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For over a century, El Palacio has been a forum for voices exploring New Mexico’s art, archaeology, history, and landscape. Explore the writers, photographers, historians, and scientists whose perspectives have defined the magazine’s pages—past and present.
Arthur Sze is the current U.S. Poet Laureate. Sze is a poet, translator, and editor. He is the author of twelve books, including Into the Hush, Sight Lines, and others. Sze’s poems have been translated into fifteen languages, and he is the recipient of the National Book Award among many other honors. He lives in Santa Fe.
Deborah Jackson Taffa is a citizen of the Quechan Nation and Laguna Pueblo. Her memoir Whiskey Tender was a 2024 National Book Award Finalist and was longlisted for the 2025 Carnegie Medal for Excellence in Nonfiction. Taffa serves as the director of the MFA in creative writing program at the Institute of American Indian Arts.
Cara Romero is an award-winning contemporary fine art photographer. An enrolled citizen of the Chemehuevi Indian Tribe, Romero’s expansive oeuvre has been informed by formal training in film, digital, fine art, and commercial photography. She maintains a studio in Santa Fe, regularly participates in Native American art fairs, and was featured in PBS’ Craft in America (2019).
Elizabeth Perrill (opens in a new tab) is professor of Art History at the University of North Carolina at Greensboro and the guest curator of iNgqikithi yokuPhica/Weaving Meanings: Telephone Wire Art from South Africa at the Museum of International Folk Art. This article was written with extensive editorial input from the community curator and lead Indigenous knowledge expert for iNgqikithi yokuPhica
Without traffic, it only takes thirty minutes to reach KwaMashu and Siyanda. Past Durban’s inner suburbs, stadiums, mansions, and malls, I reach the few highway entrances that connect these historically Black neighborhoods—home to over 175,000 people, over ninety percent of whom are isiZulu-speaking—to the rest of this 3.25-million-person harbor city. As I enter KwaMashu, the road narrows and the terrain becomes less grid-like.
