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.

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.

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.

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 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.

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.

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…

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.

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.

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.

When Harlow Estrada is abruptly fired from her dream job and her boyfriend proves to be a jerk, her world turns upside down. She flees New York City to the one place she can always call home—the enchanted Hacienda Estrada. The Estrada family farm in Mexico houses an abundance of charmed flowers cultivated by Harlow’s mother, sisters, aunt, and cousins. By harnessing the magic in these flowers, they can heal hearts, erase memories, interpret dreams—but not Harlow.

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.

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?

Sage Flores has been running from her family—and their “gifts”—ever since her younger sister Sky died. Eight years later, Sage reluctantly returns to her hometown. Like slipping into an old, comforting sweater, Sage takes back her job at Cranberry Rose Company and uses her ability to communicate with plants to discover unusual heritage specimens in the surrounding lands.

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.

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.

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.

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.

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.

An exploration of the healthful powers of curanderismo, a combination of Aztec, Spanish, Native American, and African medicine, from a registered nurse and professional curandera, advocates a holistic approach to healing, showing how to creatively combine Western and folk medicines.

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.

Cousins Mari, Erica, Selena, and Gracie are inseparable. They aren’t just family but best friends—sharing secrets, traditions, and a fierce love for their abuelita. But their idyllic childhood ends when Mari’s parents divorce, forcing her to move away. With Mari gone, the girls’ tight-knit bond unravels.

Emilly Prado retraces her experience coming of age as a prep-turned-chola-turned-punk in this collection that is one-part memoir-in-essays and one-part playlist, zigzagging across genres and decades, much like the rapidly changing and varied tastes of her youth.

Violeta Sanoguera had always done what she was told. She left the man she loved in Colombia in pursuit of a better life for herself and because her mother and grandmother didn’t approve of him. Chasing dreams of education and art in New York City, and with a new love, twenty-eight-year-old Violeta establishes a new life for herself, on her terms. But when her grandmother suddenly dies, everything changes.

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.

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.