Though primarily known for his haunting, enigmatic novel Pedro Paramo and the unrelenting depictions of the failures of post-revolutionary Mexico in his short story collection, El Llano en llamas, Juan Rulfo also worked as scriptwriter on various collaborative film projects and his powerful interventions in the area of documentary photography ensure that he continues to inspire interest worldwide. Bringing together some of the most significant names in Rulfian scholarship, this anthology engages with the complexity and diversity of Rulfo's cultural production. The essays in the collection bring the Rulfian texts into dialogues with other cultural traditions and techniques including the Japanese Noh or "mask" plays and modernist experimentation in the Irish language. They also deploy diverse theoretical frameworks that range from Roland Barthes' work on studium and punctum in photography to Henri Lefebvre's ideas on space and spatiality and the postmodern insights of Jean Baudrillard on the nature of the simulacrum and the hyperreal. In this way, innovative approaches are brought to bear on the Rulfian texts as a way of illuminating the rich tensions and anxieties they evoke about Mexico, about history, about art and about the human condition.

Though primarily known for his haunting, enigmatic novel Pedro Paramo and the unrelenting depictions of the failures of post-revolutionary Mexico in his short story collection, El Llano en llamas, Juan Rulfo also worked as scriptwriter on various collaborative film projects and his powerful interventions in the area of documentary photography ensure that he continues to inspire interest worldwide. Bringing together some of the most significant names in Rulfian scholarship, this anthology engages with the complexity and diversity of Rulfo's cultural production. The essays in the collection bring the Rulfian texts into dialogues with other cultural traditions and techniques including the Japanese Noh or "mask" plays and modernist experimentation in the Irish language. They also deploy diverse theoretical frameworks that range from Roland Barthes' work on studium and punctum in photography to Henri Lefebvre's ideas on space and spatiality and the postmodern insights of Jean Baudrillard on the nature of the simulacrum and the hyperreal. In this way, innovative approaches are brought to bear on the Rulfian texts as a way of illuminating the rich tensions and anxieties they evoke about Mexico, about history, about art and about the human condition.

Since the early 1990s, the repeated murders of women from Ciudad Juarez, Mexico have become something of a global cause celebre. Cultural Representations of Feminicidio at the US-Mexico Border examines creative responses to these acts of violence. It reveals how theatre, art, film, fiction and other popular cultural forms seek to remember and mourn the female victims of violent death in the city at the same time as they interrogate the political, legal and societal structures that produce the crimes. Different chapters examine the varying art forms to engage with Ciudad Juarez's feminicidal wave. Finnegan discusses Alex Rigola's theatrical adaptation of Roberto Bolano's novel 2666 by Teatre Lliure in Barcelona as well as painting about the victims of feminicidio by Irish painter Brian Maguire. There is analysis of documentary film about Ciudad Juarez, including Lourdes Portillo's acclaimed Senorita Extraviada (2001). The final chapter turns its attention to writing about feminicide and examines testimonial and crime fiction narratives like the mystery novel Desert Blood: The Juarez Murders by Alicia Gaspar de Alba, among other examples. By drawing on a range of artistic responses to the murders in Ciudad Juarez, Cultural Representations of Feminicidio at the US-Mexico Border shows how art, film, theatre and fiction can unsettle official narratives about the crimes and undo the static paradigms that are frequently used to interpret them.

Since the early 1990s, the repeated murders of women from Ciudad Juarez, Mexico have become something of a global cause celebre. Cultural Representations of Feminicidio at the US-Mexico Border examines creative responses to these acts of violence. It reveals how theatre, art, film, fiction and other popular cultural forms seek to remember and mourn the female victims of violent death in the city at the same time as they interrogate the political, legal and societal structures that produce the crimes. Different chapters examine the varying art forms to engage with Ciudad Juarez's feminicidal wave. Finnegan discusses Alex Rigola's theatrical adaptation of Roberto Bolano's novel 2666 by Teatre Lliure in Barcelona as well as painting about the victims of feminicidio by Irish painter Brian Maguire. There is analysis of documentary film about Ciudad Juarez, including Lourdes Portillo's acclaimed Senorita Extraviada (2001). The final chapter turns its attention to writing about feminicide and examines testimonial and crime fiction narratives like the mystery novel Desert Blood: The Juarez Murders by Alicia Gaspar de Alba, among other examples. By drawing on a range of artistic responses to the murders in Ciudad Juarez, Cultural Representations of Feminicidio at the US-Mexico Border shows how art, film, theatre and fiction can unsettle official narratives about the crimes and undo the static paradigms that are frequently used to interpret them.

This book takes as its starting point the boom femenino or the explosion in publishing by women in Mexico since the 1980s. Powerful changes in women's roles in Mexico over the last three decades have resulted in women occupying a position of profound ambivalence with regard to the processes of modernisation. The boom femenino constitutes an integral part of this process of change. By incorporating a variety of critical approaches within a feminist framework, the author argues that Mexican women writers participate in a crucial project of unsettling dominant discourses as they strive for new ways of capturing the ambivalent position of the Mexican women in their texts. The author offers close readings of work by Silvia Molina, Sara Sefchovich, Susana Pagano, Brianda Domecq, Guadalupe Loaeza and Rosamaria Roffiel. She also considers the reactions to and reception of best-selling author, Angeles Mastretta, with an assessment of the different vested interests in the world of literature, including those of critics, writers, readers and publishers.