In the 1930s, Américo Paredes, the renowned folklorist, wrote a novel set to the background of the struggles of Texas Mexicans to preserve their property, culture and identity in the face of Anglo-American migration to and growing dominance over the Rio Grande Valley. Episodes of guerilla warfare, land grabs, racism, jingoism, and abuses by the Texas Rangers make this an adventure novel as well as one of reflection on the making of modern day Texas. George Washington GÑmez is a true precursor of the modern Chicano novel.

This classic novel about the struggles of Texas Mexicans to preserve their property, culture and identity in the face of Anglo-American migration to and dominance of the Rio Grande Valley is available for the first time in Spanish. Born in the early part of the twentieth century, George Washington Gómez is named after the American rebel and hero because his parents are certain their son will be a great man too. George, or Guálinto as he’s known, grows up in turbulent times. His family has lived for generations in what has become Texas. “I was born here. My father was born here and so was my grandfather and his father before him. And then they come, they come and take it, steal it and call it theirs,” his Uncle Feliciano rages. The Texas Mexicans’ attempts to take back their land from the Gringos and the rinches—the brutal Texas Rangers—fail. Guálinto’s father, who never participated in the seditionist violence, is murdered in cold blood, and Feliciano makes a death-bed promise to raise his nephew without hatred. Young Guálinto comes of age in a world where Mexicans are treated as second-class citizens. Teachers can beat and mistreat them with impunity, and most of his Mexican-American friends drop out of school at a young age. But the Gómez family insists that he continue his education, which he will need in order to do great things for his people. And so his school years create a terrible conflict within him: Guálinto alternately hates and admires the Gringo, loves and despises the Mexican. Written in the 1930s but not published until 1990, George Washington Gómez has become mandatory reading for anyone interested in Mexican-American literature, culture and history.

Since 1898, residents of Laredo, Texas, and Nuevo Laredo, Tamaulipas, have reached across the US-Mexico border to celebrate George Washington's birthday. The celebration can last a whole month, with parade goers reveling in American and Mexican symbols; George Washington saluting; and “Pocahontas” riding on horseback. An international bridge ceremony, the heart and soul of the festivities, features children from both sides of the border marching toward each other to link the cities with an embrace. ¡Viva George! offers an ethnography and a history of this celebration, which emerges as both symbol and substance of cross-border community life. Anthropologist and Laredo native Elaine A. Peña shows how generations of border officials, civil society organizers, and everyday people have used the bridge ritual to protect shared economic and security interests as well as negotiate tensions amid natural disasters, drug-war violence, and immigration debates. Drawing on previously unknown sources and extensive fieldwork, Peña finds that border enactments like Washington's birthday are more than goodwill gestures. From the Rio Grande to the 38th Parallel, they do the meaningful political work that partisan polemics cannot.

Captures the essential political, cultural, social, and economic developments that shaped the black experience.

Several biographies of Américo Paredes have been published over the last decade, yet they generally overlook the paradoxical nature of his life’s work. Embarking on an in-depth, critical exploration of the significant body of work produced by Paredes, José E. Limón (one of Paredes’s students and now himself one of the world’s leading scholars in Mexican American studies) puts the spotlight on Paredes as a scholar/citizen who bridged multiple arenas of Mexican American cultural life during a time of intense social change and cultural renaissance. Serving as a counterpoint to hagiographic commentaries, Américo Paredes challenges and corrects prevailing readings by contemporary critics of Paredes’s Asian period and of such works as the novel George Washington Gómez, illuminating new facets in Paredes’s role as a folklorist and public intellectual. Limón also explores how the field of cultural studies has drifted away from folklore, or “the poetics of everyday life,” while he examines the traits of Mexican American expressive culture. He also investigates the scholarly paradigm of ethnography itself, a stimulating inquiry that enhances readings of Paredes’s best-known study, “With His Pistol in His Hand,” and other works. Underscoring Paredes’s place in folklore and Mexican American literary production, the book questions the shifting reception of Paredes throughout his academic career, ultimately providing a deep hermeneutics of widely varied work. Offering new conceptions, interpretations, and perspectives, Américo Paredes gives this pivotal literary figure and his legacy the critical analysis they deserve.

Gregorio Cortez Lira, a ranchhand of Mexican parentage, was virtually unknown until one summer day in 1901 when he and a Texas sheriff, pistols in hand, blazed away at each other after a misunderstanding. The sheriff was killed and Gregorio fled immediately, realizing that in practice there was one law for Anglo-Texans, another for Texas-Mexicans. The chase, capture, and imprisonment of Cortez are high drama that cannot easily be forgotten. Even today, in the cantinas along both sides of the Rio Grande, Mexicans sing the praises of the great "sheriff-killer" in the ballad which they call "El Corrido de Gregorio Cortez." Américo Paredes tells the story of Cortez, the man and the legend, in vivid, fascinating detail in "With His Pistol in His Hand," which also presents a unique study of a ballad in the making. Deftly woven into the story are interpretations of the Border country, its history, its people, and their folkways.