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When Ernie López was a boy selling newspapers in Depression-era Los Angeles, his father beat him when he failed to bring home the expected eighty to ninety cents a day. When the beatings became unbearable, he took to petty stealing to make up the difference. As his thefts succeeded, Ernie’s sense of necessity got tangled up with ambition and adventure. At thirteen, a joyride in a stolen car led to a sentence in California’s harshest juvenile reformatory. The system’s failure to show any mercy soon propelled López into a cycle of crime and incarceration that resulted in his spending decades in some of America’s most notorious prisons, including four and a half years on death row for a murder López insists he did not commit. To Alcatraz, Death Row, and Back is the personal life story of a man who refused to be broken by either an abusive father or an equally abusive criminal justice system. While López freely admits that “I’ve been no angel,” his insider’s account of daily life in Alcatraz and San Quentin graphically reveals the violence, arbitrary infliction of excessive punishment, and unending monotony that give rise to gang cultures within the prisons and practically insure that parolees will commit far worse crimes when they return to the streets. Rafael Pérez-Torres discusses how Ernie López’s experiences typify the harsher treatment that ethnic and minority suspects often receive in the American criminal justice system, as well as how they reveal the indomitable resilience of Chicanos/as and their culture. As Pérez-Torres concludes, “López’s story presents us with the voice of one who—though subjected to a system meant to destroy his soul—not only endured but survived, and in surviving prevailed.”

California is an infamously tough place to be poor: home to about half of the entire nation's homeless population, burdened by staggering home prices and unsustainable rental rates, California is a state in crisis. But it wasn't always that way, as prize-winning historian Josh Sides reveals in Backcountry Ghosts . In 1862 President Abraham Lincoln signed the Homestead Act, the most ambitious and sweeping social policy in the history of the United States. In the Golden State more than a hundred thousand people filed homesteading claims between 1863 and the late 1930s. More than sixty thousand Californians succeeded, claiming about ten million acres. In Backcountry Ghosts Josh Sides tells the histories of these Californian homesteaders, their toil and enormous patience, successes and failures, doggedness in the face of natural elements and disasters, and resolve to defend hard-earned land for themselves and their children. While some of these homesteaders were fulfilling the American Dream-that all Americans should have the opportunity to own land regardless of their background or station-others used the Homestead Act to add to already vast landholdings or control water or mineral rights. Sides recovers the fascinating stories of individual homesteaders in California, both those who succeeded and those who did not, and the ways they shaped the future of California and the American West. Backcountry Ghosts reveals the dangers of American dreaming in a state still reeling from the ambitions that led to the Great Recession.

\"People who live in California deny the past,\" asserts Alejandro Murguìa. In a state where \"what matters is keeping up with the current trends, fads, or latest computer gizmo,\" no one has \"the time, energy, or desire to reflect on what happened last week, much less what happened ten years ago, or a hundred.\" From this oblivion of memory, he continues, comes a false sense of history, a deluded belief that the way things are now is the way they have always been.In this work of creative nonfiction, Murguìa draws on memories-his own and his family's reaching back to the eighteenth century-to (re)construct the forgotten Chicano-indigenous history of California. He tells the story through significant moments in California history, including the birth of the mestizo in Mexico, destruction of Indian lifeways under the mission system, violence toward Mexicanos during the Gold Rush, Chicano farm life in the early twentieth century, the Chicano Movement of the 1960s, Chicano-Latino activism in San Francisco in the 1970s, and the current rebirth of Chicano-Indio culture. Rejecting the notion that history is always written by the victors, and refusing to be one of the vanquished, he declares, \"This is my California history, my memories, richly subjective and atavistic.\"

In this extraordinary book Josephine Peters, a respected northern California Indian elder and Native healer, shares her vast, lifelong cultural and plant knowledge. The book begins with Josephine's personal and tribal history and gathering ethics. Josephine then instructs the reader in medicinal and plant food preparations and offers an illustrated catalog of the uses and doses of over 160 plants. At a time of the commercialization of traditional ecological knowledge, Peters presents her rich tradition on her own terms, and according to her spiritual convictions about how her knowledge should be shared. This volume is essential for anyone working in ethnobotany, ethnomedicine, environmental anthropology, Native American studies, and Western and California culture and history.

Alfredo Mirandé, a sociology professor, Stanford Law graduate, and part-time pro bono attorney, represents clients who are rascuache-a Spanish word for \"poor\" or even \"wretched\"-and on the margins of society. For Mirandé, however, rascuache means to be \"down but not out,\" an underdog who is still holding its ground.Rascuache Lawyeroffers a unique perspective on providing legal services to poor, usually minority, folks who are often just one short step from jail. Not only a passionate argument for rascuache lawyering, it is also a thoughtful, practical attempt to apply and test critical race theory-particularly Latino critical race theory-in day-to-day legal practice.Every chapter presents an actual case from Mirandé's experience (only the names and places have been changed). His clients have been charged with everything from carrying a concealed weapon, indecent exposure, and trespassing to attempted murder, domestic violence, and child abuse. Among them are recent Mexican immigrants, drug addicts, gang members, and the homeless. All of them are destitute, and many are victims of racial profiling. Some \"pay\" Mirandé with bartered services such as painting, home repairs, or mechanical work on his car. And Mirandé doesn't always win their cases. But, as he recounts, he certainly works tirelessly to pursue all legal remedies.Each case is presented as a letter to a fascinating (fictional) \"Super Chicana\" named Fermina Gabriel, who we are told is an accomplished lawyer, author, and singer. This narrative device allows the author to present his cases as if he were recounting them to a friend, drawing in the reader as a friend as well.Bookending the individual cases, Mirandé's introductions and conclusions offer a compelling vision of progressive legal practice grounded in rascuache lawyering.

Martín Ramírez, a Mexican migrant worker and psychiatric patient without formal artistic training, has been hailed by leading New York art critics as one of the twentieth century’s greatest artists. His work has been exhibited alongside masters such as José Clemente Orozco, Diego Rivera, Rufino Tamayo, Salvador Dalí, Marc Chagall, Paul Klee, and Joan Miró. A landmark exhibition of Ramírez’s work at the American Folk Art Museum in 2007 broke attendance records and garnered praise from major media, including the New York Times, New Yorker, and Village Voice. Martín Ramírez offers the first sustained look at the life and critical reception of this acclaimed artist. Víctor Espinosa challenges the stereotype of outsider art as an indecipherable enigma by delving into Ramírez’s biography and showing how he transformed memories of his life in Mexico, as well as his experiences of displacement and seclusion in the United States, into powerful works of art. Espinosa then traces the reception of Ramírez’s work, from its first anonymous showings in the 1950s to contemporary exhibitions and individual works that have sold for as much as a half-million dollars. This eloquently told story reveals how Ramírez’s three-decades-long incarceration in California psychiatric institutions and his classification as “chronic paranoid schizophrenic\" stigmatized yet also protected what his hands produced. Stripping off the labels “psychotic artist\" and “outsider master,\" Martín Ramírez demonstrates that his drawings are not passive manifestations of mental illness. Although he drew while confined as a psychiatric patient, the formal elements and content of Ramírez’s artwork are shaped by his experiences of cultural and physical displacement.

This volume makes available a remarkable body of writings, the only indigenous account of early nineteenth-century California. Written by Pablo Tac, this work on Luiseño language and culture offers a new approach to understanding California's colonial history. Born and raised at Mission San Luis Rey, near San Diego, Pablo Tac became an international scholar. He traveled to Rome, where he studied Latin and other subjects, and produced these historical writings for the Vatican Librarian Cardinal Giuseppe Mezzofanti. In this multifaceted volume, Pablo Tac's study is published in the original languages and in English translation. Lisbeth Haas introduces Pablo Tac's life and the significance of the record he left. She situates his writing among that of other indigenous scholars, and elaborates on its poetic quality. Luiseño artist James Luna considers Tac's contemporary significance in a series of artworks that bring Pablo Tac into provocative juxtaposition with the present day. Transcribed by Marta Eguía, Cecilia Palmeiro, Laura León Llerena, Jussara Quadros, and Heidi Morse, with facing-page translation by Jaime Cortez, Guillermo Delgado, Gildas Hamel, Karl Kottman, Heidi Morse, and Rose Vekony.