As much personal journal as investigative journalism, this second edition traces the worsening developments at Fukushima Daiichi during the first year following the nuclear disaster. Often poetic in tone and philosophic in scope, this day-to-day reportage is peppered with the author's reflections and dramatic monologues as she investigates the public's willing blindness toward the nuclear power industry's disregard for public safety in the pursuit of profit. The book offers a unique perspective and attempts to come to terms with Fukushima's catastrophic consequences on the planet.

When it was first published in 1985, "Face" met with critical acclaim and established Cecile Pineda among the very first Latina writers in the United States to be published by a major New York house. This new expanded edition, which marks the announcement of "Face "as a 2013 Neustadt Prize finalist, features a foreword by Nobel Prize-winning author J. M. Coetzee and a never-before-published interview with the author conducted by Dr. Francisco Lomeli. The novel--based on an actual event--tracks the fortunes of Helio Cara, a poor but brilliant Brazilian man. When he hears that his mother is dying, Helio rushes from his shack in one of Rio de Janeiro's "favelas" to the local telegraph office, only to fall down a steep hillside and literally lose his face, and in turn his identity. He rapidly loses his job, his lover, and his friends--his neighbor's go so far as to burn down his shack--and flees to the Brazilian interior to live as an outcast in his mother's tiny house. Pineda deftly, hauntingly records Helio Cara's decision to perform self-surgery, using only novocaine, to reconstruct his face and identity. This compelling metaphor for identity, already taught in American and Latino literature courses in numerous universities, stands ready to engross a new generation of readers.

Human beings are killing the planet and themselves in the process. Cecile Pineda asks a simple question: Why? An urgent reframing of current ecological thinking, Apology to a Whale addresses what the intersection of relative linguistics and archeology reveals about the present world's power relations, and what the extraordinary communication of plants and animals can teach us. This masterpiece of creative nonfiction is a wild ride on the frontiers of archeo-linguistics in search of the greatest killer on Earth-us.

Cecile Pineda-award-winning novelist, memoirist, theater director, performer, activist-felt rootlessness throughout much of her life. Her father was an undocumented Mexican immigrant; her mother a French-speaking immigrant from Switzerland. Pineda, born in New York City, felt culturally disconnected from both of her parents, while also ill at ease in U.S. culture. In her life, we see the strange intersection of immigrant politics, troubles with ethnic identity, and the instability of family ties. In Entry without Introspection, Pineda brings it all together, reconciling her past (much of which she had to piece together from vague memories and parental clues) while tracing how she formed her own identity through prose and theater in the absence of known roots. But as Pineda discovers, her life story doesn't belong solely to her but is interwoven with those of her families, whether biological or chosen, and of the world around her. Because of this, Pineda's memoir features parallel stories, that of her life running alongside and being informed by those of other immigrants. Pineda traces her story while also documenting the work of the first whistleblower to reveal an immigrant death in detention, in 2009, with the storylines converging to reveal the lasting effects of U.S. immigration policy. She explores the ripple effect of these policies over generations, revealing the shocking truths of marginalization and deportation. Pineda exposes both the cultural losses and the traumatic aftereffects of misguided U.S. immigration policy. Entry without Inspection is thus a truly American story in all its historical and emotional complexity, one in which personal ethics and political commentary are necessarily and inextricably interwoven.