AnaLouise Keating presents us with her edited text of Gloria Anzaldúa's work on aesthetics and knowledge production, which focused on social justice, identity, (trans)formation, and healing. Keating tells us that Anzaldúa had intended to publish this text before her death in 2004, and explains how she used notes, outlines, chapter drafts, emails, conversations, and computer files to piece together this final draft of Anzaldúa's work. In her introduction, “Re-Envisioning Coyolxauhqui, Decolonizing Reality,” Keating notes that this text was meant to be Anzaldúa's final publication and adds that it is true to her original writing style and uses ideas that she developed in other writings like Borderlands/ La Frontera: the New Mestiza.

The first chapter, “Let Us be the Healing of the Wound,” begins with Anzaldúa's reflection on September 11, 2001, and her emotional response to the call to war. Chapter 2, “Flights of the Imagination: Rereading/Rewriting Realities," gives the reader a glimpse into Anzaldúa's writing process and the ways in which her spirituality was interwoven with her writing. Chapter 3, “Border Arte,” expands on Anzaldúa's focus on nepantla in looking at border art. She discusses her perceptions that the use of images like La Llorona and La Virgen de Guadalupe in non-Chicano art are up for sale, in contrast to their use by Chicana/Latina artists who mean them to inspire and inform. She warns Chicana and Latina artists to be aware of misappropriation and colluding with Anglos to make it happen.

Chapter 4, “Geographies of Selves–Reimagining Identity,” addresses the ways in which our bodies represent our identity through our movements. She explores the idea of “the cracks in the worlds” the idea that mestizas are “caught between cultures and are simultaneously insiders, outsiders, and other-siders” (71). Chapter 5, “Putting Coyolxauhqui Together,” is a glimpse into Anzaldúa's writing process, and her best chapter. It narrates for the reader how Anzaldúa approaches the task of writing, what she thinks about as she writes, and how her body is impacted by her writing. Chapter 6, “now let us shift . . . the path of conocimiento . . . inner works, public acts,” addresses the seven stages of conocimiento and these connections to the four directions, the seven chakras, and the four elements. This final chapter connects to all of Anzaldúa's other writing. It gives the reader how Anzaldúa viewed her life and her work—as interconnections of history, literature, modern experience, and spirituality.

This text would serve as an excellent book in a literature course, and could be used as the capstone of Anzaldúa's other writings. Keating has done an excellent job of editing this piece—she has made it easy to forget that the work was published after Anzaldúa's death.