{ Conclusion }
The conclusion assesses the 2015 Broadway hit Hamilton: An American Musical by mixed-heritage (Puerto Rican, Mexican, black, and white) Lin-Manuel Miranda, which emerges as the quintessential violentological text and supra-Latina/o chronotope. This sui generis phenomenon models all the conceits and contradictions explicated throughout this book, while also consolidating the vexed and vexing Latina/o move from the margins to the center. My assessment of this spectacle as part of the ever-more discrepant Latina/o archive, which consists of widely diverging supra-Latina/o and even post-Latina/o violentologies, underscores the need for a paradigm shift in our understanding of the ontological and epistemological pasts, presents, and futures of Latina/o Studies.