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The Routledge handbook of planning history

de México. The last three chapters cover how residents made sense of the movement and imprinted their reactions onto the city. Chapter five details the context of the 1960s and describes how the growing middle class, especially university students, occupied city streets to communicate their demands. Graphics and cinema were the topic of chapter seven and Flaherty’s discussion of young people filming the city with handheld cameras meant that citizens could monitor public spaces and hold officials accountable for their actions. The final chapter, which serves as a stand-alone chapter more than a conclusion, returns to the Nonoalco-Tlatelolco housing projects and explores how narratives of fear and violence had penetrated private homes. From a historian’s perspective, Flaherty’s use of documents from Mexico’s National Security Archive provides a fascinating contribution to his narrative. This archive, opened to the public in 2002, yet closed again in 2015 while Flaherty was finishing Hotel Mexico, houses intelligence reports related to drug trafficking, presidential elections, and human rights abuses. The story behind the documents, perhaps more so than the content in them, helps solidify a couple of key arguments in the book. First, it helps explain the periodization of 1960 to the present by making readers aware of ongoing efforts by government officials to obscure evidence of human rights abuses. Second, it shows how later generations are continuing to dwell on the ’68 movement to bring awareness to the ‘unfinished business of democratization and social justice in Mexico’ (18). In light of recent events, including the 43 missing students from Ayotzinapa or the many murdered journalists, Flaherty’s study is even more important and left this reader making startling comparisons to present-day Mexico.