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Thursday, November 30

How a Chicano winds up selling magazines door-to-door

There's been no upsurge of requests for more of my fiction; nevertheless, I'm posting another piece of the first chapter of my unpublished memoir from 1968--selling magazines door-to-door across the Southwest. Below you find out how I got started. The first installment appeared at:
http://labloga.blogspot.com/2006/11/theres-chicano-mss-that-get-published_15.html

  • Chapter 1 San Antonio - Part 2
It started in January of that year in San Antonio, Texas. Ah, to be free, white and 21, again. Okay, I wasn't, but it was an expression, back then. I was actually 20, but in San Anto in those days that was close enough. If you had money, dressed cool and acted the role, you could swing membership in a private club, some of which even accepted Mexicans. Those were the only places you could get a hard drink over the counter. It was just a matter of remembering everybody's name, tipping well and not causing trouble.

My regular haunt was the Circus Club. It was in the neighborhood, had some great jazz and made the best Comfort Manhattans and vodka gimlets. I made it a point to only show up with a woman, as if daring the doorman to deny me the chance “to impress my lady," as they said back then. They never turned me down or asked for an I.D., which would have amounted to the same thing. It taught me to always tip well.

Now for the free and white business. I wasn't Anglo; I was a Mexican. We called ourselves Mexican, mexicanos, sometimes Latinos, even if we were born in the U.S. Other terms were used, but usually only for derogatory purposes. Like pocho or mojau, which denoted a wetback, a recent arrival, still uncouth in the ways of the U.S.

And we would never have thought of or called ourselves Hispanics, a term used by some brown people in pockets of southern Colorado and northern New Mexico. So I wasn't white, okay?

Was I free? Well, I didn't have many responsibilities from prior years because I'd failed at most of them. I'd dropped out of UT-Austin after a stint with physics and Russian that left me doubting my ability to salvage a C average anytime in that century. After showing up at home with the disappointing news for my mother--that her first-born might not turn out to be a college graduate y la manzana, apple, of her eye--I started job-hunting the San Anto streets.

I found and took lots of them--encyclopedia salesman, truck driver, piano mover. I eventually reached some stability working housekeeping in Santa Rosa Hospital, sneezing my way through sweeping, when my sinuses acted up; thanking the Lord for my stuffed-up nose, when detailed to clean up cancer patient rooms left sullied by bodies unwilling to leave Earth quietly and marking their passage with gobs and chunks of internal organs and vile secretions on walls, floor and furniture; and generally regretting I hadn't more studiously attacked Planck and Chomsky texts while in Austin.

After a few weeks I was promoted, all the way up to elevator boy on the graveyard shift--not my dream job, but it sufficed. Between raids on the cherry pie in the hospital canteen and plenty of time to read or talk with the just-as-bored nurses, it wasn't bad. Other than an occasional four-in-the-morning removal of a cadaver that wouldn't wait for the day shift, if things got really boring, I parked the elevator between the first floor and basement and slept, knowing that the second or third buzz would wake me.

The good life never lasts, so a couple months later I got promoted again, this time to orderly. It included a pay raise, probably a dollar over minimum wage, which except for federal laws would have been $1.50 per hour in Texas, given the beneficent biases of Texas legislators in those days. Maybe things have changed by now.

But orderlies deal more directly with patients, so how would this be better if I'd handle bedpans filled with bodily expungents and septic poison? Why take a job that added the words impaction, obstructed urethra and colostomy to my vocabulary? In Spanish we have an expression to explain this: por pendejo. The antiseptic translation is, "out of stupidity," but that wouldn't explain how this was upward mobility. So, I have to clarify that I was also in it for the glamour.

The glamour was I got to wear a white, starched, spiffy uniform, not the hospital issue that hugged no part of your body at any critical bulge or cleft. You only wore those until you saved up money to go downtown and get something sort of tailor-made.

Then you could strut down the hall to the nurses' station, styling like a Latino version of Dr. Kildare, ready to rescue nurse-damsels in distress from the big fat lady in bed 601-B who'd fallen on the floor and needed a spiffily dressed, young Mexican to lift her back into bed, because the forklift had maybe gotten stuck on the elevator between floors, and nobody could wake up the new elevator boy. Ah, the poor soul. If he only knew what he had to look forward to, if he could just learn to wake up faster.

Anyway, as a new orderly I wouldn't get a day shift. It was swing shift for eternity because the old guys in their forties who worked days wouldn't move on until they'd busted their duodenums lifting too many big, fat ladies back into their beds. Even after that, there were other old guys in their thirties on the swing shift who had ten years seniority over me, and they'd get days before I did.

But the eleven-to-seven hours had side benefits. Go figure--nurses on that shift had no social life, either. They got off at 11:30 p.m., and unless they had a novio boyfriend, then spiffy dressed orderlies didn't look that bad as dates, if they had a car and money.

My co-worker Richie M. had a car, a '65 Chevy Malibu. The maroon one that made grown men jealous. The SuperSport that turned nice, young Catholic girls into smiley, giggly hitchhikers.

Richie was a mexicano from the Southside, with Four-Roses slicked hair to match his Elvis Presley looks (way before Elvis porked out), Sunny Ozuna lips and a Marvin Gaye charm to his slight Mexican accent. He was a high school grad being all he could be and having a great time doing it. Richie swore he got into every girl's chones, or panties, that he ever took out. On a double date, I later learned that some of those chones must have been hanging out to dry on the line when he got into them, but for a time I believed the legend.

So this legend and I, who hoped to become a legend, started scheming about nine each night on who we'd ask out. By eleven we had nailed it down or been turned down. We'd make a quick run for liquor (Richie was a real 21 and had an I.D. to prove it) to pick up a bottle of rum, gin or whatever flavor the nurses we'd hooked up with would drink. We made three or four of these trips a week, since both of us were stupid, Mexican and about twenty-one.

What happened on those nights--out on the piers of Woodlawn Lake or in the bushes of Breckenridge Park or in the back seat of his '65--those gaps can stay gapped. Suffice to say that a lot of alcohol was consumed and new legends engendered, by both of us.

Again, the good life never lasts. Richie got his letter from Uncle Sam, followed by his shipping out to Vietnam. I never heard from him again. He's not listed on the Vietnam Memorial Wall, so maybe he didn't return in one of the bags that served the same function as the gurneys we used to carry the deceased down to the hospital morgue. At least they had died for a good reason, like cancer or old age or depression.

Soon after he shipped out, I had it out with one of the hospital "nuns," as we called them, over a patient I'd befriended. These Catholic nuns ran Santa Rosa Hospital much like the Gestapo administered Dachau. Sneaking a patient a bottle of whiskey one night apparently crossed the line, as far as one nun was concerned. That's how I wound up back on the streets of San Anto.

I sat in the park across from the hospital for a while the evening I was fired; it's a part of my family's history in other ways. In the San Antonio Library archives there's a photo of the park with the owner of La Prensa newspaper and my grandfather, along with all their staff. My Uncle Mario is in the photo, just a toddler, so he doesn't look like he just lost his job.

Sitting on that bench, in that park, I shouldn't have felt like a new world had been offered me; but it had. And I'd had it with regular, back-wrenching, piddley-ass jobs. I vowed that if I wasn't going to be a college grad, I'd at least shoot for the big time, mucho dinero. Un buen jale. There was no stopping me now.

A brief stint to a promising career as a Post Office clerk convinced me I could memorize zip codes and postal schemes just about as well as I'd done with Planck's constant and Slavic past participles in Austin. Okay, maybe the outrageous amount of money I blew, the more outrageous amount of whiskey I drank and the running around with nurses of outrageous character, who I was still in contact with, had something to do with the Postmaster General biding me adios, but, anyway, I was back on the streets within a matter of months, otra vez.

When you're young, you can keep going through episodes like this, from job to job, without your mind or body getting tired. Even though I didn't know what I was doing, where I was going, I could have remained a San Antonio Mexican for the rest of my life. But there was this one girl ...

It was another of my embarrassing, career-changing episodes of life, where the only explanation is, the Devil made me do it. I've done more than some people, sometimes for no good reason. Por pendejo applies well here, too.

The way it ran down was, I'd gotten in deep, hot and heavy, with my First Nurse, Susan. Problem was, no matter my grandfather's photo, my lineage wasn't as good as certain other Mexican families in town, like First Nurse's. Her mother liked me, maybe, despite my uncouth ways and history. But her father knew I was a bum, a dropout, and he could probably smell the Southern Comfort on my breath.

Just when things between us got so hot--not that there was much space between us some nights out in the oak groves, where we fogged up the car windows while the radio played the Turtles harmonizing "so happy together", and my experience with amateur "petting" seemed about to be replaced by getting to third base, or further so that I might soon learn what rubbers were for--just then, her father gives her an all-expenses-paid summer in Mexico.

Okay, maybe it wasn't a deliberate, sneaky way of getting me out of her life. But I did learn that if my daughter ever hooks up with some deadbeat, low-class drunk, I'll find the means to send her to Cuba, for a year if necessary.

Where the Northside sticks of San Anto might have witnessed the volcanic release of a young Mexican's sex drive, what remained as she boarded the plane was one Godzilla of a hormonal overload, without the appropriate one to share it with. So what does El Pendejo do while First Nurse dances the circuit of Mexican society? What any horny boy does--he finds First Lay. And spends the summer of '67 learning more about sex, sexual positions, exhibitionism and how much fun bad girls can really be, than ever found in the pages of Stag magazine.

Those adventures came to an end when First Nurse returned to find out about El Pendejo's summer exercise program. She made it coldly clear it was time to add a different chapter to my life, without her.
(to be continued?)

© Rudy Ch. Garcia 2006

Tuesday, November 28

Found Art: Jose Maria de Servin

Michael Sedano


My friend Alfredo Lascano found three paintings signed Jose Ma de Servin, in garage sales. Any readers familiar with this painter's work?

Painted on rough woven straw burlap, their vibrant colors and distinctive style hold the eye. Two paintings are at least 5 feet long; Lascano found these two years ago, at a San Marino CA garage sale. One of these depicts a Mexica speaking indigenous floricanto while holding a catholic priest's staff. The other presents a woman, presumably la virgen, in royal purple.

The framed portrait of the flower seller, about 28 x 32", he found recently at a north Pasadena garage sale.

Interesting finds, at opposite ends of the valley. A Google search on variants of Servin's name comes up with several ebay sales, a Palm Springs gallery, some stuff in German, and an exhibition some years ago in Guadalajara. I found few biographical details; Servin was born in 1917.

It's gratifying to see sale prices under a thousand dollars--although two works sold through Butterfield & Butterfield auctions at undisclosed prices--because Mr. Lascano intends to keep these and hang them in his home. Given the paucity of information on Jose Ma. de Servin, perhaps there's someone out there in La Blogaland who knows Mexican art and can inform Alfredo's curiosity about this artist.


















Announcement!

Read any good books lately? Please send your recommendations by posting a comment, or email me with your ideas. As always, La Bloga encourages your submission of reviews of notable work. We love guest columnists!

Can you believe it's already almost December? Tempus fugit, gente. See you next week.

mvs

Monday, November 27

SPOTLIGHT ON DÉSIRÉE ZAMORANO

Monday’s post from Daniel Olivas

Désirée Zamorano is Director of Community Literacy Center at Occidental College. She attended St. John's College, in Santa Fe, New Mexico, and received her BA from UC Irvine. She obtained her multiple-subject teaching credential from Point Loma Nazarene University, and her MA in Multicultural Education from CSU Dominguez Hills.

Zamorano says that she is delighted to be supporting Occidental's student teachers. With fifteen years of experience in public schools, her main goal is for student teachers to incorporate a variety of strategies in their instruction, strategies which should ensure equity in participation and access to the curriculum for their own students.

A produced playwright and published author, Zamorano brings her passion for engaging elementary students in enriching language arts expression and experiences to Occidental's Community Literacy Center. Zamorano is fascinated by the way cultures connect and collide, within countries, cities, and families.

Fiction Writing Highlights:
• “Souvenirs,” short story, nominated for a Pushcart Prize
• “Reina” Touring Children's Musical produced by The Bilingual Foundation of the Arts
• “Bell Gardens, 90201” Touring Young Adults Musical produced by the Bilingual Foundation of the Arts
• "Mercy," short story, appeared in West Magazine (Los Angeles Times)

Non-Fiction Writing Highlights:
• Commentator on NPR’s Latino USA
• Articles in the Los Angeles Times and San Gabriel Valley News
• Contributor to NFT Los Angeles • Contributor to Free LA (Troy Corley Publications)

◙ NEW LIT: I just got my copy of a new literary journal, PALABRA: A Magazine of Chicano & Latino Literary Art. It is quite beautiful with a clean, easy-to-read design and “incidental” art (I hate that term…there’s nothing incidental about art, right?). It’s edited by elena minor and is designed by randy nakamura. The website is still under construction but is http://www.palabralitmag.com/ for future reference. This first issue includes the work of Wendy Ortiz, Margarita Engle, ir’ene lara silva, Carlos Martinez, Harry Gamboa, Jr., Daniel Martinez, Jose Gonzalez, Carmél Carrillo, Margaret Lopez, Alma Luz Villanueva, Caridad Svich, Toni Margarita Plummer, Rigoberto González and Moisés Zamora. For guidelines, write to PALABRA, P.O. Box 86146, Los Angeles, CA 90086-0146, or for additional INFORMATION ONLY, E-mail: palabralit@earthlink.net.

◙ UP CLOSE AND PERSONAL: Isabel Allende with Gioconda Belli at the Skirball Cultural Center, 2701 N. Sepulveda Blvd., L.A., on Tuesday, November 28, at 7:30 p.m. For tickets, visit http://www.writersblocpresents.com/.

◙ VERMIN ON THE MOUNT: I get word from my friend and journalist, Daniel Hernandez (currently of the L.A. Weekly, formerly of the L.A. Times), that he will be a guest reader at Jim Ruland’s magnificent reading series, Vermin on the Mount, on December 3, 8 p.m., at The Mountain, 473 Gin Ling Way, Chinatown. Other readers will be Stephan Clark, Theresa Duncan and Rolf Potts. I’ve done this reading series before and it is simply one of the best (and booze is sold downstairs so the audience will be well-primed).

All done. So, until next Monday, enjoy the intervening posts from my compadres y comadre at La Bloga. ¡Lea un libro!

Friday, November 24

Happy, Happy

Manuel Ramos


I don't have much for the day after día de gracias, and the rest of La Bloga's gang have posted some excellent stuff this week, so please scroll down or use the links to the left to review what Gina, Daniel, Michael and RudyG have been up to lately.

My lack of preparation does give me the chance to wish La Bloga feliz cumpleaños -- this baby saw light on November 24, 2004, when RudyG penned the immortal phrase La Bloga started today.That's all. Since then the posts are longer, and more informative we hope, and our audience has grown from Rudy's wife to now include mine, who tells me she has read La Bloga at least three times in the past two years. Seriously, we have more readers every week. We like to think that you all appreciate what might appear sometimes as anarchy or chaos -- we do have a plan. Ask Daniel, he knows the plan. (You do, don't you?)

In the spirit of the Terrible Twos, I have to say that I am spoiled. I am no longer surprised, just really pleased, when my fellow bloggers write intelligent and unique reviews about the latest Latino/a author to emerge during the Age of Great Hope for Literature, or very movingly go on about what it means to be a Latino or Latina in the U.S.A during the current Age of Darkness, or insightfully provide clues about the every day drama that connects us all. It's all here, in one form or another.

Man, I'm happy for La Bloga, and thankful I can be a part of this cultural experiment.

Later.

Thursday, November 23

A Chicano Bilingual Teacher's Thanks-Giving

Working in an American elementary school conditions me to usually be such an ungrateful bastard, it's good there's one American holiday that forces me to think about giving thanks for things in my life.

1. My gut feeling about the indigenous Wampanoag, the "eastern peoples" of Massachusetts, saving the Pilgrims, I'll keep to myself. But without their intervention in 1621, our Thanksgiving Day would be nothing but days of prayer, which was Pilgrim practice. The Wampanoag taught the Pilgrims that a sharing time for family and friends was better than spending the whole day on your knees. Of course, eventually, American colonists reciprocated by stripping the spirituality from all native peoples, but I won't dwell on that.

2. As a teacher of expatriated mexicanitos, I have to give thanks for my daily audience and clientele. I could have it worse, trying to get the attention of fully-Americanized children addicted to making long Xmas lists of material goods that already overwhelm their little minds. I'm grateful most of my students' families don't have the wherewithal to give them $600 PlayStation 3s and $50 a month cell phones. For lack of such, mine are closer to the spirit of the Wampanoag than the knee-locked, land-grabbing Pilgrims.

3. Likewise I'm grateful for the parents de mis estudiantes, parents who work two or three jobs, even, but scrounge the time to get their children to school each day, the time to read with them, the time to tell their kids to do everything their teacher tells them, a lot like the Wampanoag likely once raised their children.

4. I have to be grateful for getting to teach children in a language whose written words are so consistent with the spoken word. The all-English teachers around me bitch so about how low their students' reading levels and writing skills are, while I guiltily relish in my kids' sounding more and more like educated wonders in the land of the illiterate. Much as the Wampanoag must have appeared to the Pilgrims.

5. Getting to read Lalo Delgado or Pablo Neruda's poetry to an audience of bright eyes and receptive minds, and being paid for it, gives me the strength to withstand the American educational bureaucracy's myopia for assessment and standardized tests. The crushed ideals of the Wampanoag re-flow through Abelardo's words, off my sophomoric tongue, to plant nurtured thoughts in my kids' semi-indigenous spirit.

6. Then too, I have to give thanks to all that great spiraling, brown DNA that thrives in my kids. However inept I may feel some days, however academically short at times my attempts at educating them, their synapses somehow make new connections and recombine to make me look good. I accept they learn more than I can teach them, not because of my well-meaning spirit, but because of their innate childish proclivity to wonder.

7. And you can't imagine what I get to see every day, unless your job's like mine. Despite all the manifest-destinied transgressions of the Pilgrims and their cohorts, Cortez and Bishop Landa, Davy Crockett and Gen. Winfield Scott, and no matter the whitebread-visions of America's so-called Border Minutemen, if I look up from my desk at the 23 faces in my classroom, sometimes I don't see impoverished, often malnutrioned, skinny children of immigrants. I look upon descendants of the Olmeca, Maya, Raramuri and Yaqui peoples. The same visages Rivera replicated on his murals, the same features on the faces of Zapata and Commandante Marcos's soldados, follow me around the room, momentarily allowing me into the stream of a spirit much greater than my world.

8. Lastly, thank the Lords of the Near and Far that those who I daily teach will not grow up in the monolingual world Middle America would prefer to keep on this side of a Palestinian-type wall. They will read and love Neruda and T.S.Eliot; they will be able to recite Gabriel Garcia Marquez in two languages, to write an English essay or Spanish sentimiento, and read either to their own children. And when they do that, in a remote corner where my spirit resides, maybe I hope they'll end the reading by telling of a teacher they once had who sometimes made them laugh, but more often made them grateful he could recognize value in their mestizaje-spirit.

Rudy Ch. Garcia

Tuesday, November 21

Something happened at UCLA

Michael Sedano

I am getting darned intolerant of growing older. Almost everything reminds me of some past experience. And I cannot stay awake late hours.

A couple weeks ago, I sat in dread as the Friday evening hour approached for the dramatic interpretations of three Samuel Beckett short pieces, "Enough," "A Piece of Monologue" and selected "Texts for Nothing". Dread that I'd not be able to keep my eyes open to enjoy the work. Sleep won and I trudged out at halftime with Beckett ahead 2-0. Seemed like a wonderful set of performances by Gare St. Lazare Players of Ireland . Unless I dreamed it all, the performers kept to the text, and the "Monologue" totally dazzled me, until the woman sitting next to me receives a phone call. Her phone speaks to her. Loudly. "Call from two one three five five six one two eight one" it repeats it three times before the woman bends into her large handbag, rustles around and finally silences the device. All the while actor Conor Lovett stands stock still and silent--the phone rang during a silence--and his next line breaks the house into wild laughter: "Wait" Lovett pronounces with a straight face.

Saturday afternoon was much better. A matinee performance of Waiting for Godot by Gate Theatre Dublin, the teatro Beckett worked with to present the premiere in English of Godot (pronounced by the actors as God' oh, by the way). How much closer can one come to the master? Put me in mind of a recital by the 98-year old pianist, Mieczyslaw Horszowski, who studied under a student of Beethoven; here was the last direct connection to the master. The Gate Theatre offered just such a connection.

I'd spent the previous weeks reading Godot in French and English, as a means of enhancing my experience with the live performance. There is nothing comparable to a staged performance, no matter how effective a reader one is. To start, individual reading misses the timing two skilled actors possess. The rapid-fire repartee opening the play had the audience laughing in all the right places. When Lucky thinks, folks were almost rolling in the aisles, so superb was his delivery. What was more thrilling was the obvious delight of audience members for whom this was their first exposure to the piece itself. "What is it about?" questions filled the foyer during intermission. Being somewhat of a metiche, I was chatting up some bystanders when one asked about the boy, "did they bring him all the way from Ireland," she wondered, "for such a small role?" The shock on her face made me long for my camera when I told her to think of the boy as a young Lucky. Not so small a role after all, que no?

The afternoon at UCLA passed with no one being tased by campus heat, a good thing, I thought. As we exited I had to stop at Richard Serra's monumental sculpture fashioned from 3" steel plate. I rubbed the oxide surface wondering if I had made that steel. Back in the 60s I spent college summers in the mills at Kaiser Steel. Plates like the Serra sculpture were my metier.

Holiday Art & Craft Sale Time is Here
Self-Help Graphics and all the others' annual sales fast approach. Here's a new one from La Bloga's spoken-word publishing friends at Calaca Press. Visit their website for last dibs on Raza Spoken Here 2 (1 is sold out) and, sadly, you just missed the classic but now sold out When Skin Peels. Publisher Brent Beltrán has several titles in the works, so here's a way to support their sensational publications program. Email the publisher for travel directions or sight-unseen offers.

The Red CalacArts Collective presents our first annual Holiday CalacArts Bazaar

Sunday December 10, 2006
12 noon until 5pm
in
CALACALANDIA
(Home of Chelo y Brent of Calaca Press) in National City, Califas 91950

Support San Diego's Chican@ arts community by purchasing their art as gifts for the holiday season.

Featuring original art, serigraphs, prints, tshirts, books, artesania and other cultural items from:

Nuvia Crisol Guerra
Teresa Yolanda Lopez
Carmen Kalo Linares
Mario Chacon
Ricardo Islas
Sandra Pocha Peña
Keep on Crossin'/I Love Aztlán
Bob Medina
Berenice Badillo
Irene Castruita
Chikle
Sal Barajas/Motivational Designs
Mariajulia Urias
Fernando Flores
Calaca Press

Plus entertainment including:
Aztec Gold's: A Very Lucha Christmas
Poetry by Irene Castruita and others

Music, food, socially conscious thought and the Calaca hospitality that you have come to know and enjoy.

This event is organized by the Red CalacArts Collective. For more information contact Brent E. Beltrán at calacapress@cox.net.

This event will be outdoors. In the case of rain, this event will be cancelled.



Oh, before I forget again, the best part of growing old is being able to read Cicero's De Senectute and understand it completely. My favorite idea: bitter old men don't get that way because they are old, it's because they were bitter young men.

Move to joy, raza.

See you next week.

mvs


Monday, November 20

AUTHOR WRITES OF A DIFFERENT DANGEROUS MIGRATION

By Daniel Olivas

Under cover of night, with the aid of a high-priced human smuggler, a frightened group of men, women and children attempt a dangerous trek from their homeland to another country -- all in search of a better life.

Who will succeed in entering the foreign land and improving their daily circumstances? And who will be apprehended by the authorities and returned to desperate poverty or other oppression? Such is the premise of Laila Lalami's debut novel, Hope and Other Dangerous Pursuits, now available in paperback from Harvest Books ($13).

But the immigrants Lalami writes about are not Latinos attempting to get into the United States. Her protagonists are four Moroccans who huddle with about 20 others in a small boat to cross the Strait of Gibraltar. Their hope: to avoid the watchful eye of the authorities as they travel 14 kilometers to their haven, Spain.

Lalami notes that this "more recent phenomenon of dangerous sea crossings ... is a result of the rising unemployment in Morocco combined with the tightening of visa regulations in Europe in the 1980s." The story will sound familiar to people in the United States: "Desperate to find jobs, people began to cross the short distance between Morocco and Spain on small boats, which has led to the loss of several thousand lives."

Authors such as Luis Alberto Urrea and Reyna Grande have written books that eloquently recount similar dangers faced by Latinos trying to enter the United States through the unforgiving deserts of northern Mexico and the U.S. Southwest. But hope springs eternal.

When her novel first hit the bookstores in hardcover last year, Lalami not only enjoyed critical acclaim but also had the "very pleasurable experience" of meeting and chatting with readers while on tour. "The only disturbing dialogue was when a woman at a book reading told me, point-blank, that 'Moroccan immigrants refuse to adapt and integrate.' And I, a perfectly 'integrated' immigrant, was standing before her. She couldn't see the irony."

Born and raised in Morocco and now living in Oregon with her family, Lalami earned her bachelor of arts in English from Universite Mohammed V in Rabat; a master's degree from University College, London; and a Ph.D. in linguistics from the University of Southern California. Her work has appeared in the Boston Globe, the Los Angeles Times, the Oregonian, the Nation, the Washington Post and elsewhere. She is living the American dream, to be sure.

But Lalami has never forgotten her roots. Before the novel's publication, most readers knew of Lalami through her blog, Moorishgirl.com, which reflects her Moroccan roots by often covering -- and confronting -- literary news relating to the "other" in our society. Latino writers have received a generous share of Lalami's coverage. Not surprisingly, Lalami is "just thrilled" that her novel has also come out in a Spanish edition translated by Monica Rubio under the title Esperanza y Otros Sueños.

Lalami sees "many similarities" with the way undocumented immigrants are viewed in the United States and Europe, "particularly the tendency to periodically blame immigrants for everything that ails society." All the while, "these immigrants are keeping the service industry afloat, they are taking jobs citizens consider too low-paying to take, and they contribute millions to retirement plans and other benefits that they will never get to receive."

But perhaps by humanizing undocumented immigrants through her fiction, Lalami can help the public become more compassionate and less fearful.

One can only hope.

[This profile first appeared in the El Paso Times in slightly different form.]

Friday, November 17

Brownsville

Manuel Ramos


Brownsville
Lorna Dee Cervantes
Call For Submissions
Mapping Nativity
The Cybills and Gina Marysol Ruiz

BROWNSVILLE, OSCAR CASARES

Creative writing teachers and critics like to talk about the "sense of place" evoked by an author. Certain names and locations immediately come to mind when that phrase is uttered. William Faulkner, of course, and Yoknapatawpha County; Rolando Hinojosa and Klail City; Rudolfo Anaya and rural New Mexico; Chester Himes and Harlem in the 1950s and 1960s. The great ones bring a reader into a world that exists only in the writer’s mind but for that reader the place is as real as the book in the reader’s hands. There is great satisfaction in recognizing the textures, colors, smells and sounds presented by a writer, even if I have never been to the particular place in the story, even if the place is wholly imaginary. I find comfort when words fix a location in my mind, when I accept that I have been transported from my La-Z-Boy to Faulkner’s deep south, or the trash-strewn alleys and side streets of Raymond Chandler’s Los Angeles.

A writer sooner or later will be asked about setting: how important is it, how does one go about establishing it, what are the basics?

I think some of the answers can be found in this paragraph from the story Chango, found in the collection entitled Brownsville, written by Oscar Casares (Little, Brown and Company, 2003):

"Most afternoons Bony sat on the tailgate of his dark blue troquita, the sound system cranked up to some Led Zeppelin or Pink Floyd. He’d been listening to the same music since high school and said he would change if another band ever came out with anything better. That afternoon was different, though. He forgot about the music and sat in a lawn chair on the grass. The shade from the fresno tree covered most of the yard. The wind was blowing some, but it was a warm breeze that made him feel like he was sitting in a Laundromat waiting for his pants to dry. He stayed cool in his chanclas, baggy blue jean shorts, and San Antonio Spurs jersey. Across the street, a crow walked in circles in front of Mando Gomez’s house. Bony cracked open his first beer. The palm tree stood between him and the street. He liked being the only one who could see the monkey as people walked by that afternoon. He stared at the monkey and the monkey stared back at him."

And just like that we understand the type of place Brownsville is and, ever so more important, we are provided a few clues about Bony and Bony’s life. I have slipped into the "place" of this paragraph but I also am inside Bony’s head, aware of his anomie, and I await the full disclosure of the conflict subtly hinted at in the paragraph.

Place is nothing without people and Oscar Casares’s characters are complicated and layered and contradictory. Their stories are sometimes amusing, the people pitiful or admirable. These strong tales of human failure and victory pull the reader into the secrets and whispered gossip of Brownsville, enough so that a voyeuristic thrill rubs against the conscience.

Consider the story Charro. Marcelo hates his neighbor's dog, Charro. The damn thing keeps him up at night, craps in his yard, and generally interferes with what Marcelo considers his right to enjoy the peace and privacy of his own home. Marcelo's life is mundane to the point of dull. He works as a livestock inspector for the USDA--not much going on there. He takes his wife to visit her mother's grave and is filled with resentment. The mother-in-law hated Marcelo. He can't get any respect from the oblivious attendant at the self-service gas station. His boss chews him out for being late and Marcelo must meekly accept the lecture. You see what's happening here, right? What Marcelo can do is wage war against the dog. War with no quarter: poison, dognapping, abandonment more than twenty miles from the city. All fruitless. Charro is one tough cur. There is a twist in the plot, of course, and what started out as a peek at one man's ignoble attempts to maintain the vision he has of himself at the expense of an innocent pet becomes an incisive exploration of manhood and vanity. Eventually I felt something more than pity for Marcelo, lost in the shadow of his rough-and-tumble father, beaten by life's constant battles, and I sympathized with this resident of Brownsville who finally sees a truth about himself: "What would his father have done about the dog? Right or wrong, he always seemed sure of what he did. Marcelo tried to live his father's life, but now it felt as if he were standing in the middle of a river trying to stretch his arms and touch both sides. No matter what he did, he'd never reach far enough."

South Texas has a long and proud literary heritage that includes the aforementioned Hinojosa as well as the iconic Tomás Rivera. Casares is treading in deep water and one collection of short stories does not make a master. But the stories in Brownsville hold up well. They illuminate the Texas border lifestyle and culture through the eyes of the people who live there. They flow smoothly and a reader expects to run into the various characters in any of the stories -- they all fit so well together. It is obvious that Casares knows whose path he is following. Rivera's ... y no se lo trago la tierra ends with the young boy contemplating his recent past and the always expanding future from a perch in a tree. It is a beautiful ending to a beautiful book. At the end of Casares's Domingo, an old man sits in a tree:

"When he opened his eyes, he gazed out toward the horizon, farther than he had ever imagined he could. He looked across the river, past the nightclub lights on Obregón, past the shoeshine stands in Plaza Hidalgo, past the bus station where he caught his long ride home, past all the little towns and ranchitos on the way to Ciudad Victoria, past the Sierra Madre and the endless shrines for people who had died along the road, and even farther, past the loneliness of his little room next to the tire shop, past the reality that he would work the rest of his life and still die poor, and finally, past the years of sorrow he had spent remembering his little girl, past all this, until he clearly saw his wife and then his daughter, Sara, who was now a grown woman."

Oscar Casares has made all of us honorary residents of Brownsville.

LORNA DEE CERVANTES
A tip of La Bloga's sombrero to our hermana Lorna Dee Cervantes who will receive the Louis Reyes Rivera Lifetime Achievement Award on December 2 at Amherst College. The award is part of the 9th Annual Diaspora Poetry Concert. Roberto Marquez and Victor Hernandez Cruz also will be honored at the event. Get all the details over at Lorna Dee's place. And while you are there, read Nothing Lasts, a poem she presented at the opening of an exhibit of her late father's art. Sublime.

CALL FOR SUBMISSIONS - LATINO AVANT-GARDE
This announcement is all I know about the project:

Sunstone Press, an independent publisher in Santa Fe, NM is producing an anthology that will be edited by poet Gabriel Gomez. The anthology will feature Avant-Garde poetry and poetics by contemporary Latino/a writers. The tentative publication date is fall 2007. The anthology will first appear at a conference in Santa Fe, NM, scheduled for October 2007, and will be available nationwide thereafter. The ultimate goal is to encourage both readers and publishers to recognize the breadth of Latino/a writing and thus deepen the public's understanding of the Latino/a experience.

Guidelines: Please submit up to five poems. Manuscripts should not exceed 15 pages. Include a cover page with your name and contact information as well as the titles of your poems. Your name should not appear on the poems themselves. Writers are asked to submit only electronic versions of the poems. Send as MS Word attachments only. Both MAC and PC platforms are acceptable.

Submit work to junta.anthology@yahoo.com. Writers whose work is accepted for the anthology will be asked to write a poetics statement no longer than 750 words.

All manuscripts submitted by January 10, 2007 will be considered. Contributors will receive two copies of the book upon publication.


MAPPING NATIVITY
Meet the Collectors
Learn about the origins, materials, techniques, and inspiration of the collectors, as seen in over 135 miniature nativities, from 18 countries of the Américas in the current Museo de las Américas exhibition: Mapping Nativity.

Meet La Meta Lubchenco, Florence Hernández-Ramos (representing José de Jesús Hernández), and Laura Edmondson. November 18, 11am at the Museo.
Museo de las Américas 861 Santa Fe Drive Denver CO 80204 303.571.4401

THE CYBILLS AND GINA MARYSOL RUIZ
My co-conspirator here on La Bloga wants everyone to know, and I am happy to help spread the word, that she is on the nominating committee of the Cybill's for Best Graphic Novel Young Adult. There are two categories, you can find out more here: http://dadtalk.typepad.com/cybils/2006/10/the_nominating_.html

Later.

Wednesday, November 15

There's Chicano MSS that get published, then there's…

Got another rejection this week from a publisher. Let's see--the editor liked my narrative, dialogue, voice, etc., etc., but it wasn't suitable for their imprint.

I've gotten my share of these, but tend to ignore their darker side because I need to keep writing. Since it seemd approriate for my post this week, I thought I'd share the opening pages of a real-life, swear-to-God-it's-true story that hasn't been rejected by anyone because I've never been satisfied it was filled out enough.

It's got a working title of Magazines: 1968 because it's about that topic and that year. If I get any real interest about hearing more, maybe I'll post the rest of the chapter. Either way, my post for the week is taken care of.

Chapter 1 - San Antonio

Archie Bell & The Drells blare from the car radio, but no part of my body responds to the music, except for my sphincter, which is definitely "tightening up."

“I know you gave Karen a ring. ... I know you were in love with her and talked to her about a bunch o’ shit. You pro'ly didn’t know that, huh?”

Chad's words are ominous enough, but his cold tone sends warnings to my every nerve ending. I look out the Continental's window, scanning for any promise of safety. Across the parking lot, a hundred yards away, I can make out the blurred neon of the Greyhound station--a mirage through San Francisco's icy, dreary December rains that have soaked everything for days. My year of two thousand miles of Southwest highways landed me here; I'm fifteen hundred from where I started.

Chad had parked about as far away from the bus terminal as he could. I now know why.

He interrupts my self-indulgent nervousness. “She was too good for you, you know?... She was mine from the first day. You never had a chance. Pisses me off you even tried, that you bothered her.”

I think of reminding Chad that the first time he saw Karen, he’d just finished zipping his fly and shutting the door to our motel room, where he’d left the company tramp, Pat, to make herself and the room presentable after spending an hour fokkin' her crazy. He'd left four--it was always four--used rubbers lying around for me to use as an obstacle course. After he saw new-girl Karen walk past him in the hallway, Pat became history. But I don’t remind him of any of that now; he's distraught enough over what he does remember.

Chad seemed to have a lot of memory/brain problems. He was pure Nebraska, bovine-like, farm-bred and raised, six-foot, arms as big around as my thighs, a back that would have fit well under a yoke. About the only thing he lacked was a big, red “N” branded on his rump. Maybe it was a corn and milk overdose he’d gotten as a kid--or calf--but Chad wasn't of great intellect and barely cleared the hurdle of smart enough to find his own thing to wipe. Several times he'd stranded members of his magazine crew when he couldn’t remember if or where he’d dropped them off.

But when he got drunk, he did seem to remember everything and had several times related to me the few highlights of his growing up in towns where poontang, as he delighted in calling it, and pool shooting and beer drinking, farm work, fokkin' and football constituted the range of his life-experience and education. What had Karen seen in him anyway? Probably the ability to fill four rubbers. After all, she was an ex-Playboy Bunny, or so she'd told us.

Chad gets my attention again. “Nah, I don’t think you understand what a fokked-up thing you did--talking to her. Or thinking about her like that. You just don’t understand, huh?”

In love with Karen? I say only to myself, "What a bunch of shit." I don't understand where he got such an idea. In her case, it wasn't like love was a requirement, anyway. A mild dose of penis infatuitis was all it took.

Everybody that joined the magazine crew had a story--a lot of times, unbelievable. But in Karen's case, you only had to take one look at her body--young baby-fat, bountifully bosomed, golden-blonded, truly gorgeous stuff--and you easily accepted her story about being a Playboy Bunny who'd tired of the life. It fit, even if it didn't always ring true. In love with Karen? No, but I would have pleaded guilty to in lust.

I also understand that Chad's struggling to much to remember. There's a danger of cerebral overload. He might soon "remember" that I helped Oswald from the grassy knoll or that commies come dark-skinned. And if my 155 pounds of less-than-toned are going to take on 220 pounds, hooves and all, of the best mid-America can breed, then there's going to be one sore, sorry "mescan"--Chad loved calling me that, like he'd invented it--floating down Frisco's golden gutters. If there's enough left of me to float.

I'll tell more about Chad as I go, but first I'll need to reveal a sick-crazy piece of history about working in America--selling magazines door-to-door on the road. It's not proud, shining moments; it's more one of the darker paths most Americans would prefer not to know about. I was one of those travelers; thus this memoir, from one Chicano's perspective anyway.

That is, what I can remember. Some gaps will stay unfilled because sometimes they're best left that way--gaping or not quite remembered or just plain forgotten. Some are too ordinary--like the day-in-and-out of working with thirty kids selling Time and Life across the Southwest. Stuff like that. But I need to tell you enough so you know that in 1968, not all of us got to be love child of the anti-Vietnam War or Chicano or psychedelic movements, stoned out of our gourds. Some of us led depraved childhoods while the rest of the country tried understanding the words to Bob Dylan songs.

Anyway, I have time to deal with those gaps before Chad decides where and in what disgusting manner to vent his bull-rage on my delicate bronze skin. I can't better prepare for what's coming. . .

Rudy Ch. Garcia - © 2006

Tuesday, November 14

Veterans Day Elegy

Michael Sedano
Every Veterans Day brings me a few moments of quiet reflection, a scattering of tears, and more than a few hearty laughs remembering the guys I went through the Army with, Basic, AIT, Korea.

When news of Rumsfeld's firing reached me I was bitterly elated. I suppose every veteran feels a kinship with those who serve today. Witnessing their loss of family, health, limbs, and lives, Rumsfeld's lost job is so small a price for so unmeasurable a debt.

The same week, the New York Times published a story about a squad of Marines interviewed on an Iraqi rooftop. When told Rumsfeld had been dumped, one Marine asked, "Who's he?" I understand his lack of interest. As the Marine said, "They point at you and you go where they point." I smiled at the line, remembering CBR-- Chemical, Biological, Radiological warfare–training. The lecturer came to the "R" part. "If you see a mushroom cloud on the horizon," he told us, "put on your waterproof parka and march toward the smoke." Absochingaolutely, Sir!

What made me laugh then, and still today, is the fact I would have done so. As that Marine says, they point at you and away you go.

I'm sure all you ex-GIs have memories of similarly outlandish experiences. Today, in recognition of Veterans Day, I'm sharing one of those nostalgic memories, about the day “The Green Berets” starring John Wayne played at Ft. Ord, Springtime 1969. I was in Advanced Individual Training learning morse code and radio communications. Talk about buzz. All week excitement built toward the weekend premiere. Come Saturday afternoon, guys on their way home from Vietnam, and trainees like me wrapping things up in preparation for overseas movement, we all lined up for the movie; it was about us, don’t you see?

Basic Training puts the hapless trainee through exciting physical exertion combined with wondrous psychological games with big-time dramatic flair. Like the time we learned how to crawl under machine gun fire. Just before dusk over a hundred of us-- the entire training company-- march to an unfamiliar spot where we fill wooden bleachers.

The bleachers face a flat dirt lot about 30 yards long criss-crossed with barbed wire. To our left, where we would begin the exercise, a gentle hillside rises, surrounded by the California Live Oaks that make this part of the Salinas Valley so serenely picturesque. The orientation lecture comes at us over a tinny PA system. A year later, Robert Altman will release MASH and that loudspeaker system will become a familiar icon of military announcing.

The speech climaxes in a loudly spectacular demonstration of an M60 machine gun. To our right, an M60 opens up. Ribbons of red and green tracer rounds track the trajectory of 7.62mm slugs slamming into the hillside on our left at 500 rounds per minute traveling 2800 feet per second. Tut-tut-tut-tut-tut and the hillside disappears in a swirling cloud of light brown Salinas Valley dust.

We're like Xenophon's soldiers racing up the hill at the first scent of the sea after years of marching. Thalatta! Thalatta! As if on command, we rise as one mindlessly screaming entity.The bleachers explode in wild cheers, whistles, catcalls in our eager stupidity. We are raring to get out there and crawl under those ribbons of fire!

A few weeks later comes that night at the Ft. Ord movie house. “The Green Berets” plods along event to event, character to character, breaking its monotony with increasingly lethal confrontations with Charlie Cong.

Finally, our boys are up against it. Holding out on a hilltop redoubt, VC sappers have begun to penetrate the wires. Characters we recognize are getting shot up. It looks bad for our side. Then John Wayne calls in “Puff, the Magic Dragon”, a propeller-driven airplane mounted with three 7.62mm Gatling Guns on one side. The driver tilts the airplane so the gun side points in an appropriate direction. 18,000 rounds per minute pelt the earth when Puff does its stuff.

On screen-- as in real death-- red and green tracers ribbon down onto Viet Cong dropping like flies. The load is four unseen rounds for every tracer. The camera pans actors in throes of screaming agonized run-but-it-don’t-do-you-no-good horrible meat grinding fantasy death.

And we soldiers?

The Ft. Ord movie house explodes in wild cheers, laughter, a bedlam of piercing whistles and catcalls. Guys stand on their seats cheering, others stomp the wooden floor with a fevered intensity that raises a cloud of light brown Salinas Valley dust deposited by the boots of the thousands of souls who have come before me to this theatre. I feel their spirits all around me in that one surreal moment of John Wayne Donald Rumsfeld George Bush Dick Cheney silver screen fantasy heroism.

Ave atque vale, brothers.

mvs

Monday, November 13

SPOTLIGHT ON PERRY VASQUEZ

Perry Vasquez is an artist and educator living in San Diego, California. He received an A.B. in Political Science and Studio Art from Stanford University in 1982. During the remainder of the 1980s, he studied at the Academy of Art in San Francisco and collaborated with the Italian surrealist provocaterur Lorenzo Galbusera and the Austrian photographer Doris Boris Berman.

Since 2005, Vasquez has been a teacher at Southwestern Community College in the School of Arts and Communications where he teaches courses in painting, life drawing, drawing and printmaking. From 2000–2002 he was graphics specialist at the Interactive Cognition Lab at UC San Diego, where he worked with Dr. David Kirsh who is well known for his research on the cognitive aspects of web design. The outcome of his experiences at the Lab was the launch of Apollo13Art.com, a site devoted to multimedia learning and the research and development of his artistic ideas.

In 2001, he opened ICE Gallery in San Diego as a forum for regional art. ICE has been the scene of community art events, openings, FotoAktions, art exhibitions as well as performances. The gallery is located in a former dry ice factory in San Diego's North Park neighborhood and continues to sponsor events and shows.

Throughout the 1990s, Vasquez worked on developing an array of unique artistic practices including Motography which is the use of recycled motor oil for fine art monoprinting. He also developed a number of interactive artworks using tape loops, motion detectors and sound collages. These works were done in collaboration with Randall Evans and featured in the Off Broadway Show at the Museum of Contemporary Art San Diego in 2000.

From 1993–1995, he served as Assistant Curator at the Centro Cultural de la Raza where he curated Plan 9 from Aztlan and several other exhibits focused on Chicano aesthetics and cultural issues.

Most recently, his focus has been on Fotoaktion performances and promoting the Keep On Crossin movement which he began with the poet/activist Victor Payan in 2002.

Vasquez’s artwork and prose appear in the most recent issue of the literary journal, Hobart. And his art adorns the cover of Sunshine/Noir: Writing from San Diego & Tijuana (San Diego Cityworks Press), a groundbreaking and innovative collection of San Diego/Tijuana writing edited by Jim Miller featuring Jimmy Santiago Baca, Mike Davis, Marilyn Chin, Steve Kowit, Mark Dery, Victor Payan, and many more.

REVIEWING POETRY BY CHICAN@S AND LATIN@S: On poetryfoundation.org, the ever thought-provoking Rigoberto González writes about why he reviews poetry books by Chican@s and Latin@s. He notes, in part:

From the get-go I decided that I would pay closer attention to poetry books, because of all the genres being reviewed today this one is the most neglected. But I had other self-imposed rules, an approach if you will, to the art of reviewing. I chose, for example, not to review a poetry book if I didn’t like it. A better use of space would be to point out a poetry book that had merit and that was worth reading. The truth is that the market for poetry books is so specialized that telling a readership not to bother buying a book they most likely wouldn’t buy seemed oddly superfluous. I wanted to send people to the bookstores or to the Internet since the other sad truth is that most bookstores don’t carry many poetry titles and especially small press titles by Chicano/Latino authors. And let us not forget the library, where many good books collect dust, the spines stiffening because no one comes by to flex the covers.

He also gives a very nice plug to La Bloga…go visit to see what Rigobero has to say.

A NEW YEAR OF PAPER: Salvador Plascencia’s remarkably strange and beautiful novel, The People of Paper (McSweeney’s), is now out in paperback from Harvest Books. When it came out last year, it was named as a Los Angeles Times Favorite Book and a San Francisco Chronicle Best Book. Plascencia was born in Guadalajara, Mexico, and now lives in Los Angeles. He is a graduate of Whittier College and holds an MFA from Syracuse University.

UCLA CHICANO STUDIES RESEARCH CENTER WELCOME RECEPTION:

Thursday, November 16, 2006
CSRC Library
44 Haines Hall
4:30 p.m. – 7 p.m.

Keynote Speaker Thomas Saenz Counsel to Mayor Antonio Villaraigosa

Balcony – Eat & drink refreshments from Casablanca Restaurant
Room 144 – Music provided by Los Hermanos Herrera
Room 180 – CSRC books, journals, DVDs, t-shirts and mugs on sale!

This event is dedicated to Professor Guillermo Hernandez, past director of the CSRC, who died in Mexico City this past July. In addition, the event is to honor former Assembly Member Marco A. Firebaugh, staunch supporter of the CSRC, who died in March 2006.

To learn more about the UCLA Chicano Studies Research Center, visit the Center’s website.

BLOG, BLOG, BLOG: Our friend, the poet and educator Francisco Aragón, tells us that he has been invited to be a regular contributor to the online journal, TERTULIA magazine. His first contribution is an e-interview and conversation with the editors of the Indiana Review who recently released a special issue devoted to Latino and Latina writers. Francisco will be doing other e-interviews periodically. Visit Tertulia Magazine and enjoy.

BORN IN EAST L.A.: Jim Marquez will read from his new book, East L.A. Collage (Lulu Press), which is filled with “true-life stories about his East L.A. and its surrounding communities.”

November 18, 4 p.m.
Under the Bridge Bookstore & Gallery
358 West 6th Street
San Pedro, CA 90731
310-519-8871

URREA’S MAGIC TOUCH: Marisa Lagos, writing for the San Francisco Chronicle, tells us of Luis Alberto Urrea’s wonderful interaction with students as they talk literature. Then she notes: “It's almost possible to forget that Urrea is teaching a class of female inmates at the San Francisco County Jail -- that is, until you glance up and notice the students' matching orange sweat suits, or realize that a deputy is interrupting class to conduct a head count.” The read the whole article here. I also note that The Hummingbird's Daughter (Little, Brown) has spent some time on the bestsellers' list at number one in the fine City of San Francisco.

GRACIAS: Some folks know that my son has been having health problems and that I haven’t been able to do very extensive posts, of late, here on La Bloga. Of course, my fellow bloggers produce such wonderful posts that I’m sure few have noticed. Anyway, gracias for understanding. A special thanks goes to Michael Nava, who sent an inscribed copy of his novel, Rag and Bone (Penguin), to my son. And a shout out Professor Cesar González of San Diego Mesa College who invited me to give a lecture and reading to his class last week; what a wonderful experience. Also thanks to Rabbi Michele Paskow of Congregation B’Nai Emet who invited me to speak at last Friday’s Shabbat services in honor of Jewish Book Month; it was a beautiful evening filled with love of books as well as spirituality.

¡Lea un libro! –Daniel Olivas

Saturday, November 11

Review of A Gift From Papá Diego/Un regalo de Papá Diego by Benjamin Alire Sáenz



A Gift From Papá Diego/Un regalo de Papá Diego by Benjamin Alire Sáenz
Illustrated by Geronimo Garcia

I’ve been a big fan of Benjamin Alire Sáenz for a long time. I love all his work with my favorite being In Perfect Light. When I found out about this book, I wondered what his writing for children would be like. I was completely entranced with the very first page. This is a lovely story, touchingly told.

A Gift From Papá Diego is the story of young Diego who loves his grandfather Diego who lives far away in Chihuahua, Mexico so much that he thinks of him all the time. Like most boys, he loves his comic books and superheroes. Little Diego misses his abuelito so much that he fantasizes about flying to Chihuahua in his Superman suit and being able to get home in time for dinner. He loves the story of how Papá Diego showed up the day Little Diego was born. The love the boy has for his grandfather just fills the pages with warmth and alma. It made me cry.

The story is very real, very much of true familia. Diego’s sister Gabriela loves to tease her brother but you can see the love she has for him too. The morning of Diego’s birthday, he wakes to find Gabriela and his mother singing Las Mañanitas while his father plays guitar. That is such a beautiful little detail. The love we Mexicanos have for each other, our traditions and love for music. It made me remember my birthday mornings growing up. Those cold December mornings lying tucked in under a mountain of blankets, opening my eyes to see my Tia smiling at me, smelling the favorite lengua de gato cookies I loved with champurrado in the kitchen, hearing my abuela come into my room and singing Las Mañanitas while my Papa rubbed my feet with his sobador’s hands. Ay! This story of Diegito got me remembering all those good times. I loved the part where his mama is in the cocina making chile rellenos. This is such a beautiful little cuentito!




The illustrations were great as well. Not your typical illustrations, these are done in clay and acrylic paint. They add depth to the story and a 3-d feel that makes the characters pop out and seem almost alive. Strangely enough, they don’t detract from the story, they add to it and give it a touch of whimsy. The artist, Geronimo Garcia hopes that the children who read this book will want to work with clay and paint to make their own art. I think that his work in this book will encourage them to create and more importantly, to dream. I think he will inspire many, many children and it is my hope that he will continue to illustrate many stories for them in the years to come.

As George Bush plans to build a 700-mile wall across the Mexican border, I leave you with the most powerful quote of the book, the one from Papá Diego that made my breath catch and my eyes tear up. “Mijito,” he said quietly, “tonight Chihuahua is not so far, and I do not feel so old, and it was very easy to cross the border. A border is nothing for people who love.”
Hasta la proxima,
Gina MarySol Ruiz

Friday, November 10

Words & Music -- Four Bits

Manuel Ramos

WORDS AND MUSIC
I flew into New Orleans with a small chip on my shoulder. My free plane ticket meant that I had to use Delta, an airline without any direct flights from Denver to New Orleans, and thus I had to make a connection in Atlanta. That made for a long day but that was only the beginning of my issues with Delta (the return trip took me twelve hours because of delays and a missed connection – I could have traveled to Europe in that time). I know -- ingrato.

And then there was the uncertainty of making the trip in the first place. The invitation to the Words and Music literary conference sounded like a great idea when New Orleans’ writer Mary Helen Lagasse first broached the subject with me, and I accepted the official invite from Rosemary James, the event’s tireless and over-worked director (not sure that is her title – she is la patrona of all things literary in New Orleans). But the nearer the event got, the more apprehensive I became. Was this the right thing to do? Katrina and all that – was the city safe? I had heard the disturbing story of the recent death of jazz icon Hilton Ruiz in New Orleans and the need for the National Guard to patrol the streets. Did I really need that? Water? Electricity? And, more troubling, was it okay to enjoy a big book party while most of the city was still devastated and the people were still suffering?

I learned that Luis Rodriguez, Jr., Ana Castillo, Sergio Troncoso, the Iguanas and Dr. José Cuellar (Dr. Loco) had agreed to participate. All good gente, writers and artists I respect and trust to understand the implications of the conference. Plus, Rosemary let me know that this event was part of the rebuilding of New Orleans. It had been canceled last year and now it was back, just like the city. The people and city of New Orleans needed events like this literary soiree – good for the spirit and the city’s pocketbook.

So I found myself in the Hotel Monteleone, itself a New Orleans symbol of a storied and very literary past, for Words and Music: A Literary Feast in New Orleans, November 1 - 6, 2006. Turned out, good thing I went. (Photos at bottom of this post).

Here are some of the sessions and events at the conference that might be of interest to readers of La Bloga.

A New Key to Success: The Art of Blogging With The Masters. This panel featured Luis Rodriguez, Ron Hogan of Beatrice.com and Galleycat, and yours truly. I thought of this session as an appetizer for the feast. Just enough to get the juices flowing and keep the customers in their seats. We talked about blogs - talked them to death. The panelists all thought that blogs are a good idea and everyone should click on our links to be in the know. We also agreed that blogs take a hell of a lot of time.

The Wild Life of the Border and Its Inspiration for Fine Fiction. Now we get to some meat. This was so cool: Luis Rodriguez, Sergio Troncoso, Dr. Loco, and Mary Helen Lagasse dissecting the notion of “the border” and what border violence really means, and Hollywood heavy Anthony Zerbe reading from a violent Cormac McCarthy chapter (is there any other kind?) All the panelists were at the top of their analytical and perceptive game – I hope Sergio’s introduction is preserved somewhere because he spelled it out precisely and directly. In fact, he pointed out one piece of subtle violence in the McCarthy passage: the author named and identified his Anglo protagonist but could only refer to the Mexican antagonist as el cuchillero. Not sure everyone in the audience picked up on Sergio's point but the Chicanos certainly understood the quiet but deadly violence of lost identity and nameless stereotypes.

We Shall Overcome With