You Are the Snake offers a glimpse into the lives of characters who straddle the line between conformity and rebellion. In this collection of previously unpublished stories, we are introduced to a range of individuals, from a community college student to an imaginative portrayal of an abusive grandmother, and a young woman discovering her passion for gardening.

The characters crafted by Juliet Escoria are complex—they either strive to meet society's expectations or defiantly turn away from them. These stories exploit the short story form, showcasing Escoria's unique voice that challenges conventional storytelling and resists the temptation for simple moral lessons.

Exploring themes such as girlhood and the transition into womanhood, Escoria does not shy away from the peculiar, the impulsive, and the desires that drive us. Each narrative is set in its own distinct environment, from the suburbs of California to the mountains of West Virginia, and together they form a tapestry that expands and defies preconceived notions of what women are capable of writing and being.

Juliet Escoria's prose has been lauded for its vividness and honesty, and You Are the Snake continues to deliver with its charged and eloquent storytelling. The maturity and style of the short story format are a perfect vessel for Escoria's electric narrative energy.

Why grassroots data activists in Latin America count feminicide—and how this vital social justice work challenges mainstream data science. What isn’t counted doesn’t count. And mainstream institutions systematically fail to account for feminicide, the gender-related killing of women and girls, including cisgender and transgender women.

Against this failure, Counting Feminicide brings to the fore the work of data activists across the Americas who are documenting such murders—and challenging the reigning logic of data science by centering care, memory, and justice in their work. Drawing on Data Against Feminicide, a large-scale collaborative research project, Catherine D’Ignazio describes the creative, intellectual, and emotional labor of feminicide data activists who are at the forefront of a data ethics that rigorously and consistently takes power and people into account.

Individuals, researchers, and journalists—these data activists scour news sources to assemble spreadsheets and databases of women killed by gender-related violence, then circulate those data in a variety of creative and political forms. Their work reveals the potential of restorative/transformative data science—the use of systematic information to, first, heal communities from the violence and trauma produced by structural inequality and, second, envision and work toward the world in which such violence has been eliminated.

Specifically, D’Ignazio explores the possibilities and limitations of counting and quantification—reducing complex social phenomena to convenient, sortable, aggregable forms—when the goal is nothing short of the elimination of gender-related violence. Counting Feminicide showcases the incredible power of data feminism in practice, in which each murdered woman or girl counts, and, in being counted, joins a collective demand for the restoration of rights and a transformation of the gendered order of the world.

A dazzling magical realism western in the vein of Cormac McCarthy meets Gabriel García Márquez, The Bullet Swallower follows a Mexican bandido as he sets off for Texas to save his family, only to encounter a mysterious figure who has come, finally, to collect a cosmic debt generations in the making.

In 1895, Antonio Sonoro is the latest in a long line of ruthless men. He's good with his gun and is drawn to trouble but he's also out of money and out of options. A drought has ravaged the town of Dorado, Mexico, where he lives with his wife and children, and so when he hears about a train laden with gold and other treasures, he sets off for Houston to rob it—with his younger brother Hugo in tow. But when the heist goes awry and Hugo is killed by the Texas Rangers, Antonio finds himself launched into a quest for revenge that endangers not only his life and his family, but his eternal soul.

In 1964, Jaime Sonoro is Mexico's most renowned actor and singer. But his comfortable life is disrupted when he discovers a book that purports to tell the entire history of his family beginning with Cain and Abel. In its ancient pages, Jaime learns about the multitude of horrific crimes committed by his ancestors. And when the same mysterious figure from Antonio's timeline shows up in Mexico City, Jaime realizes that he may be the one who has to pay for his ancestors' crimes, unless he can discover the true story of his grandfather Antonio, the legendary bandido El Tragabalas, The Bullet Swallower.

A family saga that's epic in scope and magical in its blood, and based loosely on the author's own great-grandfather, The Bullet Swallower tackles border politics, intergenerational trauma, and the legacies of racism and colonialism in a lush setting and stunning prose that asks who pays for the sins of our ancestors, and whether it is possible to be better than our forebears.

This is a tale of murder. Or maybe that's not quite true. At its heart, it's a love story, isn't it?

Lana Farrar is a reclusive ex-movie star and one of the most famous women in the world. Every year, she invites her closest friends to escape the English weather and spend Easter on her idyllic private Greek island.

I tell you this because you may think you know this story. You probably read about it at the time - it caused a real stir in the tabloids, if you remember. It had all the necessary ingredients for a press: a celebrity; a private island cut off by the wind...and a murder.

We found ourselves trapped there overnight. Our old friendships concealed hatred and a desire for revenge. What followed was a game of cat and mouse - a battle of wits, full of twists and turns, building to an unforgettable climax. The night ended in violence and death, as one of us was found murdered.

But who am I? My name is Elliot Chase, and I'm going to tell you a story unlike any you've ever heard.