"Signs of the Americas pierces through five centuries of prejudice to show how indigenous sign systems have wielded worldmaking powers. . . . Signs of the Americas paves new paths for many academic fields. Of course, the book gives Latinx studies, Latin American studies, and Native studies new ways of narrating the history of the western hemisphere. In turn, the book offers anthropology and literary studies sophisticated techniques for theorizing collective creativity. Most importantly, the book raises questions that cut across disciplinary formations. Now that we know how indigenous sign systems have influenced poetry, can we see how they have shaped other genres?"

Carlos Alonso Nugent | ASAP/Journal

"In Signs of the Americas, Garcia sets sparks flying by inviting us to explore the literature and theory created by 20th and 21st century writers who deploy sign systems that, according to the creation myth of European hegemony, alphabetized thought supposedly superseded and destroyed. . . . Signs of the Americas not only pries open a fascinating archive but also forces us to question the organizational principles that govern intellectual history and cultural criticism in this hemisphere."

David Gutherz | New Books Network

"Edgar Garcia’s Signs of the Americas ranges across disciplines in pursuit of a startling thesis: Nonalphabetic sign systems, such as petroglyphs, hieroglyphs, and even the still-undecoded Incan knot-writing known as khipu, have exerted a decisive influence on the Anglophone, Hispanophone, and Indigenous literature of the Americas. In substantiating this claim, Garcia synthesizes research in an unusually broad range of fields, including literary theory, Indigenous and ethnic studies, anthropology and ethnography, and the history of ideas."

Len Gutkin | The Chronicle of Higher Education

“Garcia’s excellent book demonstrates how indigenous sign systems such as pictographs, petroglyphs, hieroglyphs, and khipu continue to communicate to all who know how to activate and interpret them . . . These signs continue to make meaning in that dynamic area between the ‘archive’ and the ‘repertoire,’ animated through use and practice. Signs of the Americas, drawing on contemporary art, activism, and legal practice, makes a compelling argument about why we all need to understand these highly expressive and powerful sign systems.”

Diana Taylor, New York University

 “Signs of the Americas reconceptualizes literary studies by foregrounding objects often subsumed or overlooked in modern and contemporary inter-American literary texts. Garcia rehearses a complex of ideas and forms—signs and situations, structures and events—in his proliferating arguments. Each chapter is a dynamic case study, producing startling combinations of poetic figures, geographic locations, and methodological frames. Signs of theAmericas is an ambitious, energizing, and original contribution to various fields of cultural scholarship.”

Roberto Tejada, University of Houston

“In Signs of the Americas, Garcia pries us away from received notions. He reveals that pictographs say more than we have previously thought. Bold and conceptually beautiful . . . Garcia’s poetics of anthropology and ethnography pay off very well here, especially his agility in framing figures to argue for creativity and agency.”

Doris Sommer, Harvard University

"In his book Signs of the Americas, poet and critic Edgar Garcia reinforces how a visual sign works poetically, echoing in deep time and space. Signs as poems can reflect the inherent rhythms within that space. Disordering time itself, signs and poems can, as Garcia writes, 'inflect the time horizons of past, present perfect, present, future, and future anterior.'"

Chicago Review of Books

"In this groundbreaking study of the overlooked yet primary influence of indigenous sign systems on Pan-American poetics, Garcia theorizes that sign systems like pictographs, hieroglyphs, petroglyphs, and khipu, rather than being “dead” and calcified systems of meaning and exchange, are very much alive and living in the skin of American (and transnational) poetics."

On the Seawall

"When people talk about form, they often mean something like canonical forms that come from white artists in the United States and Europe, and Garcia has tried to think about what indigenous form is, what the native forms of the Americas are, and how that viewing of contemporary works of art, literature, and even legal philosophy and environmental activism changes when we change the formal frameworks in which we understand these works."

Latinx Spaces