Southwestern Landscapes Research Articles

The Haunted Southwest: Towards an Ethics of Place in Borderlands Literature by Cordelia E. Barrera

Reviewed by: The Haunted Southwest: Towards an Ethics of Place in Borderlands Literature by Cordelia E. Barrera Bailey Moorhead Cordelia E. Barrera, The Haunted Southwest: Towards an Ethics of Place in Borderlands Literature. Lubbock: Texas Tech UP, 2022. 224 pp. Hardcover, $39.95; e-book, $19.95. Cordelia E. Barrera draws from Chicana and Indigenous cultural theory, critical regionalism, genre studies, decolonialism, ecocriticism, and critiques of capitalism to develop an informed and innovative reexamination of the Borderlands. Spanning ideology and embodiment, The Haunted Southwest reads contemporary fiction, film, lived experience, and performance to “re-situate the histories and ruling mythologies of cultures and people . . . whose stories, and thus memories, have been effectively silenced by official doctrines and policies” (xviii). Much like William Faulkner described the US South’s past as “never dead—it’s not even past,” Barrera delineates a Southwest whose past is “not dead, but reshaped, revised, and silenced” (xii). Through this lens, her book concerns historical yet ongoing issues of environmental and social justice that demand recuperation through multivocal perspectives. Barrera astutely acknowledges from the outset that “re-situating” these histories and mythologies is a complicated process due to the enmeshed quality of Borderland existence. A long timeline of meetings, crossings, and mixtures of ethnicities, languages, and cultures has generated many competing narratives in and about the Southwest. To address these complexities, Barrera introduces the term “Bordered frontier”: a container for the “intrinsic connections” between “border and frontier imaginaries” that accommodates “a discursive mixture of registers from American literary forms—such as the Gothic—alongside conceptions that speak to Indigeneity, Aztec and Mayan mythologies, and precon-quest ways of living in the world” (xvi). In this way she confronts [End Page 95] the contemporary inextricability of multiple perspectives while still accounting for the gaps often left between “official” narratives of the Southwest and stories erased by such dominant discourses. Her invocation of the Gothic alongside preconquest methodologies reflects her titular nod to “haunting,” as she seeks counternarratives through “spectral forms and absences” that surface “where unresolved forms of imperialist violence push through” (xix). Barrera’s “Bordered frontier” then provides an ideal model through which to channel such ghostly matters and logics, as it integrates and synthesizes elements of overlapping and contested spaces in which these hauntings appear, leaving room to incorporate their decolonial ways of meaning-making. Barrera argues that these specters that haunt the Southwestern landscape help us envision a more embodied and culturally attuned “ethics of place” (xliv), an approach that “foregrounds the nature and necessity of change” and “embeds aspects, dispositions, and properties of Indigeneity” that contradict colonial narratives of supposedly vanished cultures and memories (77, 87). Barrera exemplifies this process through characters “who are haunted and embody aspects of return and recovery . . . or who exist within haunted landscapes and therefore fear what could return” (xlv). She identifies such “haunted” characters within a wide range of texts and real-world events: John Sayles’s 1996 film Lone Star; the Laredo, Texas, area pageantry performances of the [George] Washington’s Birthday Celebration Association; Rudolfo Anaya’s Bless Me, Ultima (1972) and Arturo Islas’s The Rain God (1984); various frontier cowboy stories by Cormac McCarthy and Larry McMurtry; and Alex Rivera’s 2008 film Sleep Dealer. This variety of mediums over six relatively short chapters highlights the breadth of her methodology’s applications while maintaining an engaging pace for the text and further reflects the diverse qualities of multivocal counter discourses. Building upon foundational criticism of the West and Borderlands, Barrera makes vital contributions to scholarship within and beyond these fields, as her book “re-situate[s] the frontier within border narratives that are bound not by linear constructions of space but by a place-based poetics” that “disrupt[s] a monologic [End Page 96] frontier mythology” (xlv, xl). Barrera’s “haunted” “Bordered frontier” offers exciting applications, and her “ethics of place” priori-tizes cultural memory and material history to shift dominant narratives of the Southwest. Her careful attention to the “dialogic nature of complex ideologies” (xvii) invokes Anzaldúa’s mestiza consciousness as well as José E. Limón’s anchoring of the global in the local, as Barrera finds new, hybridized ways of...

HEDGED ASSERTIONS IN MOMADAY’S THE MAN MADE OF WORDS

In essays elucidating his beliefs in the sacredness of the Southwestern landscape, the relevance of American Indian oral tradition, and the power of language in shaping Native worldviews, Scott Momaday frequently qualifies declarative sentences focusing on these themes with evidential hedges formed with epistemic modals and adverbials as well as with attitudinal hedges consisting of pronoun-verb constructions. Since an assertion implies knowledge of the proposition, hedges are therefore indicative of a distancing from convictions of its truth, or at least of a weakened commitment to its assertoric force.
 
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Review: Elizabeth Scheu Close: A Life in Modern Architecture, Powerhouse: The Life and Work of Judith Chafee

Review: <i>Elizabeth Scheu Close: A Life in Modern Architecture</i>, <i>Powerhouse: The Life and Work of Judith Chafee</i>

Five Letters to Georgia O’Keeffe

In her lifetime, US American painter Georgia O’Keeffe (1887–1986) wrote thousands of letters to those closest to her. However, she relied on painting as her primary public voice. This essay takes the form of five letters, composed through posthumanist performative writing,1 addressed to O’Keeffe. I work through the process of experiencing the death of my father in a material landscape as it was painted by O’Keeffe. The southwestern landscapes O’Keeffe painted were the same landscapes in which my father and I negotiated material relations to live a life of what Donna Haraway calls “significant otherness.”2

Lyn McCredden. The Fiction of Tim Winton: Earthed and Sacred

Tim Winton has written his way to become the darling of Australian readers who enjoy his rich prose evocative of the south-western landscape which he calls home. He can be regarded as a left-leaning writer who has a close affinity with the people and especially the land which he celebrates in his stories. His coastal narratives invariably vividly depict rural communities functioning in harmony with the beach culture. Winton’s focus is domestic, if not personal, fathoming the cultural and psyc...

The American Southwest as Muse: Maggi Payne’s Sonic Desertscapes

Deserts have long captivated the imagination of musicians. Ferde Grofé, Edgard Varèse, Olivier Messiaen, and Steve Reich among others created compositions reflecting desert landscapes. Most of them, however, have had little familiarity with these places. David Dunn, Richard Lerman, and Maggi Payne, on the other hand, have developed strong connections with deserts and portrayed them in numerous works, compelling examples of sensitive engagement with Southwestern landscapes. This paper centres on Payne, one of few women composers whose music often features deserts in California, Nevada, New Mexico, and Utah. Three works, Airwaves (realities), Desertscapes, and Apparent Horizon, will be analysed and contextualised against the background of Payne’s environmental philosophies.

Influences of prior wildfires on vegetation response to subsequent fire in a reburned Southwestern landscape.

Large and severe wildfires have raised concerns about the future of forested landscapes in the southwestern United States, especially under repeated burning. In 2011, under extreme weather and drought conditions, the Las Conchas fire burned over several previous burns as well as forests not recently exposed to fire. Our purpose was to examine the influences of prior wildfires on plant community composition and structure, subsequent burn severity, and vegetation response. To assess these relationships, we used satellite-derived measures of burn severity and a nonmetric multidimensional scaling of pre- and post- Las Conchas field samples. Earlier burns were associated with shifts from forested sites to open savannas and meadows, oak scrub, and ruderal communities. These non-forested vegetation types exhibited both resistance to subsequent fire, measured by reduced burn severity, and resilience to reburning, measured by vegetation recovery relative to forests not exposed to recent prior fire. Previous shifts toward non-forested states were strongly reinforced by reburning. Ongoing losses of forests and their ecological values confirm the need for restoration interventions. However, given future wildfire and climate projections, there may also be opportunities presented by transformations toward fire-resistant and resilient vegetation types within portions of the landscape.

“An Inner Comprehension of the Pueblo Indian’s Point of View”: Carl Gustav Jung’s 1925 Visit to Taos, New Mexico

Carl Jung paid a short visit to Taos, New Mexico, in January 1925. A brief account of his stay at the Pueblo appeared in Memories, Dreams, Reflections, edited by Aniela Jaffe in 1963. Remembering his conversations with Mountain Lake (Antonio Mirabal), Jung wrote of the confrontation between the “European consciousness,” or the “European thought,” with the Indian “unconscious.” My article provides a reading of Jung’s text as a meeting ground of the aesthetic, emotional, visionary and of the analytical, rational, explanatory. Like many other European and Anglo-American visitors to Taos Pueblo, Jung rediscovers its capacity to mirror the inner needs of the visitor; he examines the significance of the encounter with the Southwestern landscape and with the Pueblo Indians’ religious views in terms of self-reflection and of the return to the mythical. As Carl Jung’s “inner comprehension” of the Pueblo Indian’s philosophy is mediated through language, aware both of its desire and its inability to become liberated from the European perspectives, Mountain Lake’s attitude towards his visitor from Switzerland remains ultimately unknown; Mountain Lake does, however, communicate his readiness to assume the archetypal role of a teacher and a spiritual guide whose insights reach beyond the confines and mystifications of language. According to Jung’s account, during this brief encounter of the two cultures, he and his Indian host experienced a sense of satisfaction and fulfillment, the sources of which, as they both understood them in their own individual ways, resided in the comprehension of universal sharing.

Influences of Prior Wildfires on Vegetation Response to Subsequent Fire in a Reburned Southwestern Landscape

Influences of Prior Wildfires on Vegetation Response to Subsequent Fire in a Reburned Southwestern Landscape

The ‘Columbian Exchange’ and landscapes of the Middle Rio Grande Valley, USA, AD 1300–1900

When Spanish colonists entered New Mexico in 1598, they encountered landscapes shaped by centuries of intensive human use: the fields, water features, and towns of prehistoric New Mexico were all products of human activity, and both zooarchaeological and paleoethnobotanical data suggest significant human impacts on floral and faunal features outside of human settlement. And yet, these human-influenced prehistoric Southwestern landscapes were distinct from those that developed through the ‘Columbian exchange’ and contact between indigenous communities and the Spanish. The Spanish colonists brought with them a suite of new taxa – both floral and faunal – as well as new land management practices that transformed New Mexican environments, eventually leading to the iconic Southwestern landscapes of today. In this paper, I use zooarchaeological data to explore New Mexican landscapes from the late prehistoric period through the early 20th century, assessing the degree of influence of Spanish fauna across this period of time.

Myth and Environment in Recent Southwestern Literature: Healing Narratives

In Myth and Environment in Recent Southwestern Literature: Healing Narratives, Theda Wrede uses the “Myth of the Old West” to frame her discussion of the way that four texts, Cormac McCarthy's All the Pretty Horses, Barbara Kingsolver's Animal Dreams, Leslie Marmon Silko's Ceremony, and Denise Chávez's The Last of the Menu Girls, offer a corrective to the dominant narrative of exploitation and destruction inherent in Western cowboy mythology. Because myths play a significant role in shaping and guiding cultural attitudes, beliefs, and actions, embracing myths that model ethical and sustainable relationships to the land is essential to correcting exploitative behavior and ending environmental destruction. Wrede argues that not only does this outmoded myth damage the planet, but it also damages our psyches. In particular, Wrede examines the implications that creating an alternative mythology can have on our psyches, or collective unconscious, as they are revealed in narrative responses to the Southwestern landscape. In doing so, she suggests, not only can we heal the land, but we can heal ourselves.

The Tortoise &amp; the Hare by Jerry Pinkney (review)

Reviewed by: The Tortoise & the Hare by Jerry Pinkney Deborah Stevenson Pinkney, Jerry, ad. The Tortoise & the Hare; ad. and illus. by Jerry Pinkney. Little, 2013. 34p. ISBN 978-0-316-18356-7 $18.00 R* 4-7 yrs. Continuing his swath through legend after his Caldecott-winning The Lion and the Mouse (BCCB 2/09), Pinkney here tackles Aesop’s famous fable of the tortoise and the hare, setting the story in a vivid Southwestern landscape of cactus, streaming sun, and wide-open country. Aside from Coyote’s spoken “On your marks …” call, the only text is the famous moral, “Slow and steady wins the race,” which winds in part and full through the tortoise’s scenes to describe, promise, and summarize. Pinkney’s note explains he first heard this tale as an Uncle Remus tale, and indeed, his richly characterized animals here recall his illustrations for Julius Lester’s Uncle Remus retellings (The Last Tales of Uncle Remus, BCCB 2/94, etc.). Sassy touches of clothing personify the competitors and their teeming audience (Tortoise sports a denim cap and a jaunty neckerchief, while Hare is a fan of checks, even loaning his checkered scarf to Coyote for a finish flag), yet the anthropomorphism blends seamlessly with the naturalistic detail as Hare springs with power and grace over fallen objects and Tortoise clambers determinedly over rocky ground. Fine detailing has the dimension of Steve Jenkins’ cut-paper work, with the gleaming geometry of Tortoise’s shell as inviting as Hare’s creamy golden fur, but the scope of the illustrations makes the book a compelling distance show as well. This adaptation ends on a nice comradely note, with Hare bestowing his checkered scarf on a pleased Tortoise; don’t miss the closing endpaper, where the victory party is in full swing. While this is an oft-retold tale in picture-book land, Pinkney’s version is faithful to the original while offering a lively and imaginative take on the ancient Greek version of “You snooze, you lose.” Copyright © 2014 The Board of Trustees of the University of Illinois

Migrating Birds' Use of Stopover Habitat in the Southwestern United States

Abstract. In the arid Southwest, migratory birds are known to use riparian stopover habitats; we know less about how migrants use other habitat types during migratory stopover. Using radar data and satellite land-cover data, we determined the habitats with which birds are associated during migration stopover. Bird densities differed significantly by habitat type at all sites in at least one season. In parts of Arizona and New Mexico upland forest supported high densities of migrants, especially in fall. Developed habitat, in areas with little upland forest, also supported high densities of migrants. Scrub/shrub and grassland habitats supported low to intermediate densities, but because these habitat types dominate the Southwestern landscape, they may provide stopover habitat for larger numbers of migratory birds than previously recognized. These results are complicated by continuing challenges related to target identity (i.e., distinguishing among birds, arthropods and bats). Our results suggest that it i...

&lt;em&gt;Hidden Cinema of the Southwest and Mexico&lt;/em&gt; February 25–26, 2011, Center for Creative Photography, University of Arizona, Tucson

Reviewed by: Hidden Cinema of the Southwest and Mexico Amanda D. Howard (bio) Hidden Cinema of the Southwest and Mexico; FEBRUARY 25-26, 2011, Center for Creative Photography, University of Arizona, Tucson Background If asked to consider the American Southwest and Mexico in terms of film production, some may cite the heyday of Arizona's Old Tucson Studios or New Mexico's current, hugely successful film production tax incentive program. However, the area has long been home to diverse and largely unknown amateur, nontheatrical, and non-Hollywood productions. The region's stunning, largely untouched landscape, along with its mild weather and preponderance of sunny days, drew nature lovers, anthropologists, and educational filmmakers early on and, as Hidden Cinema of the Southwest and Mexico's program proved, often produced superlative work in the medium. Hidden Cinema of the Southwest and Mexico was conceived as a film-based symposium concentrating on work produced in those regions. The event was sponsored by Northern Arizona University's (NAU) School of Communication in Flagstaff and the University of Arizona's Department of English in Tucson and was hosted by the Center for Creative Photography (CCP). Both institutions promote nontheatrical film preservation and study within their respective universities. Organized by Janna Jones and Mark Neumann of NAU and Jennifer Jenkins of the University of Arizona, the two-day symposium's inaugural session included an apposite program of contemporary, independent documentary screenings and scholarly presentations that highlighted a rich array of archival film materials and topics. The symposium's presentations were grouped by media and content into three categories: "Hidden Cinema," "Hidden Vistas," and "Hidden Talents." Hidden Talents The landscape, its people, and its cultures still inspire contemporary filmmakers in their cinematic inquiries, and Hidden Cinema's opening night of films, screened at the University of Arizona's Poetry Center, gave a taste of the myriad topics and techniques filmmakers have undertaken in the region. The evening also set the tone for the themes that would continue to inform the symposium's discussions. Introductions for the symposium's films were provided by special guest Liz Coffey, conservator at the Harvard Film Archive. As a nonnative of the Southwest, Coffey lent a striking perspective to films steeped in the issues and milieu of the region. A Line in the Sand: Arivaca (2009), directed by Bryce Goodman, James Johenning, and Joel Smith, explores the complex perceptions of community and place that occur in an American border town. Located just eleven miles from the Mexican border, Arivaca, Arizona, is a site of both contention and contentment. A Line in the Sand presents the town as a microcosm of the individualist ideals of the American West and illuminates the impact of controversial, largely ineffective border policies on those same ideals. Reflecting the sensitivity and even-handedness that characterized the rest of the film, the filmmakers deal delicately— via a textual afterword—with a violent home invasion and double murder that occurred in Arivaca after filming wrapped. The filmmakers and one of the film's subjects were on hand to offer a sensitive and very human dialogue on a highly sensationalized, polarized, and polarizing topic. Roderick Coover and Lance Newman's Canyonlands: Edward Abbey and the Great American Desert (2010) used Edward Abbey's writing and environmental activism as a springboard for examining the incursion of civilization on the natural landscape and the destruction that accompanied the American tourism boom of the 1950s. Arizona's Glen Canyon Dam as it is now is featured prominently in the film, as are other sites that informed Edward Abbey's work and activism and that played a role in his life as a champion of the unmolested southwestern landscape. The filmmakers' gorgeous images, accompanied by readings of Abbey's sharp, uncompromising prose, offer a keen portrait of how much was lost with the construction of the Glen Canyon Dam and the ultimate pointlessness of the entire endeavor. Through the film, Abbey's once strong, idiosyncratic rhetoric is [End Page 166] vindicated as a voice of reason on the matter, and Coover and Newman are proven to be worthy heirs to the writer's legacy of activism through art. Hidden Cinema Reflecting the rich multiculturalism of...

Lost Homelands: Ruin and Reconstruction in the 20th-Century Southwest (review)

Reviewed by: Lost Homelands: Ruin and Reconstruction in the 20th-Century Southwest Theda Wrede Audrey Goodman . Lost Homelands: Ruin and Reconstruction in the 20th-Century Southwest. Tucson: University of Arizona Press, 2010. 241p. At a time that regional studies are struggling vis-à-vis the ever-increasing focus on globalism in literary scholarship, Audrey Goodman has written a book that promises to reenergize Southwestern studies. In Lost Homelands: Ruin and Reconstruction in the 20th-Century Southwest, Goodman traces the ties that bind this U.S. region to larger social, political, and global shifts that have shaped the U.S. since the Great Depression and tallies the costs of these entanglements for the Southwest, but she also presents hope for the "reconstruction" of the region. Analyzing texts and images side-by-side, the author discovers a set of common concerns about the fragmentation of the individual, the breakdown of community, the transformation and exploitation of the natural landscape, and the repression of alternative stories and histories of the Southwest. If the Great Depression marked the end of migrants' hopes for "relatively stable homelands," she writes, the 1940s and '50s were at the beginning of the nation's ever-more sophisticated scientific development, increased militarization efforts that found expression in numerous atomic tests, and the attendant contamination of Southwestern landscape itself (5). Meanwhile, the region has also provided the setting for progressively more complex cross-cultural and cross-border relationships that shape experiences of migration and exile. Even as she thus records the region's disintegration, Goodman discovers in the fragments—"ruins"—of the Southwest-as-homeland a point of departure for recovery that may enable a new sense of belonging and community: "By making us mindful of the present and encouraging us to excavate the many layers of the past," Goodman writes, "photographic and literary representations of Southwestern landscapes can engage us in the challenging process of living with ruins and constructing homelands in a culture that overtly values mobility, growth, and change" (10). The book is structured thematically with each chapter focusing on a specific type of vernacular landscape: "The Road," "The Village," "The Bridge," "The [End Page 237] Desert," "The Border," and "Magical Regions." Examining the road as a symbol of mobility, of detachment from the local, and of an increasingly commercialized culture that at once defies community and creates its own group identity, the first chapter discusses photographs by Edward Weston, Dorothea Lange, and Russell Lee alongside John Steinbeck's The Grapes of Wrath, Nathanael West's The Day of the Locust, and Preston Sturges' film Sullivan's Travels. The second chapter traces how individual writers—Cleofas Jaramillo, Frank Waters, and Denise Chávez—reconstruct a sense of community and juxtaposes these works with John Collier Jr.'s and Russell Lee's Farm Security Administration photos. The chapter "The Bridge" examines the ruins of wartime atomic programs and Japanese internment camps and explores the ways in which narratives by Frank Waters and Gary Ohikiro and art by Meridel Rubenstein, Ellen Zweig, Steina and Woody Vasulka, and Joan Myers expose the traumatic history of a landscape that made the secrecy of atomic testing and the forced ethic isolation of the internment camps possible. In her fourth chapter, "The Desert," Goodman concentrates on Georgia O'Keeffe's, Leslie Marmon Silko's, and Terry Tempest Williams' representations of trauma epitomized in "civilization's ruins"—the land's contamination and the effects of radiation on the body. In her last two chapters, Goodman turns to the border as a contested space and assesses its potential to morph into a home for a hybrid culture. Considering photographs by Peter Goin and Geoffrey James next to Cormac McCarthy's, Alberto Ríos's, and Arturo Islas' fiction in chapter five, she measures, in chapter six, the ability of magical realism both to express the traditional and modern worlds and to open up the region to productive cultural exchanges. Drawing on an impressively exhaustive and interdisciplinary range of criticism and theory (e.g., Gloria Anzaldúa, Clement Greenberg, Henri Lefebvre, Patricia Nelson Limerick, Gerald Nash, José David Saldívar, Richard Slotkin, Rebecca Solnit, Donald Worster), Goodman centers her argument on geographer John Brinkerhoff Jackson's discussions...

Climax and "Original Capacity": The Science and Aesthetics of Ecological Restoration in the Southwestern USA

This paper examines the historical origins of ecological restoration in the arid and semiarid deserts of the southwestern USA. Scientific knowledge and aesthetic valuations both emerged during a period of acute environmental degradation between 1 893 a nd 1 905, s trongly i nfluencing s ubsequent d ebates a nd p ractices. I n s cience a nd a esthetics a like, t he h istori- cal nature of southwestern landscapes was occluded: Clementsian ecology and range science posited a climax condition and an original capacity for livestock, while aesthetic treatments such as those of John V an Dyke saw transcendent and timeless beauty in the dramatic dynamics of actively degrading landscapes. In recent decades, southwestern ecologists have renounced Clementsian ecology and its implied telos of pristine presettlement conditions. But aesthetic ideals continue to influence broader debates and practices of ecological restoration in the region, specifically with regard to grasslands, riparian areas, livestock grazing, and fire.

William Eastlake's Trilogy: The Southwestern Landscape as Truth and Revelation

William Eastlake's first three novels, Go in Beauty (1956), The Bronc People (1958), and Portrait of an Artist with Twenty-Six Horses (1963), are generally regarded as constituting a trilogy not only because they have a common setting the Checkerboard region of northern New Mexico, with its landscapes, languages, and people but also because of the genealogical cohesion represented by the Bowmans, a white family whose stories as ranchers and traders merge with the destinies of a number of Indian characters. Despite these converging elements, however, it must be acknowledged that these novels do not share the diegetic continuity and the consistency of plot structures commonly associated with a trilogy. Specifically, their narrative organization appears to be less the result of Eastlake's response to the rich mixture of cultures and experiences he finds in Indian Country than a comprehensive frame for different, scattered stories. The editorial history of Portrait of an Artist with Twenty-Six Horses bears out this impression. It is well known that the central episode of the narrative, concerning Ring Bowman's thoughts as he is sinking in quicksand, actually derives from a short story published a few months earlier under the title A Long Day's Dying.1 Although the functional segmentation of this story provides the framing event and, consequently, the unifying plot and a central formal order to the entire narrative, still Portrait strikes the reader as less a novel than a collection of short sto-

SPATIAL AND TEMPORAL MIGRATION PATTERNS OF WILSON’S WARBLER (WILSONIA PUSILLA) IN THE SOUTHWEST AS REVEALED BY STABLE ISOTOPES

We used stable hydrogen isotopes (δD) to identify the breeding locations of Wilson’s Warbler (Wilsonia pusilla) migrating through five sites spanning a cross-section of the species’ southwestern migration route during the springs of 2003 and 2004. Determining the temporal and spatial patterns of migration and degree of population segregation during migration is critical to understanding long-term population trends of migrant birds. At all five migration sites, we found a significant negative relationship between the date Wilson’s Warblers passed through the sampling station and δD values of their feathers. These data were consistent with a pattern of “leap-frog” migration, in which individuals that bred the previous season at southern latitudes migrated through migration stations earlier than individuals that had previously bred at more northern latitudes. We documented that this pattern was consistent across sites and in multiple years. This finding corroborates previous research conducted on Wilson’s Warbler during the fall migration. In addition, mean δD values became more negative across sampling stations from west to east, with the mean δD values at each station corresponding to different geographic regions of the Wilson’s Warblers’ western breeding range. These data indicate that Wilson’s Warblers passing through each station represented a specific regional subset of the entire Wilson’s Warbler western breeding range. As a result, habitat alterations at specific areas across the east-west expanse of the bird’s migratory route in the southwestern United States could differentially affect Wilson’s Warblers at different breeding areas. This migration information is critical for management of Neotropical migrants, especially in light of the rapid changes presently occurring over the southwestern landscape. Patrones Espaciales y Temporales de la Migración de Wilsonia pusilla en el Sudoeste Detectados Mediante Isótopos Estables

Rodent Communities in an Exurbanizing Southwestern Landscape (U.S.A.)

Ranches are being converted to exurban housing developments in the southwestern United States, with potentially significant but little-studied impacts on biological diversity. We captured rodents on 48 traplines in grasslands, mesquite savannas, and oak savannas in southeastern Arizona that were grazed by livestock, embedded in exurban housing developments, grazed and embedded in development, or neither grazed nor embedded in development. Independent of habitat or development, rodent species richness, mean rank abundance, and capture rates of all rodents combined were negatively related to presence of livestock grazing or to its effects on vegetative ground cover Exurban development had no obvious effects on rodent variety or abundance. Results suggest southwester.n exurban developments can sustain a rich assemblage of grassland and savanna rodents if housing densities are low and houses are embedded in a matrix of natural vegetation with little grazing.

An American Colony: Regionalism and the Roots of Midwestern Culture; Writing out of Place: Regionalism, Women, and American Literary Culture; Translating Southwestern Landscapes: The Making of an Anglo Literary Region

Book Review| December 01 2004 An American Colony: Regionalism and the Roots of Midwestern Culture; Writing out of Place: Regionalism, Women, and American Literary Culture; Translating Southwestern Landscapes: The Making of an Anglo Literary Region By Edward Watts. Athens: Ohio Univ. Press. 2002. xxv, 285 pp. $55.00.By Judith Fetterley and Marjorie Pryse. Urbana: Univ. of Illinois Press. 2003. 422 pp. $44.95.By Audrey Goodman. Tucson: Univ. of Arizona Press. 2002. xxix, 224 pp.$40.00. Sandra Zagarell Sandra Zagarell Search for other works by this author on: This Site Google American Literature (2004) 76 (4): 894–897. https://doi.org/10.1215/00029831-76-4-894 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Sandra Zagarell; An American Colony: Regionalism and the Roots of Midwestern Culture; Writing out of Place: Regionalism, Women, and American Literary Culture; Translating Southwestern Landscapes: The Making of an Anglo Literary Region. American Literature 1 December 2004; 76 (4): 894–897. doi: https://doi.org/10.1215/00029831-76-4-894 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsAmerican Literature Search Advanced Search The text of this article is only available as a PDF. 2004 Article PDF first page preview Close Modal You do not currently have access to this content.