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Four La Bloga Writers Are Finalists for The International Latino Book Awards!

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La Bloga writers represent!  Four of our Bloguistas, whose books have been published in 2014, have been recently named "finalists." Now in its 16th year, the International Latino Book Awards were founded by Latino Literacy Now in partnership with Las Comadres para Las Americas, and the Instituto Cervantes.  Over a thousand books have been honored since its inception.  The awards, already the largest latino book award in the USA, celebrates achievements in Latino literature.  These awards are leading a wave of cultural and economic development within the Latino community (from the International Latino Book Award Website).

Today, it's a pleasure to list our finalists with descriptions of their books.  They are listed in alphabetical order by last name. Xánath Caraza, René Colato Laínez, Lydia Gil, and Daniel A. Olivas. Felicidades to all of you!


Xánath Caraza
Finalist, Poetry:  

Syllables of Wind/Sílabas de Viento
Description:  Argentine poet, Carlos J. Aldazábal describes Xánath Caraza’s new collection of poetry as “a type of invocation, a kind of silent mantra.”  With her gaze wandering across the land, the poet projects her sensitivity so as to celebrate or lament, to depart or return, in a cultural pendulum that allows her to express what we all have in common as human beings, the great themes of poetry (death, love, life) from her American and indigenous particularity” (Introduction).  

Caraza’s poetry reveals Mexican, Indigenous, African roots while also claiming a North American Midwest identity.  Her work underlines our literary transnational roots.   

Xánath Caraza reading from her book in Topeka, Kansas

René Colato Laínez:  Finalist, Children's Literature

Author René Colato Laínez
Description:  Carlos is not sure that football can be played with an oval-shaped ball.  Chris is not sure that it can be played with a round ball.  It may not be a good idea to play with a kid who is so different.  He doesn’t even know how to play this game!  Wait.  It looks kind of fun…Let’s give it a try!  Enjoy and celebrate the encounter of two cultures through their favorite sports!


Lydia Gil: Finalist, Children's Literature:  


Author Lydia Gil with students
Description:  Celeste is heartbroken when her grandmother dies.  But everything changes when a letter mysteriously comes in the mail—from grandma!  As letters continue to arrive from the beyond, each with a recipe from a favorite food her grandmother used to prepare, Celeste consoles herself by learning how to cook the dishes. 


Published in bilingual “flip” format by Arte Público Press, this middle grade novel celebrates the cultural traditions of the Spanish Caribbean, while tackling challenging subjects, such as trouble with friends and the death of a grandparent.  The book includes six traditional Cuban recipes with easy-to-follow instructions. 

Author Lydia Gil

Author, Daniel A. Olivas
Daniel A. Olivas
Finalist, Non-Fiction:  



Description:  In this candid and wide-ranging collection of personal essays and interviews, award-winning author, Daniel A. Olivas explores Latina/o literature at the dawn of the twenty-first century.  While his essays address a broad spectrum of topics from the Mexican-American experience to the Holocaust, Olivas always returns to and wrestles with queries that have no easy answers:  How does his identity as a Chicano reflect itself through his writing?  What issues and subjects are worth exploring?  Can literature affect political discourse and our daily lives? 
Olivas explores similar questions through almost a decade's worth of interviews with Latina/o authors. Dr. Frederick Aldama writes: "Wide-ranging, and yet laser-focused, Olivas gives us a total portrait of Latina/o letters today." 

Los Angeles Times Festival of Books 2015; Call to poets for Coiled Serpent anthology; Luis J. Rodriguez to read at Cal State Northridge

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The 2015 Los Angeles Times Festival of Books has come and gone but the glow is still here. Held at the University of Southern California campus the weekend of April 18 and 19, an estimated 150,000 booklovers attended. I was delighted to have done a joint poetry reading with our Poet Laureate, Luis J. Rodriguez. Sponsored by Tía Chucha’s Centro Cultural & Bookstore and hosted by the lovely people at Kaya Press, we had a great time. Below are some sights from the reading along with other views of the festival as I wandered about the campus. Enjoy!













 















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IN OTHER LITERARY NEWS:



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Foto Ése: Poesia Para La Gente in the Garden. Community News Bits 'n Pieces.

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Floricanto Para la Tierra

Michael Sedano


Then one day, Chicken Boy disappeared from Broadway. Que plus ça change and all that, but this icon of a fried chicken restaurant above Los Angeles’ most expensive commercial real estate locus stood as a constant reminder back in the 1970s to a Chicano grad student juggling the weighty issues of no money, ample research, and a recalcitrant dissertation, to take life with a smile.

Chicken Boy is back, lifting spirits of gente fighting encroaching gentrification of northeast El Lay. Book designer artist Amy Inouye rescued Chicken Boy. She mounted him above her Future Studio Design on Highland Park’s Figueroa Street.

Jessica Ceballos 
How sublime, then, that Jessica Ceballos, LA’s peerless promoter of poesia and all things artful, scheduled a Poesia Para la Gente reading in Milagro Allegro Community Garden, just up the alley from Chicken Boy, whose presence adds nostalgic joy to a thoroughly enchanting “para la tierra” reading.

Karen Anzoategui, Amanda Yates Garcia 
Reading your stuff al fresco creates unique challenges that Sunday afternoon’s poets skillfully engage. Flocks of parrots screech by, unmuffled police helicopters noisomely roar overhead, cars cruise down the potholed alley, bright sunlight overpowers electronic devices. For a photographer, that brilliant light creates a host of problems, from squinting eyes to wildly variant illumination when readers move into shade, into light, stand in dappled light, hold a bright white manuscript. Exposing for open shade with full sun in the background adds another complication; one’s eye easily adjusts but a camera's computer chip and lens don’t.

Karen Anzoategui
Setting renders moot standard delivery issues. The constant struggle for personalization through eye contact occurs whether on stage or in the garden. Eyes glued to a tiny telephone screen or manuscript denies eye contact, wearing shades against the brilliant day likewise shuts the window to the soul. Holding the manuscript affects the nature of gestures available. Memorization always frees the performer to use one’s entire technology of the body to create memorably dynamic experiences for grateful audiences.

Amanda Yates Garcia
Projection and volume inadequacies, ordinarily a plein aire hazard, are not in evidence today. The casual outdoor setting encourages the basking audience to interaction, “louder!” or “Say that again?” Karineh Mahdessian greets me as I maneuver for a better angle as she begins her reading, “Hey, Michael, how you doing?” A former speech coach urges one reader to go from memory in lieu of being bound to the text, a useful practice because the words are already in the writer’s mouth and memory. Besides, only the poet knows if a line changes or something drops out.

Karen Anzoategui and Amanda Yates Garcia elect the open shade under the mora tree (under the mor, under the a, under the mora tree). This encourages a manual setting of the camera to avoid exposure variance. When white paper catches and reflects light into its sensor, a camera wants to close the aperture producing underexposed, dark, faces and good values on bright spots.

Viviana Franco
In full light, automatic exposure using the camera’s partial metering system produces acceptable exposures and little-noticed changes in depth of focus as the speaker moves and turns, reflecting more or less light. Although elements of the background grow darker and lighter with the aperture/shutter changes, those don’t unacceptably affect the portrait.

Vicky Vertiz
Dappled light and portraits where the face is in shadow but the body in bright sun call for flash fill-in. Modern cameras allow flash exposures at high speeds, a wondrous benefit over conventional cameras whose flash synchronization demands 1/60 second exposures. In bright light at 1/60 second, many lenses will not have small enough apertures to produce good results without also dropping the ISO value—the camera’s sensitivity to light. Digital cameras automatically adjust ISO at the photographer’s option. In bright light, that’s not much of an issue. Lower ISO images come with Kodachrome richness. I hold my ISO at 800 whenever practical for more consistent appearance.

Alex Hohmann
Flash is not a panacea but today artificial light saves some otherwise too dark/too bright portraits. The images of Vicky Vertiz and Kenji Liu would have been too dark in the shade, or washed out in the light, except for the fill-in. Liu’s light plaid washes out despite the flash, Vertiz’ polka dots just barely survive but detail on her neck whites out. Alex Hohmann’s bright orange dress in full light, and wonderfully expressive face in open shade, would have confused the heck out of the camera’s brain. Hohmann’s skin tones render beautifully and her eyes sparkle owing to the balancing effect of flash fill-in.

Karineh Mahdessian

Kenji Liu
“Para la tierra” offered a fabulous floricanto that deserves a hearing and re-hearing. My gosh, I would love to read those pieces I could hear only in the moment and then they were gone.

Oscar Duardo, guardian of the garden, videoed the performances. Hopefully the microphone picked up with clarity and one day the readings will be sharable with others. Possibilities abound with modern technology, especially inexpensive remote microphones. If sponsors and poets want to put themselves through the hassle of donning and doffing the tiny devices and bulkier battery pack transmitters, video and mic’ing artists offers freedom from time and place. As my grandfather used to say when faced with life’s possibilities, “mmn, a ver.”

Francisco Escamilla, Bustop Poet

Seeclawleek Guehosah - Xitlalic Guijosa-Osuna
Oscar Duardo - Guardian of the Garden

Los Angeles
Late-breaking News! 


Today, Tuesday! Rush Hour Reading by Los Angeles-based poets in celebration of National Poetry Month! Come for the poetry and mingle with the poets afterwards. Rush Hour has never been so inspiring!

Be there, or be square. Levi's and Capri's welcome.

Latinopia Update: Short Fiction from Daniel Acosta



La Bloga friend Jesus Treviño is among the hardest-working documentarians in Aztlán. Latinopia, Treviño's wondrous public service on the internet, shares videos and essays on historical subjects, cooking, literature, zombies, and the continuation of the adventures of Arnie and Porfi, a cartoon series Sergio Hernández launched in the iconic raza magazine Con Safos.

This week's update--Treviño updates Latinopia weekly--includes a reading from 2010's Festival de Flor y Canto • Yesterday • Today • Tomorrow. The entire video program of that reunion Floricanto will be distributed via USC's Digital Library sometime this summer. A ver.

http://latinopia.com/latino-literature/latinopia-word-daniel-acosta-homeboy-1/

May Update and Looking Even Forwarder


CSULA (Cal State El Sereno) professor, and La Bloga friend, Roberto Cantu, looks forward to next month and welcoming visitors to a popular celebration and scholarly conference on the work of Mariano Azuela and novels of the Mexican revolución. The Conference comes to the eastside of Los Angeles in May. Except for parking and no-host lunch, the conference is free.

Looking forward to 2016’s iteration of the conference, Cantu announces a call for proposals—abstracts that will be collocated to form panels—concerning the work of Americo Paredes.

Américo Paredes belonged to a generation of Mexican American writers that included Fabiola Cabeza de Baca (New Mexico, 1894-1991), Ernesto Galarza (México, 1905-1984), José Antonio Villarreal (California, 1924-2010) and, among others, Mario Suárez (Arizona, 1925–1998), writers who served their country as educators, labor organizers, journalists, and oftentimes as soldiers during the Second World War. Conference organizers welcome papers that spotlight the work of these Mexican American writers with an emphasis on their autobiographies (Cabeza de Baca, Galarza), or on their narrative fiction (Suárez, Villarreal) in relation to border narratives, the frontier experience, the relocation of home, and the way Mexican American culture is represented in such works, namely: as one that continues to grow out of the tension between tradition and modernity. Other proposed areas of study are the critical examination of scholarly works on the corrido, such as María Herrera-Sobek's The Mexican Corrido: A Feminist Analysis (1990), and Northward Bound: The Mexican Immigrant Experience in Ballad and Song (1993); or on Paredes's life and work, for instance José Limόn’s Américo Paredes: Culture and Critique (2013); Ramόn Saldívar’s The Borderlands of Culture: Américo Paredes and the Transnational Imaginary (2006); José R. Lόpez Morín’s The Legacy of Américo Paredes (2006); and Manuel Medrano’s Américo Paredes: In His Own Words, an Authorized Biography (2010).

The deadline for a 250-word abstract is February 14, 2016. The submitted abstracts can be in Spanish or in English. Submissions will be peer-reviewed and their acceptance or rejection will be communicated by e-mail on or before February 21.  Send abstracts to rcantu@calstatela.edu.

 ¡Gente! ¡Scholars! Dust off your guitar and begin practicing a couple of corridos.


Los Angeles Theatre Center Has A Seat With Your Name On It.


LATC's new season presents a diverse array of work, with artists from Los Angeles, Riverside, Chicago, and Spain. The stories on display include topics capturing the popular imagination such as women and sex; "machismo," and what makes a man; the challenges of interfaith romance; the use of deadly force by police; and the power of love against the effects of Alzheimer's.

Cultures from around the globe make contact this spring at LATC. You should too, according to LATC's website.

LATC's East of Broadway Spring Season kicks-off with Teatro Luna, as they bare it all without blushing in Generation Sex (April 17-May17), and Dreamscape's (April 16-May 17) reimagination of 1998 police-involved shooting in Riverside.

Tickets and schedules are conveniently available at LATC's website, with a click here.

Tía Chucha Soliciting Submissions



SanAnto
15 Poets Six Hours



La Bloga friend Gregg Barrios sends the following:

Back by community demand, Mega Corazon will return on Thursday, April 30—the closing day of National Poetry Month!

Celebrating a hybrid San Anto poetic tradition that combines street, classical, and slam performance styles, at times incorporating musical performance into spoken word. The result is frontal, improvisational, inspired, and often choreographed for a highly visual impact.

Poets Performing in the 2015 Mega Corazon Include:
∙ Lahab Assef Al-Jundi ∙ Gregg Barrios ∙Nephtali Deleon ∙ Amanda Flores ∙Anthony “The Poet” Flores ∙Fernando Flores ∙ Eduardo Garza ∙Andrea Greimel ∙ Bryce Milligan ∙Andrea "Vocab" Sanderson ∙ Carmen Tafolla ∙ Juan Tejeda ∙ Frances Trevino Santos ∙ Eddie Vega


Conjunto Fest Growing Faster Than You Can Say Juan Tejeda


From La Bloga friend Juan Tejeda:
Familia, Camaradas and Colleagues, just wanted to personally invite you and your familia to the Guadalupe Cultural Arts Center's 34th Annual Tejano Conjunto Festival en San Antonio 2015 which will take place from May 13-17 at the Guadalupe Theater and Rosedale Park. Check out the complete schedule and musical line-up in the attached official poster of this year's Tejano Conjunto Festival, with the wild award-winning design by John Medina. Hope to see you here in San Anto in three weeks to witness the cucuy accordion invasion. Por favor spread the palabra and the poster. Gracias. Juan



Is Your Community Event Not Mentioned in La Bloga News & Notes?

Órale, it's not that we're stuck up. More likely, La Bloga hasn't been notified! Not that it's your fault or nothing, sabes, but marketing and outreach are the keys to getting La Bloga to soma pa'ca.

Email announcements to Labloga@readraza.com

Chicanonautica: ¿Qué es Chicano Art?

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I've always been an artist. Before I could write, I would draw stories. I never stopped. So it's no suprise that some of my drawings have ended up on display in a gallery.

Specficly, Sector 2337 in Chicago, along with Josh Rios and Anthony Romero's Please Don't Bury Me Alive! Part Two, "a project space installation that features various arrangements of the artifacts from their inaugural performance alongside other works that deal with Chicano centered imagery and histories."


My work fits well there. Just randomly flipping through my sketchbooks, just about everything seems Chicano, even when I get sci-fi, cartoony, surrealistic, or even abstract. Even when I'm not trying to be.

I wonder why. And what is Chicano art anyway?

Is it the use of pre-Columbian images? How is it different from Native American art? Certainly, the relationship between artists and their audiences differs in the cases for Chicanos and Natives . . .


Maybe it's the iconic imagery. Some might say stererotypes. Cartooning is all about stereotypes. It can also transform the stereotypes. It's a dangerous game that can become a shooting war.

Could it be style? I tend toward expressionistic slash work, and get bored when it comes to the fussy stuff that impresses a lot of people. But there are Chicanos who can do traditional realism as well as any European.

Maybe it's attitude. Chicano, in this century, is becoming more an attitude than an ethnicty. How much is culture, and how much is blood?

It could be the documenting ot the Chicano experience. But what is the Chicano experience? I used to amuse myself at family gatherings that if I made a tape recording of the conversations, then transcribed them, no one would believe it. It would be considered magic realism, sci-fi, or some such abomination. Anglos would doubt that Chicanos would do or say such things.


I've always had an uneasy relationship with both fine and commercial art. The fine art would say I was too commercial, and not abstract enough – I always have something to say, and that tends to upset the delicate sensibilities of wealthy patrons. The commercial art crowd found me too undisciplined, and uncontrolable – I can't seem to just translate their lame ideas into bland visuals. I have my own ideas. Lots of them.

That's another Chicano thing – having something to say. I remember from back in my college days during the last gasp of modernism, overhearing an Anglo art teacher saying, after showing a film about José Guadalupe Posada, “Looks like he was mostly interesting in storytelling.” He made it sound like a vile perversion.

All this made me concentrate more on writing than art. But somehow, I couldn't stop. I just keep creating. It's what I do.

I also wonder about all the other artistic Chicano/as out there. How most of them get discouraged. How many lost masterpieces are hidden in the barrios?


Ernest Hogan's novel Cortez on Jupiterhas been called "tons of fun for freethinking readers who appreciate heroes with cojones" by Publishers Weekly.

Where Storytellers Come From. CAL Awards.

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Chandler Girls Baseball Team 1939 - 1942?


My mother, Emma (Ermila), was born in 1927 in the mining town of Chandler, Colorado. She grew up in a place that no longer exists, literally and figuratively. When the mine closed (1942), the town died and the miners and their families scattered to other mining towns, other jobs, other ways of life. My grandparents and their nine children eventually landed in Florence, Colorado, where I was born. The changes they experienced were part of an historic demographic shift in the United States at the beginning of and during World War II, but for them it was just another move necessary to follow work and, thus, to survive.

I never thought of my mother as a storyteller. Yet, when I reflect on it now, I realize that our conversations and, recently, her visits with her ninety-five year old sister, are filled with stories and tales -- she just doesn't present them as such.

Filomena and Manuel Sarmiento
The night her father (Manuel Sarmiento - a great storyteller in his own right) played poker with the devil, protected his family from the ghost at the big rock near the Chandler town limits, had a shoot-out with a rival, or rode with Pancho Villa -- all are simply parts of her life that she retells matter-of-factly and without elaboration. I remember hearing in the 1950s about La Llorona, the weeping woman, from my mother -- not as a story, more like a news report of what was actually going on down by the river where all the commotion took place.

In the same manner, I learned that my grandmother (Filomena) married my grandfather at age sixteen, that she was on a first-name basis with a bruja or two, and was known to conjure her own cures and curses when appropriate.

For my mother, life has been filled with magic, or maybe magical realism.

She often returns to reminisces of the baseball team that was organized for the young girls of Chandler.  She recalls how the team traveled to Pueblo, Canon City, Rockvale, and Florence to play other teams. She brags that the "Chandler girls" were all-stars and tough cookies. I believe it since I have known her all my life. My mother and her sister were on the team that was made up of coal miners' daughters -- that had to be unique. I wonder if this bit of Colorado history -- a traveling girls' baseball team from a mining town in the 1930s organized by a Mexican miner (Juan Torres) -- is remembered by anyone other than my mother and her sister?

Today my mother's memory is fading and she repeats herself. But she lights up when she gets together with her sister and they start in about the baseball team, or Chandler, or their immediate family, most of whom are long gone. I listen to my mother and try to hold on to her stories, my family's history, even though she would never say that she is a storyteller.

[a shorter version of this appeared in the Denver Post on Mother's Day, 2015.]


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Colorado Authors' League Award Banquet (May 8)


Lydia Gil at Colorado Authors' League Award Banquet





Congratulations and felicitaciones to La Bloga contributor Lydia Gil.  Her excellent book, Letters from Heaven (Arte Público Press),won the Colorado Authors' League (CAL) 2015 award for Best Children's Book. Letters From Heaven is also a finalist for the Colorado Book Award and the International Latino Book Awards.  Way to go, Lydia!


Pauline Victoria Martinez








And congrats to Pauline Victoria Martinez, Coordinator of Adams State University's (Alamosa, CO) Women's Week, for winning a CAL scholarship to help her continue with her research, advocacy, and writing about and for the people, especially the women, of Colorado's San Luis Valley.






Lydia and Manuel at CAL Banquet

Later.

Whiteing out the Latinos and black from Denver

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This is not another article about lamenting the loss of ethnic neighborhoods. Or just about the loss of affordable housing. This is about America's 21st Century version of the purchasing of Manhattan Island for $24 worth of beads, of the Trail of Tears, of the taking half of Mexico in 1845.


Denver development ruining the community

A headline this week: "Average metro Denver home sale hits record high in April: $402,302." You can live in that house if you can afford $24,000 per year in house payments. Do the math and you'll see that a salary of $11.50 per hour would only pay the mortgage. Leaving nothing for anything else.


Denver has had black or Latino mayors for twenty-four of the last 30 years.
Considering the travesty inflicted on black and Latino neighborhoods, those mayors might as well have been white, land speculators.

The pace of home destruction has skyrocketed. Many fine homes are being bought up, razed to put up apartments or duplexes, or scraped to add another floor. The skyline is rising, not downtown, but in community neighborhoods. The sun, sky, trees and the view of the mountains disappear.

So are the black and Latino people. They're disappearing after selling their homes, banking the outrageous money they were paid for them, and moving. But they're not moving to another Denver house. Those are unaffordable and even at that, get snatched up in bidding wars.

The black and Latino people selling their homes are amazed. Perhaps they even made snide jokes about the stupid gringos paying $400k for a house they bought decades ago for under $100k. Or under $50k. However, this "joke" is on the sellers, not the buyers.

In Denver's history, poor or working or immigrant peoples moved into areas that they could afford. They couldn't afford to move to the suburbs because banks wouldn't do mortgages to blacks and Latinos to move there. So the inner cities became the American barrios and ghettos.

There are still prosperous, mostly white suburbs around Denver. Those are not the suburbs where the Latinos and other are relocating. It's to the north and east where the somewhat affordable housing can be found, Northglenn, Aurora, for instance.

The Latino family can find a house there, big enough, possibly even newly constructed, and think that they came out on top in the transaction. They didn't. They traded some of the most valuable property in Western America for a suburban house whose price and location tell you it is not as valuable.

Their situation will likely get worse. Unless they are lucky enough to live close to their jobs, they will need to commute, and in Denver that will become a longer drive consuming gasoline that some project will hit $5 a gallon. It's just a matter of time

Some Latinos might be able to use Denver's version of mass transit, the Light Rail. But that system is being built to accommodate the prosperous suburbs and burgeoning nearby cities, what are called "racially concentrated areas of affluence."

Prices to ride Light Rail may not accommodate the closer suburbs where Latinos have moved to. America has a history of neglecting black and Latino neighborhoods. That hasn't suddenly ended.

The hipster/gentry inner city neighborhoods, on the other hand, will prosper. Grow even more valuable. Infrastructure funds are being spent on these Denver neighborhoods as if royalty had indeed blessed the city.

Denver's new Lego apts. loom over homes.
This transfer of wealth from inner city ethnic people to overwhelmingly white people has been disguised as Redevelopment. But it's just an exchange of $24 of beads for land, property and housing.

These Latinos will not be able to hand down the wealth that they might have to their children. The whites of Denver's affluent Bonnie Brae neighborhood or of San Francisco's Knob Hill protected their neighborhoods, the architecture, and did leave a legacy.

The Latinos of San Francisco's Mission District or Denver's old Northside are not doing the same. Their children will be the poorer for it.

Es todo, hoy,
RudyG

Poesía en español en Chicago e Italia, y más

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Por Xánath Caraza

Venice, Italy
 

Chicana/o poets from Chicago to LA to Italy, we’re on the move. 

Chicago just recently celebrated the Poetry Festival en español, Poesía en abril, their eighth annual event.  From April 30 – May 2, DePaul University and Revista Contratiempo worked together to bring poetry and poets to the windy city.  What a great opportunity for the Latina/Chicana community in Chicago.  I will be sharing a few photos of this annual poetry festival. 

Chicago

 

Poesía en abril 2015:

 
Olvido y Hector

 
Charla entre poetas

Los organizadores del Festival, Esther Quintero, Moira Pujols, Juanita Goergen y Gerardo Cardenas

At the Poetry Foundation

Las presentaciones

Toda la luz

My poetry workshop at DePaul University

La Revista
Dra. Martinez, DePaul University

Hasta el 2016


In Other News:

Natalia Treviño will be in Umbria, Italy on a writer’s residency.  She will be working on her second poetry collection focused on La Virgen. Congrats, Natalia! Adelante!

 
Umbria, Italy & Natalia Trevino

Stay tuned for the Special Chicana issue of the literary publication of Rivista di Poesia Sette Lune in Venice, Italy.  I had the opportunity to be guest editor for the upcoming June issue and seven female Chicana poets were translated into Italian, along with Chicano art and music--more in June.

 
Rivista de Poesia Sette Lune, Venice, Italy

Also, this past April, Contratiempo invited me to be guest editor for a special dossier on La Poesía y la Música; here is the link to Revista Contratiempo Issue 122, their April edition.  Enjoy the essays that were published on pages 12- 18. 

Revista Contratiempo Issue 122
 

Chicanos in Mantúa for the Festival Internazionale di poesía Virgilio 2015, May 22 – 24.  Thrilled to learn that Alejandro Murguía will be part of this poetry festival along with other wonderful poets.  I’m looking forward to seeing him perform.  Last time I had a chance to listen to him was in Los Ángeles in the 2010 Floricanto.  I will also be part of the Virgilio International Poetry Festival.  Looking forward to this wonderful event.  

Alejandro Murguia
 

Poet and cultural promoter Zingonia Zingone has graciously invited me to read at her poetry reading series, El Latido, in Rome at the Instituto Cervantes.  What can I say, but Viva la Poesía y grazie! Ciao, chao!
 
Poets, Nguyễn Chí Thanh& Zingonia Zingone at the Instituto Cervantes in Rome, Italy
 

Mariano Azuela Conference. Mothers On-line Floricanto.

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Reading Your Own Stuff
Foto Essay: Scholars and a Novelist Read Papers

Michael Sedano

Georgina García Gutiérrez Vélez, Maarten Van Delden, Emily Acevedo, Rubén Quintero

It was 1973, the historic El Festival de Flor y Canto at University of Southern California. A young scholar was extemporizing about literary historiography, without notes, in rapid Spanish as I took a few fotos. I said to myself, "Self, that vato really knows his stuff, and mejor, he's doing academics without reading a paper at me!"

That was Roberto Cantu at the lectern. It was the beginning of his career at the Chicano Studies lectern.

Roberto Cantu, 1973
La Bloga congratulates Dr. Cantu on his recent retirement from the C/S and English Dptos at CSULA. Felicidades, Roberto Cantu. 

The annual Gigi Gaucher-Morales conference Cantu organizes at California State University Los Angeles make capstone accomplishments to Cantu's notably productive career. 2015's focus upon Mariano Azuela and the Novel of the Mexican Revolution has been a superb way for Cantu to launch his emeritus status: informative, entertaining, interesting, fun.

Roberto Cantu, 2015

The 2015 Conference on Mariano Azuela And the Novel of the Mexican Revolution brought two information-filled days to the El Sereno campus. I attended only most of the first day, enjoying several fulfilling events that blended conventional academic panels with a dramatized scene from Los De Abajo, and a lecture from novelist Michael Nava, whose acclaimed recent novel, The City of Palaces, takes place during the Porfiriato and the lead-up to the revolución.

Fernando Curiel Defosse, Maria de Lourdes Franco Bagnouls, Georgina García Gutiérrez Vélez, 
Yanna Hadatty Mora, Aurora Diez-Canedo

"Mariano Azuela: Su Narrativa y Recepcion en la Historia Literaria de México"

Top L-R: Yunsook Kim, Jacqueline Zimmer, Julio Puente García,
Bottom L-R: Aurora Diez-Canedo, Maria de Lourdes Franco Bagnouls, Fernando Curiel Defosse

Conventional academic panels suffer from tradition and the nature of research in humanities. There's a pressing need to become adaptive to the audience. A tradition of reading a paper, page by page, to the audience makes the traditional panel a test of strength for panelists and audience. I imagine the scholar gets little communication satisfaction from the ritual. 

Academic reports destined to be published aren't written for oral performance. Reading the thing is folly. But the reading of papers is a rite of initiation for young scholars debuting before their peers, and a career-long occupational dues-paying. It's tradition. But not one that best showcases the individual talent.

I'd like to see some young scholars buck tradition. One goes to an academic meeting expecting people read to you. Or you sit at the front table waiting your turn to read, looking out at the audience looking back, glancing over at the reader, looking discreetly at your notes (or as one panelist did, blatantly practice her reading off her Mac), or your watch, worried that time is running out. 

Moderators tend to abdicate their role and let readers exceed their time. Overages add up and invariably cost the final speakers time, and cause anxiety. In one panel, as the reader flipped the pages of the manuscript, the next speaker looked anxiously at the document counting pages.The reader felt the moderator's eyes doing likewise, but carried on.

Fernando Curiel Defosse, Maria de Lourdes Franco Bagnouls, Georgina García Gutiérrez Vélez

I heard one moderator make a fatal error, telling a speaker she had twenty minutes. In an 80-minutes program with four panelists, opening remarks and introductions reduce theoretical time to more like fifteen minutes. When speakers then read for twenty-five or -six minutes the already over-subscribed schedule goes awry. That's not all bad.

The last reader in one panel abandoned the effort to read the manuscript and skipped around, scanning the page, reading salient passages, summarized and explained what he says in the paper. This professor alluded to the published proceedings where the audience will read for themselves all the detail and long quotations skipped owing to time constraints.

The professor adapted effectively, employing a satisfying style that earned his audience's appreciation while serving his paper far better than a straight reading. Thanks to fleeting time, the presentation offers a model for academic panels, the professor told about the paper instead of reading it out loud.

Georgina García Gutiérrez Vélez, Yanna Hadatty Mora

Visual aids, along with telling instead of reading, add to the vitality and informativeness of a presentation. Arizona State's Nemi Jain used to begin conference presentations on nonverbal communication by removing his clothes. Underneath his suit and tie, Jain wore a kurta and homespun cotton trousers. It's a gimmick, but Jain made it work.

Yanna Hadatty Mora and Cheyla Samuelson designed their readings to employ projections. Mora illustrated her paper, “Experimentalismo y representación urbana en La Luciérnaga de Mariano Azuela” with photographs by Tina Modotti and Edward Weston. Samuelson's “Relearning the Revolution: The Contemporary Relevance of the Novela de la Revolución in the Classroom at San José State University” came rich with visuals and generated hoped-for amusement and interest at Azuela's use of chingar and its effect on college readers.

To be sure, Mora and Samuelson read their manuscripts. Slide projections helped the time pass usefully by adding visual variety and validating elements of the research. Audiences of this sort easily multitask, read the slide and listen. Interestingly, Mora's slides became somewhat distracting. Running a slide cycle of repeating images with little coordination to the reading, she changed text-heavy photos too quickly to allow a reading.

Cheyla Samuelson and her chingar slide. Jacqueline Zimmer looks on.

Niamh Thornton's "A Question of Taste: the Cinematic Adaptations of Los de Abajo," experienced a media problem, too. Many of her screen grabs projected poorly. Thornton's task has the added frustration for audiences who'd like to see what the professor means by her descriptions of actors and incidents. 

Showing movies, or excerpts, adds an imposing technological hurdle. One measure of Thornton's effectiveness is the number of people now vowing to see those films with an assist from the University of Liverpool professor's informed eye.

Niamh Thornton

Alejandra Flores, Founder and Director of Los Angeles Theatre Academy, adapted the scene from Los de Abajo when la Pintada stabs Camila. Casting many CSULA alumni, the teatro break continues a tradition of having drama, song, and dance in the Gigi Gaucher-Morales conference. 

The cast includes Martina Alemán, Humberto Amor, Rafael Calderόn, Selina De Leόn, Mary Carmen Hurtado, Henry Madrid, Ted Owens, Cristόbal Palma, Juan Carlos Parrilla, Leily Sánchez.



Michael Nava worked his nalgas off researching Mexican history and cultura for his Mexico City-set novel, The City of Palaces. The novel is first of a tetralogy that, Nava says, explores how Ramon Novarro achieved Hollywood stardom. Novarro as a child makes a cameo appearance in the first novel. Click here for La Bloga's review of City of Palaces.

Nava worked as hard, it seemed to me, on his lecture, pulling material from all that research and weaving a professorial lecture linking Mexican history and society with scenes from his novel. 

So understated is the author, he neglects to tell the audience copies of the novel are on sale in the lobby. Nonetheless, numerous people found the table and line up to ask Nava to sign their copies.

Michael Nava

Drawing upon his decade's research, the novelist strung together important passages from his plot,  fleshing out history and filling in background citing historical and cultural materials he'd discovered. 

Michael Nava's effort--definitely not the standard novelist's reading--made an ideal fit in the heady academic environment defined by the panel experience.

Yunsook Kim, Julio Puente García, Rubén Quintero, Jacqueline Zimmer, Cheyla Samuelson
“Los Léperos: Attempting to Fictionally Reconstruct Racial Relationships in the Twilight of the Porfiriato”

There may be a special place in Mictlán reserved for academics who read a paper word-for-word page-for-page, and an even more special one for those who go over their allotted minutes. It’ll be a really large place because anyone who’s ever attended a University conference has witnessed the ritual and its ambiente. It goes with the territory.

Professionally, academic conferences build brag sheets. Important conferences like Roberto Cantu's  annual CSULA Gigi Gaucher-Morales event, more so. Attending a conference is a scholar's rite of passage, going among the professors and finding out if they all like your looks.

The scholar has devoted months to tracking down sources, reading, making notes, discovering a thesis, organizing ideas and materials, writing and editing, creating a document conforming to a professional style for references and margins and related minutiae. In a few months, proceedings of the conference will have the full text of that research paper. 

The book is raison d'être of things academic, a permanent record of the event. The conference brings each writer a moment of personal achievement. I would have them do it with pizzazz to get the most out of all that work. Instead, today's academic worker arrives, reads the words start to finish, reaches the final period, looks up and says "thank you" and that's it.

Julio Puente García looked up asked if anyone had questions, and he got an objection to his paper, “El último lector (2005) de David Toscana y la vigencia de Juan Rulfo en la creación de una narrativa regional mexicana en el Siglo XXI." 

Actually, there was a disturbance in the hall when García asked if there is a question? 

"An objection!" was the response. I don't remember if she said "una denuncia" or "una protesta" but the questioner spoke pointedly.


La profesora objected that Toscano's obscure! His next book isn't even Mexican, it's coming out in French. And the vato lives in Poland!

I'm sure García enjoyed the colloquy about Mexican regionalism. It's this kind of informed discussion that comes out only in the rarefied atmosphere of academia, whether graduate seminar or public conference. And in this instance, just maybe it was payback for reading that paper almost without pausing for breath.



Mothers, Mother's, Mothers' Day On-line Floricanto

Nominated by the Moderators of Poets Responding to SB 1070: Poetry of Resistance, coordinated by Odilia Galván Rodríguez.

A Mother's Day Poem By Savannah Trevino-Casias
Mother’s Day Lament By Odilia Galván Rodríguez
Mother Earth is Crying By Frank de Jesus Acosta

Yerba Buena Home por Paul Aponte
Mother’s Sunset By Jose Hector Cadena
Si No Hablamos / If We Do Not Speak Por Rafael Jesús González
Grandmother By Tom Sheldon


A Mother's Day Poem
By Savannah Trevino-Casias

For my mom Vanessa A. Treviño

Oh its that day isn't it?
As I awaken to the warm spring morning
The sun shines through my drawn blinds
The soft and silent dust in the air
I look to the sky and wonder
As I get up and look around I think about how different everything is
I see the world in a unique way
Those rows of cards embellished with heartfull sayings and printed daisies
The boxes of chocolates that melt in the sun
The bundles of flowers that will dry
The never ending lists of reservations for Sunday brunch
I see it everywhere
And I am reminded of what I miss so deeply
Oh how I think about it so much
My mind wanders and tries to remember past days
How those days were different
As time continues to go on I realize that my wound is healing
Even though it will always hurt
My daisy cards will be crinkled
My chocolates will be melted
My flowers dried
But I will always have those memories
The ones of you and me, of us, and what that means
It's another day, one that comes every single year
Oh yes, it's that day,
Oh Happy Mother's Day


Savannah Treviño-Casias is a resident of Phoenix, Arizona and she will be graduating high school May 20th, 2015. Savannah as been accepted to Arizona State University Barrett Honors College and she will begin her studies in the fall.

Savannah enjoys reading and writing. She is diligent in her academic pursuits and enjoys school and learning. Savannah has received numerous scholarships to help finance her college education. Savannah was yearbook copy editor for three years at her high school. Savannah’s poetry is published in her high school yearbook. Savannah’s poetry has been published previously in La Bloga. She has written a book which has not been published. Savannah started an anti-bullying campaign at her school and is involved in numerous clubs and activities.

Savannah plans to pursue a career in psychology her goals are to work with children and families. Savannah is looking forward to graduating from high school next week and is excited to begin pursuing her degree at ASU in the fall of 2015.





Mother’s Day Lament
By Odilia Galván Rodríguez

Mother lakes
rivers oceans
Mother mountains
volcanoes
Mother high ground
reflected in sky
Mother
the depths
of Kivas
in Mines
in secret places
of all souls
Mother of wild winds
of tsunami tides
Walking pneumonia
a sign

Wakíŋyaŋ cough
Thunderous
holy sound
Lightning
Electric prickle
rise of baby-fine hair
on back arms or neck
The difficulty of birthing rain
that once was sacred and now
while at the same time being raped
is acid pain

Thunderheads build in time-space
no longer here
Her children no longer refreshed

This outpouring of tainted regurgitation
Of chemicals pumped into her veins
To generate billions
green frog backs that don’t sing

Anything but death songs

Prophesied long before this
When we still had a chance
to save our pitiful selves
From twisted mutant storms
caused by what we’ve allowed
to be done

To you mother of creation

Mother of lakes rivers oceans
of rain in our blood

foto: Claudia D. Hernandez
Odilia Galván Rodríguez, eco-poet, writer, editor, and activist, is the author of four volumes of poetry, her latest, Red Earth Calling: ~cantos for the 21st Century~. She’s worked as an editor for Matrix Women's News Magazine, Community Mural's Magazine, and most recently at Tricontinental Magazine in Havana, Cuba. She facilitates creative writing workshops nationally and is a moderator of Poets Responding to SB 1070, and Love and Prayers for Fukushima, both Facebook pages dedicated to bringing attention to social justice issues that affect the lives and wellbeing of many people. Her poetry has appeared in numerous anthologies, and literary journals on and offline.





Mother Earth is Crying
By Frank de Jesus Acosta


Mother Earth is crying
A wounded and ailing corpus
Raped, polluted, poisoned
Commodified in avarice
As if she has no soul
Our wounded mother
Convulses and bleeds
Her healing rests with us
Restoring balance to creation
In contempt for humanity
Corpus wealth seeks to mimic
The power of the sun
In culpable immunity
Toxic greed pours
Into the oceans, rivers, lakes, streams
Of the east, west, north, and south
Children of the earth hear her wails
Of pain and cries of calamity
All directions rise up
In a sentient protective circle
Or sit idle in complicity
It is arrogance to proclaim
We live in dominion over earth
We are but kindred spirits
In mutual stewardship
Beholden of her blessings
There is ample harvest
To feed a global village in relation
Once we live in covenant by love
Respecting children, future generations



Frank de Jesus Acosta is principal of Acosta & Associates, a California-based consulting group that specializes in professional support services to public and private social change ventures in the areas of children, youth and family services, violence prevention, community development, and cultural fluency. Acosta provides writing and strategic professional support in research, planning, and development to foundations and community-centered institutions on select initiatives focused on advancing social justice, equity, and pluralism. In 2007, Acosta published "The History of Barrios Unidos," and is presently authoring and editing a book series focused on issues related to boys and young men of color for Arte Publico Press.





Yerba Buena Home
Por Paul Aponte

Mi corazón corre
junto al jardín de mi niñez.

Con mis rodillas empapadas
y manos enlodadas,
plantando esta plantita.

Salvación de la noche.
Aroma de recuerdos.
Aroma de madre preocupada.
Aroma de descanso y dormir
de almohada por sentir.

Plantita verde:
Cuando te deseaba,
te daba gracias
por la hoja que te arrancaba,
que por agua fresca hacía pasar.
"Los dos lados, y tállalo bien,
no vaya a ver algún animal".
Y te miraba.
Solo gotitas,
pequeñas,
temblando,
agarrados de tí.
...Y un poco de sal
...Y pa' dentro!!!
Hmmmm!

Mi corazón corre
junto al jardín de mi niñez. 


Paul Aponte is a Chicano poet born in San Jose, California USA, and now resides in Sacramento.   Paul, was a member of the performance poetry group "Poetas Of The Obsidian Tongue" in the 90's, and currently is a member of "Escritores del Nuevo Sol".  He will co-feature at The Ave, in San Francisco on Tuesday June 2nd and will be presenting at "Plantando Semillas" on Saturday June 6th in Santa Rosa.





Mother’s Sunset
By Jose Hector Cadena

I love mother
and how we talk
about stars,
horoscopes,
precious stones,
dreams,
random things,
her co-workers,
the beauty shop,
and how she
wants to be
remembered
on sunsets
that gift us
with pink-
violet-oranges.

I love mother
and I cannot
imagine how
it will be
to see such
a sunset and
feel so alone
without her.


Jose Hector Cadena is a writer, poet, and collage artist.He grew up along the San Ysidro/Tijuana border. He currently teaches in the Department of Chicana Chicano Studies at San Diego State University and at Southwestern College.






Si No Hablamos
Por Rafael Jesús González

Si no hablamos para alabar a la Tierra,
es mejor que guardemos silencio.

Loa al aire
que llena el fuelle del pulmón
y alimenta la sangre del corazón;
que lleva la luz,
el olor de las flores y los mares,
los cantos de las aves y el aullido del viento;
que conspira con la distancia
para hacer azul el monte

Loa al fuego
que alumbra el día y calienta la noche,
cuece nuestro alimento y da ímpetu a nuestra voluntad;
que es el corazón de la Tierra, este fragmento de lucero;
que quema y purifica por bien o por mal.

Loa al agua
que hace a los ríos y a los mares;
que da sustancia a la nube y a nosotros;
que hace verde a los bosques y los campos;
que hincha al fruto y envientra nuestro nacer.

Loa a la tierra
que es el suelo, la montaña, y las piedras;
que lleva los bosques y es la arena del desierto;
que nos forma los huesos y sala los mares, la sangre;
que es nuestro hogar y sitio.

Si no hablamos en alabanza a la Tierra,
si no cantamos en festejo a la vida,
es mejor que guardemos silencio.
© Rafael Jesús González 2015
Escrito especialmente para el Congreso Mundial de Poetas, Tai’an, Provincia de Shandong, China, otoño 2005 


If We Do Not Speak
By Rafael Jesús González

If we do not speak to praise the Earth,
it is best we keep silent.

Praise air
that fills the bellow of the lung
& feeds our heart’s blood;
that carries light,
the smell of flowers & the seas,
the songs of birds & the wind’s howl;
that conspires with distance
to make the mountains blue.

Praise fire
that lights the day & warms the night,
cooks our food & gives motion to our wills;
that is the heart of Earth, this fragment of a star;
that burns & purifies for good or ill.

Praise water
that makes the rivers & the seas;
that gives substance to the clouds and us;
that makes green the forests & the fields;
that swells the fruit & wombs our birth.

Praise earth
that is the ground, the mountain, & the stones;
that holds the forests & is the desert sand;
that builds our bones & salts the seas, the blood;
that is our home & place.

If we do not speak in praise of the Earth,
if we do not sing in celebration of life,
it is best we keep silence.
© Rafael Jesús González 2015
Written especially for the World Congress of Poets, Tai’an, Shandong Province, China, Autumn 2005 


foto: Peter St. John
Rafael Jesús González, Prof. Emeritus of literature and creative writing, was born (10/10/35) and raised biculturally/bilingually in El Paso, Texas/Cd. Juárez, Chihuahua, and taught at University of Oregon, Western State Collage of Colorado, Central Washington State University, University of Texas El Paso (Visiting Professor of Philosophy), and Laney College, Oakland, California where he founded the Dept. of Mexican & Latin-American Studies, Nominated thrice for a Pushcart price, he was honored by the National Council of Teachers of English and Annenberg CPB for his writing in 2003 and received the 2012 Dragonfly Press Award for Outstanding Literary Achievement. He was honored by the City of Berkeley with a Lifetime Achievement Award at the 13th Annual Berkeley Poetry Festival, May 16. 2015. His latest book is La Musa lunática/The Lunatic Muse and his work may be read at http://rjgonzalez.blogspot.com/





Grandmother
By Tom Sheldon

help me in the web
grandmother spider
weaver of  mystery
of place and time
a generational saga
a cross family tissue
wedded to the water forest
plains and desert
whose tounge originated
with the animals
and the stones
show me the suspended shadows
interlaced with mystery
turn my ear
where images blaze
to the glow

from within the rocks


My name is Tom Sheldon and I come from a large Hispanic family with roots in Spain, Mexico and New Mexico. I enjoy writing poetry which allows me connection and a voice.Thank you for reading my work.


Maya's Blanket: La manta de Maya

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By Monica Brown
Illustrated by David Diaz
  •          Age Range:5 - 9 years
  •          Hardcover: 32 pages
  •          Publisher: CBP; 1 edition (August 15, 2015)
  •          Language: English
  •          ISBN-10: 0892392924
  •          ISBN-13: 978-0892392926


Little Maya has a special blanket that Grandma stitched with her own two hands. As Maya grows, her blanket becomes worn and frayed, so with Grandma’s help, Maya makes it into a dress. Over time the dress is made into a skirt, a shawl, a scarf, a hair ribbon, and finally, a bookmark. Each item has special, magical, meaning for Maya; it animates her adventures, protects her, or helps her in some way. But when Maya loses her bookmark, she preserves her memories by creating a book about her adventures and love of these items. When Maya grows up, she shares her book―Maya’s Blanket/La manta de Maya―with her own little daughter while snuggled under her own special blanket. Inspired by the traditional Yiddish folk song “Hob Ikh Mir a Mantl” (“I Had a Little Coat”), this delightful bilingual picture book puts a child-focused, Latino spin on the tale of an item that is made into smaller and smaller items. Maya’s Blanket/La manta de Maya charmingly brings to life this celebration creativity, recycling, and enduring family love.



Monica Brown, Ph.D. is the author of many award-winning books for children, including Pablo Neruda: Poet of the People (Henry Holt), winner of the Américas Award for Children's Literature and an Orbis Pictus Honor for Outstanding Nonfiction, and Waiting for the Biblioburro(Random House), a Christopher Award winner. Her picture book Marisol McDonald Doesn't Match/Marisol McDonald no combina (Lee & Low) is the winner of the Tejas Star Book Award, the International Latino Book Award, and a Pura Belpré Honor for Illustration. Marisol McDonald and the Clash Bash/Marisol McDonald y la fiesta sin igual, the second book in the Marisol series, was published in September 2013.

Monica's books are inspired by her Peruvian-American heritage and desire to share Latino/a stories with children. "I write from a place of deep passion, joy, and commitment to producing the highest possible quality of literature for children. In my biographies, the lives of my subjects are so interesting and transformational that I am simply giving them voice for a young audience. I don't think it is ever too early to introduce children to the concepts of magical realism, social justice, and dreaming big!" Monica is in demand as a conference keynote speaker and has appeared at ALA, TLA, NCTE, Book Expo America, and at book festivals across the country.

Monica Brown is a Professor of English at Northern Arizona University, specializing in U.S. Latino Literature and Multicultural Literature. She writes and publishes scholarly work with a Latino/a focus, including Gang Nation: Delinquent Citizenship in Puerto Rican and Chicano and Chicana Literature; and numerous articles and chapters on Latino/a literature and cultural studies. She was the recipient of the prestigious Rockefeller Fellowship on Chicano Cultural Literacies from the Center for Chicano Studies at the University of California. She lives with her husband and two daughters in Flagstaff, Arizona.


New Series: Latin American Literatures and Cultures

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Cambria Press is proud to announce a new series, which will be headed by Dr. Román de la Campa, the Edwin B. and Lenore R. Williams Professor of Romance Languages at the University of Pennsylvania. The Cambria Studies in Latin American Literatures and Cultures book series will feature high-quality, innovative monographs and edited volumes that constitute path-breaking research in Latin American scholarship. 

For literary works, we are interested in both comparative studies as well as book-length studies of individual Latin American writers. Similar genres of books on film studies, particularly those of that emphasize contemporary issues, are also of interest. We also welcome works of an interdisciplinary nature that interweave different disciplines of the humanities as well as studies on the Latin American diaspora. 

About the general editor: Dr. Román de la Campa is the Edwin B. and Lenore R. Williams Professor of Romance Languages at the University of Pennsylvania. His research takes a comparative view on Latin American and Latino literatures, theory, and other cultural practices. His publications include over a hundred essays and journal articles published in the United States, Latin America, and Europe, as well as books published in both English and Spanish. Dr. de la Campa is also the general editor of the journal Hispanic Review. 

Inquiries should be e-mailed to info@cambriapress.com. Proposals should be submitted at the Cambria Presswebsite. 

NEW in this series:

Poets writing in Spanish by the end of the twentieth century had to contend with globalization as a backdrop for their literary production. They could embrace it, ignore it or potentially re-imagine the role of the poet altogether. This book examines some of the efforts of Spanish-language poets to cope with the globalizing cultural economy of the late twentieth century. This study looks at the similarities and differences in both text and context of poets, some major and some minor, writing in Chile, Mexico, the Mexican-American community and Spain. These poets write in a variety of styles, from highly experimental approaches to poetry to more traditional methods of writing.

Included in this study are Chileans Raúl Zurita and Cecilia Vicuña, Spaniards Leopoldo María Panero and Luis García Montero, Mexicans Silvia Tomasa Rivera and Guillermo Gómez Peña, and Mexican-American Juan Felipe Herrera. Some of them embrace (and are even embraced by) media both old and new whereas others eschew it. Some continue their work in the vein of national traditions while others become difficult to situate within any one single national tradition. Exploring the varieties of strategies these writers employ, this book makes it clear that Spanish-language poets have not been exempt from the process of globalization.

Individually, these poets have been studied to varying degrees. Globalization has been studied extensively from a variety of disciplinary approaches, particularly in the context of the Latin American region and Spain. However, it is a relative rarity to see poets being studied, as they are in this work, in terms of their relationship to globalization. Taken as a sample or snapshot of writing tendencies in Latin American and Spanish poetry of the late twentieth century, this book studies them as part of a greater circuit of cultural production by establishing their literary as well as extra-literary genealogies and connections. It situates these poets in terms of their writing itself as well as in terms of their literary traditions, their methods of contending with neoliberal economic models and global information flows from the television and Internet.

Although many literary critics attempt to study the connections and relationships between poetry and the world beyond the page, few monographs go about it the way this one does. It takes a transatlantic approach to contemporary Spanish-language poetry, focusing on poets on poets from Spain and the American continent, emphasizing their connections, commonalities and differences across increasingly porous borders in the age of information. The relationship between text and context is explored with a cultural studies approach, more often associated with media studies than with literary studies. Literature is not treated as a privileged object of isolated study, but rather as a system of ideas and images that is deeply interwoven with other forms of human expression that have arisen in the last decades of the twentieth century. The result is a suggestive analysis of the figure of the poet in the broader globalized marketplace of cultural goods and ideas.

Contemporary Hispanic Poets: Cultural Production in the Global, Digital Age is an important book for library collections in Spanish, Latin American and Iberian Studies, Chicano Studies.

Oil Spill Disaster in Santa Barbara 2015

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Blog post and photos
by Melinda Palacio





Refugio Beach
Before I moved to Santa Barbara, before I was born, the idyllic slice of California coastline suffered an oil blowout that killed thousands of seabirds, poisoned seals, dolphins and whales, and polluted 35 miles of Santa Barbara Coastline. Over the years I heard much about the 1969 oil spill and its 3 million gallon blowout. The disaster prompted President Nixon to sign the Environmental Protection Act, the Clean Water Act, and the Endangered Species Act. All of these laws help protect the beauty of Santa Barbara from total disaster. We were supposed to be spared from disastrous acts of stupidity by the greedy few espousing mantras such as drill baby drill. All to no avail, think of the 1989 Exxon Valdez oil Spill, the 2010 Deep Horizon BP spill that continues to affect the Gulf Coast. The impact of the spills are always worse days, months, and years after the fact.
Oil covered rocks on the beach from Thursday, May 21, 2015.

Yesterday, May 20, on what was supposed to be a festive day and book launch celebration for a friend, my aunt Rosa called to ask if I was okay from the oil spill. She left a message on my phone. I  had no idea what she was talking about. My family always referred to my aunt as La Opinión because she always seems to know the news before it happens. If there is a fire, storm, or earthquake, I can expect a call from my aunt Rosa.
Bagging Oily Sticks. 
My aunt's phone call referred to the Plains All American Pipeline oil spill from Wednesday. When this pipeline was put in, the same old song and dance was given to the public. Talk of guaranteeing the safety of coastal waters and wildlife, anything to guarantee the filling of money in the pockets of the few who stand to gain billions of dollars by drilling for oil in someone else's backyard. In 1998, the 10-mile pipeline was approved with the capacity to carry up to 150, 000 barrels of oil each day. The slick has spread to nine square miles of ocean and spilled 105, 000 gallons of crude into the Pacific.

Clean up along the Gaviota coast
I went down to Refugio beach to see the oil spill for myself. My photographer friend also wanted to witness and photograph the damage. We arrived yesterday, Thursday, May 21, after boats had skimmed close to 70, 000 gallons of oil. The scene at times, a flock of seagulls and pelicans flying overhead, dolphin and seals bobbing in the water, could have been perfect; but the beach was covered in goopy oil. Volunteers and workers performed back breaking work as they bagged and picked up oil leaden sticks and debris from the beach. My friend and I kept thinking that the executives profiting from the pipeline should be the ones out there picking up the crap. I asked one of the workers about the oil-slicked rocks and when those would be picked up, but he said he didn't know and seemed nervous about answering any questions. He was doing his job. How do you answer questions about the worst spill in the area in 46 years? Words from the oil company, such as 'Plains deeply regrets this release and is making every effort to limit its environmental impact,' are an insult. Governor Brown has declared a state of emergency. Santa Barbara county is home to 494 species of birds and is known as the Galapagos of North America. California leads the nation in marine protection with the largest network of marine protected ares in the country.  This news comes two weeks after Santa Barbara declared a stage three drought emergency.

Clean Up on Refugio Beach
Keyt.com, the local news channel 3 has received several photos of dead sea life covered in oil. They are asking anyone who comes into contact with distressed, oil covered sea life to call 877-823-6926. For now, volunteers who want to help wash oil off birds are asked to wait while the impact is documented. I'm guessing the ugly truth is that soap and detergents do not help birds survive in the long run. At least, from what friends who were in Santa Barbara during the 1969 spill tell me, all the birds who were rescued did not survive. Volunteers came out in numbers, wanting to help, but all of oil-soaked birds perished. I hope that the four plus decades of experience has taught us something about how to help oil slicked birds and sea life. Keyt.com also reports Plains All American Pipeline has recently had 10 serious spills in Texas, Louisiana, Oklahoma, and Kansas, choosing to settle with the EPA for 3.5 million dollars for violating the Clean Water Act. All that time and experience sure has not helped us become any wiser in preventing disasters like Wednesday's oil spill, the ones before it, and the ones to come.

Memorial Day Tribute to Mi Papa

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La mano de mi papa sobre la mia
Mi papa was born in Topeka, Kansas. He liked to tell me (and anyone else who wanted to know) that he was actually contraband from Mexico because he was conceived in Mexico, and when his parents made the journey to settle in Topeka, his mother was pregnant with him. He spent his early years in Topeka surrounded by cornfields, cactus, various crop fields. His mother cultivated a garden too.  His experiences in the fields stayed with him. Many years later, in Colorado, he taught me how to carefully take the thorns off cactus paddles, clean, and cut them into slices for cooking. 

Removing thorns from a cactus paddle
When we lived in Los Angeles, mi papa told me Topeka, Kansas stories about helping neighboring farmers by collecting huitlacoche, a black fungus that grows on corn.  The word huitlacoche (pronounced wheat-la-KO-che) is Nahuatl—from the Aztecs. My father would tell me, “The anglo farmers in Topeka considered huitlacoche a problem. They even gave huitlacoche a derogatory term, calling it ‘corn smut.’”  Little did they know that huitlacoche is packed with the amino acid, lysine, which strengthens bones, builds muscle, fights infections, and keeps human skin soft and supple.  Instead, the anglo farmers cringed when they saw the black fungus on the corn.  My newly immigrant grandmother knew better, and told my father to offer the farmers help by taking their “corn smut” away. I’ve eaten huitlachoche with my father in Mexico City and in the U.S.  It is a delicacy, like truffles, and quite delicious. Perhaps the healthy diet my father ate contributed to his living a very long life:  97 years. 

Mi papa died a little over two months ago on March 15, 2015. I am memorializing him here, the day before Memorial Day, because, in addition to the many things he did in his 97 years, he fought in the Second World War (WWII).

According to Veteran’s Administration statistics, of the 16 million who served in WWII, only about 855,070 are still living.  By 2036, all will have died. Between 250,000 and 500,000 Latinos fought in this war, and some of them were given U.S. citizenship only after the war was over.

Unlike the childhood and young adult stories my father told me with humor and wit, when he talked about WWII, his storytelling was different.  He spoke in halted breath, he would pause, and sometimes I felt compelled to hold his hand while he held back tears. The day he was shot, he was with his company.  He told me he was grateful that he wasn’t alone. His fellow soldiers were able to get the wounded to combat medics right away.  There was shrapnel in my father’s leg, other surface wounds.  He had been carrying a backpack and a front pack too.  One of the medics began taking out what was in his front pack. Earlier that day, my father had arranged small cans of food in his front pack for easy access. It was there that the medic took out a can that had a bullet hole on one side, and the actual bullet lodged on the other. “You are lucky,” the medic said. “Good you packed your lunch today.”  He was wounded again a few months later. A few months after that, he was honorably discharged, finishing his service career with two purple hearts and four bronze service stars. This is only one of a few stories he told me, but I will never know all the horrible things he saw in Europe. 


I leave you, then, with these two short stories mi papa told me, both involving food: the food he learned to cultivate, prepare, and eat, thanks to his Mexican immigrant mother, and the can of food that saved his life one afternoon during WWII. 

Mi papa removing thorns from a cactus paddle

Discussing Chicano Literature at UC Davis

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Many authors—myself included—will admit to the loneliness of the writing process itself.  This might explain why many authors park themselves and their laptops at a Starbucks or similar establishment: alone yet not alone.

The other way writing seems less lonely is when authors get to discuss their books with readers at book festivals and writing conferences.  And then there’s the wonderful occasion when your book is assigned reading for a class and you are invited to the class to meet the students and field their questions.

This latter opportunity happened to me two weeks ago when Professor Maceo Montoya of UC Davis invited me to spend time with his class on the Chicano narrative because he had assigned one of my short-story collections, Anywhere But L.A. (Bilingual Press).  Well, I ended up having one of those magical times that authors cherish.

First of all, Maceo himself is a novelist and artist of renown despite his relative youth.  He also comes from a family of artists, including his father, the artist and activist Malaquías Montoya, and his late brother, the poet Andrés Montoya.  Maceo graduated from Yale University in 2002 and received his Master of Fine Arts in painting from Columbia University in 2006.  He is an assistant professor in the Chicana/o Studies Department at UC Davis where he teaches the Chicana/o Mural Workshop and courses in Chicano Literature.  Maceo is also affiliated with Taller Arte del Nuevo Amanecer (TANA), a community-based arts organization located in Woodland, California.

I flew into Sacramento International Airport where I encountered this wonderful sculpture that my wife has dubbed, Spidey-Bunny (its real title is "Leap" by Lawrence Argent).


I then had a little time to kill before meeting up with Maceo so I wandered the UC Davis campus.  This was my first visit and I was startled by its beauty (yes, a river runs through it).




While walking the campus, I received a call from Maceo.  Rather than going out to dinner with him and his girlfriend, Alejandra Perez (herself an educator and artist), Maceo’s parents had invited all of us over to dinner.  Well, I was honored.  So, Maceo picked me up and off we went to his parents’ house, a handsome wooden structure built in the late 1800s.

Prof. Maceo Montoya in front of his parents' home.

Once inside, I met his parents, Malaquías Montoya and Lezlie Salkowitz-Montoya.  Each room of the house was filled with art and furniture created by Malaquías; Lezlie does ceramics so I got to see some of her work, as well.  Lezlie cooked a delectable vegetarian Mexican meal of enchiladas and salad (they have been vegetarians for over three decades).  It turned out we had much in common: Lezlie is Jewish and I married a Jewish woman.  So, my son has enjoyed a rich Chicano/Jewish life similar, in some ways, to Maceo's.

Malaquias, Lezlie, me and Maceo

La Familia.

Artwork in hallway.

Artwork in hallway.

Malaquias, Alejandra, Maceo and Lezlie.
After great conversation to match the great food, I had a tour of the backyard and Malaquías’s studio and workshop.

Maceo and Alejandra in the beautiful backyard.

The Montoya studio.

The next morning, Maceo picked me up and we headed to campus.  He told me that his parents were going to be attending which, once again, made me feel quite honored.  The students had read my collection and were ready to ask me all kinds of questions.  Maceo told me that his students would be writing their own short stories inspired by my collection.  I had almost two hours to fill and he said that I shouldn’t worry if I didn’t use all the time.  Ah!  A challenge!  But before that, I met some nice Chicana/o Studies staff members.

Luis and Alyssa.

After Maceo introduced me and after I spoke briefly about my upbringing and how I started writing, we opened it up for questions.  The students were more than prepared.  In fact, I think this might have been the best prepared “audience” I’ve ever encountered.  Their questions were thoughtful—at times pointed but respectful—and made me think.  The time passed so fast that we forgot to take a group picture after the book signing…we remembered when the last two students were in line so I took one with them.  I want to thank the students for their warmth and generosity.  I wish them well and I hope that they feel free to drop me an email especially if they start on a writing career.

Maceo prepares the class for me.

Friendly students get ready for my presentation (note Maceo's parents to the left).

Two delightful students pose with me after class.

To say that I had a great time wouldn’t do it justice.  I just hope that all writers get to have a similar experience that I had.

Memorial Day 2015 On-line Floricanto

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Michael Sedano

Not that it mattered back in the Vietnam era, but one of those nameless men covered in mud is Michael Sedano doing U.S. Army Basic Combat Training. We all looked alike--piss pots, green fatigues, leather boots-- expendable factotums in the country's military juggernaut. At any rate, I'm the one grimacing in the center frame. It doesn't matter who's who, not then, not now. We all are, or were, soldiers. Except today's GIs to a man and woman are volunteers, Regular Army. I was drafted.

Ft. Ord overlooked Monterrey Bay and in this foto, I'm probably staring across the bay toward Santa Cruz, thinking I'd rather be just about anywhere else but crawling along the ground with Drill Sergeants shouting instructions in our ears to "stay low! keep down!," pushing us into the mud with a boot.

Basic Combat Trainees, Ft. Ord California, 1969. 

Marching cadence, Ft Ord 1969

I want to be an airborne ranger
Hup hup hup
I want to go to Viet Nam
Hup hup hup
I want to kill ol' Charlie Cong
Hup hup hup
hup hup hup
I don’t know but I’ve been told
Hup hup hup
The streets of heaven are paved with gold
Hup hup hup
If you get there before I do
Hup hup hup
Tell them I’m a comin' too
Hup hup hup

“double time…harch!”
--By traditional


Teamwork is the military's crucial variable. Early in basic training, the maggots learn to march and run as a collective. Military Oracy enlisted chanting and singing to keep troops interested in the relentlessness of marching and running for miles, day after day for three months, 40 men and a Drill Sergeant moving as one.

We sang call and response songs about Jody, the loverboy back home making time with the girlfriend you left; tales of girlfriends who wear mattresses on their backs, where they make their living; bravado about streets of heaven guarded by the U.S. Infantry. The worst was "I want to be an Airborne Ranger, I want to go to Vietnam, I want to kill old Charlie Cong." No I didn't.

My Drill Sergeant's signature cadence was sung to the tune of "Poison Ivy." SSgt. Smith, a decently rigid human being from the deep South, might have made up the lyric, I didn't hear it from other platoons. "Late at night, while you're sleeping, Charlie Cong comes a'creeping aro-ou-ou-ou-ou-ound, Charlie Cong comes a'creeping around. Vietna-a-a-a-am, Vietnam, late at night, when you're sleeping, Charlie Cong comes a'creeping around..."

Invariably, after a good song, Drill Sgt called the dreaded command, "Double time, harch!" and forty guys would take off running at the same time in the same direction, of a single mind, all headed to war in a few months, for all we knew then.

The night before graduation, Smith drunkenly took me aside and asked in deep sincerity, "Sedano, would you go into combat with me?"


next to of course god america

"next to of course god america i
love you land of the pilgrims' and so forth oh
say can you see by the dawn's early my
country 'tis of centuries come and go
and are no more what of it we should worry
in every language even deafanddumb
thy sons acclaim your glorious name by gorry
by jingo by gee by gosh by gum
why talk of beauty what could be more beaut-
iful than these heroic happy dead
who rushed like lions to the roaring slaughter
they did not stop to think they died instead
then shall the voice of liberty be mute?"

He spoke. And drank rapidly a glass of water
--By e e cummings



We thought Rounds was going to die. Possible meningitis, Doc told us. Oh crap, we thought. The last we saw of Rounds he was laughing and waving goodbye from the stretcher carrying him to the helicopter outside the barracks.

False alarm, we learned, after Rounds wrote us from home. Mike wasn't as fortunate when his jeep ran off the road. His last name started with "S" so we'd been herded together since we landed at Kimpo. Plus, since we were tocayos, we bonded instantly.

We both got orders for the 7th of the 5th Air Defense Artillery Battalion guarding the skies at the DMZ. Mike went to Alpha, I to Bravo, then Hq. We ran into one another a couple times. Laughed about our respective predicaments and that we'd be going home together, too. We had the same DROS date, the day we'd be returning from overseas.

The Army's M-151 Truck, Utility, ¼ ton, 4x4--aka the Jeep--was a killer. Indispensable for traversing the rough backcountry leading to missile sites, on the highway it rode high on the axles, ready to roll over at high speeds.

I was driving a staff car that day when I saw the jeep with Alpha battery insignia. The highway from Chunchon to Seoul followed the curves of the Han river. Mike's jeep, coming north from Camp Red Cloud to the southeast, had been driving fast, too fast to hold onto the pavement at one particularly wicked curve. The vehicle went straight, airborne. It flipped over and landed wheels up on the rocks. Blood spatters colored grey granite boulders. Crumpled bodies in green fatigues lay twisted between the rocks on either side of the jeep's path. We drove on.

Mike's name isn't on the wall--he died just outside of Gapyeong, Korea. But just as surely, the war in Vietnam killed that man, and this Memorial Day is for him, too.


In Flanders Fields

In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.
We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.
Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.
--By John McCrae




Bobby Ward was a playground bully at Lugonia School. A year older and bigger than I, after a few run-ins I learned to stay away from Bobby Ward. I feared him. Junior year in high school I had a class that included Seniors. This small guy in the next seat, thin like the cross-country runner he'd become, was Bobby Ward. The pomade and duck-tail haircut were gone, along with that attitude. We became good classroom friends and enjoyed discussing world cultures and our futures. I planned to go to college, Bobby planned to join the Army when he graduated in June.

One day in Senior year, word-of-mouth spread across Redlands High School. An alumnus, Bobby Ward, had been killed in Vietnam. "Did you know him?"

I knew Bobby Ward, Class of '62. QEPD.

Steve Payne hit a home run every time at bat in 5th grade. Steve Payne's homers travelled all the way to the street where Kingsbury School ended. When Steve Payne came to the plate, spectators and other players all shouted gleefully, "Move back!" The outfielders would move so far back they were on the infield of the adjacent field. Steve Payne never let his fans down, pounding softballs, arcing them high into the sky, lofting over the outfielders who'd moved back not far enough. They never did.

One day while I was in college at Santa Barbara, Steve Payne was getting killed in Vietnam.

QEPD, Steve Payne, Class of '63.

Coming out of Radio School at Ft. Ord in June 1969, I was a "hold-over," meaning I hung around with the ten kids who'd volunteered for Special Forces and awaited their orders to ship out to Ft. Benning for airborne infantry school. I had turned down an offer to attend Radio-Teletype School in Kentucky, thinking I'd outfoxed the Army and slickied my way into two years in California. ¡Ajua!

It was a foggy day when we holdovers gathered for a foto in front of the Re-Up office, for irony's sake. They were shipping out tomorrow.

"Fighting soldiers from the sky
Fearless men who jump and die
Men who mean just what they say
The brave men of the Green Beret."
--By Barry Sadler

I refuse to look for their names on the Wall. I will not look.

Green Beret volunteers, Ft. Ord 1969


Pershing at the Front

THE General came in a new tin hat
To the shell-torn front where the war was at;
With a faithful Aide at his good right hand
He made his way toward No Man’s Land,
And a tough Top Sergeant there they found,
And a Captain, too, to show them round.

Threading the ditch, their heads bent low,
Toward the lines of the watchful foe
They came through the murk and the powder stench
Till the Sergeant whispered, “Third-line trench!”
And the Captain whispered, “Third-line trench!”
And the Aide repeated, “Third-line trench!”
And Pershing answered- not in French-
“Yes, I see it. Third-line trench.”

Again they marched with wary tread,
Following on where the Sergeant led
Through the wet and the muck as well,
Till they came to another parallel.
They halted there in the mud and drench,
And the Sergeant whispered, “Second-line trench!”
And the Captain whispered, “Second-line trench!”
And the Aide repeated, “Second-line trench!”
And Pershing nodded: “Second-line trench!”

Yet on they went through mire like pitch
Till they came to a fine and spacious ditch
Well camouflaged from planes and Zeps
Where soldiers stood on firing steps
And a Major sat on a wooden bench;
And the Sergeant whispered, “First-line trench!”
And the Captain whispered, “First-line trench!”
And the Aide repeated, “First-line trench!”
And Pershing whispered, “Yes, I see.
How far off is the enemy?”
And the faithful Aide he asked, asked he,
“How far off is the enemy?”
And the Captain breathed in a softer key,
“How far off is the enemy?”

The silence lay in heaps and piles
And the Sergeant whispered, “Just three miles.”
And the Captain whispered, “Just three miles.”
And the Aide repeated, “Just three miles.”
“Just three miles!” the General swore,
“What in the heck are we whispering for?”
And the faithful Aide the message bore,
“What in the heck are we whispering for?”
And the Captain said in a gentle roar,
“What in the heck are we whispering for?”
“Whispering for?” the echo rolled;
And the Sergeant whispered, “I have a cold.”
--By Arthur Guiterman


Mrs. Baccus assigned her Speech classes to memorize "Pershing At the Front" so we could recite it from memory, adding frissons of drama to build up tension to the surprise ending. Macabre humor, Army humor, but I repeat myself.

I wonder how many can sing the first lines of the "Caisson Song"? Artillery--the Field Artillery-- carries its weapons on wheeled conveyances, caissons. Air Defense Artillery, where I served doing radio and telephone communications on the world's highest HAWK site, doesn't employ caissons, ADA uses tractors to carry missiles from the ready stands to the launchers.

I asked my buddies who were missile crewmen about loading the spares during an attack. They laughed that in all likelihood, they would be dead after the first attack. I laughed it off, too.

"First to fire"Air Defenders like to say. Sometimes, air defenders don't get off a shot. When the U.S. invaded Iraq, the first targets were the ADA sites. Take out their radars, they're dead. All of them, up on those mountains.

Fall 1970, Mae Bong HAWK missiles on stands, GI wind-blown hair.

The "Caisson Song" now comprises the official song of the U.S. Army, under the title "The Army Goes Rolling Along."

As a kid, I learned only the first verse and the refrain of the original version, appreciating the sweat of the cannoneer's task but never considering what fodder waited on the other end of that long gun.

“Caisson Song”

Over hill, over dale
As we hit the dusty trail,
And those caissons go rolling along.
In and out, hear them shout,
Counter march and right about,
And those caissons go rolling along.

Refrain:
Then it's hi! hi! hee!
In the field artillery,
Shout out your numbers loud and strong,
For where e'er you go,
You will always know
That those caissons go rolling along.

In the storm, in the night,
Action left or action right
See those caissons go rolling along
Limber front, limber rear,
Prepare to mount your cannoneer
And those caissons go rolling along.
Refrain:

Was it high, was it low,
Where the hell did that one go?
As those caissons go rolling along
Was it left, was it right,
Now we won't get home tonight
And those caissons go rolling along.
--By Edmund L. Gruber


WWII claimed 407,000 dead United States troops.
Ninety-two thousand troops were killed in Korea.
Five hundred eighty-seven thousand GIs died in and around Vietnam. 587,000.
Six thousand eight hundred have died in Bush and Obama's various Iraq and Afghanistan adventures.

Twenty-eight million men and women, however, are Veterans of U.S. military service. That means only about 7 percent of the United States has served in uniform. If you did not serve with anyone who died in one of those wars, or stood in line with me and all the other anonymous uniforms, it's not surprising. Good for you. I'd do it again.

Remember that mocoso, Holden Caulfield? He wore the uniform when he grew up. Holden Caulfield became a warrior, a soldier who went through WWII in Europe then to the Pacific.

from “This Sandwich Has No Mayonnaise” 

Where's my brother? Where's my brother Holden? What is this missing-in-action stuff? I don't believe it. I don't understand it. I don't believe it. The United States Government is a liar. The Governments is lying to me and my family. I never heard such crazy, liar's news.

Why, he came through the war in Europe without a scratch, we all saw him before he shipped out to the Pacific last summer, and he looked fine. Missing.

Missing, missing, missing. Lies! I'm being lied to. He's never been missing before. He's one of the least missing boys in the world. He's here in this truck; he's home in New York; he's at Pentey Preparatory School ("You send us the Boy. We'll mold the man-- All modern fireproof buildings..."); yes, he's at Pentey, he never left school; and he's at Cape Cod, sitting on the porch, biting his fingernails; and he's playing doubles with me, yelling at me to stay back at the baseline when he's at the net. Missing! Is that missing? Why lie about something as important as that? How can the Government do a thing like that? What can they get out of it, telling lies like that?

"Hey, Sarge!" yells the character in the front of the truck. "Let's get this show on the road! Bring on the dames!"
--By J.D. Salinger
(Click for the full story).


Play "Taps" for Holden Caulfield, for all the flesh and blood MIA, KIA, for all the walking wounded in troubled families, for Veterans who can't get an appointment with a VA doctor, for homeless Veterans living in cars or tents nestled under a freeway overpass. Play "Taps."

At midnight every night, a recording of "Taps" played across Camp Page, where I lived in 1970. Lying there night after night, the trumpet notes sent a soldier into private meditation about that song, sinking into the mattress emptying one's mind of anything but the significance of that song. He'd done his duty for another day, time for a satisfied sleep. Getting Short, one less day until DROS.

Come 0530, Sgt. Pinkerton, "Pinkie," comes charging through the barracks shouting, "Crawl on outta there!" And there'd we'd go rolling along, a todo dar until the next night and the loudspeakers played the loneliest sound in the world. Short.

Short and Shorter. S-1 (me), and Personnel crew, Hq 7/5 1970. SP4 Sedano in shades.


“Taps”

Day is done, gone the sun,
From the lake, from the hills, from the sky;
All is well, safely rest, God is nigh.
--By Pennsylvania Military College

Click here or title to listen to "Taps"
From http://www.music.army.mil/music/buglecalls/taps.asp



Por eso estamos como estamos: "The Star-spangled Banner"

O say can you see, by the dawn’s early light,
What so proudly we hail’d at the twilight’s last gleaming,
Whose broad stripes and bright stars through the perilous fight
O’er the ramparts we watch’d were so gallantly streaming?
And the rocket’s red glare, the bombs bursting in air,
Gave proof through the night that our flag was still there,
O say does that star-spangled banner yet wave
O’er the land of the free and the home of the brave?

On the shore dimly seen through the mists of the deep
Where the foe’s haughty host in dread silence reposes,
What is that which the breeze, o’er the towering steep,
As it fitfully blows, half conceals, half discloses?
Now it catches the gleam of the morning’s first beam,
In full glory reflected now shines in the stream,
’Tis the star-spangled banner - O long may it wave
O’er the land of the free and the home of the brave!

And where is that band who so vauntingly swore,
That the havoc of war and the battle’s confusion
A home and a Country should leave us no more?
Their blood has wash’d out their foul footstep’s pollution.
No refuge could save the hireling and slave
From the terror of flight or the gloom of the grave,
And the star-spangled banner in triumph doth wave
O’er the land of the free and the home of the brave.

O thus be it ever when freemen shall stand
Between their lov’d home and the war’s desolation!
Blest with vict’ry and peace may the heav’n rescued land
Praise the power that hath made and preserv’d us a nation!
Then conquer we must, when our cause it is just,
And this be our motto - “In God is our trust,” 
And the star-spangled banner in triumph shall wave
O’er the land of the free and the home of the brave.



A GI, Memorial Day 1970, Camp Page, Chunchon, Korea

Soldier’s Creed

I am an American Soldier.

I am a warrior and a member of a team.

I serve the people of the United States, and live the Army Values.

I will always place the mission first.

I will never accept defeat.

I will never quit.

I will never leave a fallen comrade.

I am disciplined, physically and mentally tough, trained and proficient in my warrior tasks and drills.

I always maintain my arms, my equipment and myself.

I am an expert and I am a professional.

I stand ready to deploy, engage, and destroy, the enemies of the United States of America in close combat.

I am a guardian of freedom and the American way of life.

I am an American Soldier.


Latino Children's Summer Reading Program

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From Monica Olivera,

On Monday, June 1st, Latinas for Latino Lit will launch our third annual Latino Children's Summer Reading Program. This year's program is huge with a new, bilingual family-friendly website and two fully digitized programs: Our basic Summer Reading Program for children up to 18 years old, and our Summer Reading CAMP for children 6 - 12 years old. 

The basic program is for kids up to 18, as well as parents with newborns and children up to 4 years old. All are challenged to read 8 books over the summer, and it comes with culturally-themed downloads, our Summer Reading Lists, and an online reading log.

The CAMP is an ambitious project that provides 10 weeks of literacy-building activities, such as reading passages and writing pages, designed specifically for Latino children. Each week features a different theme (i.e., Sports, Art, Poetry, Food), and we are lucky to have contributions this year from authors Alma Flor Ada, F. Isabel Campoy, René Colato Laínez, and Lulu Delacre. I look forward to expanding this collaboration with other authors and illustrators in the future.

Both programs offer the families a chance to win great prizes such as Latino children's books, chromebooks, and much more. 

But the best part is that both programs are completely FREE to everyone including groups. Early registration opened on May 1st and we already have over 40 groups that have registered, including many Spanish immersion classes across the country, the City of Santa Barbara & their United Way branch, summer schools, and libraries. We also have well over 200 individual families who have registered. Already we have exceeded the number of participants of the last two years.

For more information visit http://latinas4latinolit.org/reading/




Chicanonautica: The Secret Yaqui Apocalypse

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I consider the Yaquis to be family. My grandfather was a Yaqui – well, actually he was my mom's stepfather, but we didn't make those kind of distinctions in our large, extended Chicano familia. Identity can be such a bitch. So I'm a Chichimec, but the influence of that Yaqui warrior on me is monumental.

I've always been frustrated by how difficult it was to find information about the Yaquis. In most accessible culture, the dubious books of Carlos Castaneda dominate, but I'm been told by Yaquis I've met that they're not accurate, and Castaneda's "New Age" activities later in life backed that up. The Yaquis we bought my wife's wedding dress from in Guadalupe, Arizona, were nice enough, but why were they such badasses in the movie Two Mules for Sister Sara(in which Clint Eastwood plays a guy named Hogan)? Hollywood thought Burt Reynolds and Raquel Welch made believable Yaqui revolutionaries in 100 Rifles. And why were they trying to overthrow the Mexican government in the old serial Zorro's Fighting Legion?

Recently, I ran across a documentary by Paco Ignacio Taibo II, creator of the detective Hector Belacoarán Shayne, author of more fiction and nonfiction than I can keep up with. The Yaquis is part of Los Nuestros, a series he's doing for the Venezuelan network teleSUR. The missing Yaqui history is revealed.

The Yaquistells the history that isn't told in Mexican classrooms: The story of Mexico's longest armed struggle that is echoed in the contemporary struggle for the waters of the Yaqui River, a struggle that could wipe the people and the river out of existence.

It's a story that's happened before, and is still happening, all over Aztlán. Ruins, ancient and modern, are usually found next to dead rivers. Towns, peoples, civilizations can die. It's a problem that will require very real politics, and more science than fiction to solve.

Meanwhile, here's the documentary:








Ernest Hogan's novel Cortez on Jupiter, introduced the subgenre of Chicano SF to a startled, dazzled American audience,” according to Publishers Weekly.

Guest Post - Reflections After Watching The Last Days in Vietnam

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Guest Contributor:  Daniel Cano

May 26, 2015

 A colleague asked if I would introduce Rory Kennedy’s film The Last Days in Vietnam, which was screened at Santa Monica College earlier this month. At first I declined. I’d had enough of war. But then I reconsidered and decided I did have something to say.

For more than forty years, I’ve sought a justification for the Vietnam War--or at least my role in it.
After my discharge from the Army in 1969, I just pretended that I’d never served or that the war ever existed. I was a walking contradiction, though, because I immersed myself in studying about Vietnam, the land, the people, the history, and politics --always searching, I suppose, for the elusive justification.

But no matter how I tried to hide from it, the war hovered overhead: Tet, Kent State, My Lai, Hearts and Minds, Apocalypse Now, The Deer Hunter, and The Vietnam Veterans’ Memorial. Then I wrote Shifting Loyalties -- my own stories about Vietnam and about the friends I’d served with, many who took their last breath on Vietnamese soil.

Memorial Day 2015 has passed, right on the heels of April 30, 1975, the fortieth anniversary of the fall of Saigon.

Along with millions of Americans, I watched on television as Vietnam fell to the communists. Or looking at it from the perspective of our so-called enemy and many of their South Vietnamese sympathizers: Vietnam was finally liberated.

I don’t think any of us who had served in Vietnam wanted to admit then that South Vietnam was facing a total collapse. We’d been led to believe the South Vietnamese Army would provide for the country’s defense. But I think deep inside, we all knew better.

I remember those images flickering across the screen, the last helicopters flying off the rooftop of the U.S. Embassy in Saigon. I felt ill--then angry, betrayed, and finally bitter. I remember thinking: what a waste it had all been. Chicanos served in large numbers. How ironic that the first American to be captured by North Vietnam was a Chicano, pilot Everett Alvarez. And the last American to board the last chopper out of Vietnam was also a Chicano, Marine Sgt. Juan Vasquez.

For years after, I refused to vote, to recite the Pledge of Allegiance, or to hold my hand over my heart during the National Anthem. I hid the Army in a cardboard box: the photos, medals, and citations. I didn’t want my son or any of my nephews seeing them and glamorizing war. I felt that Chicano families had sacrificed enough, sometimes for no other reason than to prove we were American too.

In Vietnam, we fought communism. It was drilled into us as children that communism was evil, that it would invade and conquer us. In school, we hid under our desks: trial runs in preparation for Russia’s atomic bomb. We learned that Khrushchev was a madman, and we had to be protected from him. Then, under Nixon, we opened relations with communist China. The Soviet Union and East Germany collapsed under their own weight. Today we trade with Vietnam and are opening relations with Cuba, finally.

So then, why did we kill two million Vietnamese and sacrifice nearly 60,000 Americans, bringing so much pain to so many families?

In 1995, the ex-Secretary of Defense Robert McNamara published his memoir titled: In Retrospect: The Tragedy and Lessons of Vietnam, as if the slaughter had been some sort of scholarly exercise: like telling us how to do it better next time. Essentially McNamara was telling the American public that the government had made a terrible mistake.

To be fair, McNamara realized in 1967 that the war was wrong, even immoral. He pressured President Johnson to end it--and found himself no longer Secretary of Defense but head of the World Bank. Many politicians and generals knew, even then, that it was a no-win war. But no one would pull the plug. Who was benefiting from this war? How many millions went into the pockets of Colt and other weapons’ manufacturers or the corporations that supplied the uniforms, vehicles, and supplies?

A few years ago as I walked through a local bookstore, I noticed a title glaring at me from the rack-- The Tiger Force: A True Story of Men at War.

The Tiger Force, I thought. My artillery battery of the 101st Airborne supported a recon outfit called the Tiger Force, guys we admired, wild, insanely courageous characters, guys who’d go into the jungle in small groups and sometimes initiate contact with much larger forces. I thumbed through the pages. Sure enough, it was the same Tigers that we had supported. Maybe I’d find a justification for the war in these pages.

Instead, I read that from June through October 1967, in the pastoral Song Ve River Valley, the Tigers had turned the peaceful landscape into a killing field. For nearly six months, the Tigers had executed, in the most heinous ways, hundreds of Vietnamese farmers and civilians. And it hadn’t been a secret. The brass knew. I remember thinking, “June through October, 1967-- that’s when I was there.”

I didn’t miss the part in the book where it said the Tiger Force called in artillery strikes. So was the artillery called in for the sole purpose of watching innocent civilians die and their hamlets and villages turned to ashes?

It was my job to remove those shells from the canisters and hand them to the gun crews who loaded them into the Howitzers and sent them flying into those villages. What sin did those villagers commit? They rejected forced relocation into filthy, unsanitary compounds the military called Relocation Camps. How much blood is on my hands? Can I be like Robert McNamara and just say, “Well, in retrospect….”?

Can I just pass it off as a lesson learned?

A reporter who saw McNamara years later said he looked like a “haunted man.”

For me, like many veterans, the Vietnam War is not abstract or theoretical. It isn’t an academic problem. It’s as visceral as a fist in the gut. That’s why it is difficult for many of us to talk about it. I can’t think about Vietnam without thinking of myself in it.

Memorial Day has come and gone. So, too, has Kennedy’s The Last Days in Vietnam. I suppose I hoped that maybe I’d find the justification I’d sought--or some resolution to the war.

But no, as beautiful as the movie is, and as uplifted as I felt when I left the theater, I found no justification for the war, not even in the faces of those Vietnamese desperately seeking a passage out of their country. Or surprisingly, on the faces of those Vietnamese waving North Vietnamese flags and welcoming the conquering army into Saigon. I suppose many just wanted the peace they’d been seeking for so long.


Daniel Cano is the author of three novels, Pepe Rios, Shifting Loyalties, and Death and the American Dream, and received best historical fiction by the 12th Annual International Latino Literary Awards. Hiswriting has appeared in such publications as Latino Boom: An Anthology of U.S. Latino Fiction, Fire and Ink: an Anthology of Social Action Writing, Aztlan in Vietnam,Pieces of the Heart,Unnatural Disasters: recent writings from the GoldenState, and the French literary journalBreves. He has held administrative positions at UC Davis, UCLA, and CSU Dominguez Hills. Daniel currently teaches English at Santa Monica College.  




Where a children's fantasy came from

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Writers are sometimes asked, "How do you come up with your ideas for stories?" Here's one where all the credit doesn't fall on me.

When old guys start kid stories
With the help of literary patrons, last week I enrolled in SCBWI's Big Sur In The Rockies, an intensive three days ofChildren's Book Writing Workshops, held in Boulder's Chautauqua Park. I took three of my manuscripts--two Young Adult novels and a children's story--with me, in hopes of learning how to improve them. I'm two years into transitioning from writing stories for adults to writing for younger people.

Over three days, through four workshops and some panels I learned a lot about what USican authors, publishers and literary agents consider good or great children's literature. Mine didn't always meet their criteria.

Being a writer of my own making, I understand I need to learn "The Rules." Gatekeepers of the children's literary world determine which books are picked up and published, as well as made into movies. That's where financial success and fame are determined.

Add caption
Story #1Sleeping, a children's story
This first story was critically shredded by a panel because it begins by centering on an old man, Grand Ta, who's climbing a mountain with a bunch of small kids, all unnamed.

The Rule is that such books should begin with and center on a kid or kids, not grown-ups. There was total agreement that my story needed working to bring specific kids into the opening chapter.

I agreed at the time, and may still follow that Rule. However, relegating Grand Ta to a later part of the story felt and feels wrong. Pinocchio and How The Grinch Stole Christmas are just two children's stories whose opening pages don't begin with the young characters. Geppetto and The Grinch, assumedly, would not see publication today, if the Rule was in force.

I'm not claiming to be the next Dr. Seuss, but it seems to me he tapped something that the Rule doesn't recognize. Children's inherent love for older members of their family--grandparents, aunts and uncles, and others. Their compassion for old people can't be assumed, but neither should it go untapped. Perhaps it should even be nurtured.

Ollin aztec to watch over grandkid
Once upon a time it was. Reverence for the elders was inherent to the survival not just of the family, but also, of the tribe. The shamans, the wisdom of ancestors and the cultural and historical lore of peoples enabled tribes to prosper and survive difficult times.

Of course, publishing in the USican children's stories industry is a different jungle. Children's fiction that begin as mine does, do get published, despite the generic Rule that I broke. We'll see in time how my Sleeping story ever gets rewritten. Or not. My other YA novels were critiqued or praised on different aspects, and I'll incorporate whatever I think would improve them.

Story #4– When the mouth roared louder than the manuscripts

Drawing of Aztec cradle, different from mine
In the course of the weekend, I related to other writers the news about my new grandson and the rocking cradle I was building. [Almost a month ago, I wrote about that.]

On the final morning, one of the writers suggested that the entire narrative might make for another children's story--Abuelo's Cradle. A second well-published author jumped in and added her agreement and suggestions. I was stunned.

My three completed stories didn't generate as much excitement as my talking about the grandkid/cradle experience. Go figure, I said to myself.

Now, a week later, I'm three thousands words into the new story called A Cradle for Abuelo. Since I'm not into writing children's nonfiction, I transformed the writers' suggestions into a fantasy story. Taking the Rule to heart--just this once--I began Cradle with a kid as the hero-protagonist.

On my cradle & in the story
Why a book about an old man building a cradle for his grandkid is called A Cradle for Abuelo, is the plot twist that I can take credit for. The story's almost completed in first-draft form, so it will be some time before anyone hears about it again. When it makes it past the Gatekeepers, you may read it.

To my knowledge, this is the only time a story of mine came from other people, rather than simply my own head. Next time I'm on a panel and am asked the question about where my ideas come from, this is the one I'll use. If Cradle is published, it'll make for a great response.

Keep writing, but stay alert for strangers strangely provoking strange story ideas.

Es todo, hoy,
RudyG, a.k.a. the rule-breaking El Abuelo en A Cradle for Abuelo

Jumping at the Sun in South Central LA: Spotlight on Skira Martinez and CIELO Galleries/Studio

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Olga Garcίa Echeverrίa


 
“Mama exhorted her children at every opportunity to ‘jump at the sun.’
We might not land on the sun, but at least we would get off the ground.”
–Zora Neale Hurston.
 
 
On Maple Avenue, in Historic South Central LA, there lives a breathing piece of sky, CIELO. On the surface, CIELO Galleries/Studio appears to be just another industrial complex in the neighborhood. Not everyone passing by may notice it. There aren’t any flashy signs to guide visitors into the 9,000 square foot property. When I first visited, it was night time, and I circled the block several times unable to spot the address.
 

From CIELO FB Page: An Inconspicuous Piece of CIELO:

Depending on the day, the time, the mood of any given event, you may have to wander a bit around CIELO, like I did, exploring several portals to see which one opens up and welcomes you in. But that is part of the charm, and definitely, once you enter, welcomed you will be.

 
Inside of CIELO, you’ll find a space where art, community, and conscious-raising meet. Beneath the high ceilings, there is plenty of open espacio, hanging photos, art supplies, words to ponder. There are sofas to lounge on, blooming plants, a keyboard, paper butterflies on walls, a full kitchen with a large wooden table ideal for intimate conversations and breaking bread.
 
 
 
 
It’s a multidimensional place--part home, part school, part industrial loft, part gallery, part work studio, part literary space, part sky, as in you can stretch your artistic self and reach for something beyond the ordinary here. You can 'jump at the sun' and organize, as Teka Lark Fleming and Skira Martinez did this past March, the Blk Grrrl Book Fair, or host a unique live stream broadcast of a collective reading of Zora Neale Hurston's Their Eyes Were Watching God. Yes, the entire book! Anything can happen at CIELO.
 
 

Skira Martinez and Teka Lark Fleming: Photo from LA Weekly
 
CIELO’s founder and owner, Skira Martinez, shares that “one of the most important things about the space is that it is open to everyone and that it’s diverse in all ways.” Like the visionary/dreamer that she is, Skira first conjured up CIELO in her mind and heart, and then several years ago, she set out to manifest her vision in concrete ways. Aside from hosting and/or organizing art shows and literary events, Skira rents space to local artists and also has a Liberation School component, which is a free radical school that she proudly describes as “anti-fascist and anti-capitalist.”



Photography by Slobadan Dimitrov at CIELO Galleries/Studio

Liberation School exists outside the realms of institutionalized education, so do not expect rows of desks, rigid schedules, or even mapped out curricula. There have been workshops and discussions on topics such as Copwatch, gentrification in various parts of the city, and radical feminism. The birth of any given class is highly organic and very much in the spirit of Pablo Freire, where classroom subject matter stems directly from the interests and needs of the participating community. Skira explains, “If you want to teach or share something, then you come to Liberation School and you do so. If you’d like to learn something, then you put a shout out and say, ‘I want to learn more about this,’ and I try to find someone who wants to come and speak about that.”

About the Liberation School’s scheduling, Skira adds, “Basically, it runs whenever it runs, so if someone contacts me and says, ‘I wanna do a class,’ then I post it and it’s Liberation School. Sometimes we’ll go on a spurt where we’ll have classes every day for a concentrated time period, and then it peters out a bit, and then it starts up again. It’s organized but at that same time it’s not organized, or it appears not to be. There are weeks when there’s nothing and weeks when things are really active. It depends on who’s here, who feels it. Every once in a while, I call a mass meeting to get people to come and to open up the doors and get something going again, but for the most part it just sort of happens, people decide when they want to do something or learn something.”
 
Important to Skira is also assuring that children are an integral part of CIELO. “One of the things I like about the space, and this is part of Liberation School, is that people feel welcomed to bring their children. Even in the classes, it’s important that children not have to be off in some little room somewhere else. I really like the idea of children being in the classroom, and if we need to speak louder, then we need to speak louder. If someone needs attention, then they need attention. We work it out. What happens is that kids keep coming, and after a while they just get into the routine of things. It’s good because the children hear those classroom conversations and they stay with them in their subconscious in one way or another. They are able to be around those conversations and to connect and even participate on certain levels.”


Photo from CIELO FB Page: Children Painting at CIELO

In regards to future plans for an evolving CIELO, Skira says that she’d like to make the space a literary capitol of LA. “I really want this to be a place for people of the literary world to come and to do their thing. I feel there are so many of us artists, whether that be visual or literary or whatever, that are waiting to be accepted into some place or some circle, and I just want us to have this mind set of ‘We can do this shit ourselves.’ We can support each other and we don’t have to always go to the mainstream or have to be looking at White-approved spaces. I think the literary world is very dominated by men and it’s also very White; it’s time that we stop trying to get in that door and that we have our own spaces, and then we’ll have them come and be our audience because they will come, trust me, they will come. That’s one of the important things about the Zora Neale Hurston reading that the Blk Grrrl Show organized here. Zora had such strong convictions. She was going against the grain in many ways, and even people that loved her didn’t always support her. Zora wasn’t scared to stir the pot. She wasn’t going to play that part of ‘Hush-hush-hush. Let’s be good Black people. Let’s be respectable. Let’s be acceptable.’ I can relate to that. I respect that.”




Self Portrait: Skira Martinez





To connect with CIELO on FB:
https://www.facebook.com/pages/CIELO-galleriesstudios/1390142527866443?fref=ts

To connect with Blk Grrrl on FB:
https://www.facebook.com/blkgrrrl

To see Blk Grrl in Live Stream Action:

http://www.blkgrrrlshow.com/#!

To learn more about Blk Grrrl Bookfair:

https://www.youtube.com/watch?v=J5vTF45ALAw#t=61
http://www.kcet.org/socal/departures/columns/la-letters/the-blk-grrrl-book-fair-in-historic-south-central.html

http://www.laweekly.com/arts/race-meets-feminism-at-the-new-blk-grrrl-book-fair-in-south-la-5424492

http://www.culturalweekly.com/the-blk-grrrl-book-fair-justice-through-lart-pour-lart/




Chicanos & Chicanas in Italy

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Xánath Caraza

 

Find out what is going on with these Chican@s in Italy: Alejandro Murguía, Natalia Treviño y la que escribe--from Rome to Mantova y de regreso.

Upcoming at the Instituto Cervantes in Rome, Italy, Alejandro Murguía, poet laureate of San Francisco, CA, will be part of the reading series, El Latido, organized by Zingonia Zingone on June 5 at 7 p.m.  At the same event, he will also have his book realease of Offerte di Carta(Gilgamesh Edizioni, 2015). This should be a wonderful opportunity for the Roman literary community to hear and learn about Murguía’s work. 

In addition to the reading Murguía will have in Rome, he has recently had one in Italy.  See the series of photos of his book release in Mantova, Lombardia during the International Poetry Festival Virgilio 2015. Buena suerte! 

Offerte di Carta (Gilgamesh Edizioni, 2015) by Alejandro Murguia, Mantova, Lombardia, Italy
 
 
Alejandro Murguia and Igor Constanza


The International Poetry Festival Virgilio 2015 had the participation of dos Chicanos this year.  In addition to Murguía, I had the wonderful opportunity to be part of this festival too, and on Sunday, May 24, with the support of Silvia Favaretto, who kindly translated several of my poems into Italian.  As well, Emily Pigozzi read and performed my poems in Italian, we had a meaningful bilingual event in Mantova with a full house.  Viva la poesía!

Silvia Favaretto, Xanath Caraza and Emily Pigozzi

 
In addition to Murguía and myself, another Chicana in Italy is Natalia Treviño who is working on her second book of poetry focused on La Virgen.  Here is a photo of her writing desk.  I am looking forward to seeing her second book of poetry be published soon.  Más y más, Natalia.

El escritorio de Natalia Trevino
 
What is more, additional Chican@ writers, artists as well as musicians are being celebrated in Italy.  Today, Progetto 7Lune released a wonderful Chicana Issue, Plaqueta Digital, in Venice, Italy. Seven Chicanas were translated into Italian, in addition to one artist and a Chicano Band.  Find out who they are. 



In Other News:

As part of presenting Chican@ literature in Italy, I’d like to take a moment to thank Zingonia Zingone for the invitation to be part of the Poetry Reading Series, El Latido, on May 22, in Rome, and to thank Cinzia Marulli for reading/performing my work in Italian. 

Los libros de Xanath Caraza

Xanath y Zingonia
 

Cinzia Marulli

Not only Chican@ literature, but also additional international literature is on the horizon it Italy.  In the city of Salerno, Italy the 100 Thousand Poets for Change World Conference will take place June 3-8. 


 
Yet, one more story of celebrating Chican@ literature while in Italy, I would like to share with La Bloga readers that I received a pleasant surprise in the middle of the night, when I learned that my book of poetry, Sílabas de viento / Syllables of Wind (Mammoth Publications, 2014) is the Award-Winner in the “Poetry” category of the 2015 International Book Awards.  Parts of Sílabas de viento / Syllables of Wind were written with the support from the Beca Nebrija para Creadores 2014 award from the Instituto Franklin in Alcalá de Heneares, Madrid, Spain.  Translators, Sandra Kingery and Tirso Bautista Cárdenas, art by Adriana Manuela and foreword by Carlos J. Aldazábal.  Viva la poesía!

Syllables of Wind, Award-Winner in the "Poetry" category of the 2015 International Book Awards
 

 

 
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