A meditation on southwestern terrains, intergenerational queer dynamics, and surveilled brown artists that crosses physical and conceptual borders. Part butch memoir, part ekphrastic travel diary, part queer family tree, Raquel Gutierrez's debut essay collection, Brown Neon, gleans insight from the sediment of land and relationships. For Gutierrez, terrain is essential to understanding that no story, no matter how personal, is separate from the space where it unfolds. Whether contemplating the value of adobe as both vernacular architecture and commodified art object, highlighting the feminist wounding and transphobic apparitions haunting the multigenerational lesbian social fabric, or recalling a failed romance, Gutierrez traverses complex questions of gender, class, identity, and citizenship with curiosity and nuance.

This book is above all a commitment to encounter. Is the research result of a Working Group (Grupo de Trabajo) of the Latin American Council of Social Sciences (CLACSO), which brings together people who study and research, but who, above all, carry out collective actions from social organizations to transform the reality of our continent. This character of thinking doing, or rather, of doing thinking, of the Grupo de Trabajo gives this text a peculiar cadence. A cadence that demands a collective and cooperative authorship. It is also a recovery of the struggles that precede us, the sutures of the loom of memory that patriarchal and colonial capitalism strives to pierce, and that is another of the powers of this book. The book invites to dismantle the patriarchal and colonial legacies embedded in the very foundations of hegemonic academic thought, and demonstrates the urgent need to understand this as a political task of the moment. It is organized into three main stations, which, like a train journey, can be travelled through sequentially from beginning to end, or entered randomly, stopping at one or another section according to the interests and concerns of the moment. The volumes contributors are Alicia Migliaro Gonzaìlez, Ana Luciìa Ramazzini, Colectivo Magdalenas UruguayTeatro de las oprimidas, Cristina Cucuriì, Cristina Vega, Delmy Tania Cruz Hernaìndez, Dina Mazariegos Garciìa, Elvira Cuadra Lira, Eva Vaìzquez, Gabriela Ruales, Gabriela Veras Iglesias, Giulia Marchese, Inþigo Arrazola, Ivonne Yaìnez, Jonatan Rodas, Juliana Diìaz Lozano, Lisset Coba, Lorena Rodriìguez Lezica, Manuel Bayoìn, Mariano Feìliz, Mauricio Arellano Nucamendi, Melissa Moreano, Miriam Garciìa-Torres, Miriam Lang, Rosa H.G. Govela Gutieìrrez (), Rossana Cantieri Cagnone, Sofiìa Zaragocin, and Walda Barrios-Klee (). Rosa Govela Gutiérrez and Walda Barrios-Klee died while the book was being edited.

In the indigenous Andean language of Aymara, "pachakuti" refers to the subversion and transformation of social relations. Between 2000 and 2005, Bolivia was radically transformed by a series of popular indigenous uprisings against the country's neoliberal and antidemocratic policies. In "Rhythms of the Pachakuti," Raquel Gutierrez Aguilar documents these mass collective actions, tracing the internal dynamics of such disruptions to consider how motivation and execution incite political change.
"In "Rhythms of the Pachakuti" we can sense the reverberations of an extraordinary historical process that took place in Bolivia at the start of the twenty-first century. The book is the product of Raquel Gutierrez Aguilar's political engagement in that historical process. . . . Though of Mexican nationality, she] was intimately involved in Bolivian politics for many years and acquired a quasi-legendary status there as an intense, brilliant activist and radical intellectual. . . . Her account is] . . . itself a revolutionary document. . . . "Rhythms of the Pachakuti" deserves to stand as a key text in the international literature of radicalism and emancipatory politics in the new century."--Sinclair Thomson, from the foreword

In the indigenous Andean language of Aymara, "pachakuti" refers to the subversion and transformation of social relations. Between 2000 and 2005, Bolivia was radically transformed by a series of popular indigenous uprisings against the country's neoliberal and antidemocratic policies. In "Rhythms of the Pachakuti," Raquel Gutierrez Aguilar documents these mass collective actions, tracing the internal dynamics of such disruptions to consider how motivation and execution incite political change.
"In "Rhythms of the Pachakuti" we can sense the reverberations of an extraordinary historical process that took place in Bolivia at the start of the twenty-first century. The book is the product of Raquel Gutierrez Aguilar's political engagement in that historical process. . . . Though of Mexican nationality, she] was intimately involved in Bolivian politics for many years and acquired a quasi-legendary status there as an intense, brilliant activist and radical intellectual. . . . Her account is] . . . itself a revolutionary document. . . . "Rhythms of the Pachakuti" deserves to stand as a key text in the international literature of radicalism and emancipatory politics in the new century."--Sinclair Thomson, from the foreword

Jos Mara de Pereda (1833-1906) is one of the most important spanish writers of the XIX Century. His writings reflect the everyday life and customs of small villages and rural communities in the north of Spain, more precisely the Cantabria region. His works include customs articles and both long and short novels -as Blasones y talegas- that through precise character depictions and masterful dialect and customs recreations of exceptional literary qualities, may be considered both literary master pieces and etnographic documents. Once considered on par to Prez Galds, Clarn and Menndez Pelayo, Jos Mara de Pereda is an author worth including within Peninsular Literature readings.