Almost every Latina has heard the phrase calladita te ves más bonita—you look most beautiful when you are silent. It's a message rooted in machismo passed from generation to generation, and one that poet and Latine therapist, Kim Guerra, grew up on. In Badass Bonita, Guerra tells a story of coming into her own power, and guides listeners through the process of finding their own. Rejecting what she was taught as a girl, she learned to use her voice and the more she listened to that inner niña, the more she unearthed her inner guerrera.

In 1951, a mysterious old woman confronts Pilar Aguirre in the small border town of La Cienega, Texas. The old woman is sure Pilar stole her husband and, in a heated outburst, lays a curse on Pilar and her family. More than forty years later, Lulu Muñoz is dodging chaos at every turn: her troubled father’s moods, his rules, her secret life as singer in a punk band, but most of all her upcoming quinceañera. When her beloved grandmother passes away, Lulu finds herself drawn to the glamorous stranger who crashed the funeral and who lives alone and shunned on the edge of town.

Paloma is dead. But before she was murdered, before she was even Paloma, she was a traditional healer named Gaspar. Before she was murdered, she taught her cousin Feliciana the secrets of the ceremonies known as veladas, and about the Language and the Book that unlock their secrets.

For generations, the Olivares women have sought to control their daughters’ destinies, starting with their names. In life, Olvido constantly clashed with her carefree daughter. Then teenage Angustias discovered she was pregnant and left her mother’s home in search of her own. Ten years later, Felicitas finally meets her estranged grandmother and is terribly disappointed when Olvido is nothing like a grandmother should be. She is strict, cold, and…dead. Now, Olvido is convinced the only way her spirit will cross over is if she resolves her unfinished business.

Alejandra no longer knows who she is. To her husband, she is a wife, and to her children, a mother. To her own adoptive mother, she is a daughter. But they cannot see who Alejandra has become: a woman struggling with a darkness that threatens to consume her. Nor can they see what Alejandra sees. In times of despair, a ghostly vision appears to her, the apparition of a crying woman in a ragged white gown.

When Adrianna arrives at the small, run-down cottage, near the sea in rural Norfolk, she can’t help but breathe a sigh of relief. Here she can forget her life in the city, and the problems she’s left behind there, at least for a while. But – like Adrianna herself – the cottage holds secrets. And when Adrianna finds a mysterious bundle of notes hidden under a floorboard, she can’t shake the idea that they’ve been waiting for her. Especially when – in the rambling, overgrown garden – she then finds a strangely-carved stone, drawing her into a centuries-old mystery…

No one expects to meet their father at their mother’s funeral. But for Gabby Medina, that’s exactly what happens. Her dad abandoned her when she was a baby, and now he’s back. And he wants to give her a house. Gabby doesn’t want the house—or him. But she could use the money. So Gabby agrees to take it under two conditions: First, she can sell the house whenever she wants. Second, accepting it doesn’t mean she accepts him.

In Wild Tongues Can’t Be Tamed, bestselling and award-winning authors as well as up-and-coming voices interrogate the different myths and stereotypes about the Latinx diaspora. These fifteen original pieces delve into everything from ghost stories and superheroes, to memories in the kitchen and travels around the world, to addiction and grief, to identity and anti-Blackness, to finding love and speaking your truth. Full of both sorrow and joy, Wild Tongues Can't Be Tamed is an essential celebration of this rich and diverse community.

As the daughter of a rancher in 1840s Mexico, Nena knows a thing or two about monsters—her home has long been threatened by tensions with Anglo settlers from the north. But something more sinister lurks near the ranch at night, something that drains men of their blood and leaves them for dead.

Provence, 1347. Eleanore (Elea) Blanchet is a young midwife and herbalist with remarkable skills. But as she learned the day her mother died, the most dangerous thing a woman can do is draw attention to herself. She attends patients in her home city of Avignon, spends time with her father and twin sister, gathers herbs in the surrounding woods, and dreams of the freedom to pursue her calling without fear.

Prieta is a term of endearment. When I tell people who don’t speak Spanish what prieta means—dark or the dark one—their eyes pop open and a small gasp escapes. I see the offense they feel for me sprinkled on their faces like the freckles I will never have. How do I tell them that when I heard Ita say Prieta, I felt the caress of her strong hands on the top of my head as she braided my hair?

October 18, 2019. Cristina Rivera Garza travels from her home in Texas to Mexico City, in search of an old, unresolved criminal file. “My name is Cristina Rivera Garza,” she writes in her request to the attorney general, “and I am writing to you as a relative of Liliana Rivera Garza, who was murdered on July 16, 1990.” It’s been twenty-nine years. Twenty-nine years, three months, and two days since Liliana was murdered by an abusive ex-boyfriend.

Carlota Moreau: A young woman growing up on a distant and luxuriant estate, safe from the conflict and strife of the Yucatán peninsula. The only daughter of a researcher who is either a genius or a madman. Montgomery Laughton: A melancholic overseer with a tragic past and a propensity for alcohol. An outcast who assists Dr. Moreau with his experiments, which are financed by the Lizaldes, owners of magnificent haciendas and plentiful coffers. The hybrids: The fruits of the doctor’s labor, destined to blindly obey their creator and remain in the shadows.

During the overthrow of the Mexican government, Beatriz’s father was executed and her home destroyed. When handsome Don Rodolfo Solórzano proposes, Beatriz ignores the rumors surrounding his first wife’s sudden demise, choosing instead to seize the security that his estate in the countryside provides. She will have her own home again, no matter the cost. But Hacienda San Isidro is not the sanctuary she imagined. Something is wrong with the hacienda. And no one there will save her. Far from a refuge, San Isidro may be Beatriz’s doom.

2019: Lucy awakens from a dream to find her hands around her ex-lover’s throat. Horrified, she flees to her older sister’s house on the Australian coast, hoping she can help explain the strangely vivid nightmare that preceded the attack—but Jess is nowhere to be found. As Lucy awaits her return, the rumors surrounding Jess’s strange small town start to emerge. Numerous men have gone missing at sea, spread over decades. A tiny baby was found hidden in a cave. And sailors tell of hearing women’s voices on the waves.

For generations, the Olivares women have sought to control their daughters’ destinies, starting with their names. In life, Olvido constantly clashed with her carefree daughter. Then teenage Angustias discovered she was pregnant and left her mother’s home in search of her own. Ten years later, Felicitas finally meets her estranged grandmother and is terribly disappointed when Olvido is nothing like a grandmother should be. She is strict, cold, and…dead. Now, Olvido is convinced the only way her spirit will cross over is if she resolves her unfinished business.

Algunos nacen con estrella y otros estrellados. This dicho (saying) roughly translates to "Some are born with a star, while others are born starry." It refers to the Mexican belief that good luck is a matter of fate, something you are born with or not. Mexicans attribute their good or bad luck to a greater force, to God's will, even to the stars in the sky. Being born with a star is a blessing. While some gain their luck through fate, Laura Davila believes even more in faith, virtue, and purpose.

In 1951, a mysterious old woman confronts Pilar Aguirre in the small border town of La Cienega, Texas. The old woman is sure Pilar stole her husband and, in a heated outburst, lays a curse on Pilar and her family. More than forty years later, Lulu Muñoz is dodging chaos at every turn: her troubled father’s moods, his rules, her secret life as singer in a punk band, but most of all her upcoming quinceañera. When her beloved grandmother passes away, Lulu finds herself drawn to the glamorous stranger who crashed the funeral and who lives alone and shunned on the edge of town.

Alejandra no longer knows who she is. To her husband, she is a wife, and to her children, a mother. To her own adoptive mother, she is a daughter. But they cannot see who Alejandra has become: a woman struggling with a darkness that threatens to consume her. Nor can they see what Alejandra sees. In times of despair, a ghostly vision appears to her, the apparition of a crying woman in a ragged white gown.

During the overthrow of the Mexican government, Beatriz’s father was executed and her home destroyed. When handsome Don Rodolfo Solórzano proposes, Beatriz ignores the rumors surrounding his first wife’s sudden demise, choosing instead to seize the security that his estate in the countryside provides. She will have her own home again, no matter the cost. But Hacienda San Isidro is not the sanctuary she imagined. Something is wrong with the hacienda. And no one there will save her. Far from a refuge, San Isidro may be Beatriz’s doom.

In Chingona, Mexican American activist, scholar, and podcast host Alma Zaragoza-Petty helps us claim our inner chingona, a Spanish term for "badass woman." Working for change while preserving her spirit, a chingona repurposes her pain for the good of the world. She may even learn that she belongs to a long line of chingonas who came before her—unruly women who used their persevering energy to survive and thrive.

Between micro- and macro-aggressions at school, the workplace, and even the grocery store, a constant news cycle highlighting Latine trauma, and a general lack of resources for women of color, it’s tough to be a Latina woman and prioritize your wellness, both physically and mentally. With Self-Care for Latinas, you’ll find more than 100 exercises to radically choose to put yourself first. Whether you need a quick pick-me-up in the middle of the day, you’re working through feelings of burnout, or you need to process a microaggression, this book is for you.

Paloma is dead. But before she was murdered, before she was even Paloma, she was a traditional healer named Gaspar. Before she was murdered, she taught her cousin Feliciana the secrets of the ceremonies known as veladas, and about the Language and the Book that unlock their secrets.

A real-life historical figure, the woman known as Malinalli, Malintzin, La Malinche, Doña Marina, and Malinalxochitl was the Nahua interpreter who helped Spanish conquistador Hernán Cortés communicate with the native people of Mexico. When indigenous leaders observed her marching into their cities, they believed she was a goddess—blessed with the divine power to interpret the Spaniards’ intentions for their land. Later, historians and pop culture would deem her a traitor—the “Indian” girl who helped sell Mexico’s future to an invader.

No one expects to meet their father at their mother’s funeral. But for Gabby Medina, that’s exactly what happens. Her dad abandoned her when she was a baby, and now he’s back. And he wants to give her a house. Gabby doesn’t want the house—or him. But she could use the money. So Gabby agrees to take it under two conditions: First, she can sell the house whenever she wants. Second, accepting it doesn’t mean she accepts him.

The Montoyas are used to a life without explanations. They know better than to ask why the pantry never seems to run low, or why their matriarch won’t ever leave their home in Four Rivers - not for graduations, weddings, or baptisms. But when Orquídea Divina invites them to her funeral and to collect their inheritance, they hope to learn the secrets that she has held onto so tightly their whole lives. Instead, Orquídea is transformed into a ceiba tree, leaving them with more questions than answers.

Carmen Sanchez is back in her home country of Mexico, overseeing the renovation of an ancient cathedral into a boutique hotel. Her teen daughters, Izel and Luna, are with her for the summer, and left to fill their afternoons unsupervised in a foreign city. The locals treat the Sanchez women like outsiders, while Carmen's contractors openly defy and sabotage her work. After a disastrous accident at the construction site nearly injures Luna, Carmen's had enough. They're leaving. Back home in New York, malevolent and unexplainable happenings seem to swarm the Sanchez family.

Carlota Moreau: A young woman growing up on a distant and luxuriant estate, safe from the conflict and strife of the Yucatán peninsula. The only daughter of a researcher who is either a genius or a madman. Montgomery Laughton: A melancholic overseer with a tragic past and a propensity for alcohol. An outcast who assists Dr. Moreau with his experiments, which are financed by the Lizaldes, owners of magnificent haciendas and plentiful coffers. The hybrids: The fruits of the doctor’s labor, destined to blindly obey their creator and remain in the shadows.

Ernesto Vega has lived many lives, from pig farmer to construction worker to famed luchador El Rey Coyote, yet he has always worn a mask. He was discovered by a local lucha libre trainer at a time when luchadores—Mexican wrestlers donning flamboyant masks and capes—were treated as daredevils or rock stars. Ernesto found fame, rapidly gaining name rec­ognition across Mexico, but at great expense, nearly costing him his marriage to his wife Elena.

Born into a large, close-knit family in Nicaragua, Prisca Dorcas Mojica Rodríguez grew up surrounded by strong, kind, funny, sensitive, resilient, judgmental, messy, beautiful women. Whether blood relatives or chosen family, these tías and primas fundamentally shaped her view of the world—and so did the labels that were used to talk about them. The tía loca who is shunned for defying gender roles. The pretty prima put on a pedestal for her European features. The matriarch who is the core of her community but hides all her pain.