. Elizabeth de la Portilla writes of the world and practices of San Antonio curanderas. As a scholar, an ethnographer, and a curandera in training, her parallel perspectives uniquely aid readers in understanding this subordinated culture. Retelling the stories various healers have shared, interpreting their answers to her probing questions, and describing the herbs and recipes they use in their arts, the author vividly illuminates the borderland context of San Antonio. Scholars and readers of anthropology, sociology, Chicana and Chicano studies, and women's studies will savor the many layers of meaning and application in ""They All Want Magic"".

Over a period of some twenty years, Mexican-born artisan Dionicio Rodríguez created imaginative sculptures of reinforced concrete that imitated the natural forms and textures of trees and rocks. He worked in eight different states from 1924 through the early 1950s but spent much of his early career in San Antonio, where several of his creations have become beloved landmarks. More than a dozen of Rodríguez’s works have been included on the National Register of Historic Places. Patsy Pittman Light has spent a decade documenting the trabajo rústico (""rustic work"") of Rodríguez, along with its antecedents in Europe and Mexico, and the subsequent work of those Rodríguez trained in San Antonio. Rodríguez’s unique and unusual art will fascinate those new to it and delight those to whom it is familiar. San Antonio sites such as the bus stop on Broadway, the faux bois bridge in Brackenridge Park, and the ""rocks"" on the Miraflores Gate at the San Antonio Museum of Art, along with the Old Mill at T. R. Pugh Memorial Park in North Little Rock and Memorial Park Cemetery in Memphis, are just a few of the locations covered in this volume celebrating the life and work of a Latino artisan. Students and devotees of Texas and Southwestern art will welcome this book and its long-overdue appreciation of this artist. Additionally, this book will commend itself to those interested in Latino studies, art history, and folklore.