Susan Terrio on What Life Is Like for Migrant Children

Susan Terrio’s research on the unaccompanied children in U.S. immigration custody has led her to places few others witness. The Office of Refugee Resettlement granted Terrio rare access to 20 federal facilities and six foster-care facilities between 2009 and 2012, where she conducted in-depth interviews with 40 formerly detained young migrants.

In this piece for Politico, she presents rare interviews with the children of America’s border disaster:

Consider the case of Ernesto. He told me he fled horrific abuse in Honduras and migrated with two friends, hitching rides and traveling by foot through Guatemala and Mexico. They avoided cargo trains because people can fall off them and die. “I mean, you just don’t care about the odds or you wouldn’t do it,” Ernesto says of his journey. “How did I decide? It was the American Dream.” Ernesto worked his way north until he was seized by members of the Zetas cartel outside a Mexican border town. He was starved and beaten, while the Zetas extorted $4,000 from his family back home. He escaped, but three companions were killed when they balked at the cartel’s demands.

Carlita, a 13-year-old Salvadoran girl, fled gang violence. She told me she was also kidnapped by the Zetas in Mexico, used for sex and forced to be a drug mule for them, before escaping and ultimately making it to the border. Carlos, who grew up on a small Salvadoran coffee plantation, fled the country at age 15 after being abused by his father. He hitchhiked and walked his way to the U.S.-Mexico border and joined six migrants, with whom he crossed the Rio Grande River at night. A pregnant woman in the group was swept away and drowned. The others made it but were surrounded by Border Patrol agents within minutes.

Susan Terrio’s forthcoming book from UC Press, Whose Child Am I? Unaccompanied, Undocumented Children in U.S. Immigration Custody will be released in May 2015.


ESA 2014 Is Coming to California!

University of California Press welcomes attendees and visitors to the Golden State for the 2014 Ecological Society of America meeting in Sacramento, California. This year’s ESA meeting convenes August 10-15 at the Sacramento Convention Center.

Please visit us at Sacramento Convention Center booths 300 and 302 to purchase our latest ecology and environment publications for the following offers:

  • 30% off conference discount and free worldwide shipping.
  • Request exam copy requests for course adoption for your upcoming classes.
  • Win $100 worth of books! Join our eNews subscription list for contest eligibility.

The 2014 ESA meeting theme “From Oceans to Mountains: It’s All Ecology” speaks accordingly to the diverse list of titles published by University of California Press. Our booth will feature display copies ranging from ecology, conservation, marine biology, and environmental history.

Follow ESA’s Twitter @esa_org and hashtag #ESA2014 for current meeting news.


Join Boom at L.A.'s Natural History Museum for Just Add Water: The Discussions

Boom Editor Jon Christensen is moderating a series of discussions on water issues at the Museum of Natural History in Los Angeles this summer. Just Add Water: The Discussions, presented in conjunction with the UCLA Institute of the Environment and Sustainability and Boom: A Journal of California, focuses on the most important water issues facing Los Angeles today, and how the city will adapt to water shortages in the future.

Covering topics ranging from the L.A. river to climate change, the series explores possibilities for living in harmony with the region’s natural resources. Don’t miss this Thursday’s discussion (July 24th) on the subject, “Chinatown, Revisited.”


The Origins and Cultural Meaning of K-Pop

With Psy’s Gangnam Style video at over 2 billion views on YouTube (yes—that’s a b), it’s safe to say that K-pop has taken over the globe. John Lie’s forthcoming book, K-Pop: Popular Music, Cultural Amnesia, and Economic Innovation in South Korea, seeks at once to describe and explain the emergence of this phenomenon and to make sense of larger South Korean economic and cultural transformations.

Lie, who was interviewed on the subject for The Korea Herald, says that K-pop exemplifies the major social and cultural changes that have happened in South Korea over the last 20 years. He explains:

There are very particular features about South Korea that make it an economically innovative country. It is very unique in that it imports everything and adapts very quickly. … The same strategies and tactics that (the companies’) innovators used, you can see in K-pop is well. They get whatever is good―design from Denmark, production technology from Germany, marketing strategy from Japan―and bring them together. And K-pop is the same. They don’t really rely much on Korean things but rather outsource almost everything.

K-Pop provides not only a history of South Korean popular music—the premodern background, Japanese colonial influence, post-Liberation American impact, and recent globalization—but also a description of K-pop as a system of economic innovation and cultural production.

See if you can spot some of the influences Lie describes in the video below, 2NE1′s “I Am the Best.” Its
94 million view count suggests that K-pop’s reach and appeal is limitless.


University of California Press partners with online platform Chegg

University of California Press (UC Press) is pleased to announce that it has partnered with student hub, Chegg, to give students digital access to UC Press books. This partnership will make UC Press’s innovative, thought-provoking course books more accessible by allowing students to read them online at any time, from any device.

Speaking of the announcement Alison Mudditt, Director of UC Press, said “UC Press is thrilled to be partnering with Chegg. Through Chegg students can enjoy personal access to thousands of important and popular UC Press books, including, among others, Unequal Childhoods, Righteous Dopefiend, and Promises I Can Keep, choosing to rent or purchase them in accordance with course needs and budget limits.”

Chegg combines rich textbook content with the best study tools for a more productive way to read, learn, and interact with books. Its innovative business model offers students a cost-effective way to access key textbooks that fit with the way study is conducted in today’s digital climate. Books can be accessed across a range of platforms and devices while learning is made easier through tools that facilitate searching, highlighting and note taking. Students can also see highlights made by their fellow students.

More than 1,800 books from UC Press covering humanities, social sciences and natural sciences will be accessible through Chegg. “We are delighted that UC Press is making their extended catalog available to our extensive network of millions of college students,” said Nathan Schultz, Chief Learning Officer at Chegg. “We look forward to working with Alison and her team.”


About University of California Press

University of California Press is one of the most forward-thinking scholarly publishers in the nation. For more than 100 years, it has championed work that influences public discourse and challenges the status quo in multiple fields of study. At a time of dramatic change for publishing and scholarship, we collaborate with scholars, librarians, authors, and students to stay ahead of today’s knowledge demands and shape the future of publishing. Each year, UC Press publishes approximately 175 new books and 33 multi-issue journals in the humanities, social sciences, and natural sciences.

About Chegg

Chegg puts students first. As the leading student-first connected learning platform, the company makes higher education more affordable, more accessible, and more successful for students. Chegg is a publicly-held company based in Santa Clara, California and trades on the NYSE under the symbol CHGG.


Putting the Children’s Migration in Context

By Beatriz Manz, cross-posted from The Berkeley Blog

The dramatic surge in the number of Central American children and teenagers entering the US has created considerable concern among many in the United States. Already this year, 52,000 children have been apprehended. The latest estimates indicate that almost 90,000 unaccompanied minors — overwhelmingly from Guatemala, El Salvador, and Honduras — will be picked-up by the US Border Patrol through this fiscal year ending in September 2014, almost double last year’s total.

For many of us who have conducted research in Central America, this surge is hardly surprising. What is troubling, however, is that the debate over what the US should do with these children has centered on how to deport them as rapidly as possible. The naive notion is that deportation will send an unmistakable message not to attempt the dangerous journey north.

The first question we ought to be asking is: how do we aid these traumatized, troubled young people? Much of the intense, politicized outcry over these developments ignores the fact that, at its core, our immediate treatment of these migrants is a serious human rights question and a critical humanitarian issue. The Office of the UN High Commissioner on Refugees (UNHCR) estimates that 60 percent of the children who have fled to the US qualify for international support, including asylum, and this estimate could prove low.

Read the rest of the post at The Berkeley Blog.


Beatriz Manz, born in Chile, is Professor of Geography and Ethnic Studies at the University of California, Berkeley. She is the author of Paradise in Ashes: A Guatemalan Journey of Courage, Terror, and Hope and Refugees of a Hidden War: The Aftermath of Counterinsurgency in Guatemala.


On the Andrew Wyeth renaissance and some favorite paintings

Guest post by David Cateforis

Even though he was one of the most famous and successful American artists of the twentieth century, Andrew Wyeth, whose haunting images of rural people, places, and things have for decades captivated viewers, has long been denied the kind of sustained and detailed scholarly attention that would normally be afforded to an artist of his prominence. But, after several years of work, sadly marked by the passing of Andrew Wyeth in January 2009, Rethinking Andrew Wyeth arrives amidst what can truly be seen as a Wyeth renaissance. Over the past three years important books and exhibition catalogues containing new research into Andrew Wyeth’s art have been published by the Farnsworth Art Museum, Shelburne Museum, Wadsworth Atheneum, Brandywine River Museum, Museum of Modern Art, and the National Gallery of Art. Also, the first exhibition of Wyeth’s art has been held in China, and the first dissertation on Wyeth since Wanda Corn’s in the early 1970s has been completed by Edwin Rein Harvey at the University of California, Berkeley. Additionally, the art of Andrew Wyeth will be addressed in a conference at the National Gallery of Art’s Center for Advanced Study in the Visual Arts this October. Clearly, the time for rethinking Andrew Wyeth is now—and it is hoped that this new book will both inform interested readers and stimulate additional scholarship on this truly important American artist.

I have long been drawn to Wyeth’s work of the 1940s, when he perfected his crisp and meticulously detailed style in the mediums of tempera and drybrush watercolor that came to be called magic realism because of its creation of a quality of dreamlike fantasy through the employment of sharply focused illusionism and unusual perspectives. Among my favorite early Wyeth works focusing on the landscape and fauna of his native rural Pennsylvania are the drybrush, Spring Beauty (1943, Sheldon Museum of Art, University of Nebraska – Lincoln) and the temperas, Winter Fields (1942, Whitney Museum of American Art), The Hunter (1943, Toledo Museum of Art), and Soaring (1942-1950, Shelburne Museum). While the first offers an image of new life in the form a flower pushing up through dead leaves, all three of the temperas include references to death (a dead crow, a rifle-toting hunter, circling turkey vultures), likely alluding to World War II, which was raging overseas at the time.

Contrasting Wyeth’s tightly controlled works in drybrush and tempera are his loose and freely brushed watercolors, demonstrating his complete mastery of this difficult medium. Wyeth’s earliest watercolors, such as The Lobsterman (1937, Hunter Museum of American Art, Chattanooga), are fresh and invigorating depictions of coastal Maine, which have been rightly compared to the work of Winslow Homer. Among his later watercolors, I favor those that offer intimate views of nature or humble objects in outdoor or indoor settings, such as Half Bushel (1959, Joslyn Art Museum) and Cranberries (1966, Greenville County Museum of Art).

I also admire many of Wyeth’s paintings and watercolors of isolated old farm buildings and empty domestic interiors, which are both rigorously composed and filled with poetic qualities of loneliness and a poignant sense of time’s passage. Among my favorites are the temperas Northern Point (1950, Wadsworth Atheneum Museum of Art), Toll Rope (1951, Delaware Art Museum), Cooling Shed (1953, Philadelphia Museum of Art), and Hay Ledge (1957, Greenville County Museum of Art), and the watercolors Cranberries (1966, Greenville County Museum of Art) and Alvaro and Christina (1968, Farnsworth Art Museum).

Finally, I consider some of Wyeth’s tempera portraits, depicting isolated sitters against simple or undefined backgrounds, to be masterpieces of the genre. With few exceptions, Wyeth’s sitters are shown at bust length and with their eyes averted from the viewer, lost in introspection as the artist delineates their features, hair, and clothing with astonishing precision while at the same time communicating a profound sense of their humanity. Atop my list of Wyeth’s best portraits are Karl (1948, private collection), Grape Wine (1966, Metropolitan Museum of Art), Siri (1970, Brandywine River Museum), Sea Dog (1971, North Carolina Museum of Art), and Braids (1979, Pacific Sun Trading Company).


David Cateforis is Professor of Art History at the University of Kansas, where he teaches American, modern, and contemporary art. He has lectured and published widely on 20th-century American art and has contributed essays to numerous museum exhibition and collection catalogues; publishers include the Des Moines Art Center, Nelson-Atkins Museum of Art, San Francisco Museum of Modern Art, Sheldon Memorial Art Gallery, Spencer Museum of Art, and Wichita Art Museum. He is the author of Willem de Kooning.



UC Press Authors Speak at Gandhi as Lawyer Panel

Rajmohan Gandhi, Gandhi’s grandson and author of Gandhi, and Charles DiSalvo, author of M.K. Gandhi, Attorney at Law, along with the Hon. Sanjay Tailor (State of Illinois, Circuit Court of Cook County), recently spoke at a panel entitled “Gandhi as Lawyer” at the South Asian Bar Association (SABA)’s  annual conference. The panel explored this lesser known aspect of Gandhi’s life, and used Gandhi’s sedition trial as a case study for the modern day administration of justice. View a slideshow of photos from the panel below:


"Brazil, always Brazil": Roger Kittleson on the World Cup's Team to Beat

As World Cup fervor gains intensity heading into the quarterfinals, we turn to the experts—namely Roger Kittleson, author of The Country of Football: Soccer and the Making of Modern Brazil—for some background on what the sport and the World Cup mean to the country of Brazil. The Country of Football is the second in our new Sport in World History series, which launched earlier this year and explores the story of modern sport from its recognized beginnings in the nineteenth century to the current day. Read our Q&A with Kittleson, in which he talks about Brazil’s playing style, issues of corruption and corporate interests, and his pick to win the World Cup (any guesses?).


What are your own ties to Brazil? How did the country become the focus of your research?

Brazil was a big part of my childhood, in the form of family friends who had made the unlikely move from Rio and São Paulo to Milwaukee, my hometown. One was my father’s best friend from graduate school, others had decided that the period of the military regime (1964-85) was a good time to live abroad for a while, and many more went to study with my father at Marquette University. Together they formed a network of extended kin from which I still benefit. Later, this background combined with my growing interest in Latin American politics and history, and I became a Brazilianist.

The Brazilian team is beloved for its beautiful playing style, the jogo bonito. Can you describe some of the hallmarks of the style?

The jogo bonito only exists in flashes these days, like the little feints or unexpected flicks that Neymar uses to befuddle defenders. Truth be told, it was always mostly an ideal, something for Brazilian players to aspire to. But it was a gorgeous ideal! Stars playing as if just for fun, fooling opponents with quick dribbles and improvised passes, slipping their way through the best conceived defenses and launching crisp volleys or arching, overhead bicycle kicks. The greatest stars, the true craques, were said to be pure artists, with an inspiration not even they understood and with moves that no one could see coming. This is all a bit dreamy, but at its peak, the national team was so intimidating that most rivals hoped just to survive the onslaught of its creative, uncontrollable soccer, hoping that the Brazilians to tire themselves out or lose interest.

Give us some of the background on the protests against World Cup in Brazil. What are the protesters’ objections?

The protests that first attracted international attention focused on the relatively narrow concern of rising bus fares. Quickly, though, both the range of issues and the scope of demonstrations exploded. Police violence sparked widespread outrage, since it targeted not only the poor inhabitants of favelas but also many middle-class people who had joined the demonstrations. A broad swath of the population expressed the feeling that their government had allied with Fifa (soccer’s international governing body) and large corporations and had turned against its own people. Protestors wanted to know how, exactly, authorities had decided to spend so many billions of dollars on stadiums and other World Cup projects, rather than investing in chronically underfunded public health and education systems. They also objected to the tax exemptions and other sweetheart deals that Fifa demanded and got. In the end, the general call was for honest democracy and government transparency.

How is Brazil’s “racial democracy” exhibited through the national sport of soccer?

The myth that Brazil has a “racial democracy” emerged in the 1930s and persists to this day, though generations of activists and scholars have done their best to debunk it. Soccer was one of the key areas in which the myth was created, since it gave observers the chance to see Afro-descendent players excelling and at times leading their national team against foreign competitors. Even though Brazilians have always known about discrimination in their country, they could always point to soccer as an example of where race didn’t seem to matter—or at least as an ideal of how race shouldn’t matter.

What gave birth to the business of soccer in Brazil, and how has it developed over the last few decades?

Soccer was big business even before it became a professional sport in 1933. So many people played it, and so many more wanted to watch it, that club directors, government officials, and companies all saw it as a tempting source of profit. For most of the twentieth century, those who ruled the sport kept their eyes on short-term gains instead of stable and longer-lasting structures. The business of soccer that these “disorganizers” created thus lurched along with schedules and rules that changed not only from season to season but often from week to week.

By the 1990s, Brazilian soccer linked up to the huge shifts of international investment and marketing that came with the era’s new globalism. This meant that Brazil, its style of playing, and stars like Ronaldo and Ronaldinho became global icons. It did not, however, cleanse the game of questionable financial deals or nasty political infighting. Behind the facade of the beautiful game, cronyism and corruption festered.

Who’s your pick to win the World Cup?

Brazil, always Brazil. That is my eternal hope. But there is so much pressure on this Brazilian team, which is not a particularly good Brazilian team, and so many strong rivals, that I fear that someone else might squeak out a win. If it’s Colombia or even France, it will be disappointing; if it’s Argentina, it will be a disaster.



Patricia Miller Gives a Brief History of Abortion on State of Belief

Good CatholicsPatricia Miller was interviewed on the show State of Belief with Rev. Welton Gaddy about the history of the “Scarlet ‘A’” in America—abortion. Her book, Good Catholics: The Battle over Abortion in the Catholic Church, tells the story of the remarkable individuals who have engaged in a nearly fifty-year struggle to assert the moral legitimacy of a pro-choice position in the Catholic Church, as well as the concurrent efforts of the Catholic hierarchy to suppress abortion dissent and to translate Catholic doctrine on sexuality into law. Rev. Gaddy calls the book “an ethical-theological-historical page-turner if there ever was one!”

Listen to the interview on State of Belief now.