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Some 113 years after the Treaty of Guadalupe Hidalgo, the charismatic but troubled son of a Texas sharecropper, Reies Lpez Tijerina, took his skills as a former evangelist and formed the Alianza Federal de las Mercedes (Federal Alliance of Grants) in Albuquerque to recover appropriated lands. According to [George Mariscal], at one point the group boasted 20,000 members. During the early '60s, Alianza members marched from Albuquerque to Santa Fe, took possession of the Echo Amphitheater, held national forest service rangers at gunpoint for several days, and ultimately staged an armed raid of the Tierra Amarilla courthouse in the Ro Arriba county seat. They wanted to make a citizen's arrest of the district attorney, Alfonso Sanchez, for violating their right to assembly. In the process, a sheriff and a jailer were shot. Tijerina defended himself in court and was exonerated. He later did time on federal charges relating to the same incident. Whether or not one agrees with Tijerina's violent tactics, Mariscal's point is that the Alianza and the land grant issues it raised belong in the history books. From Mariscal's point of view, Tijerina and the Alianza shed light on complex, but still unresolved issues, and were forward-looking in their embrace of other radical groups with different constituencies. \"Tijerina brought the radical black groups of the time to Albuquerque and actually signed a treaty of solidarity with them,\" he said. \"That is a part of history that has been totally wiped out. People also don't know that Tijerina and others met with Dr. Martin Luther King Jr. and went on the Poor People's March on Washington in 1968. So, for a brief moment before Dr. King was killed, Chicanos were working very closely with the black groups. When King died, he and Ch vez had already scheduled a meeting.\"

As THE DAYS WARMED, I wondered how I could have thought the desert empty of birds, Strange and charming bird trills had begun to fill the silence so imperceptibly I had scarcely noticed them. Now that the winds had settled down, soft symphonies waxed into medleys.

collection of her numerous projects. The \"library\" is divided into nine chapters -- she calls them \"volumes\" -- arranged by theme and, in some cases, chronology. In an introduction to the book, [Basia Irland] quotes British science writer Philip Ball: \"Water needs many biographies, because in truth it is not a personality but more like a culture to itself, with laws, arts and a unique history and geography.\" Volume Two is \"Hydrolibros,\" home of the transformed library books. Each volume has a critical introduction, and this one is by British art critic Edward Lucie-Smith. He notes: \"Some of the art objects produced by the ecological artist and activist Basia Irland in the series ... are ruined books -- like the discarded library books she found dumped in a gorge near Taos, New Mexico. ... Basia's books remind me of certain items from the remote past that bear inscriptions -- for instance the Rosetta Stone. ...\" Volume Three is \"Salinity,\" which begins with a picture of a book Irland sculpted out of salt; the book is emblazoned with the alchemical sign for salt -- a circle with a horizontal line through it to signify salt's transformative properties. As Jungian psychologist James Hillman says, emphasizing its archetypical meaning, \"Salt is soluble. Weeping, bleeding, sweating, urinating bring salt out of its interior underground mines.\"

Another link between Santa Fe and the Panama-California Exposition is that the displays featured in the fair's New Mexico State Building included portions of the exhibit New-Old Santa Fe, which showed at the Palace of the Governors beginning in late 1912. That show was based on a survey (conducted by the museum's Sylvanus Morley and Jesse Nusbaum) of early examples of residential architecture in Santa Fe. Their research led to the city's embrace of a synthetic style called Spanish-Pueblo Revival -- or simply, Santa Fe style. Nusbaum supervised the construction of the Indian dwellings. Among those he hired to help were Julian and Mara Martnez of San Ildefonso. The three had been acquainted since [Edgar Lee Hewett]'s Pajarito Plateau excavations (1907-1908) for the Archaeological Institute of America, during which Nusbaum sought the couple's expertise on potsherds and pictographs. Nusbaum also hired Julian to serve as construction foreman during the 1909-1912 restoration of the Palace of the Governors. \"Indians assembled the cliff dwellings of the Painted Desert first from wooden two-by-fours that were balloon-framed and proceeded to build exterior walls with adobe brick,\" [Matthew Bokovoy] writes of the work on the pseudo-pueblo. \"They finished the pueblos with an exterior covering of chicken-wire covered by a hard skim-coat of cement-based stucco. After the cement had cured, the artisans sculpted the hard surface to resemble the craggy rock found at both Taos and Acoma. ... Nusbaum boasted there were 'doors without nails or hinges, ladders without joints or screws, rough edges, unfinished surfaces, crude lines,' similar to the arts-and-crafts ideals championed by European American architects and designers.\"

  When [Cleofas Jaramillo] was born, her parents sent a messenger to herald the blessed event to friends and family, as was the custom among 19th-century New Mexicans of Spanish descent. Jaramillo, the daughter of one of the state's wealthiest land-grant families, recalled the custom fondly in a nostalgic memoir titled Romance of a Little Village Girl (Naylor, 1955), published just a year before she died. \"The book combines stories from the author's life with accounts of the history and customs of Hispanic New Mexico,\" [Maureen Reed] said. \"Jaramillo wrote that she would have preferred to stay at home as a wife and mother but was forced to step forward and be assertive as a last resort because she could not abide the way Hispanics and their heritage were being portrayed by writers who didn't really know the Southwest.\" Reed spoke with Pasatiempo in a telephone interview from Germany, where she is currently teaching American studies as a Fulbright scholar. According to Reed, after the trial Jaramillo began her quest to promote pride in New Mexico's Spanish past. She documented Hispanic culture in English so that the next generation of both Hispanos and Anglos could read her work. She founded la Sociedad Folklrica. Reed also suggests that Jaramillo's work makes clear how deeply she chafed against her family's gradual decline in economic and social status, which began after the United States went to war with Mexico in 1846-1848. Reed notes that \"As in California, Anglo immigrants to the territory found that working one's way into these existing channels of social power, especially through intermarriage, proved an expedient means of establishing oneself. The higher density of the Hispanic population [compared with California] in New Mexico, combined with intimate ties between Hispanics and American Indians, allowed New Mexican ricos to maintain cultural power in New Mexico that outlasted the ability of Hispanics to do so in California.\" In 1986, however, when she declared herself a candidate for the office of Navajo tribal chairman, she faced stiff opposition from the \"existing male-dominated government,\" Reed notes. Bennett was declared unqualified to run, but her candidacy was eventually reinstated. Ultimately, she garnered very few votes. She ran and lost again in 1990, when she was entering her 70s. In her lifetime she wrote and illustrated books, recorded albums, made innovative Navajo dolls, advocated for her people, and broke many a traditional mold even as she conserved tradition for posterity. Unlike Jaramillo, she always insisted that her Navajo identity was based on culture and religion, not blood -- a stance that allows for tolerance and fluidity of cultures. But Reed postulates that Bennett's homesickness persisted because her writings exclude her deepest personal battles; she always spoke of herself as \"she.\" Perhaps the child born Chischille and the woman who became [Kay Bennett] never fully reconciled.

  [Maureen Reed] points out that New Mexico itself had experienced a recurrent identity crisis. Even who \"settled\" the area is a matter of perspective. A nonmigratory Pueblo population dates back to 2,000 B.C., according to her book. Later the Navajo and Apache peoples arrived before Spanish and Mexican immigrants came. When the Santa Fe Trail opened in 1821, trade flourished between the Spanish territory and the United States as Anglo pioneers trickled in. As late as 1912, when New Mexico joined the union, 60 percent of its population classified itself as Hispano. When Austin and [Mabel Dodge Luhan], the first two women in Reed's chronology, moved to New Mexico after statehood, they came as beneficiaries of feminism's first wave, which would ultimately lead to the 19th Amendment and women's voting rights. Both women were active suffragettes who bore the emotional scars of their personal battles. According to Reed, Austin had been charged with desertion by her husband, Stafford Wallace Austin, after leaving him and placing her developmentally disabled daughter, Ruth, in an institution. In embarking on a search for a new life, Austin came to New Mexico by way of California. Here she built the Pueblo-style home she called Casa Querida. While Austin actively promoted Hispano culture, she yearned to become an acculturated Indian. According to Reed, \"in her writing as well as her life, Austin exhorted Anglo readers to escape the material influence of their culture to feel as she had felt 'the moving pull of other ways of living.'\" Luhan's \"reality,\" Reed points out, is veiled in ideology. In order to make her conversion credible, she never wrote that her sexual excesses had not ended with her much idealized marriage to Antonio Lujan, a native of Taos Pueblo, or that he maintained an off- and-on relationship with his first wife, Candelaria. Luhan's motivation, which Reed often finds in private correspondence, seems born of a kind of cultural paternalism -- she views Indian culture as static rather than dynamic and thus believes that unless it is reserved intact it will die, an idea she finds untenable. In her Luhan's view, American culture needs the vitality of Indian culture for its own spiritual rehabilitation.

Walker Evans, one of Alex Harris' teachers, photographed Cuba in the 1930s, when the dictatorship of Gerardo Machado was nearing its end. More than six decades later, toward the end of Fidel Castro's long reign, Harris documented the island nation himself. During his time in Cuba, Harris sensed that change was in the air, and he came to realize the profound influence the 19th-century poet and Cuban-independence leader Jose Juli n Mart y Perez (popularly known as Jose Mart) had on the people. In dozens of Harris' photographs we see scenes of Cuban life with statues of Jose Mart in its midst. The photographer also creates compelling portraits of young women and urban landscapes shot from the back seats of 1950s-era American cars. Harris' text presents great detail on his experiences and on Cuba's history. Harris: I've been lucky enough as an editor to work with South African photographers at the height of apartheid and a Mexican photographer who was fighting deforestation and the destruction of indigenous peoples. They were looking at huge, seemingly intractable problems. I've been drawn to those people, and Mart is just such a figure. When he was only 16 he was imprisoned for sedition and then kicked out of Cuba. The irony was that he spent most of his life in exile in the United States, and he wrote about this country for a Latin American audience. He wrote, \"I've lived inside the beast and know its entrails.\" One of his ideas was that the Cuba he wanted would never be under the yoke of any other nation, particularly the United States.

1. Front row, from left: Sinnamonn Garrett, Princess [Moore], Keiarra Moore, [Mari Sanchez], Teri Jones, Tristan Baker, Orphee Cherizard. Back row, from left: Cristal Garcia, Tiana Johnson, Chelsea Grear, assistant coach Yvonne Sanchez. Back row, from left: assistant coachs Marlene Stollings and Josh Pierson, Jenean Ford, Amanda Clift, player not identified, [Jenia Dimitrova], [Nicole Black], player not identified, Morgan Overman, assistant coach Derek Jordan, head coach [Nikita Lowery]. 2. Senior point guard Mari Sanchez averaged 11.3 points and 4.0 steals per game for the Aggies last season.