A fascinating book for those interested in Mexican-American relationships. Anita's active role in the rich cultural life of Mexico in the twenties, and her friendship with such figures as Diego Rivera, Frida Khalo and Tina Modotti, provide a valuable insight into an also fascinating country. Her bright intelligence proved to be well ahead of times. A true and sincere fighter against stereotypes of Mexico in American minds, she was one of the very few to challenge them, contributing with her work to a better understanding among both countries. Such conscious research by Ms. Glusker deserves much praise. One wishes that she had included a much more deep insight into Anita's persona and emotions, as well as her work in the family's farm in her late years. Anita's wide variety of interests seemed to have no limits.But maybe that is material for another book.

As an avid student of U.S. history, there always been a lurking curiosity about our neighbors south of the border. This biography of a war-torn nation explored the lively hood and attitudes of the leaders of Mexico, as well as the suppressed peasants that filled the land. Pinpointing the theme set by Brenner in this interesting dive into Mexico's controversial past would be easily done with one saying, "Viva la revolucion!" Of course, the Spanish translation is not needed, but there must be understanding that this phrase was to be said for over an era that spanned from the time Mexico liberated itself from Spain until the 1940s.
An ongoing revolution that had seen some of its worst times in the era that followed the exile of a great dictator known as the "Strong Man." After Diaz left his beloved Mexico in 1910, an onslaught of violence and political chaos set in for roughly thirty years. This is where Brenner starts describing detailed events that came with such vengeance and anarchy that seems to be fictional.
Brenner found it easy to recreate a mental model of how life during Diaz reign was for Mexico. The first part of the book takes time in explaining all the great programs that would soon be disrupted. The explanation of how offices were ran by the scientists and businessmen that supported Diaz was also enlightening.
The stage is definitely set for rude awakening once Madero starts his plans to take over the reign of Mexico. Of course he was not alone in this undertaking. Names that become familiar early in the book include Carranza, Villa, and Huerta. Great character description came about when these significant leaders are brought onto the scene.
The details of how shift in power came about in Mexico are still mystifying after reading the book. Even with the in-depth look that Brenner provides the reader, the reasons of revolution were senseless at times. However this may be due to the vast differences of politics between those who assumed power and those didn't agree with the policies set. Even if there was slight doubt of a president's capabilities a couple weeks after being in office, they were ousted. It would have been as if the Democrats declaring revolution after Bush won the controversial election in 2000. Things this minor to the United States would have flared revolt in a young Mexican during this time.
Of course this brings in the element of the United States involvement in Mexican politics. It seemed to be a very non-direct approach, but nevertheless, we were definitely involved with who would be backed with more money and munitions. Also, we were very selective on which governments we acknowledged as a true power in Mexico. Also financial support form federal and private banks in the U.S. helped support different regimes and revolutions.
Most of the material gathered from Brenner was from recorded first hand accounts, autobiographies, letters, and interviews. The sources seem credible, but Brenner's romanticizing of Diaz and Obregon's time of rule skewed the presentation of the facts. They were portrayed in higher light than any other politicians in the book. Maybe this also was apart of Brenner's fear of Mexico during the Second World War. The persuasive issues touched on at the end of the book were surely that of anti-fascism propaganda. Well, who could blame Brenner for being concerned? It was during era of turmoil and fear; much like the state the U.S. is in now after the attacks of 9/11.
I would recommend this book to others due to its rich exploration into the history of Mexico. I know many Americans overlook this subject just as Brenner says in the first few pages. On top of the great verbal content, the archive of pictures that correspond with the revolution era places names to faces. That always makes it easier to remember these facts in the long run.
Clint Hawkins
February 14, 2002

Excellent primer about the Mexican Revolution. First rate just for the photographs. The Revolution is very complex, and Ms. Brenner at times over simplifies, but that is the point of the book. You will not be disappointed.

A "must read" for anyone interested in Revolution of 1910, photography of the times, politics of the Revolution and why Mexico is the way it is. Should be read by people going to Mexico to take intensive language course. Tells who followed whom in the rapidly changing poltical world of Mexico in the early days of this century. Also gives insight into the fact that the Revolution lasted much longer than most people think, as did the social and economic effects. Excellent overview of history as it was being made.

A great little book that captures the simplicity of a culture caught up in the upheavals of modern civilization and it's encroaching values. Although the Indios described are from Mexico the theme of indigenous people and the clash between civilzations is universal and continues to this day. The suggested time frame is pre-conquest to the present(1937) and the language is one that reflects a simpler place in time. Not one character is named in this outstanding novel but the identification still exists with all those unnamed individuals. Along with Mariano Azuela's "Los de Abajo" ("The Underdogs"), this short novel is considered one of the best in Mexican literature. Without lavish and extravagant language the images are portrayed magnificently, quite possibly the simplicity of language is used to drive home the point. One of the most interesting aspects of this book is the inclusion of Nahuatl to describe certain cultural activities or aspects of the civilization. This works quite well with the inclusion of footnotes and adds a dimension of realism and authenticity to the novel that would probably be lost if they were not included. In this regard the book both educates and entertains. Of particular interest is the introduction of the closest thing to a character when the author describes The Nahual, or the supernatural being who can transform himself to any animal at will. Anyone interested in Mexican history, indigenous culture or the perspective of the Indio lifestyle and the inherent conflict created by European values would enjoy this book. As mentioned by another reviewer, an addional bonus are the numerous Diego Rivera illustrations throughout the book. The drawings have a cartoon coloring book style from early on in the master Mexican muralists career. I would also recommend this book for educators from the middle school level on especially if they are teaching something relating to Mexican life. This is a very entertaining book that can be read quite quickly.

This novel is a fictional account of true events. Every crime mentioned really happened. Lopez y Fuentes writes this book as a "composite novel" -- the time and location of the events, as well as names of individuals, are not named. Accompanied by illustrations by Diego Rivera, one of Mexico's most prestigious artists, this novel presents several years in the life of the descendents of the Aztecs.

Gregorio Lopez y Fuentes' 1937 novel 'El Indio' is not another politically correct version of what Western Europeans 'did to' the indigenous population of this hemisphere. Instead, it puts the reader in the middle of a clash of cultures, one that is repeated daily around the world to this day. Lopez y Fuentes moves readers to scream, 'How can they DO that?' or 'Why don't they just TALK to each other?' As we know, however, resolving cultural misunderstandings is never that easy despite the tragedies that fall out of faulty assumptions about what constitutes 'civilization' and 'progress,' as well as what happens when -- consciously or not -- people simply choose not to communicate. The deep backdrop is the time circa the Mexican Revolution, but Lopez y Fuentes suggests that the more things change for indigenous peoples in the modern world, the more they stay the same. Some specific historical background may be helpful, but it is not necessary. Since Lopez y Fuentes uses no character names or place names, one could read 'El Indio' as a generic story of a people and what happens to that people as a result of centuries of subjugation, racism, ethnocentrism, basic cultural assumptions, and a general disagreement about the 'nature' part of 'human nature.' Thoughful readers will use Lopez y Fuentes' account as a departure point to look at their own culture and cultural assumptions about 'backward' peoples around the world. A bonus: Full-page and cover illustrations by famous Mexican artist Diego Rivera.