"Mi Raza Primero "is the first book to examine the Chicano movement's development in one locale--in this case Los Angeles, home of the largest population of people of Mexican descent outside of Mexico City. Ernesto Chavez focuses on four organizations that constituted the heart of the movement: The Brown Berets, the Chicano Moratorium Committee, La Raza Unida Party, and the Centro de Accion Social Autonomo, commonly known as CASA. Chavez examines and chronicles the ideas and tactics of the insurgency's leaders and their followers who, while differing in their goals and tactics, nonetheless came together as Chicanos and reformers.
Deftly combining personal recollection and interviews of movement participants with an array of archival, newspaper, and secondary sources, Chavez provides an absorbing account of the events that constituted the Los Angeles-based Chicano movement. At the same time he offers insights into the emergence and the fate of the movement elsewhere. He presents a critical analysis of the concept of Chicano nationalism, an idea shared by all leaders of the insurgency, and places it within a larger global and comparative framework. Examining such variables as gender, class, age, and power relationships, this book offers a sophisticated consideration of how ethnic nationalism and identity functioned in the United States during the 1960s and 1970s.

Connexions investigates the ways in which race and sex intersect, overlap, and inform each other in United States history. An expert team of editors curates thought-provoking articles that explore how to view the American past through the lens of race and sexuality studies. Chapters range from the prerevolutionary era to today to grapple with an array of captivating issues: how descriptions of bodies shaped colonial Americans' understandings of race and sex; same-sex sexual desire and violence within slavery; whiteness in gay and lesbian history; college women's agitation against heterosexual norms in the 1940s and 1950s; the ways society used sexualized bodies to sculpt ideas of race and racial beauty; how Mexican silent film icon Ramon Navarro masked his homosexuality with his racial identity; and sexual representation in mid-twentieth-century black print pop culture. The result is both an enlightening foray into ignored areas and an elucidation of new perspectives that challenge us to reevaluate what we "know" of our own history. Contributors: Sharon Block, Susan K. Cahn, Stephanie M. H. Camp, J. B. Carter, Ernesto Chavez, Brian Connolly, Jim Downs, Marisa J. Fuentes, Leisa D. Meyer, Wanda S. Pillow, Marc Stein, and Deborah Gray White.

Felix Hangelini es el nombre literario de Felix Ernesto Chavez Lopez (La Habana, 1977-Mexico D.F., 2012). El bosque escrito reune el grueso de su obra lirica. El autor publico en vida un solo poemario y dejo un amplio y muy atendible numero de poemas que por primera vez damos a conocer al lector. La poesia de Hangelini constituye una de las obras mas singulares de las ultimas decadas dentro de la lirica cubana contemporanea. Desde su casi anonimato, su reclusion, este libro pertenece, como la obra de Emily Dickinson, a lo que Emerson llamo "la Poesia de Portafolio" algo escrito por la necesidad de expresion de su autor y sin la intencion de ser publicado. Gran lector de Pessoa, Dickinson, Whitman y Szymborska, Felix construye un entorno y un rostro en que la palabra es escenario, mascara, tejido, distorsion y, simultaneamente, continuidad de su dandismo y su personalidad. Hangelini nombra a una bestia escrita que al mismo tiempo es antifaz y verdad, dispersion y nucleo, teatralidad y vida. A partir de un eje vertical en el que va describiendo su ambito y sus preocupaciones al caer, el personaje poetico hangeliniano ama, se divierte, dialoga, contempla y asume con resignacion el curso natural y su gravitacion altazoriana.