Podcast: Di Giminiani Discusses Becoming Human on a Conservation Frontier

October 22, 2026

The University of Arizona Press podcast features an interview with Piergiorgio Di Giminiani, author of Alterhumanism: Becoming Human on a Conservation Frontier. Di Giminiani is an associate professor in anthropology at the Pontificia Universidad Católica de Chile. He is also the author of Sentient Lands: Indigeneity, Property, and Political Imagination in Neoliberal Chile.

Asked about how he defines a “conservation frontier,” Di Giminiani explained: “A frontier is something that we do to space. It’s a process rather than a geographical construct. So when I started working on forest conservation in southern Chile, I realized there were many overlapping histories that centered on one process: the transition from a resource frontier to a frontier where nature becomes a commodity for experiential tourism and the new green economy.”

Listen to the full podcast here.

About the book:

What does it mean to be human in the Anthropocene? Set against the backdrop of southern Chile’s conservation frontier, Piergiorgio Di Giminiani’s Alterhumanism invites us to recognize the centrality of the human condition in the face of an increasingly uncertain world and imagine future forms of coexistence.

Reflecting on more than a decade of ethnographic fieldwork with smallholding settlers, Indigenous Mapuche farmers, environmental activists, entrepreneurs, and conservation scientists, Di Giminiani brings to light how these diverse groups navigate the enduring impacts of settler-caused environmental depletion and their aspirations for new ethics of care. Di Giminiani challenges traditional Western humanism, proposing a more relational and open-ended understanding of humanity shaped by interactions with nonhuman others.

Podcast: Brenda L. Sendejo Explores Chicana Spiritual Activism

October 15, 2026

The University of Arizona Press’ podcast features an interview with Brenda L. Sendejo, author of Chicana Spiritual Activism: Making Change, Making Soul. Sendejo is a cultural anthropologist, consultant, and scholar-practitioner of spiritual activism. For two decades, she has collaborated with movement-era Chicanas in Texas, documenting their spiritual activism and illuminating its continued relevance for contemporary struggles. Sendejo holds a PhD, MA, and BA in cultural anthropology from University of Texas at Austin.

Asked about the concept of “making space and making soul” (based on the teachings of Gloria Anzaldúa), Sendejo answered: “We are the creators of our own identities. The idea of making soul is inspired by the Nahua philosophy. It’s the idea that our souls can speak to us and we can enact our souls in the world. It’s not this theoretical metaphysical idea, but that our actions in the world can be driven by our purpose, by our souls.. . . what I learned from the women [interviewed for this book] is that we can reconceptualize ideas of activism and personal transformation in many ways.”

Listen to the full podcast here.

About the book:

This book explores the profound impact of spiritual activism within the Chicana feminist movement in Texas. It illuminates how a cohort of Texas Chicanas embraced spiritual activism in pursuit of social change during the movement and into the present day.

The book draws on an array of qualitative methodologies—including interviews, autoethnography, testimonio, pláticas, and archival analysis—to develop what the author formulates as “methodologies of the spirit.” Focusing on the lived experiences, histories, and spiritual activism of sixteen Chicanas/Tejanas, Sendejo shows how these trailblazing women confronted the enduring impacts and repercussions of colonial legacies in Texas through their involvement in movement initiatives such as electoral politics through Mujeres Por La Raza, the cultural arts movement, developing Chicana feminist thought, and the establishment of bilingual education and Chicana/o studies programs.

The activists highlighted in the book include well-known figures such as Santa Barraza, Norma E. Cantú, Rosie Castro, Martha P. Cotera, Inés Hernández-Ávila, and others. Through their work, these activists emerged as architects of their own healing and transformation. Simultaneously, they opened avenues for others to embark on similar journeys reshaping religious practices and unearthing and disseminating spiritual, feminist, and ancestral knowledges.

Five Questions with Illustrator Robert J. Long

October 6, 2026

The Sonoran Desert has many marvelous and well-known creatures such as the javelina and the coyote, often found on postcards and lawn ornaments. But what about the lesser-known creatures—the ones that are underfoot yet unseen, that lurk only in the shadows and in our imaginations? In Sonoran Desert Bestiary: A More-than-Natural History naturalist Gary Paul Nabhan and artist Robert J. Long team up to celebrate these unsung beings of the Sonoran Desert. Today, we share a mini-interview with Bobby Long about collaboration and his creative process.

How did you approach illustrating animals and beings that are partly documented, partly imagined, and sometimes deeply rooted in traditional stories?

I began by reading draft chapters carefully, pausing to look up words I didn’t know or found to have some kind of visual thread I could follow. For animate and inanimate forms I encountered in this close reading, I dove into some loose sketching, all the while looking to reference images, whether searching for photos and 3D models, or seeking out tangible reference where possible to give myself a strong understanding. My plan was to leave no conceptual stone unturned and to practice drawing any potential subjects pretty accurately, from different angles and poses, before building some kind of deeper visual story. I tell my design and illustration students that drawing is thinking-on-paper, and I find this to hold true when I’m trying to shake ideas loose, out onto a paper playground where I can have a practical look at them, constantly playing with ways I could combine an inspiring piece of one with an interesting element from another into a composite that says more than any one source image could. In the end, I wanted to offer fairly accurate (where applicable), close-up, charismatic depictions of these beings out of respect for them and their time on this planet… I think they’re already complete and are in no need of embellishment or decoration.

On the more technical side of things, I’d redraw and refine successful sketches larger into the final pencil drawings that live inside the book illustrations. I scanned these into my computer at a high resolution and then used Adobe Photoshop and a digital drawing tablet to paint-in translucent layers of color to float over my analog pencil renderings.

The UA Press team saw dozens of your sketches for this book. Will you walk us through your process from reading Gary Paul Nabhan’s writing and/or talking with him to final illustration? What kind or research, sketching or visual experimentation took place?

Gary and I arrived at twelve beings right away, but we took a while to choose who would fill each slot, or our “beast list.” We wanted to avoid clichés and to not devote main chapters to anything already covered heavily in pop culture. And as an aside, my previous magazine illustrations that drew Gary my way in the first place had depicted desert insects up-close and full of approachable character. I think Gary’s fondness for that side of my work carried over to this project, because we were quickly finding that our list was filling up with insects and creepy-crawlies. So while I was secretly glad to have converted another person to the dark arts of entomology, we did continue to tinker until we felt we had many walks (and swims) of life represented. From there, I didn’t really begin drawing anything until Gary’s chapter drafts started to materialize and make their way to me. As for visual experimentation, I’d soon start sketching my ever-loving brains out, and both Gary and UA Press gave me all the room in the world to breathe and figure things out. It was just me, my pencil, and the hamster wheel in my head for long stretches of time. I’d sling some drafts their way to check-in and ask some questions here and there. But all in all, I got plenty of support from my collaborators and felt free and trusted to pursue my interpretations of the written words.

Which illustrations in the book were the most challenging or surprising to create, and why?

Each full-page illustration had its own set of challenges. Some of the illustrations took a while to conceptualize, especially once I had a scope already established for the first couple. For others the idea came more quickly, but were tough to depict in a dynamic perspective or in a tall, narrow page format. Anyway, it’s tough to point to just one problem child (or favorite), but I did spend a lot of time on the Desert Leaf Cutter Ant. I’ve drawn lots of bugs before, even desert ants, but I think I felt like I had to one-up my previous ant work. I also wanted to create really extreme perspective to make the viewer feel like they were tiny enough to rub the ant’s belly, while getting swallowed up by a big nest cavern.

So I zoomed in close to some scientific 3D scans of very similar species to see how perspective might warp the body and legs if you’re a centimeter from its chin, then adjusted the under-drawing to apply the attributes for the correct species for the chapter. Finally, I had a couple major re-draws of the ant’s background. I first got absorbed in drawing fungal spires, hanging like sea sponge chandeliers. But then realized this ant’s partner fungus doesn’t usually form spires and that the complex shapes I drew didn’t really frame the ant well anyway. So a behind-schedule rework left me with a solution I now love: the oculus letting in sunlight, like a Byzantine halo backlighting the ant in its dark home. I had been wanting my ant’s exoskeleton to glow a bit and look a little translucent, so with some new sunlight behind him, it was my guy’s time to shine.

The Sonoran Desert is full of subtle textures, colors, and forms that many people overlook. What visual details of the desert landscape or its wildlife do you find most inspiring as an artist?

I agree! In some slices of space and time our favorite desert’s bounty beats you over the head and in other interactions you have to open your eyes a little wider. If you’re into flashy things or are used to someone telling you what beauty should look like, you’re likely to miss it in the Sonoran Desert. But if you can get lost in something small or understated, or in something that makes you feel small then beauty probably found you. And it’s probably rough around the edges or muted in color to survive there. When I first moved to Arizona, my eyes were already attuned to intimate subjects in my close-up camera lens, but I was also easily distracted by big weird plants and sunsets and landscapes painted by evening colors more brilliant than I was used to. Now that I’m accustomed to all that, I can narrow my focus onto the unsung heroes, like hefty ironclad beetles wobbling along, old creosote branches sun-bleached silver, and my word, so many interesting little rocks everywhere.

You have worked on so many illustration and design projects from the Flandrau Science Center and Planetarium in Tucson to the Feral Ecologies Lab in Rotterdam, the Netherlands. What is your current or next big project?

I don’t know what my next big art project will be, but I’m thinking I’d like to rely less on digital finishing and have fewer temptations to press the cursed “undo” button. And I would like to revisit some analog art materials I haven’t touched in a long time, like watercolor, ink, oil paint, or something with more chance involved. Currently, I’m working on some logo designs for various people and organizations to build up enough of a logo portfolio to show on my website. Logo design is my favorite niche in graphic design, and while it is a very digital process near the end, I still start out a logo project with sketching ’til the cows come home, and I do enjoy the many ways its demand for simplicity and visual problem-solving differ from my mode of drawing.


Robert J. Long is an associate teaching professor of visual communication at Northern Arizona University. He earned his MFA in studio art at the University of Arizona in 2013. His visual art, made under the pen name NearsightGraphite, has been published through Frontiers in Microbiology, Manifest Press, the Confluencenter for Creative Inquiry, and Edible Baja Arizona magazine, among others. His award-winning work has been shown in juried gallery exhibitions in the United States and abroad since 2008. His art installations include Undersea Discovery (2023–present) and Wild World of Bugs (2021–present) in the Flandrau Science Center and Planetarium at the University of Arizona. In 2013, Long became Arizona’s first finalist in the internationally juried Adobe Design Achievement Awards. Find his work at https://www.nearsightgraphite.com/

September 17, 2026

Curandereando: Sacred Decolonial Healing reclaims curanderismo as a living and revolutionary practice of ancestral wisdom, resilience, and renewal. Blending poetry, Spanglish storytelling, oral histories, and testimonios, this hybrid work illuminates healing as both a sacred tradition and a decolonial act of resistance.

Lani Cupchoy traces curanderismo’s survival under colonial oppression, its adaptations across diasporas, and its vital role in addressing contemporary struggles for ecological balance, cultural survival, and social justice. By centering diverse healers and community voices, it resists folkloric portrayals and instead presents curanderismo as an evolving practice deeply relevant to today’s crises.

Today, we share a special interview with the author, who discusses the meaning of “curandereando,” the history of curanderas, and how the past intersects with the living future of curandera healing.

Tell us about your title, Curandereando.

Curandereando is about healing in motion. I wanted a title that made curanderismo active because, to me, it is not simply a tradition we study or a set of practices someone performs. It is a way of being, relating, caring, remembering, and moving through the world.

I also wanted to demystify curanderismo. When people hear words like curandera or curandero, they sometimes imagine a shaman, a mystic, or even a witch. Curanderismo can certainly include deeply spiritual and ceremonial practices, but it takes many forms. Healing can happen through plant medicine, prayer, limpias, healing circles, altars, meditation, mindfulness, intention, preventative care, or simply knowing how to care for someone. It can be physical, emotional, spiritual, communal—or all of these at once. At its heart, curanderismo recognizes that our well-being is connected to our relationships with ourselves, one another, the earth, and spirit.

Many people may recognize aspects of that philosophy in their own lives. Perhaps they grow herbs, meditate, pray for someone, gather in community, pay attention to their wellness, or still use a remedy taught to them by a parent or grandparent. That does not mean every wellness practice is curanderismo; curanderismo has particular cultural histories and ancestral lineages. But it does remind us that healing does not only happen in extraordinary or mysterious spaces. It can happen in ceremony, and it can happen around the kitchen table.

That is curandereando: healing as something living, something we do. As I write in the book, it is “a way of being. A way of life.”

Your book traces curanderismo through time, describing precolonial curanderas and their persecution during the Spanish Inquisition. How did colonization affect the work of curanderas?

One thing I hope readers take away from the book is that the association between curanderas and witchcraft did not emerge in a vacuum. Colonization helped create it.

Long before European colonization, healers held tremendous knowledge about plants, birth, the body, spirit, land, and community. Colonial authorities often recast Indigenous and African-descended healing practices as superstition, heresy, or witchcraft. Healers were persecuted, ceremonies were suppressed, and ways of knowing that did not conform to Catholic orthodoxy were demonized. Yet there was an incredible contradiction: the same colonial society that condemned curanderas could still depend upon their knowledge and remedies when people became ill.

What fascinates me just as much as that persecution, however, is how curanderas responded. They adapted. A prayer might take on Catholic language while preserving older meanings. An Indigenous deity might appear through the image of a saint. A ceremony might move from a public space into the privacy of a home. Knowledge could be carried quietly through families from one generation to the next. I do not think we should automatically interpret those changes as assimilation. In many instances, adaptation was a strategy of survival and resistance.

Colonization also changed how people understood the spiritual dimensions of healing. Curanderismo is grounded in connection—to the earth, to community, to ancestors, to spirit, and, for some, to a Creator. These relationships can take many forms and do not belong to any single religious tradition. Prayer, intention, ceremony, plant medicine, and relationships with the natural world may exist alongside one another as parts of a much more holistic understanding of healing. Over generations, practitioners have carried these relationships forward in ways shaped by their families, communities, histories, and lived experiences.

So when someone encounters the stereotype of the curandera as a “witch,” I want them to ask: Who taught us to see her that way? Behind that stereotype may have been a healer, a midwife, a caretaker, a keeper of plant knowledge, or a community member carrying practices people had relied upon for generations.

Colonization changed curanderismo, but it did not erase it. The fact that these traditions continue today is itself an extraordinary story of survival.

In the preface to your book, you write that your practice of curanderismo is “rooted in the wisdom of my abuela curanderas, yet continually shaped by the teachings of countless healers from across the world.” Can you tell us about one or two of the people who have influenced you the most?

The healers who have influenced me most are the women closest to me: my mother and my abuelas.

Each carried her own gifts and her own ways of healing. Some of that healing happened quietly within the family—through plants, food, prayer, touch, intention, and knowing how to care for someone. Other practices extended outward into the community. What I understand now is that they did not have to announce themselves as healers before they healed. This knowledge was simply woven into everyday life.

One of my earliest memories is from when I was about two years old. I fell from my bicycle and injured my knee badly enough that it became swollen and difficult to walk on. My mother went into our backyard, gathered aloe vera, arnica, and other herbs she knew, heated them, and gently placed the mixture on my knee. By the next morning, the swelling had subsided and I was walking again.

What I love about that memory is that as a child, I did not think anything unusual had happened. I did not think, My mother is practicing curanderismo. I thought, this is what mothers do.

Only much later did I understand what I had witnessed: knowledge of plants, the body, healing, and care that had traveled across generations. My mother may not have called herself a curandera, but, as I write in the book, “her hands carried the same wisdom passed down through generations.”

In many ways, studying curanderismo did not introduce me to healing. It gave me language for something the women in my family had already taught me. That realization has profoundly shaped both my practice and my scholarship.

Importantly, you identify many “New-Gen” healers and describe their current work. What excites you the most about these approaches?

What excites me most about New-Gen healers is that they remind us that a living tradition is allowed to evolve.

Sometimes we romanticize ancestral practices by imagining that they are only authentic if they remain exactly as they were generations ago. But curanderismo itself tells us otherwise. It survived precisely because people adapted, carried knowledge into new environments, and responded to the needs of their communities.

We see that happening again today. Contemporary healers are cultivating medicinal plants in urban environments, transforming everyday spaces into places of healing, connecting diasporic communities through digital platforms, and bringing healing practices into conversations about migration, environmental justice, activism, and decolonization. Queer and gender-expansive curanderes are also creating and reclaiming practices that make space for identities, chosen families, and communities whose spiritual lives have not always been recognized.

What I find exciting is the question underneath all of these approaches: What does healing require from us now?

That question allows us to honor ancestral knowledge without freezing it in the past. New-Gen healers are not simply preserving traditions; they are in relationship with them. They are asking how inherited knowledge can respond to contemporary bodies, communities, environments, and realities.

Curanderismo has roots, but it also has movement. That is how living traditions survive.

What are you working on now?

I have two forthcoming books, so it has been an exciting and very busy period. Although the projects may initially seem quite different, I see a thread connecting all three books: How does knowledge survive across generations, and what do families and communities do to carry it forward?

My forthcoming academic book, Urban Aloha: Hawaiian Diaspora, Identity, and Belonging in Los Angeles, from the University of Nevada Press, turns toward my Hawaiian ancestry and examines how Hawaiian communities in Los Angeles have created belonging and sustained cultural identity through foodways, festivals, family, oral histories, and other forms of cultural memory. The project is deeply personal to me. My father migrated from Hawaiʻi to Los Angeles and created a sense of Hawaiianness in our home through everything from ʻukulele and hula to the plumeria and ti plants in our yard and the foods we ate together. The book examines what I call a “transgenerational imaginary”—the ways cultural knowledge moves across generations, being preserved but also reimagined as communities adapt to new places.

My other forthcoming book, Abuela Medicine, from FlowerSong Press, brings questions of ancestral knowledge even closer to home. It follows five generations of women in my family and the different forms of healing knowledge they carried. Through family stories, memoir, poetry, photographs, and more than forty-five remedios, I explore how knowledge can move from one generation to another through gardens, food, herbs, prayer, spiritual practice, storytelling, and everyday acts of care.

I also want to be clear that I do not see Curandereando—or any of these books—as the final word on these subjects. Curandereando highlights particular people, practices, histories, and moments. There are countless others. There are healers whose stories have never been documented, family knowledge that has never entered an archive, regional traditions that deserve far greater attention, and communities whose experiences still need to be recorded.

We need more of these stories now more than ever. So I think of Curandereando as a contribution and an opening rather than a final word. My forthcoming books take some of the questions that have long shaped my work—about memory, inheritance, cultural knowledge, and what communities carry forward—in very different directions. There will always be more histories to recover, more elders to listen to, more stories to document, and more knowledge to carry forward. No single book can tell the whole story—and that is precisely why we need many more of them.


Lani Cupchoy is a public historian, storyteller, artivista, and filmmaker of Chicana, Afro-indígena, Kanaka Maoli, and Chinese heritage. She is an assistant professor of Chicana/o and Latina/o studies at California State University, Los Angeles, specializing in public history, ethnic studies, and Indigenous knowledge. Founder of Pinkjade Creations, she uses film, music, and digital media to amplify testimonios and cultural resilience. Her work bridges scholarship, ancestral healing traditions, and community-engaged storytelling.

“Sons of Gunshooter” Authors Speak at New Mexico History Museum

September 4, 2026

Dorothy Denetclaw and Matt Fitzsimons, authors of The Sons of Gunshooter: A Navajo Resistance Story, spoke at the New Mexico History Museum in Santa Fe on August 15, 2026, as part of Indian Market Week. Dorothy Denetclaw is Tótsohnii born for Tł’ááschí’í. She has lived in Indian Wells, Arizona her whole life. Matt Fitzsimons is a former newspaper reporter and the author of The Counterfeiters of Bosque Redondo: Slavery, Silver, and the U.S. War Against the Navajo Nation. He lives in San Diego, California, and is a member of the Diné Studies Conference, based in Window Rock, Arizona.

Fitzsimons began the presentation by talking about The Hubbell Trading Post, a major setting in The Sons of Gunshooter, describing Hubbell’s exploitation of Navajo artists, as well as what happened to Denetclaw’s family: “A fuller history besides showing wrongdoing allows us to recognize resistance, survival, and better ways of doing things in the future…I mean, there’s all this terrible stuff that happened to Dorothy’s family, but they got through it time and time again. You know, the Hubbells went bankrupt and Dorothy’s family is out there today selling art on the plaza. You know, it’s a good story. It’s a happy story. I don’t know why we’re afraid to be honest with tourists about it.”

Watch the fascinating presentation in the video here.

About the book:

In 1919, the brother of one of the West’s most famous Indian traders was shot to death in a remote corner of the Navajo Nation.
 
Part history, part true crime, The Sons of Gunshooter reexamines the killing and subsequent murder trial, while simultaneously embedding the story in a much larger saga of colonization and resistance. The result is a book that’s sweeping in its scope and surgical in its approach. Rewinding the clock to 1868, the authors follow the intertwining paths of two families to offer a riveting, deeply personal account that has been hailed as “a new way of doing historiography.”
 
One of the authors is a descendant of participants in the case; the other is an investigative journalist. By merging Diné oral traditions with archival evidence, they succeed in upending one false narrative after another.

Five Questions with Tim Z. Hernandez

September 1, 2026

In September 2024, when we first published Tim Z. Hernandez’s memoir They Call You Back, the author took some time out of his busy schedule to answer a few questions for us. In celebration of the paperback version of this book, we asked him additional questions about his research and writing related to the Los Gatos Canyon plane wreck and his documentary film project.

What inspired you to begin your research into the plane wreck at Los Gatos Canyon?

I was born and raised in the San Joaquin Valley where the incident took place, and I’m the son of migrant farmworkers. As a storyteller I’m always paying attention to the stories that come my way, and I believe i was standing in the right place at the right moment in history, enough to be aware that there was something powerful and moving about this story. 

Why did you start filming your interviews with the families of the victims, as well as recording your own thoughts during the research journey?

I was aware very early on that there was no archive that existed about this piece of history, which meant that I was essentially
creating the archive myself. Therefore, everything I did would become a record of the story. This is the main reason I began
carrying around a camera, audio recorder, and later, a video camera.

Did you always have in the back of your mind that you would make a film, or did that decision come after writing the books?

After a couple of years of doing the research it occurred to me that if I accumulated enough footage and materials, there was potentially a documentary in this down the road. If i could sustain it. And it turns out I could. But I wanted to finish the books first, so I focused on that. But I was always keeping in mind as I went along that I was also collecting footage and audio for a documentary.

How does the film complement the stories in your books, All They Will Call You and They Call You Back?

It’s absolutely complimentary. Whereas the books allow me more room to delve into the details of the people, the history, and the stories, there’s still nothing like seeing the raw human essence with your own eyes that only film can offer. The documentary will bring the people and their stories to life, but the books will contain the deeper narrative behind what you’ll see in the documentary. 


What was the most challenging part about making a film?

The funding is always the most challenging part. And then i’d say finding the right team to help me realize the film. I had spoken with several producers and filmmakers over the years but none felt as invested in the story as I had wanted/ needed them to be, so i remained patient and knew the right people would come into my life eventually.  They since have and we’ve been nonstop ever since. And I have to say, the editing too was a scary process. Cutting 200 hours of footage into a digestible 90 minutes isn’t an easy feat, but our Editor has a ton of experience and he’s handling it masterfully. 

What is the projected release date for the film and where can people watch it—on tour? On PBS? On Netflix?

We’ll be submitting to film festivals first, and if we can’t secure a distributor that way then we have back ups plans. But right now that’s the first goal, submitting and seeing if it gets picked up. We’ll also host screenings in various cities and communities across the country, so the best way to keep updated on all that is through our website: www.alltheywillcallyou.com


Tim Z. Hernandez is an award-winning author, research scholar, and performer. His books include fiction, nonfiction, and poetry, and he is the recipient of numerous awards, including the American Book Award. His work has been featured in international media, and in 2018 he was recognized by the California Senate for his work locating the victims of the 1948 plane wreck at Los Gatos, which is chronicled in his book, All They Will Call You. Hernandez is an associate professor in the University of Texas at El Paso’s Bilingual Creative Writing program. He is the writer and director of the documentary film All They Will Call You.

August 26, 2026

Moving tenderly across memory, continents, and literary forms, Jacob Shores-Argüello’s tightly woven cross-genre collection, Grief for the Green That Was, evolves a private family bereavement into an exploration of collective ecological grief. Following the death of his mother, the speaker navigates between his Costa Rican heritage and his Oklahoma upbringing, eventually arriving at something like healing on the banks of New Zealand’s Whanganui River—the first river in the world granted legal personhood. 

A book about what we inherit and what we leave behind, both in families and in landscapes, Shores-Argüello examines how climate change affects not just the physical world but also our emotional and spiritual relationships to place.

Today, we share a special interview with the author, getting his insights on the grief we share in the face of climate change, the nature of personhood (or the personhood of nature), and resisting emotional numbness through formal play.

The title of your book speaks to the many aspects of grief you explore: grief as a form of memory, longing, place, love. Did your relationship to grief change in the writing of this book?

The idea of this book is that it takes personal griefs, something I’ve written about extensively before, and uses them as a platform to speak to the grief we all share. In this case, our communal grief of climate change. More and more, it feels like we are getting wiser in our ways of understanding our individual losses, but we rarely know what to do when the loss is at a different scale, sometimes so wide that we have trouble comprehending it.

This book is a first step for me in understanding the need to recast the way I think of community, the way I think of nature. For instance, this book looks at the town in Costa Rica where my mother is from alongside its idea of giving citizenship to pollinators—birds, bees, and trees. It also looks at the idea of extended family while exploring the recognition of legal personhood for the Whanganui River in Aotearoa New Zealand.

Are there other poets (or artists in any genre) whose work on grief, elegy, loss, or environment you see this book in conversation with?

Perhaps Craig Santos Perez’s From Unincorporated Territory [åmot]. My book isn’t as visually experimental as that one is. But I think they both lean on weaving together different forms and materials in order to hold complexity.

Robert Macfarlane’s Is a River Alive? would be good for those interested in the ideas of the rights of nature. That one doesn’t focus on Aotearoa New Zealand specifically, and so it might be a good complement for this book.

I think readers will be interested in the book’s structure, organized into sections that move from the first, to second, to third person. Can you talk about this incremental shift in perspective?

The book moves from first person, to second person, to third person, and back again to first person—now plural. As the book itself is concerned with ideas of personhood, this seemed like a natural fit for its structure.

Each shift let me think through what the “I” means in the face of loss, what it means to step outside of self with that “you,” and how stories usually told in third person might be the best way to remember our connection with both family and the land. And finally, it ends with the hope that comes when disparate selves can come together as a “we.”

The section “Cuando Tienen Frío (Second Person)” unfolds in Aotearoa New Zealand in the unexpected form of a Choose-Your-Own-Adventure narrative. What appealed to you about this form?

I like to put games in my books when I can. I’ve been numbed by my own grief and I know readers can feel this too. And so I wanted them to flip around the pages. I wanted to offer play as variation. One of the lessons I’ve learned is that it is often hard to understand something big without counterpointing it with something smaller.

Of course, the choose-your-own-adventure has a natural multiplicity built into it. More than one thing can be true. That can be a powerful idea in the face of realities that seem so stark.

What are you working on now?

I’ve been working on this project for years. Eventually, I realized that I was making two books. Grief for the Green that Was is the cross-genre part, it looks through the lens of overlap—between poetry, short stories, and the choose-your-own adventure style memoir.

My next project is a continuation of some of the ideas I’ve mentioned. Hopefully, the sustained length of the novel will offer a different canvas for these ideas to continue to breathe. It is a complementary book, one that explores the roots of citizenship itself while adding a throughline that follows the idea of Blue Zones, those places in the world where people live exceptionally long, healthy lives.


Jacob Shores-Argüello is a Costa Rican American poet and prose writer. His second book, Paraíso, was selected for the inaugural CantoMundo Poetry Prize. He is a 2018–19 Hodder Fellow at Princeton University, a Lannan Literary Fellows for Poetry, and a 2024–25 Rome Prize in Literature winner. His poetry and fiction appear in the New Yorker, Poetry Magazine, the Academy of American Poets’ Poem-a-Day, and the Oxford American, among others. His work examines borders—between geologies, cultures, and languages—between humanity and the natural world.

“Sons of Gunshooter” Authors on C-SPAN American History TV

August 20, 2026

C-SPAN’s Amercan History TV features a book talk with Dorothy Denetclaw and Matt Fitzsimons authors of The Sons of Gunshooter: A Navajo Resistance Story. Jennifer Nez Denetdale, co-editor of The Diné Reader: An Anthology of Navajo Literature, moderated the wide-ranging discussion that was filmed at Collected Works Bookstore in Santa Fe, New Mexico, in March 2026. Dorothy Denetclaw is Tótsohnii born for Tł’ááschí’í. She has lived in Indian Wells, Arizona, her whole life. Matt Fitzsimons is a former newspaper reporter and the author of The Counterfeiters of Bosque Redondo: Slavery, Silver, and the U.S. War Against the Navajo Nation. He lives in San Diego, California, and is a member of the Diné Studies Conference, based in Window Rock, Arizona.

Denetclaw talked about how she came to write this book with Fitzsimons, starting with stories from her childhood: “I didn’t see a white person or hear a word of English until I was nine years old. But during that time, my father talked to us and told us ‘this what happened.’ And he told me all these stories. . . . . Later on, I remembered my daddy’s stories and I started writing. Then Navajo Times newspaper reporter Cindy Yurth wrote the stories with me, and put it in the paper. . . . Matt read the stories in the newspaper and asked Cindy Yurth for my number.”

Watch the fascinating conversation in the video here.

About the book:

In 1919, the brother of one of the West’s most famous Indian traders was shot to death in a remote corner of the Navajo Nation.
 
Part history, part true crime, The Sons of Gunshooter reexamines the killing and subsequent murder trial, while simultaneously embedding the story in a much larger saga of colonization and resistance. The result is a book that’s sweeping in its scope and surgical in its approach. Rewinding the clock to 1868, the authors follow the intertwining paths of two families to offer a riveting, deeply personal account that has been hailed as “a new way of doing historiography.”
 
One of the authors is a descendant of participants in the case; the other is an investigative journalist. By merging Diné oral traditions with archival evidence, they succeed in upending one false narrative after another.

Podcast: Meena Khandelwal Discusses How Cookstoves Empower Women in India

July 9, 2026

Why do so many Indian women in India continue to use their wood-burning, smoke-spewing stoves called “chulhas” when they have other options? In the latest University of Arizona podcast, Miranda Melcher interviews Meena Khandelwal, author of Cookstove Chronicles: Social Life of a Women’s Technology in India about women’s local low-tech technology as well as craft and work in Rajasthan, India.

In the interview, Khandelwal, an anthropologist and women’s studies scholar, explains how environmentalists have blamed deforestation on the use of chulhas: “These stoves were mostly used by women, and they cut wood to use as fuel for daily cooking. So my engineering colleague and his students designed a solar cooker. These prototype stoves were abandoned after a couple years in the villages. My colleague realized that he had to better understand women’s cooking practices.” Khandelwal’s colleague invited her to collaborate, but before she went to Rajasthan to do field work, she noted, “I had to learn a whole lot about the region, and the social and environmental history, before I could even have an an opinion about cookstove improvement projects.”

Listen to the entire podcast here.

About the book:

Based on anthropological research in Rajasthan, Cookstove Chronicles argues that the supposedly obsolete chulha persists because it offers women control over the tools needed to feed their families. Their continued use of old stoves alongside the new is not a failure to embrace new technologies but instead a strategy to maximize flexibility and autonomy. The chulha is neither the villain nor hero of this story. It produces particulate matter that harms people’s bodies, leaves soot on utensils and walls, and accelerates glacial melting and atmospheric warming. Yet it also depends on renewable biomass fuel and supports women’s autonomy as a local, do-it-yourself technology.

Food Sleuth Radio Interviews Andrew Flachs on Food Production and the Efficiency Trap

June 23, 2026

Food Sleuth radio host Melinda Hemmelgarn recently interviewed Andrew Flachs author of Feeding the World as if People Mattered: How Small Farms Produce Value Beyond Yields. This book draws on fifteen years of anthropological research, taking readers to fields in South India, Eastern Europe, and North America, where people are already feeding the future amid global change. From these fields, Flachs shows us how a radical rethinking of the value of small farms and farmers is already happening. Listen to part 1 of the interview here and part 2 here. Flachs is an associate professor of anthropology at Purdue University, a father of two children, and a semi-retired musician.

Asked about creating more farms and more farmers instead of increasing yields, Flachs replied, “When we think about increasing yields, what sort of systems are we perpetuating? There is this specter of food production, overpopulation, and environmental degradation that is so tied to a crisis mode of thinking (from the 1970s). If we see it simply as a production question, then all of our solutions end up being how do we create more and more of this thing. The United Nations [and other international researchers] have concluded that the problem of world hunger is not that there is not enough food, it’s that food cannot reach the people who really need it.” This food distribution problem is already being solved with a variety of local farming methods in different parts of the world. Listen to the full podcast interview: part 1 here and part 2 here.

About the book:

Backyard gardens flush with cucumbers, tomatoes, and peppers where bees buzz and chickens scratch. Beyond, a forest filled with blackberries and jewelweed. Inspired by childhood memories of his grandmother’s overflowing backyard garden, author Andrew Flachs has embarked on a multi-continent, decades-long look at agriculture and its value.
 
The dominant view of agriculture has focused only on what we produce. It sees value in terms of capital gains or yield efficiency, masking how our global food system produces tremendous amounts of food commodities while failing to feed people, support rural communities, or enhance ecological well-being. Feeding the World as if People Mattered asks us to look more deeply and more humanely at what we perceive to be most valuable in our agricultural systems. Bringing together conversations in agriculture, economics, anthropology, and the environmental humanities, Flachs deftly shows how small farms reproduce social and ecological relationships that are the only sustainable path forward.

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