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Pedro Avilés Pérez, Jaime Herrera Nevarez, Juan N. Guerra, Miguel Ángel Félix Gallardo, Rafael Caro Quintero, Ernesto Fonseca Carrillo, Manuel Salcido Uzeta, Pablo Acosta Villarreal, Juan José Esparragoza Moreno, Gilberto Ontiveros Lucero, Amado Carrillo Fuentes, Joaquín Loera Guzmán, los hermanos Arellano Félix, los hermanos Quintero Payán, Alberto Sicilia Falcón, Héctor Luis Palma Salazar, Rafael Muñoz Talavera, Juan García Ábrego, Casimiro Campos Espinosa, Luis Medrano García, José Alonso Pérez de la Rosa, Óscar Malherbe, Oliverio Chávez Araujo, Osiel Cárdenas Guillén, Baldomero Medina Garza, Juan Ramón Matta Ballesteros, Pablo Escobar Gaviria, Carlos Enrique Lehder, Gonzalo Rodríguez Gacha, Jorge Luis Ochoa Vázquez, Roberto Suárez Gómez, Luis Malpartida, Carlos Langbert, Reynaldo Rodríguez López, los hermanos Rodríguez Orejuela, entre muchos otros, son los principales protagonistas de esta novela político-policiaca. Aunque durante sus respectivos juicios se evitó hablar de sus poderosos e influyentes cómplices, al final salieron a relucir los nombres de los políticos, militares y policías como: Miguel Alemán Valdés, Luis Echeverría Álvarez, Mario Moya Palencia, Manuel Bartlett Díaz, Miguel Nazar Haro, José Antonio Zorilla Pérez, Rafael Chao López, Rafael Aguilar Guajardo, Florentino Ventura Gutiérrez, Miguel Aldana Ibarra, Manuel Ibarra Herrera, Carlos Aguilar Garza, Guillermo González Calderoni, Emilio Martínez Manautou, Tomás Yarrington Ruvalcaba, Leopoldo Sánchez Celis, Antonio Toledo Corro, Enrique Álvarez del Castillo, óscar Flores Sánchez, Javier Coello Trejo, Rodolfo León Aragón, Raúl Salinas de Gortari, Jorge Carpizo, Juan Arévalo Gardoqui, Jesús Gutiérrez Rebollo, Arturo Durazo Moreno, Francisco Sahagún Baca, y de muchísimos personajes más. De los expedientes de estas historias, el periodista y escritor José Luis García Cabrera formó la trama de esta su quinta novela: 1920-2000 ¡El Pastel!, un documento apegado a la dura y terrible realidad del tráfico de drogas en México.

La historia de la nación es un campo de estudio con amplias resonancias contemporáneas dado el actual florecimiento por todas partes del nacionalismo. Siendo preciso conocer bien tan importante fenómeno, para ese fin puede sacarse mucho en limpio del análisis de la trayectoria histórica como tales de las actuales naciones. Es así porque lo nacional se desenvuelve actualmente con una pujanza y unos rasgos que recuerdan mucho a la nación y al nacionalismo del siglo XIX. Este es el tema del presente libro, que además se ocupa de la particular experiencia de la Europa del Sur y la América Hispana, dos grandes regiones mundiales que en este sentido hasta ahora no habían sido estudiadas conjuntamente y de las que se aborda tanto la cuestión de la conformación de la nación, como los modos por medios de los cuales el nuevo sujeto colectivo de la vida política fue divulgado desde arriba con la finalidad de popularizarlo. También se incluyen algunas observaciones acerca de cómo fue recibido desde abajo.

Hispanic Studies; Literature; Latin American Studies.

Though the field of comic book studies has burgeoned in recent years, Latino characters and creators have received little attention. Putting the spotlight on this vibrant segment, Your Brain on Latino Comics illuminates the world of superheroes Firebird, Vibe, and the new Blue Beetle while also examining the effects on readers who are challenged to envision such worlds. Exploring mainstream companies such as Marvel and DC as well as rising stars from other segments of the industry, Frederick Aldama provides a new reading of race, ethnicity, and the relatively new storytelling medium of comics themselves. Overview chapters cover the evolution of Latino influences in comics, innovations, and representations of women, demonstrating Latino transcendence of many mainstream techniques. The author then probes the rich and complex ways in which such artists affect the cognitive and emotional responses of readers as they imagine past, present, and future worlds. Twenty-one interviews with Latino comic book and comic strip authors and artists, including Laura Molina, Frank Espinosa, and Rafael Navarro, complete the study, yielding captivating commentary on the current state of the trade, cultural perceptions, and the intentions of creative individuals who shape their readers in powerful ways.

On July 21, 1578, the Mexican town of Tecamachalco awoke to news of a scandal. A doll-like effigy hung from the door of the town's church. Its two-faced head had black chicken feathers instead of hair. Each mouth had a tongue sewn onto it, one with a forked end, the other with a gag tied around it. Signs and symbols adorned the effigy, including a sambenito, the garment that the Inquisition imposed on heretics. Below the effigy lay a pile of firewood. Taken together, the effigy, signs, and symbols conveyed a deadly message: the victim of the scandal was a Jew who should burn at the stake. Over the course of four years, inquisitors conducted nine trials and interrogated dozens of witnesses, whose testimonials revealed a vivid portrait of friendship, love, hatred, and the power of rumor in a Mexican colonial town. A story of dishonor and revenge, Death by Effigy also reveals the power of the Inquisition's symbols, their susceptibility to theft and misuse, and the terrible consequences of doing so in the New World. Recently established and anxious to assert its authority, the Mexican Inquisition relentlessly pursued the perpetrators. Lying, forgery, defamation, rape, theft, and physical aggression did not concern the Inquisition as much as the misuse of the Holy Office's name, whose political mission required defending its symbols. Drawing on inquisitorial papers from the Mexican Inquisition's archive, Luis R. Corteguera weaves a rich narrative that leads readers into a world vastly different from our own, one in which symbols were as powerful as the sword.