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.

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.

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.

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.

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.

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.

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.

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.

Widow Mimi lives on idyllic Mackinac Island, where cars are not allowed and a Gibson martini with three onions at the witching hour is compulsory. Her estranged granddaughter, Addie, is getting over the heartbreak of not only being dumped by her fiancé, Brian, but also being cut out of the deal for the brilliantly successful video game Murderscape they invented together (with Addie doing most of the heavy lifting).

Many Indigenous people believe that one should never whistle at night. This belief takes many forms: for instance, Native Hawaiians believe it summons the Hukai’po, the spirits of ancient warriors, and Native Mexicans say it calls Lechuza, a witch that can transform into an owl. But what all these legends hold in common is the certainty that whistling at night can cause evil spirits to appear—and even follow you home. These shiver-inducing tales introduce listeners to ghosts, curses, hauntings, monstrous creatures, complex family legacies, desperate deeds, and chilling acts of revenge.

Mexican witchcraft, or brujeria, has long been an integral part of traditional Mexican culture that permeates all strata of social hierarchy, ethnicity, or level of education. "Brujeria de Rancho" refers to brujeria as it is practiced in the rural areas of Mexico. There, the brujos de Ranch offer their healing and divinatory powers, acting as advisors, and even meting out justice through the use of cursing and hexing for people who are often not able to pay lawyers' fees.

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.

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?

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.

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.

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.

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.

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.

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.

One month short of her wedding day—and her thirtieth birthday—Nadia Palacio finds herself standing up to her infuriating, cheating fiancé for the first time in, well, ever. But that same courage doesn’t translate to breaking the news to her Argentinian family. She’s hyperventilating before facing them when she glimpses a magazine piece about a woman celebrating herself—with a second quinceañera! And that gives Nadia an idea. With a wedding venue already paid for, and family from all over the world with plane tickets, Nadia is determined to create her own happily-ever-after.

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.