The open country of Texas between the Nueces River and the Rio Grande was sparsely settled through the nineteenth century, and most of the settlers who did live there had Hispanic names that until recently were rarely admitted into the pages of Texas history. In 1935, however, a descendant of one of the old Spanish land-grant families in the region-a woman, no less-found an ingenious way to publish the history of her region at a time when neither Tejanos nor women had much voice. She told the story from the perspective of an ancient mesquite tree, under whose branches much South Texas history had passed. Her tale became an invaluable source of folk history but has long been out of print. Now, with important new introductions by Leticia M. Garza-Falcón and Andrés Tijerina, the history witnessed by El Mesquite can again inform readers of the way of life that first shaped Texas. Through the voice of the gnarled old tree, Elena Zamora O'Shea tells South Texas political and ethnographic history, filled with details of daily life such as songs, local plants and folk medicines, foods and recipes, peone/patron relations, and the Tejano ranch vocabulary. The work is an important example of the historical-folkloristic literary genre used by Mexican American writers of the period. Using the literary device of the tree's narration, O'Shea raises issues of culture, discrimination, and prejudice she could not have addressed in her own voice in that day and explicitly states the Mexican American ideology of 1930s Texas. The result is a literary and historic work of lasting value, which clearly articulates the Tejano claim to legitimacy in Texas history. ELENA ZAMORA O'SHEA (1880-1951) was born at Rancho La Noria Cardenena near Peñitas, Hidalgo County, Texas. A long-time schoolteacher, whose posts included one on the famous King Ranch, she wrote this book to help Tejano children know and claim their proud heritage.

This collection by Teresa Palomo Acosta—poet, historian, author, and activist—spans three decades of her writing, from 1988 through 2018. The collection is divided into four parts: poems, essays, a children’s story, and plays. Each work addresses cultural, historical, political, and gender realities that she experienced from her childhood to the present. The plays, set in the Central Texas Blackland Prairies where Acosta was raised, provide a unique Latina vision of memory, identity, and experience and are a vital contribution to Chicana feminist thought. The essays focus on Acosta’s literary heroes Jovita González de Mireles, Sara Estela Ramírez, and Elena Zamora O’Shea, important writers who contributed significantly to Tejana literature and to Texas letters. The children’s story, “Colchas, Colchitas,” is based on Acosta’s most notable poem, “My Mother Pieced Quilts,” which pays homage to her mother and the many women of her generation who employed needles and thread, creating both practical and symbolic artifacts. This collection is a creative and, indeed, essential expansion of boundaries for what we think of as history, offering a unique and compelling look into the lived experiences and interior contemplations of a Texas artist well worth knowing. Readers will increase their understanding of Tejana experience in the late twentieth and early twenty-first centuries. Tejanaland promises to become an important addition to the cultural record, informing historical perspectives on the experiences of Tejana women and contributing significantly to the existing body of work from Tejana writers.

The Texas Centennial of 1936, commemorated by statewide celebrations of independence from Mexico, proved to be a powerful catalyst for the formation of a distinctly Mexican American identity. Confronted by a media frenzy that vilified "Meskins" as the antithesis of Texan liberty, Mexican Americans created literary responses that critiqued these racialized representations while forging a new bilingual, bicultural community within the United States. The development of a modern Tejana identity, controversies surrounding bicultural nationalism, and other conflictual aspects of the transformation from mexicano to Mexican American are explored in this study. Capturing this fascinating aesthetic and political rebirth, Border Renaissance presents innovative readings of important novels by María Elena Zamora O'Shea, Américo Paredes, and Jovita González. In addition, the previously overlooked literary texts by members of the League of United Latin American Citizens (LULAC) are given their first detailed consideration in this compelling work of intellectual and literary history. Drawing on extensive archival research in the English and Spanish languages, John Morán González revisits the 1930s as a crucial decade for the vibrant Mexican American reclamation of Texas history. Border Renaissance pays tribute to this vital turning point in the Mexican American struggle for civil rights.