Showing results by narrator "Andre Bellido" in All Categories

On July 3, 1972, twenty-four hippies from Clearwater, Florida, set up tents and settled in for the night at Briar Bottom, a public US Forest Service campground in western North Carolina. The impromptu campout was a pit stop for the group on their way to a Rolling Stones concert in Charlotte. Early that evening, they drank beer, smoked marijuana, and listened to rock music as they anticipated the good times that lay ahead. Near midnight, the county sheriff showed up with six deputies, allegedly responding to a noise complaint. They were armed with pistols and five sawed-off 12-gauge shotguns.

Ana and her mother have been living out of their car ever since her militant father became one of the FBI’s most wanted. Leandro has struggled with debilitating anxiety since his family fled Cuba on a perilous raft. One moonlit night, in a wilderness park in California, Ana and Leandro meet. Their connection is instant—a shared radiance that feels both scientific and magical. Then they discover they are not alone: a huge mountain lion stalks through the trees, one of many wild animals whose habitat has been threatened by humans.

If there is an enemy in the War on Drugs, it is people of color. That is the lesson of forty years of cultural production in the United States. Popular culture, from Scarface and Miami Vice to Narcos and Better Call Saul, has continually positioned Latinos as an alien people who threaten the US body politic with drugs. Jason Ruiz explores the creation and endurance of this trope, its effects on Latin Americans and Latinx people, and its role in the cultural politics of the War on Drugs.

Not Even the Dead is the story of a persecution that transcends territories and centuries; a path pointing northward, always northward, that is to say, always toward the future, on a hallucinated journey from the sixteenth century New Spain to today's Trump wall.