Hey Aztecs! @sdsu Looking for a nifty xmas present? SAN DIEGO STATE UNIVERSITY: A HISTORY IN WORD & IMAGE is an illustrated history of the largest campus in the CSU.— San Diego State University Press (@SDSUPress) December 12, 2019
The $100 hardcover is now $50: https://t.co/w5EHaG6pFx
The $50 paperback is now $25: https://t.co/jQBaQy1xUM pic.twitter.com/HroyTkQq5T
Thursday, December 12, 2019
Wednesday, December 11, 2019
By Noam Chomsky
Tuesday, November 19, 2019
See you Thursday for MALAS's 3rd Edward Said Cultural Studies Lecture featuring Carlos Kelly, Thursday at 11am, November 21, 2019, in SDSU's GMCS 333. Free and Open to the Public
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Monday, November 11, 2019
Leobardo Saravia Quiroz, Brings You, Line of Fire: Detective Stories from the Mexican Border -- SDSU Press
Sunday, November 03, 2019
Saturday, November 02, 2019
Tuesday, October 22, 2019
Monday, October 21, 2019
Our Honor to Present, The Technique and Practice of Psychoanalysis, 6 -- San Diego State University Press
"To my mind, this is the reason to still read Dr. Greenson, to see the powerful, masterful use of effective technique; to see abundant clinical examples, which link language and affect; and to demonstrate how analytic tact serves to put empathy to active, creative use."
Saturday, October 19, 2019
Latinx Comic Book Storytelling -- by Frederick Aldama, Brings You The Next Wave in the History of Sequential Art! -- SDSU Press
Prolific prof Frederick Luis Aldama's latest full-color opus Latinx Comic Book Storytelling: An Odyssey by Interview features over 100 full-color comic illustrations and captures, via delicious interviews, the next wave in the history of sequential art, with Latinx cartoonist superheroes remaking the space of comics, comix, & graphic narrative, and, simultaneously, changing the pace/face (faster, browner) of art history in the process!
Friday, October 18, 2019
But we would never encourage such shallow behavior!
In all seriousness, PHILADELPHO MENEZES' POETICS AND VISUALITY is an incredible account of Brazilian poetry and its various transformations throughout history.
Wednesday, October 16, 2019
Sunday, October 13, 2019
The Transrational Poetry of Russian Futurism
Tuesday, October 08, 2019
SDSU Press Proud to Support the Department of Chicana/o Studies 50th Anniversary Celebration With Culture Clash!
Or check out these posters below--click them to see them SUPERSIZE!
Thursday, October 03, 2019
Frederick Luis Aldama and Ilan Stavans brings you, Laughing Matters: Conversations on Humor (Special Edition) from SDSU Press -- San Diego State University
Authors: Frederick Luis Aldama and Ilan Stavans
Do you dig humor, comedy, critical theory, literary criticism, philosophy, television, and mass media studies all wrapped up together? Then LAUGHING MATTERS by Latino scholar/writers/artists ILAN STAVANS and FREDERICK ALDAMA is the book for you. Hyperbole Books first volume in the "Chatting Professors/ Catedráticos Charlando" mini-series, LAUGHING MATTERS finds two comedic scholars talking seriously about the ludicrous. Or are they speaking ludicrously about the serious? And does it matter which is which?
Wednesday, September 25, 2019
Carlos Gagini's REDEMPTIONS (A Translation of El Árbol Enfermo) Back in a new TRADE PAPERBACK Printing, perfect for the Latin American Studies/Literature Classroom!
A Latin American Literary classic back in print with an afterword by Costa Rican novelist Daniel Quiros! Carlos Gagini's REDEMPTIONS ... https://t.co/WgCjYmp6Rx pic.twitter.com/wkm2pdYTIt— San Diego State University Press (@SDSUPress) September 25, 2019
Tuesday, September 24, 2019
Newly Released Book! -- Tijuana: The History of a Mexican Metropolis -- From SDSU Press, San Diego State University
|Third sanctuary of the First Baptist Church of Tijuana|
Sunday, September 22, 2019
Baja California Literature is an SDSU Press Specialty! ¡La literatura de Baja California es una especialidad de SDSU Press!
Tracking the Mexican literary diaspora one book at a time ... https://t.co/3wdXHsJJUx#baja #bajacalifornia #mexicanliterature #comparativeliterature #lafrontera #border #borders pic.twitter.com/cfCExoyUj5— San Diego State University Press (@SDSUPress) September 22, 2019
Friday, September 20, 2019
Hot Off the Press: More Than Money: a Memoir by Claudia Dominguez from SDSU Press, San Diego State University
More Than Money: a Memoir , by Claudia DominguezSan Diego City Beat, the best of San Diego 2019, reviews graphic content from, More Than Money: a Memoir by Claudia Dominguez, “that gives readers an inside look at the corruption and lawlessness that plagues Mexico and addresses the stereotypes that often surround individuals that fall victim to organized crime organizations.”
Check it out here:
Interested? Check out the book in its entirety below!
Thursday, September 12, 2019
Our Bestseller: Trilingual Education: Sign Language, Spanish, English by Professors Ben and Kathie Christensen from SDSU Press, San Diego State University
Most sign language books normally just have English content. Trilingual English has more than just English content (Spanish and Sign Language). It allows students who sign in Spanish to learn new words or phrases that they may haven't been taught before.
Amazon Link: https://www.amazon.com/Trilingual-Education-Language-Spanish-English/dp/0916304701/ref=sr_1_1?keywords=trilingual&m=A119ICNS1106UD&qid=1568414526&s=merchant-items&sr=1-1
Monday, September 09, 2019
The Literature of the Kumeyaay -- From SDSU Press, the University Press of San Diego State University
Thursday, August 01, 2019
Check out their latest issue here in our SDSU Press/Amazon.com special order link.
What is Confluence? Glad you asked: "Confluence is a national, peer-reviewed, interdisciplinary journal published by the Association of Graduate Liberal Studies Programs (AGLSP) that reflects the best scholarly and creative work produced within and beyond AGLSP member institutions. Publishing scholarly essays and creative work such as short stories, poetry, creative nonfiction, and visual art, Confluence stands as a demonstration of and an inspiration to the kind of interdisciplinary engagement that is constitutive of a liberal education, while emphasizing the fundamental relations that transcend the boundaries of discipline and form that must be engaged and explored."
Saturday, July 20, 2019
Our new comics imprint, #amatlcomix #amatlcomics https://t.co/F2bvqZ47NW, is evolving!— San Diego State University Press (@SDSUPress) July 20, 2019
Check it out here and welcome aboard, officially to the Amatl editorial board, @ProfessorLatinx, Dr. Frederick Aldama, and Sam Cannon! pic.twitter.com/wBxJ52sN8f
Thursday, July 18, 2019
Steven Bender's HOW THE WEST WAS JUAN--the perfect late fall 2019 syllabus addition for courses in political science, legal history, latin american studies and more...
Just a reminder about another of our more recent border/frontera-laced publications--a meditation, by noted legal scholar Steven Bender, HOW THE WEST WAS JUAN. The direct SDSUPress/Amazon purchase link is here https://t.co/aZa36lcfs2 #border #theborder #usmexico #lafrontera pic.twitter.com/i7rBqjrTSw— San Diego State University Press (@SDSUPress) July 18, 2019
Friday, July 05, 2019
Don't Miss Claudia Dominguez, Author of Amatl Comix #1 MORE THAN MONEY at the Atheneum Arts Center! #mextasy #indycomix #comics #comix #latinx #latinxart
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More than Money- the making of a graphic novel by Claudia Dominguez opens July 13, 6-8pm. Check out Claudia’s first ever autobiographical graphic novel on the kidnapping of her father and subsequent rescue in Mexico City. This is a beautifully illustrated and timely novel about the world we live in (violence, migration, resilience, family and so much more). This novel is also SDSU’s first publication under Amatl Comix under the direction of @william.nericcio 👌🏾#comiccon2019 #graphicnovel #morethanmoney #women #df #illustration #watercoler #barrioartcrawl #saturday #sdsu #barriologan #loganheights #sandiego @claudita_famosaA post shared by Art School Gallery Music Hall (@athenaeumartcenter) on
Saturday, June 15, 2019
New and Revised Titles Coming from SDSU Press!!! Juan Crespi's DESCRIPTION OF DISTANT ROADS and Margaret Fields Trilingual Kumeyaay Stories Collection!
Friday, May 31, 2019
The Day of the Lord Cometh: Nicholas Genovese's The Utopian Vision: Seven Essays on the Quincentennial of Sir Thomas More from San Diego State University Press
Brian Frastaci, SDSU Press Editorial Assistant
|Direct purchase from our SDSU Press Amz site.|
Members of nearly all political persuasions are frequently denounced as “utopian” in espousing an unrealistic and unattainable vision. Ideas are routinely held up “utopian” in the sense of “good in theory, untenable in practice.” If you believe in x, you’re a “utopian.” Might as well leave such things to the realm of fiction. Most espousing one ideology or another would avoid calling themselves “utopian” for these very reasons.
The very word utopia doesn’t help matters. Coined by Thomas More in his likewise-named work of 1516, utopia literally means “no place”—οὐτοπία, or outopia, for Greek-savvy readers. Obviously More wanted his readers to understand from the get-go that his was an impossible project. And unfortunately for ideologians of the modern day, this coinage stuck.
But the idea of utopia hasn’t always been understood as an unattainable fantasy. From virtually the beginning of human civilization, people have traded ideas about the perfect society, and those perfect societies have always been understood as very real, whether an object of the past, present, or future. As SDSU’s own E.N. Genovese argues, two great traditions of utopia existed in antiquity. Those traditions may seem alien to us, but there are bound to be familiarities to the modern ear. What Genovese identifies as the “Indo-European” tradition is the idea that human civilization is cyclical, and that we of the modern day are (of course) in the worst possible existence, an “iron age” to be held in contempt to a past—and future—“golden age”, where justice reigns and humanity lives in an exalted state. The “Near Eastern” tradition, on the other hand, is the idea that a very real paradise currently does exist. This paradise usually takes the form of a garden, wherein there is no violence, no illness, and no suffering (paradise itself comes from a Persian word that means “a walled enclosure”). The Garden of Eden is the most obvious example of an ancient Near Eastern paradise, and as Genesis would have us believe, it does currently exist somewhere around Mesopotamia.
As Genovese argues, the Indo-European and Near Eastern traditions survive and combine in the form of that great global religion, Christianity. It upholds the example of sinless man in a past paradise, in the Garden of Eden, and it believes in a presently existent paradise, the Kingdom of God in the heavens—both inheritances from Judaism, a Near Eastern religion. And as Jews came to believe before the time of Jesus, so did Christians: a future golden age is to come, the reign of God on earth.
Two thousand years of interpretation have produced interesting takes on this utopian belief, and likewise lots of word soup. One mouthful possibly familiar to readers is Darbyite premillennialist dispensationalism, a modern interpretation of Jewish and Christian prophetic literature that features a “prophetic clock” operating throughout history. When God decides to start the now-frozen prophetic clock again, the earth will have seven years left before the return of Jesus with fire and brimstone. Fun events that will presage the end-times include a failed attack by Russia and Ethiopia on Israel and the installation of a single world government. Understandably, dispensationalists were excited when the modern nation-state of Israel and the United Nations were founded.
|A dispensationalist timeline from 1919. Note the extraordinarily long toes of the Roman Catholic and Eastern Orthodox churches.|
As the image shows, dispensationalism is quite complicated, but its appeal has not been dampened, particularly in the United States. Readers today can enjoy lots of dispensationalist literature, like the bestselling Left Behind series (all sixteen volumes of it) or even the widely panned Nicolas Cage movie of the same name (currently at a 1% "fresh" rating on Rotten Tomatoes).
|The Left Behind movie (2014). If Genovese is correct, then this is a modern culmination of two venerably ancient traditions of utopia.|
My point through all this is that a lot of toil has been spent on getting utopia right. And while I don’t espouse dispensationalism or many other utopian projects myself, I only want to suggest that we redefine the word utopia to mean something simpler: a better place. While many in the West don’t believe in a cyclical view of history anymore, many often uphold the glory of past societies as examples for our modern decrepit society to aspire to—see how often “the Founding Fathers”, the “good old days”, the 1950s, and so on, are looked upon with sometimes-religious fervor. And while many likewise don’t believe in a literal paradise existent somewhere else in the world, we often glorify other societies for their supposedly superior ways of life—Japan or Scandinavia, for instance—or maybe even ourselves—we in the United States are supposedly members of a “city on a hill,” as Ronald Reagan once dramatically put it. The idea of the “noble savage” also comes to mind, that colonized indigenous peoples enjoyed or enjoy a simplistic and morally upright idyllic existence in nature.
In short, utopia is present nearly everywhere in modern discourse, but it doesn’t get recognized as such. Instead, it gets denigrated as a silly fantasy. To close, maybe we should understand utopia in an alternate reading: as eutopia, εὐτοπία—in other words, a good place, something we all hopefully aspire to.
Thursday, May 16, 2019
San Diego's Sestercentennial Got You Feeling Reminiscent? We've Got the Cure: Mourning Dove's Stories - An Authentic Compilation of Native Tales
|Mourning Dove lived 1884-1936 in the native |
borderlands between Washington and Canada.
Published in American Indian Studies at San Diego State University, comes Mourning Dove’s Stories, a rare unaltered collection of Mourning Dove’s original works.
Thanks to the extra efforts of editors, Clifford E. Trafzer and Richard D. Scheuerman, many of the stories in this compilation can be found virtually unchanged from Mourning Dove’s own interpretations—free from the westernized influence found in many previous presentations of her works which have been “corrected” by white men.
Wednesday, May 08, 2019
Fanny Daubigny has called Los Angeles, CA home for now over ten years. In her new book, Proust in Black, published this Spring by SDSU Press, Daubigny makes the case that, despite his death just after WWI, the literary essence of Marcel Proust is alive and well in the City of Angels; hiding within its many dark recesses that spurred the Film Noir genre in the mid-twentieth century. Proust in Black stands as an unprecedented merge of poetic verse, cinematic history and critical theory that reads not so much like an academic text, but rather, as Daubigny puts it, a "love letter" to the cultural elements that she for so long has poured herself into.
Fanny Daubigny lives and writes in Los Angeles, California, and works as a full professor in the Department of Modern Languages and Literature at California State University, Fullerton. This interview was conducted in February of 2019.
SDSU PRESS: You’ve written in the LA Book Review, in the context of Marcel Proust’s own critics attempting to investigate his personal life in order to better understand his work, “Reality always falls short, and objects of beauty become distorted.” How much of yourself was wrapped up in Proust’s fiction while writing this book? Was there something that you used to ground yourself in reality during the process?
Daubigny: Proust in Black is a love letter to the city of Los Angeles, the city that welcomed me more than 10 years ago both as an immigrant and a transplant from Miami, Florida. It is a love letter to literature and film and a farewell letter to a certain type of academic discourse, cultural and literary criticism that I often find too arid, insular and dry. Finally, it is an open break-up letter to a past love.
P: Because you also write poetry, Proust in Black strikes a beautiful balance between academic investigation and pros that often come across as a work of art themselves, which makes for a delightful and informative read. How did you go about finding this balance between personal expression and research-based writing?
D: The balance came to me very naturally and spontaneously. This is how I approach the world and this is how I write as a reflection of how I experience reality. A balance that constantly swings its pendulum between chaos and order, reason and heart, intellect and emotions, all together pulled by Dionysian and Apollonian forces (as a reference to Nietzschean aesthetics).
P: Having lived all over the world--France, Canada, Chile and Los Angeles (perhaps I’m missing one or two?)--is there something about LA that lends itself especially to the Noir genre that isn’t found anywhere else?
D: Yes, I think it does although the genre goes well beyond historic and cultural determinations as I tried to show it in my essay. What makes Los Angeles so special to me in my exploration of the theme and the genre is the explosive crystallization of various elements that are so intrinsic to the city: The historic with the second world war ‘free play zone’, the cold war freeze, the nuclear threat (nuclear tests operated in the desert of Nevada in 1953 radiated unto the city of Los Angeles); the geographic with the ever dramatic struggle of a city with its threatening landscape: the sense of a city always being ‘on the edge’ (on the fault line), at the very border of explosion (Kiss me Deadly (1955); collusion with Mexico (Out of the Past (1947); Touch of Evil (1958); at the border of death with the proximity of the desert (Sullivans’ travels, 1941) etc.
|Billy Wilder, Double Indemnity, 1944|
P: Your book spans decades of Film Noir in LA, from the 1920s to the 1980s. How, in your opinion, have LA Noir films changed throughout time? Do you think the tone of the LA Noir film has changed with the city, or do films change the way we see the city?
D: Yes, absolutely, I think they have even as the stereotypes belonging to the genre can be exported to other film genres. Let’s take the example of Marlowe, the stereotype of the detective. Marlowe as seen in The Big Sleep by Howard Hawks and Marlowe as portrayed by Robert Altman in A Very Long Goodbye are two different characters and the refection of two different cities in transition. Marlowe in Altman’s movie is still on his quest for truth but the crime scene has shifted to Mexico, the bad guys have turned from librarians to hopeless middle-aged writers, psychiatric wards keep the city’s secrets and Marlowe’s greatest passion is now for a cat.
P: Proust in Black often blurs the line between reality and fiction in its embrace of the night--as you write, “In calling up the night, it is often the myths and folklore of childhood that are evoked,” and “...throughout the centuries the blackness of night has known how to share intimate space with the writer’s white page.” Is there something to the idea of letting oneself get wrapped up in the drama and fantasy of film and fiction in a city like Los Angeles? Do you think there is something that Film Noir--and for that matter, Proust, himself--can teach us about embracing the night?
D: Los Angeles has the texture of a dream-like reality. Never completely real, never completely fake. Always on the edge, on the fault line, in-between, and in-and-out. Film noir has the color of the night, where opposites contrast, collide, meet and merge with one another; where black and white evoke the night of dreamers (like Marlowe) and killers all alike. Proust’s novel, Remembrance of Things Past, contain early drafts that looked very much like a ‘bedtime story’, a conversation initially started between the narrator and his mother about literature. Later, the final version turned out to be the story of a man that cannot find sleep, dreams and wakes-up, fantasying all together about femme fatales, corrupted men and crimes (symbolic) all reflecting the progressive disparition and dissipation of a certain myth, the myth of a greater France, nostalgic of its glorious past whose dream was brutally interrupted in 1914, at the onset of one of the most vicious and barbaric times of the history of the French Republic when France, Europe and the world turned into the blackness and bleakness of WWI.
P: It’s undeniable that our world is changing more quickly by the day, with the advent of social media, our addiction to the news cycle (and the news cycle’s reliance on our addiction), political turmoil, etc. Where does Proust’s work fit into all of this? Is there a remedy within his writing that society can find solace within? Likewise, where does your book fit into our society today? What can we learn from reading about the relationship between Film Noir and Marcel Proust’s work in your book?
D: Proust’s political stance is oven overlooked (or overshadowed) by the complex aesthetics the novel famously (or infamously) stands for. As said earlier, Proust’s novel is as much a work about poetry, fine imagery and complex metaphors as it is about history involving the researching, chronicling archiving and rendering of complex cultural, political and socio-economic questions such as: secularism, cultural diversity, class struggles, xenophobia, education, sexual politics, genre etc…
|Kiss Me Deadly, West of Los Angeles |