Magic Night, Noche Mágica

This is one of my new picture book manuscripts. I hope it would become a picture book in the future.

MAGIC NIGHT, NOCHE MÁGICA

Story Copyright © by René Colato Laínez

Once a year, I have a double delight.
Two nights in a row, I have tons of fun.
First I have a magic night and then I have una noche mágica.

My Mamá and Papá help me carve a big pumpkin.
Triangles, circles, goggled eyes, knives going up and down and around and around.
We light the candle inside and the jack-o’-lantern casts a giant shadow.
Magic night, Halloween, here I come!


When the moon smiles and the stars twinkle, I make holes in a blanket and become a mean ghost.
“Boooo!” I holler and dash to the door. My friends are waiting for me.
Magic night, Halloween, here I come!

We knock at our neighbors’ doors.
“Trick or treat,” I say and smile from ear to ear.
Big, round, colorful, tasty candies fill my bag.
Magic night, Halloween, here I come!

Spooky music starts, children parade, everyone claps.
A little mermaid shakes her tail. A pirate carries a treasure chest.
I moan and move my arms, “Boo!”
Magic night, Halloween, here I come!

In the haunted house, bats fly in the ceiling. Spider’s webs cover the doors. A mummy follows us.
Magic night, Halloween, here I come!

Back at home, we eat our candies and tell scary stories.
“Too bad Halloween is over,” my friends say.
“This is only the beginning. I invite all of you tomorrow to una noche mágica.”
¡Noche mágica, día de los muertos, aquí voy!


My friends help me spread a white tablecloth on our table. We put marigolds in vases and light the candles.
“Uno, dos, tres, cuatro, cinco,” we say.
Then we put my abuelitos and tíos pictures on the table.
“¡Noche mágica, día de los muertos, aquí voy!”

My friends and I draw and cut bones. We put them together and make calacas.
We dress them with fancy hats, colorful skirts, and elegant suits.
“La Catrina and Señor Calavera!” we say, dancing with the skeletons.
“¡Noche mágica, día de los muertos, aquí voy!”

“The sugar skulls are here!” Papá says.
“Bravo!” we all cheer.
We decorate the skulls with beads, feathers and colored foils. We write our names on the skull’s foreheads.
“¡Noche mágica, día de los muertos, aquí voy!”


“It is time to bake pan de muerto,” Mamá says.
“We are ready to help,” I say as my friends and I roll up our sleeves.
We mix water, yeast and flour in a bowl. Then, we add eggs, milk, butter and sugar. We roll the dough to make bones.
“¡Noche mágica, día de los muertos, aquí voy!”

We carry the delicious dishes to the altar: abuelito’s favorite mole, abuelita’s yummy carne asada, and tíos’ special hot chocolate.
We lick our lips.
“¡Noche mágica, día de los muertos, aquí voy!”

Mamá and Papá tell us stories about my abuelitos and tíos. We dance to their favorite music, cha cha cha. The windows open and cool air touches my cheek. The breeze hugs and kisses me just like my abuelitos and tíos used to do.
“¡Noche mágica, día de los muertos, aquí voy!”

We eat the yummy food. Then we go outside and listen to the mariachi music, visit the cemetery, and have a great time.
Yeah! Once a year, I have a double delight.
A magic night and una noche mágica.
Next year, you are invited too!

Review: Walter Mosley. Blonde Faith.

Hachette. ISBN:0316734594 978031673459. 2007.


Michael Sedano

If Blonde Faith had been the first Easy Rawlins novel I’d read, I’d probably be distracted by its frequent references to events in the previous novel in the ten title series. I might even stop, go read number nine, then pick up Blonde Faith, to make sense of the abject depression that grips Rawlins as the book opens. Not a bad plan, the two read as a continuation of one another.

Rawlins’ relationship with Bonnie deteriorated toward dissolution in the prior story. Now Bonnie’s announced marriage to the prince consumes Easy with regret. Circumstances deny the detective any chance to wallow; Mouse has gone into hiding behind a shoot-to-kill LAPD warrant and Christmas Black’s adopted daughter has landed unannounced on Easy’s doorstep. Easy has to prove Mouse innocent and solve the mysterious disappearance of the ferocious Vietnam commando.

Easy is left on his own for almost the entire novel, turning to the computer guy and the curandera from earlier stories, for clues to tracking down the absent comrades. The violently bloody trail of the missing friends keeps readers turning pages to see how the ex-janitor card-carrying detective solves another puzzle.

Much of the action takes Rawlins into the white world. Easy’s confrontations with white guys often leave a bitter taste in a reader’s experience, even after Mosley might cap off matters with a delicious irony and Ezekiel Rawlins getting over. In Blonde Faith, racial interactions have changed in Easy’s L.A. An L.A. cop has become Easy’s snitch, a decent guy. Other white people, like the old detective mentor, or a restaurant manager, help balance out the crap that comes Easy’s way just because he’s black. In one scene, a snooty hostess tries to humble Easy and his fancy date, but Easy’s grateful former client the manager humiliates the woman instead, assigning her to wait on Easy and his date through a compliments of the house fancy dinner. It’s an indication of Mosley’s mastery of irony that he lets the event speak for itself, he doesn’t editorialize on the white woman’s experience. It’s an interesting silence in that Mosley rarely misses an opportunity to highlight everyday gestures of racial expression.

The Easy Rawlins series has long been a reliable source of reading pleasure. The mystery’s only part of the fun. Much comes from observing Rawlins and Mouse make their way through black and white L.A. like a Jekyll and Hyde, the one works with reason the other pure anger. Sometimes the one is as good as the other. But times change, and as the Rawlins saga continues we read about a more tolerant California. Easy’s beginning to slow down--despite his bedding two luscious fantasies—it’s been forty years since Easy left the Army. And it’s obvious Mouse is heading for a big fall.

What comes next? Mosley started then stopped the Socrates Fortlow story. Fearless Jones and Paris Minton have lots of possibilities and were last seen only last year, que no? A ver. I hope the author will explore the Rawlins clan. An early Easy Rawlins story has the detective rescue a Mexican boy, Jesus, from a pederast. This introduces an East L.A. story line and set of characters. Now Juice is all grown and ready to take on his own story.

That’s the final week of October 2007. October. See you in November.

Guest columnists always welcome. It's been La Bloga's pleasure to welcome so many guests recently. If you'd like to join us, drop a line here or leave a comment with your idea.

mvs

SPOTLIGHT ON GONZALO BARR

Gonzalo Barr was born in Miami. He says that he learned to speak English by watching television when he was a very young boy. Barr notes that his first English words were, “Please stand by. We are experiencing transmission difficulty.”

In high school, Barr says that he skipped class to read in the school library. He sat at a table where he could see the bay and the sailboats. The librarian knew exactly what he was doing, but never called him on it. He read everything by Camus and Vonnegut, and wrote short stories. Two of his stories were published in the school literary magazine. He also read García Márquez, Borges, and Cortázar.

Barr wistfully notes that college and the years that followed were devoted to getting an education, which left little time for writing, then to learning practical things, like how to earn a living, which sapped all desire to do anything else. Barr earned his undergraduate degree at Columbia University, then spent three years studying medicine at Pontificia Universidad Católica Madre y Maestra, and eventually earned his law degree from the University of Florida in 1990. He is a litigator with the Miami office of Shook, Hardy & Bacon, an international law firm currently in its 117th year.

But Barr had the spirit of literature burning bright in his soul. He read or re-read classic literature from Homer to Hemingway and wrote his first novel, an unfinished work filling nine notebooks with tiny handwriting. Barr says that everything came together in 2000, when he enrolled in a writing class taught by Leejay Kline. Since then, he has attended the Seaside, Wesleyan, Kenyon, and Bread Loaf writers’ conferences, where he studied under John Dufresne, Christopher Tilghman, and Julia Alvarez. His stories were published in Gulf Stream and The Street Miami. In 2005, he won the Bakeless Prize for Fiction, awarded by Bread Loaf and Middlebury College, for The Last Flight of José Luis Balboa, which was published in 2006 by Mariner Books.

Of his short-story collection, Entertainment Weekly said: "Set in Miami, these nine stories are an entertaining end-of-the-mojito-season read. The first seven tales are amusing enough to tide you over till the last two, more intricate gems, including Gonzalo Barr's title story … about three people whose lives become interconnected, a la director Alejandro Gonzalez Inarritu's films."

Even as he practices law, Barr is working on a novel. He kindly agreed to answer a few questions for La Bloga:

DANIEL OLIVAS: You're a lawyer by training and profession. Why did you decide to start writing fiction?

GONZALO BARR: First, thank you for inviting me to La Bloga. Saludos to you and to all your readers. To answer your question: I don't think that writing is a decision. It is a vocation. You are a writer or you are not a writer. If you are a writer, then you have to write. You are constantly making up scenes in your head. You feel an unalloyed joy when you can remake those scenes into living words. And when you can't or you won't, you pay for it in many, subtle ways.

OLIVAS: What do your fellow lawyers think of your "other life" as a writer?

BARR: I was concerned at first. I thought that when the book became public, I would be summoned into a windowless conference room for a meeting with two partners and the department chief, all very Berlin circa 1971 -- a single hooded lamp with a overly bright bulb swinging over my head. But it didn't happen that way at all. My colleagues have been very supportive. Dozens of people from my office in Miami attended the book launch at Books & Books and a good number from our San Francisco office attended my reading at Cody's. I'm very grateful to them for that.

OLIVAS: How important is your Cuban heritage to your fiction?

BARR: You may be surprised to learn that I'm not Cuban. I could be, though. I can talk to you in any number of Cuban accents and probably fool you. But my maternal family lives in Dominican Republic, where they have been living since the first one came over in the late 1600s to drive the French off the western end of the island. My paternal family came from Scotland (therefore my mongrel name) in the late 1800s and settled in Peru. There are four of us living in the U.S. I spent my childhood and early adulthood playing cultural hopscotch. During summer vacations, I visited my grandmother in Dominican Republic. After high school, I left Miami to attend college in New York. Each time I left to live elsewhere, I discovered what I was not. After several absences and lot of nostalgia, I found my cultural center. It is here in Miami. Although we have people from several nationalities, they are colored by the one thing that makes us all from here, even those of us who were originally from somewhere else. That's what is so unique about this city. If you look at the stories in The Last Flight of José Luis Balboa, there are characters from several Latin American countries.

OLIVAS: Did you have any mentors when you first started writing?

BARR: John Cheever wrote that writers largely teach themselves. The same happened to me. For years, I wrote and read books about writing, and wrote some more, all by myself. There were also the novels that changed my life, that made me realize what a writer can do with words. And there was experience too. Experience gives you the raw material that you hone into stories and it gives you the knowledge of how to hone that material. There are no child prodigies in literature. On the other hand, Leejay Kline made it come together in a course that he taught in 2000. Suddenly, those rules I had read, like Show Don't Tell, made sense and I had my first publishable story, which was "Braulio Wants His Car Back." Come to think of it, there are nine stories in the collection and I wrote a first draft of five of them in that class. I don't think we met but six, maybe eight times.

OLIVAS: Are you currently working on another book?

BARR: Yes, I'm writing a novel in which the protagonist is Silvia Duany. She was the young girl in "A Natural History of Love," the longest story in the collection, almost a novella. In the story, she was 16 years old. In the novel, she is 22, has recently completed her first year of law school, is involved with an older man she does not love, reads Montaigne a little too closely, and is seriously examining her life.

OLIVAS: Thank you for spending time with La Bloga…and I’m sorry I assumed you were Cuban!

The Nightlife of Saints

By Fernando Castro
TA'YER BOOKS

paperback; $15.00; 96 pp.

Book Review by Tobey Kaplan

Poet Fernando D. Castro is the master of the collage, combining the prose line of swaying thought with the impulses of verse, intersecting family and relations, social injustice manifestos and pop media diatribes, along with our day-to-day survival as memories surface and surge -- and we cannot help ourselves getting caught up in the effervescent vortex of idea and statement and memory and reflection, word and object, a cultural menudo spicy and sassy liberating in this telling of story and rhythmic delight; and we don't want to stop really, we want to soak it all in, bathe in his chutzpah of poetic discourse:

…..It is October on Chickasaw but the jasmines have been generous tonight--
it smells like February,
about the time my friend Mark comes to visit from up north.
He oohs and aahs at the scents carried down the street,
no more chichat about lovely San Francisco.
This scent forgives the skunk and garbage of Tuesdays,
a scent without visible flowers as Mark and I look down the street do neighbors hide the flowers in the safety of backyards.
The sprayed aroma spices the dullness of our 'hood,
and the pooch and master processions delivering turds.
I confess I do my share of master sniffing without rewards….

(from "Moon Over Chickasaw")

Fernando's home is in his poetry and longing, his mix of the serious and insane -- breaking down his familiar locations as he invites into his visits and visions, to cover this territory we want to know and want to avoid. Fernando tells us we cannot escape the roots that have enabled us to grow:

….My cousins who live in the burbs scared of the old downtown
stared at me like an apparition of their dad,
my uncle Julio, a man detested by my father, a melancholic stocky man
who distained my father's peasant roots.
Yes, I said pleasantries to those gathered with a Columbian tamal to greet me.
Everything familiar, everything spooled in a gray diagram of gray conventions.
I always dread the price of return.

(from "Assigned Drivers")

But I am most willing to give into his voice of desire, whispering throughout his tenderly impressionistic and surreal love poems:

….The deer are loose. Hear the hoofs beyond.
Small rooms open and close
their doors and windows, look out
to the smoky iris of your fixed stare.
I receive you,
breathe your body
as a solid gasp of air.

(from "Calling All, Calling All")

And through it all, Castro's poems of spinning and weaving, we're invited into his rhythmic mastery -- engaged with political sensibility and personal histories, spiritual forces and philosophy learned through "the nightlife of saints.” We're into these poems for the thrilling ride, the revolution and revelation of whatever and wherever his linguistic energy and spontaneously practical musings can take us.

*****

Tobey Kaplan, a poet originally from New York City, has been teaching in the San Francisco Bay Area for almost thirty! years. An adjunct faculty member at several East Bay/SF Bay Area community colleges where she teaches literary studies, reading and composition, Ms. Kaplan also has a long-term involvement with California Poets in the Schools. She has given readings, workshops and presentations throughout the country for writers and teachers regarding creative process, literacy and social change. Honors include: numerous artist in residence awards through the California Arts Council, Dorland Mountain Colony Fellow, and Affiliate Artist at the Headlands Center for the Arts, recipient of a Bay Area Award (New Langton Arts, 1996). Among her publications are Across the Great Divide (Androgyne, 1995) and her poems are contained in numerous literary anthologies and on-line publications such as Red River Review.

Cruising with Nayto

By Alvaro Huerta

I have always been nervous about visiting my old neighborhood.

One day, my brother Salomon—a renowned artist—invited me and my two other brothers, Noel and Ismael, to meet him at the Ramona Gardens housing project in East Los Angeles, where we grew up.

My brother had to retouch his mural in memory of Arturo “Smokey” Jimenez, who was wrongly killed, according to many witnesses, by the cops in 1991. The killing sparked days of protests and riots from local residents against a long-time history of police brutality and harassment in the neighborhood.

Two days later after receiving Salomon’s invitation, I drive my silver ‘67 Mustang to the projects.

More than twenty years ago I left the projects to go to UCLA.

I’d feared returning to my old neighborhood ever since, not knowing how my childhood friends and local homeboys would receive me.

I’d abandoned them all: Buddy, Herby, Ivy, Chamino, Peanut Butter, Nayto and Fat Ritchie--there is always a fat kid. I left them in a hostile place. Together, we were safe. Separated we became vulnerable.

My heart pounds as I approach the graffiti-decorated projects. I park at the Shell gas station on Soto. I look at the rear-view mirror as I comb my dark black hair slicked with Tres Flores and remind myself that this is where I come from. I regain my composure and slowly don a stoic look. I re-start the engine, cruise over the railroad tracks and speed bumps, pass the vacant Carnation factory and park in front of La Paloma Market—two blocks away from the Smokey mural.

Getting out of my car, I notice that I am early and am quickly confronted by the homeboys.

“Where are you from, ese?”

Before I can answer, a stocky homeboy replies, “Hey man, leave him alone. I know the guy. We go way back.”

“Fat Ritchie, is that you?” I ask, relieved.

“Yeah, man,” he says, as he welcomes me with a bear hug.

“Hey bro, how’d you get so buff?” I say, amazed at his transformation from the neighborhood fat kid to the muscular gangster. “Where do you work out? Gold’s Gym?”

“San Quentin State Prison.”

“Oh,” I say. “Hey, man, have you seen Nayto?”

“I don’t know what happened to him,” Fat Ritchie responds. “Most of the guys are either dead, in jail, on drugs or moved away. Only the dedicated ones stuck around to protect the neighborhood.”

As kids, we roamed the projects without scared parents dictating our every move. Life was simpler back then. We were a bunch of kids hanging out, playing sports and getting into trouble. Every time we got into trouble, Nayto seemed to have something to do with it.

I remember the summer of 1981. Baseball season had just started. It was a hot Sunday morning. We met, like always, in front of Murchison Street School. We had no park to play ball so we played on Murchison’s hot asphalt playground. We brought our cracked bats, old gloves, ripped based balls and hand-me-down uniforms.

One by one, we scaled the school’s eight-foot fence. Most of us climbed like Marines performing boot camp drills. But Fat Ritchie struggled. Like many other times, he found himself sitting atop the fence as Buddy shook it.

“Don’t mess around, man,” Fat Ritchie said.

“Hey Buddy,” said Nayto, “leave him alone or else I’ll kick your ass, again.”

On the playground, we picked teams. As we did, Nayto ran off without a word. The game was never the same without Nayto. We missed his home runs and wild curveballs. But the game must go on, and we started without him.

Short a player, the captains argued over the odd number of players to pick from. They decided that the team with fewer players got Fat Ritchie.

As the game began, we heard a noise coming from the storage area, adjacent to the empty bungalows with the broken windows.

“It’s just Nayto messing around,” yelled Chamino from right field.
In the bottom of the third inning, Nayto finally emerged from the storage area. He raced across the playground with his clothes drenched in motor oil.

“Nobody say shit or else,” he said, as he ran by.

“What did he say?” asked Buddy.

“Nothing,” I replied. “Let’s keep playing, it’s just Nayto trying to scare us.”

“Come on, let’s play,” said Herby. “I need to go home before I Love Lucy starts.”

A few minutes later, a LAPD helicopter appeared over the school’s storage area. Five police cars surrounded the school. Before we could run, the cops cut the chained fence and stopped our game.

We knew the routine. We got down on our knees, put our hands behind the back of our heads and waited to be spoken to. “Did any of you punks see a kid run through here a few minutes ago?” said the tall, white cop. “He’s about five feet tall and full of oil.”

Following the neighborhood code, we all stayed quiet and looked baffled.

“Fine,” said the exasperated cop. “I want this playground cleared before I arrest all of you project kids for trespassing.”

The cops drove off. We slowly picked up our bats, gloves and balls to leave the school. Out of nowhere, Nayto reappeared on the playground and again broke into the storage room. He emerged carrying a large, oily item. Fat Ritchie checked out the storage room.

“Nayto ripped off Toney-the-Janitor,” said Fat Ritchie in a panic.

We all ran home before the cops returned.

Days later, as we played in the parking lot, Nayto cruised by in a gas-powered go-cart. We chased after Nayto in our bikes and skateboards to get a look at what he was driving.

It wasn’t a typical, wooden go-cart that had to be pushed from behind. It was a customized, low rider go-cart—cherry red, with velvet seat covers, a leather steering wheel, and small whitewall tires with chrome-plated, spoke rims. The engine was positioned in the back, like a VW bug. It was a gem.

“Where did you get the go-cart?” I asked with great envy.

“I made it myself,” Nayto said.

Aware of his tendency to exaggerate, I examined the go-cart. The frame consisted of parts from Nayto’s old bike. The seat, under the velvet cover, was a milk crate from La Paloma Market. And I will never forget the steering wheel. Nayto took it from the ’85 Cadillac Eldorado convertible the homeboys left in the parking lot before they torched it. It still had the shiny Cadillac logo in the center. The engine looked familiar.

I couldn’t figure out where I’d seen it.

“Read what is says on the engine,” Nayto said, impatiently.

I took a second look at the oily engine. I read aloud with a look of confusion, “Property of M.E.S.”

“Are you a dummy or what?” Nayto asked with a smirk. “Murchison Elementary School.”

“Oh, man!” I said like a good detective. “You stole that…I mean you borrowed that from the storage room when the cops were looking for you at Murchison.”

“Why do you think they haven’t cleaned the play ground anymore,” he said. “Do you remember that big vacuum cleaner that Toney-the-Janitor drove after school when he would chase all the kids who stayed late after school.”

“Yeah, he almost hit me one time,” I said. “How about a ride?”

“Get on before the cops come by,” he replied.

We cruised the projects in his customized, low rider go-cart until we ran out of gas. Luckily, Nayto was always prepared. He had a small water hose handy and I volunteered to siphon some gas from an abandoned Toyota truck. I can still taste the gasoline in my mouth. But that ride was worth every drop I swallowed.

Those were the days.

I still wonder what became of Nayto.

[Alvaro Huerta is a writer, social activist and doctoral student at UC Berkeley's Department of City and Regional Planning. He lives with his wife Antonia and 8-year-old son Joaquin. One of his short stories is featured in the forthcoming Latinos in Lotusland: An Anthology of Contemporary Southern California Literature (Bilingual Press). This story first appeared on Sam Quinones's Tell Your True Tale site. Photo credit: Pablo Aguilar.]

A Note fromTeatro Luna

Teatro Luna is so excited to share with you the projects we have coming up! We hope you can come and share in the excitement with us! We are performing a new short play from Co-Founder/Co-Artistic Director of Teatro Luna, Tanya Saracho, SURFACE DAY, commissioned by the Chicago Humanities Festival, in collaboration with Steppenwolf Theatre on Saturday October 27th.

We are also performing S-E-X-OH! at the University of Chicago on Friday October 26th at 6:00pm. MACHOS, our newest ensemble built show opens in just under weeks, with previews beginning 5 November 2007, and Opening Night taking place on Thursday 8 November 2007. Read on to see how you can get involved and support Teatro Luna on these and other artistic endeavors. Happy Halloween!

SURFACE DAY. A new short play by Tanya Saracho. Commissioned by the Chicago Humanities Festival. A collaboration between Steppenwolf Theatre and Teatro Luna Theatre Company Saturday, October 27th @ Steppenwolf Theatre. Saracho is the Co-Founder of Teatro Luna and a resident playwright at Chicago Dramatists. She is the author of QUITA MITOS, OUR LADY OF THE UNDERPASS, and KITA Y FERNANDA. Performances will be followed by discussion among the playwrights, creative team members, and other special guests.

Teatro Luna...Anda performs S-E-X-OH! at the University of Chicago, Friday October 26th 2007!
MACHOS... Teatro Luna's newest ensemble built show opens in November @ Chicago Dramatists!

CONTINUING IN NOVEMBER: OYE-LISTEN and PROYECTO LATINA

Want to get involved? Here are some ways:

-Come to Proyecto Latina or OYE-LISTEN, two free events we offer every month/every other month.
-Are you proactive, enthusiastic, and love Teatro Luna? If yes, then talk to us about joining our Board! With your support we can continue to grow and produce new work.
-Join our Myspace and Facebook

::::::::::::::::::::::::::::::::::::

Six writers were commissioned by the Chicago Humanities Festival, in collaboration with Steppenwolf Theatre to write about climate change. SURFACE DAY is what Tanya Saracho A. came up with.The Lovely and Talented Coya Paz co-directs the piece.

Come and see Teatro Luna ensemble members Belinda Cervantes and Gina Cornejo, with new LUNA friend, Carlo Garcia, as they play post apocalyptic citizens of a new territory called AMEXICA...where "Caucos" (whites) are the minority, Spanglish is the national tongue and NOTHING grows.

Saturday, October 27 | 3pm and 7:30 pm
Upstairs Studio @ Steppenwolf Theatre Company
1650 N. Halsted St.
Tickets $5
.

AND

As part of our annual Caras de América—Latina/o Heritage Month Celebration, the Office of Multicultural Student Affairs is proud to present S-E-X-Oh!, a witty and provocative cabaret-style show performed by members of Teatro Luna, Chicago's first and only all-Latina Theater company. S-E-X-Oh! offers a bold new look at Latina sexuality from the point of view of six very different Latina women. Based on true life stories and a few strategic re-imaginings, it uses Teatro Luna's trademark ensemble-based aesthetic to enter into the taboo terrain of sex, gender, and sexuality. The themes are universal, crossing cultural barriers, and presented with humor and brutal honesty.


The play will begin promptly at

6pm
Gaylord and Dorothy Donnelley Biological Sciences Learning Center
Room 109 924 East 57th St.
Room 109
Chicago IL 60637

Stay after the play for an exciting Q&A session and reception!

This show is co-sponsored by The Center for Latin American Studies (CLAS) and Resources for Sexual Violence Prevention (RSVP).

Lisa Alvarado

Teatro Luna --Bright, Bright Light

Teatro Luna was founded in June 2000 by Coya Paz and Tanya Saracho, with an original ensemble of ten women from diverse Latina/Hispana backgrounds. They came together because they realized that the stories and experiences of Latina/Hispana women were undervalued and underrepresented not only on the Chicago stage, but beyond. Many of them had similar experiences of being asked to perform stereotyped images of that were often one-dimensional and, at times, offensive: spicy sexpots, voiceless maids, pregnant gangbangers, timid "illegal" immigrants, etc. They were also concerned that the few parts written for Latina women often went to non-Latina actresses. They felt that they had to do something. Their answer was Teatro Luna, Chicago's first and only all-Latina theater.

En el Futuro, they plan to perform published pieces and original works by new and established Playwrights along with their own original works. Teatro Luna is constantly looking for new works written by Latinas/Hispanas or about Latina/Hispana women.

If you'd like to make a submission, send a copy of your script to Reading Series Director, Teatro Luna, 5215 N. Ravenswood, Suite #210, Chicago, IL 60640 or email her at nrey1@msn.com. They look forward to nurturing la voz de la mujer Latina inside their artistic home, to giving Latina/Hispanas of all backgrounds an opportunity to tell their story.

In the meantime, a large percentage of their energia is spent on creating original pieces, developed by the ensemble. This has prompted the creation of the "Teatro Luna Developement Process." Poco a poco, the ensemble developed its own vocabulary and artistic vision which improves with every project. The ever changing process is described below. Ensemble members share stories, memories, ideas and thoughts with each other in a brainstorming session.

1 Members then bring in written stories, monologues, or more specific research to propose specific ideas for pieces.

2 During workshop/rehearsal, members divide into smaller groups (2-4 people) and experiment with adding movement, chorus, additional characters and other stylistic devices to the stories. The responsibility of these smaller groups is to find two or more dramatically different approaches to present the idea/story.

3 Versions of the story are "presented" or "pitched" to the rest of the ensemble, who critique and comment on the proposal. Often, different actresses will "try on" the same role to further expand and explore the possibilities of the subject and style of the piece.

4 Once the ensemble has chosen a "format", the scene is improvised several times (with the game of "character musical chairs" described above). The women who are watching write down character traits, story concept and themes, and any dialogue that stands out (at times particularly lively workshops have been videotaped).

5 The scenes are then scripted by an ensemble member and presented to the group in an "official" version.

6 Creating doesn't stop there. The rehearsal process remains open. Although actors work from the script in a relatively traditional manner, the entire process involves on-going discussion and collaboration from the ensemble. A couple of times, a finished scene or two were not finalized until a few hours before opening.

7 This is the "official" teatro luna process when developing original works, but they continue to refine and expand it to fit their needs, practicing our techniques in on-going workshops that include both established Teatro Luna members and newer Artistic Associates and Friends.

TEATRO LUNA ENSEMBLE

COYA PAZ (co-founder/co-Artistic Director) was raised in Peru, Ecuador, Bolivia, Columbia, and Brazil, and moved permanently to the United States in the late 1980's. She is a Doctoral Candidate in the Department of Performance Studies at Northwestern University, where she also holds her MA. She has collaborated with Teatro Luna on all of our ensemble built projects (Generic Latina, Dejame Contarte/Let Me Tell You, The Maria Chronicles and S-E-X-Oh!) Additional Chicago acting credits include Impassioned Embraces, Etta Jenks, Death of a Salesman and Baby Boom En El Paraiso.

Directing credits include The Maria Chronicles and S-e-x-Oh! (with Tanya Saracho), The Drag King Rooftop Karaoke Hootchie Cootchie No Name Show and Musical Latin Extravaganza (with Michelle Campbell), Diane Herrera's The Dress and Marisabel Suarez's Three Days (part of Teatro Luna's Sólo Latinas Project). She has appeared in numerous independent film and performance projects, and enjoys singing in the shower. Coya is a contributor to the Oxford University Encyclopedia of Latino/as in the United States, and is committed to using performance as a strategy for social and individual change. coyapaz@yahoo.com

TANYA SARACHO (cofounder/co_Artistic Director) is a proud Co-Founder of TEATRO LUNA: Chicago's All-Latina Theater Ensemble and a Resident Playwright at Chicago Dramatists. She was born in Sinaloa, Mexico and moved to Texas in the late 80's. Saracho attended Boston University where three of her plays, Miss Norma and the Alligator, Maya Takes a Moonbath and La Dueña, received Premiers. Tanya has studied writing with Maria Irene Fornes (Latin Am. Writers Retreat), Derek Wolcott, Kate Snodgrass and Claudia Allen. In Chicago, La Dueña received a staged reading at the Tony-Award-winning, Victory Gardens Theatre. Also while in Chicago, her writing has been featured in all of Teatro Luna's ensemble-built works including Generic Latina, Dejame Contarte, The Maria Chronicles, SOLO Latinas and S-E-X-Oh! Saracho's play Kita y Fernanda received a full production at Luna in early 2003, along with a reading at Repertorio Español while a finalist for the 2003 Nuestras Voces playwrighting competition. Other Awards include: The Ofner Prize given by the Goodman Theatre and Christopher B. Wolk Award at Abingdon Theatre in NYC (finalist).

Directing (and co-directing) credits include: The remount of Generic Latina, Piece of Ass for Estrogenfest and The Maria Chronicles for both the Goodman's Latino Theater Festival and the critically acclaimed full-length run at Teatro Luna, S-e-x-Oh!, Que Bonita Bandera and Three Days for SÓLO Latinas, and the upcoming Knowhatimean written by Idris Goodwin and Kevin Coval.

Chicago acting credits include: Sandra in Living Out with American Theatre Co./Teatro Vista, Vecina in Electricidad at the Goodman Theatre, The Angel in Angels in America, and Martirio in La Casa De Bernarda Alba with Aguijon Theater. In the winter of 2005, Saracho premiered her solo play To Red Stick at Chicago Dramatists, in Teatro Luna's critically acclaimed evening of solo work, SÓLO Latinas, which was later remounted in the 2005 Theatre-On-The-Lake Season. Tanya's voice can be heard around the country in many radio and television commercials. TeatroLuna@aol.com

DANA CRUZ (artistic ensemble) loves the ladies de Teatro Luna and is excited to team up with them. Recent Chicago credits include the Let the Eagle Fly at the Goodman's Latino Theater Festival, Maria Chronicles, and S-E-X-Oh! with Teatro Luna and Generic Latina with the touring company Teatro Luna... Anda, CityGirl & Game/Place/Show with the Neofuturists and Acts of Mercy by John Michael Garces with Flushpuppy Productions to name a few. She has performed professionally with companies in Chicago, New York and Boston and is currently teaching theater at Our Lady of Tepeyac High School and working as a massage therapist in Evanston, IL. She is an Aries. She hates talking about herself in the third person and is oh so excited to be marrying the T-man on June 2005. danamarieelez@hotmail.com

MIRANDA GONZALEZ (artistic ensemble/touring director) is an original founding member of Luna. Teatro Luna credits include the original production of Generic Latina, Probadita, Mas Probadita, both the New York and Chicago mountings of Dejame Contarte, SOLO Latinas and S-E-X-Oh! She has appeared in numerous industrials and commercials in the midwest, as well as the dearly departed Joan Cusack television series What About Joan? where she played a recurring role. Miranda is a loan officer and mother by day, and a Lunatica by night. mlina13@yahoo.com

suzette MAYOBRE(artistic ensemble) comes to us from the sunny state of Florida, where after a life of sun and fun, she decided to move to the bitter cold of Chicago! Fortunately, she met the wonderful ladies of Teatro Luna, who have made the transition easier and have provided her with numerous opportunities to nurture her art. Her roots in entertainment were planted while at the University of Miami, where she co-hosted a live, weekly morning show, worked at the university radio station, and produced a feature-length documentary entitled Last Night In Cuba, which she holds very dear to her heart. After receiving her degree in Broadcast Journalism from the University of Miami, she decided that she wanted to pursue her acting. She has worked on several commercials, industrials, voice overs, independent films and television, most recently as a guest reporter for Control, a Univision Network program. Her theater credits includes work with Teatro Luna, Teatro Vista, Salsation! and Eclipse Theatre among others. giugno10@aol.com

maritza Cervantes (artistic ensemble) is a Mexican-American actress/musician/artist born and raised in Chicago. Past credits include: Al son..que me toques Lorca La Molecula Artistica: Nido del Mar, La Casa De Bernarda Alba, Aguijon Theatre, Polaroid Stories, En Mortem Flush Puppy Productions, and S-E-X-Oh! with Teatro Luna. Maritza is Co-founder of the acoustic/hip-hop/soul influenced musical outfit the LUNA BLUES MACHINE. mari2420@aol.com

yadira CORREA (artistic ensemble) Crazy curly haired Puertorican who's acting credits include: Vagina Monologues, For Colored Girls/Who Have Considered Suicide When the Rainbow is Enough, María Chronicles, Sketchbook and S-E-X-Oh! yco76@hotmail.com

CURRENTLY PLAYING:
MACHOS

November - December 2007 at the Chicago Dramatists Teatro Luna is doing WHAT???? This fall, presentamos A new play by Teatro Luna.

MACHOS: Be a Man?...
Men. Women. Women dressed as men. Teatro Luna, Chicago's All-Latina Theater Company, announces the world premiere of MACHOS, an interview based play about contemporary masculinities. In 2006, frustrated with boyfriends, brothers, and bosses, the company of Latina women set out to answer the question: what are men really thinking?

The result is MACHOS, a performance drawn from interviews with 50 men nationwide and performed by an all-Latina cast in drag. From a young man's relationship with his correctional officer father to man cheating on his wife with himself, to an epic confrontation between fraternity brothers, MACHOS presents a range of true-life stories with Teatro Luna's trademark humor and unique Latina point of view.

MACHOS follows the critically acclaimed shows S-E-X-OH and LUNATIC(A)S and moves beyond the everyday stereotypes of gender, offering a complex look at how 50 men (and eight Latina women) learned how to be men. As always, Teatro Luna is cheeky, straightforward, and willing to ask even the most hard hitting questions: exactly how did you learn to use a urinal? MACHOS is presented In English with a sprinkle of Spanish.

MACHOS
Developed and directed by Coya Paz . Created by El Teatro Luna. Coya Paz is the Co-Artistic Director of Teatro Luna, and was named one of UR Magazine's 30 Under 30 in 2005 and one of GO NYC! Magazine's 100 Women We Love in 2007. She was the 2006-2007 Artist-In-Residence at the Center for the Study of Race, Politics, and Culture. Previous collaborations with Teatro Luna include Generic Latina, Dejame Contarte, The Maria Chronicles, and S-e-x-Oh!

Chicago Dramatists 1105 W Chicago Ave Chicago, Il 60622 Previews: November 5, 6, 7 @ 7:00 pm Runs: November 8th 0 December 16th 2007 Thursdays, Fridays, & Saturdays at 7:30 pm & Sundays at 6:00 pm

For more information, please call 773-878-LUNA or email us at: info@teatroluna.org

AND MORE GREAT NEWS

Tia Chucha's Centro Cultural & Bookstore
presents:
A SPECIAL AUTHOR READING & BOOK SIGNING with BETO GUTIERREZ

A Sentence with the District
A compelling collection of essays based on the actual experience of a former at-risk youth who became an inspired teacher at his alma mater high school in the San Fernando Valley. The stories reveal a moving glimpse into LAUSD, the nation's second largest school district, which repeatedly fails students of color and those on the front lines -- classroom teachers. The author sheds insight from a first person point of view that others, including administrators, dare not mention. In its frank and passionate tone, the book raises key issues that underscore a dire need for change.

SATURDAY Oct. 27th at 1p.m.
PICK UP YOUR COPY TODAY AT TIA CHUCHAS!
Tia Chucha's Centro Cultural & Bookstore
10258 Foothill Blvd.
Lake View Terrace, California 91342
(818)896-1479

Celebrate with Amigas Latinas!

SAVE THE DATE!!


November 3, Saturday

¡Siempre Latina!
Gala Dinner

Garden Manor
4722 W. Armitage
Chicago, IL
Tickets:
$60 advance
$70 at door

Available:

Mestiza
1010 W. 18 Street Chicago, IL
312 563 0132

Early to Bed

5232 N. Sheridan Rd. Chicago, IL
773 271 1219

Lisa Alvarado

Highlights Fiction Contest 2008 and PaperTigers' Interviews

René Colato Laínez


Three $1,000 Prizes to Be Awarded in Fiction Contest

Highlights for Children will accept submissions to the publication's 29th annual fiction contest during the month of January 2008. The contest is open to anyone interested in writing for children and three winners will receive $1,000 each.

For this year's contest, Highlights seeks stories set in the future.

Under contest rules, any unpublished story is eligible, whether submitted by a professional or a new author. Previous winners have included both published and first-time authors.

"Kids deserve the best, and we've long been committed to doing all we can to help raise the quality of writing for children," said editor in chief Christine French Clark. "Encouraging children's writers is what we do every day, but this annual contest allows us to recognize them in a special way. It's especially gratifying when we discover new talent."

Contest guidelines state that all entries must be postmarked between January 1 and January 31, 2008. The stories should not exceed 800 words, and they may be considerably shorter for younger children. Stories glorifying war or crime or containing violence or derogatory humor are not acceptable.

Manuscripts or envelopes should be clearly marked "Fiction Contest." Those not marked in this manner will be considered as regular submissions to the publication. There is no entry form or fee. Authors who wish their work to be returned should enclose a self-addressed stamped envelope with each submission.

The three contest winners will be announced on Highlights.com in June 2008. Winning manuscripts become the property of Highlights and will appear in the periodical at a later date. All other contest submissions will be considered for purchase at regular rates and terms. A list of winners will be sent by mail if a self-addressed stamped envelope is included with submissions.

Highlights also accepts the submission of articles, stories, and fillers throughout the year.

For guidelines or additional information, write to Fiction Contest, HIGHLIGHTS FOR CHILDREN, 803 Church Street, Honesdale, PA 18431.

PAPERTIGERS' INTERVIEWS

PaperTigers is a website about books for young readers, with a special focus on the Pacific Rim and South Asia, that offers a wealth of book-related resources for teachers, librarians, parents and all of those interested in the World of young readers’ books. This month, they interviewed Gary Soto and Amada Irma Perez. Take a look at these fantastic interviews at http://www.papertigers.org

Lear at Royce. Nokia Hall Opens in LA. Bits & Pieces

Michael Sedano

A ticket to Royce Hall this week brings a hot return on investment if scalpers can be trusted. Tickets to King Lear command upwards of $3000 per ducat from a scalpee. Come let us see which of our fans loves us most!

My pair of balcony seats would scalp for around $800 each, which isn't worth the hassle so I'll keep them and attend in propria persona. I bring binoculars and gladly take a relatively comfortable seat in the big old lecture hall doing double duty as a Shakespearean stage.

I am happy I did not scalp tickets to the opening concert of Los Angeles' latest experiment in urban gold mining, Nokia Theatre L.A. Live. Content aside, I'll avoid Nokia.

I ordered my wife our anniversary present for the Dixie Chicks, who, I learned, would open for The Eagles, in the inaugural event at a brand new venue.
Linked by pedestrian space to Staples Center and Los Angeles Convention Center, and new hotels in the works, the developer hopes to turn this into an entertainment nexus. To add to its distinction, it has banned the article "the". Both big attractions, the sports arena and the music hall, bill themselves sans article.

Prior to its renovation, the area featured transient hotels populated by typical raza underclass. When one of those hotels was hit by a rare tornado thirty years ago, I overheard two women outside a ballet studio discussing the news. One remarked to my chagrin, "thank heavens it didn't hit anywhere important!" I wondered if one of those young mothers were among the post middle-age mothers surrounding me at the Nokia for the Dixie Chicks.

I sat row Z last seat on the right and thought I'd be the only mexican in the house when behind me sat a couple fresh out of Sinaloa. Someone unkind would say a couple of chuntys, but they looked right in style with the crowd. I chatted them up a bit, turns out the fellow knows all the words to the Eagles' music and sang loudly the entire performance. Con gusto. Lots of gusto.

Getting to the Nokia is half the confusion. There are new street names that my Prius GPS hasn't yet learned, so navigation is catch-as-catch-can luck. The traffic uniforms answered a query politely, but wrong, leading me through a long way around maze to a point half a block from my starting point, faced with a left turn against oncoming traffic.

Arriving by car directs one to the rear entrance. The neon lit mall and pedestrian space sit somewhere beyond the entrance. Parkers enter directly into the door into a cavernous auditorium. Photographers experience the oppression of no cameras allowed, and the injustice of ubiquitous cell phones twinkling in the darkness like thousands of Tinkerbells.

Nothing distinguishes the interior of the hall. Flat black walls surround the immensity of engineering and construction--no support beams obstruct anyone's view, it's one huge tent. And the show goes on. Sadly, the Dixie Chicks had a bad night. The women sang their bits, the backup guys played theirs at the same time but they never hit it. The Eagles offered a complete performance, satisfying. It's the first time I'd heard their music in one sitting like this and recognize they've earned their reputation. The crowd gave them the kind of wild applause Esa Pekka Salonen got from his Beethoven 7th last month, but with more gusto. That was the best part.

My least favorite experience and this will keep me away for a long time, are the tightly packed, endless rows. To their favor, the Nokia designers leave room enough so my knees don't hit the seatback (unlike many Disney Hall seats). While the absence of aisles means long pan shots for awards t.v. shows, plus hundreds more seats to sell, the uninterrupted rows make a nuisance of thirsty fans. Throughout both performances people trekked from mid-aisle, fifty seats away, to me. Minutes later, they reappeared at my right with two large cups of brew in hand. Across the house the rows did the wave, it wasn't just my row. The Nokia is just too tough a row to how, so I have opted out until something really good comes along. Like a Beatles reunion.

Bits & Pieces. Late news FYI from Berkeley and Los Angeles.

Daniel Alarcón announces South America: Untold Stories. Wednesday October 24, at UC Berkeley, Ted Genoways (Virginia Quarterly Review) Jon Sawyer (Pulitzer Center for Crisis Reporting) and Alarcón will be hosting a panel discussion called South America: Untold Stories. We'll be presenting the current issue of The Virginia Quarterly Review entitled "South America in the 21st Century."

Panelists include:
Filmmaker Gabrielle Weiss screening her film on the Ghost Train of Buenos Aires
Journalist Pat Joseph discussing the environmental impact of soy production in the Brazilian Amazon

Journalist Kelly Hearn exploring Camisea, Peru's largest natural gas deposits, and the race to control it

The work of Etiqueta Negra journalists will also be presented.

South America: Untold Stories
Geballe Room, 220 Stephens Hall
Townsend Center for the Study of the Humanities
UC Berkeley
Oct 24, 6pm

For more information about the magazine, please see www.vqronline.org/south-america
*This event is sponsored by the UC Berkeley Center for Latin American Studies*
www.danielalarcon.com


The Mystery Bookstore
36-C Broxton Avenue
Los Angeles, California 90024
Phone: 310/209-0415 800/821-9017
Fax: 310/209-0436



AUTHOR SIGNINGS AND EVENTS

Saturday, October 27 at 2:30 p.m.
Saturday afternoon begins with a celebration of Latino noir, as local favorite Alex Abella and best-selling Bolivian novelist Juan de Recacoachea discuss their books.

HAVANA NOIR is the 17th in Akashic's series of "Noir" anthologies.

ALEX ABELLA discusses and signs HAVANA NOIR, edited by Achy Obejas
Akashic Books, $15.95 (trade paperback original) and JUAN DE RECACOACHEA discusses and signs AMERICAN VISA. Akashic Books, $14.95 (trade paperback original)

AMERICAN VISA is one of the very few Bolivian novels ever to be translated into English. Unemployed English teacher Mario Alvarez goes from the country to La Paz in an effort to get a visa to visit his son in Miami. But his paperwork is faked, and he needs better documents – which plunges him into an underworld of desperate men and even more dangerous women.


Add your own late-breaking announcements here. Let's see what's happening in your neck of the woods, gente!

At any rate, that's Tuesday, the 23d of October 2007, a day, like any other day, and that's not so bad, que no?

See you next week.

mvs

FRANCISCO ARAGÓN TALKS ABOUT LETRAS LATINAS

Francisco Aragón directs Letras Latinas at the Institute for Latino Studies at the University of Notre Dame. Among the initiatives on the horizon in 2008 are: Latino Poetry Review, an online journal that will publish prose on poetry, and the Letras Latinas Residency Fellowship, a brand new partnership with the Anderson Center for Interdisciplinary Studies in Red Wing, Minnesota. To keep up with Letras Latinas news visit its blog, Letras Latinas Blog.

Aragón kindly agreed to sit down with La Bloga and answer a few questions about Letras Latinas:

Who founded Letras Latinas and what is its purpose?

When I joined the staff of the Institute for Latino Studies (ILS) at the University of Notre Dame, its primary focus was the social sciences. The field I wanted to impact was Latino literature, especially poetry. So I set out to develop initiatives that would support Latino writers. The first two were the Andrés Montoya Poetry Prize and Poetas y Pintores: Artists Conversing with Verse. As I conceived of, and implemented more projects, I came up with a name for the ILS’ literary program. Its mission statement is as follows:

Letras Latinas, the literary program of the Institute for Latino Studies, seeks to enhance the visibility, appreciation and study of Latino literature both on and off the campus of the University of Notre Dame. We are particularly interested in projects that identify and support emerging Latino/a writers. Letras Latinas actively seeks collaboration with individuals and organizations in order to more effectively carry out its mission.

Letra Latinas is issuing a special edition poetry chapbook, Braille for the Heart by Robert Vasquez, to help raise funds. How did the idea of using a chapbook for fundraising purposes evolve?

Around 2004 I officially brought Momotombo Press — a small press I founded in 2000 — to Notre Dame. Long before the fundraising idea surfaced, I’d had in mind to publish a chapbook of Robert Vasquez’s poetry. The project sat on the back burner for a couple of years. And then the fundraising angle occurred to me: About a year ago, I was lucky to secure a generous pledge from a private donor for Letras Latinas: he agreed to match all the money I could raise in 2007 (up to $25,000) in order to start the Letras Latinas Endowment. On the one hand, I knew that I would be soliciting donations from individuals (starting with the co-founders of Momotombo Press). These would be contributions that would often start at $100. But I wanted to figure out a way to get support from individuals naturally sympathetic with Letras Latinas’ mission (like readers of La Bloga, for example), but on a more modest scale. So I thought: Momotombo Press will publish a special limited edition (300) chapbook of Robert Vasquez’s work in order to raise funds for this good cause.

What was Robert Vasquez’s reaction when approached about using his poetry for fundraising?

Well, the private donor who pledged the matching gift guided me. You see, the Letras Latinas initiative that caught his attention and which will be the first beneficiary of the Letras Latinas Endowment is one, I believe, that most people can easily get behind the Letras Latinas Young Writers Initiative. Let me explain: the poet Allison Joseph directs something called Young Writer’s Workshop that caters to high school students and takes place in the summer at Southern Illinois University in Carbondale. Cristo Rey Jesuit High School in Chicago is a dual language school that caters primarily to the Mexican community in Pilsen. Allison had mentioned to me that Cristo Rey students who often wanted to attend her workshop couldn’t afford the tuition. So Letras Latinas, even before the private donor stepped forward with his offer, decided that providing scholarships to carefully selected creative writers at Cristo Rey was very much consistent with its mission. It was the initiative that most attracted my private donor. When I spoke to Robert Vasquez about it, as well as my idea of using his chapbook to raise money for it, he expressed full support. In fact, Robert Vasquez is one of Momotombo Press’ original co-founders. My hope is that people reading this interview will share his view and consider purchasing Braille for the Heart.

How may Braille for the Heart be purchased? How much does it cost?

Momotombo Press is a very modest operation. We don’t have, for example, a Pay Pal situation set up, or anything that would allow for an online purchase with a credit card. So getting Braille for the Heart will require a fairly banal operation: sending me a check (made out to “University of Notre Dame”) and a snail mail address. But before I say how much Braille for the Heart costs, I would like to stress that anyone who purchases this chapbook in 2007 will have their money matched, dollar for dollar, by my private donor.

The price, which includes shipping, is $35. Checks should be sent to me at the ILS office in Washington, D.C.:

Francisco Aragón
Institute for Latino Studies/Notre Dame
1608 Rhode Island Ave. Suite 348
Washington D.C. 20036

Are book readings scheduled?

So far, the only reading scheduled is on March 28, 2008, at College of the Sequoias in Visalia, CA, where Robert teaches. I will be joining him. But it occurs to me that perhaps there might be a way to produce a podcast and make it available on the internet.

Do you have a favorite poem from the chapbook?

It would be hard for me to single out one, but the poem that closes the volume and from which the chapbook gets its name is one of my favorites. I love the way it takes on music as a subject and its masterful use of the tercet. It’s called “The Woodrow Childs Blues” and it originally appeared in a special supplement of Notre Dame Review edited by Orlando Menes. It goes like this:

"The Woodrow Childs Blues"

for the Woodman

Tractor or trumpet, the bumpy staccato
of the Woodman’s blues summons you,
a familiar song of heat that coils

within earth and flesh, the old grammar
of longing. Your portrait’s canvas
must issue Missouri field smoke

and the slow burn of saxophones.
A believer, you let Blind Man Lemon
take you elsewhere with his night-long

notes and his curlicues of groans.
Even now, in vineyard rows
or scuffed hallways, your shadow

sways as the hour swells, your graceful
hum ascending and then set adrift.
Music is Braille for the heart.

Do you envision publishing other chapbooks to raise funds for Letras Latinas?

In many ways, this fundraiser is an experiment. Whether or not Letras Latinas ever attempts this in the future will depend on what kind of results Braille for the Heart yields. Having said that, I will say this: buying any Momotombo Press title is a big help. So even if there are people reading this interview who can’t afford to purchase Braille for the Heart at $35, they might consider visiting Momotombo Press’ website and purchasing one of our other titles. The proceeds from the sale of the chapbooks helps to support two very worthy causes. Finally, I cannot end these comments without underscoring another aspect of this particular Momotombo Press title that was very special, and that was counting on the collaboration of poets Diana Marie Delgado, who wrote a wonderful introduction, and Eduardo C. Corral, who provided the blurb on the back. One of the things I might venture to say about how Robert Vasquez’s work is perceived in the Chicano/Latino poetry community is that his work is especially valued among those younger poets who are looking for newer models, newer ways of writing Chicano/Latino poetry.

Thank you for spending time with La Bloga.

◙ If you missed yesterday’s guest post by Gregg Barrios, you missed a great interview with Junot Díaz as well as a book review of his new novel. But it’s not too late…click here to enjoy.

◙ 17TH ANNUAL PEN OAKLAND-JOSEPHINE MILES NATIONAL LITERARY AWARDS ANNOUNCED: PEN Oakland, A Bay Area Chapter of the International Organization of Poets, Essayists, and Novelists was founded in 1989 to address multicultural issues, and educate the public as to the nature of multicultural work. These award-winning authors address the diversity and uniqueness of American culture, and represent the new voices of American literature. The late Josephine Miles, in whose honor the awards are presented, was a highly regarded poet, critic, and professor of English at the University of California in Berkeley.

The awards and reception will be held on Saturday, December 8th from 2-5 p.m. at the Rockridge Branch Library, located at 5366 College Avenue from 2-5 PM. Well-known and emerging Bay Area and international authors will be honored for excellence in multicultural literature at the 17th Annual PEN Oakland-Josephine Miles National Literary Awards. A reception will be held after the awards. During the program, winners will be presented with a plaque and asked to read selections from their work. This event is free to the public. For more information, please call (510) 228-6775.

The award winning books include two that are of particular interest to La Bloga's readers:

Samba Dreamers (Novel) by Kathleen de Azevedo (University of Arizona Press)

Enriqueta Vasquez and the Chicano Movement: Writings from El Grito del Norte (Essays) by Lorena Oropeza and Dionne Espinoza, editors (Arte Público Press)

Congratulations to all the winners!

◙ Over at AmoXcalli, there’s a fascinating interview with Ana Castillo whose most recent novel is The Guardians (Random House).

◙ Over at the Los Angeles Times, Agustin Gurza profiles my favorite DJ, Raul Campos, host of KCRW’s Nocturna. After recounting the end of Campos’s stint as a club DJ, Gurza notes:

Today, Campos is still playing music he hopes will move the masses, but he's doing it behind a microphone as one of the few Latino DJs on English-language radio in L.A. As host of "Nocturna," a nightly show on KCRW, where he was groomed by respected music director Nic Harcourt, Campos has begun to amass both audience and influence, reaching an average of 80,000 listeners per week in a time slot (10 p.m. to midnight) typically dead for public radio. The shift from noisy nightclubs to an isolated broadcast studio hasn't been easy. For starters, Campos can no longer get the high of watching his listeners react. And he had to learn to modulate his playlist, rather than blasting non-stop dance music that "didn't translate as well as I hoped over the airwaves."

Campos is one of the main reasons I am a subscriber to KCRW. Check him out. As I’ve mentioned before, Gurza covers Latino music, arts and culture for the Los Angeles Times. E-mail him at agustin.gurza@latimes.com with comments, events and ideas for this weekly feature.

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

ACENTOS NEWS and MORE ABOUT OUR FRIENDS

Tuesday, October 23rd @7pm
ACENTOS Bronx Poetry Showcase
The Uptown's Best Open Mic and Featured Poet

BLAS FALCONER

A poet and creative writing teacher, Blas Falconer teaches poetry and
the memoir at Austin Peay State University where he is an Assistant
Professor in the English Department. Falconer completed his MFA degree
from the University of Maryland in 1997. He earned a PhD in English,
with a concentration in Creative Writing, from the University of
Houston in 2002.

Falconer has won the New Delta Review Eyster Prize for Poetry (2000) .
He was a semifinalist for The Nation Poetry Prize in 1998, 2002, and
2003. His work has appeared in numerous literary journals, including
Another Chicago Magazine, Third Coast, Puerto del Sol, Lyric Review,
Poet Lore, New Delta Review, and the Baltimore Review.

The Bruckner Bar and Grill
1 Bruckner Boulevard (Corner of 3rd Ave)
6 Train to 138th Street Station
Hosted by JOHN RODRIGUEZ
FREE! ($5 Suggested Donation)

Coming from MANHATTAN:
At the 138th Street Station, exit the train to your left, by the last
car on the 6. Go up the stairs, to your right, to exit at LINCOLN
AVENUE. Walk down Lincoln to Bruckner Blvd, turn right on Bruckner.
Walk past the bike shop. The Bruckner Bar and Grill is at the corner:
One Bruckner Blvd., right next to the Third Avenue Bridge.

Coming from THE BRONX:
By Train:
At the 138th Street Station, exit to your RIGHT, by the FIRST car on
the 6. Go up the stairs, to your right, to exit at LINCOLN AVENUE.
Walk down Lincoln to Bruckner Blvd, turn right on Bruckner. Walk
alongside the bridge, past the bike shop. The Bruckner Bar and Grill
is at the corner: One Bruckner Blvd., right next to the Third Avenue
Bridge.

By Bus:
Bx15 to Lincoln Ave. and Bruckner Blvd. Walk one block west, past the
bike shop, to the Bruckner Bar and Grill.
Bx1, Bx21, Bx32 to 138th and 3rd Ave. Walk five blocks south along
the left side of 3rd Avenue to the end (Bruckner and 3rd). The
Bruckner Bar and Grill will be on the corner.

For more information, please call 917-209-4211.

AND

This Wednesday October 24, at UC Berkeley, Ted Genoways (Virginia Quarterly Review) Jon Sawyer (Pulitzer Center for Crisis Reporting) and I will be hosting a panel discussion called South America: Untold Stories. We'll be presenting the current issue of The Virginia Quarterly Review entitled "South America in the 21st Century."

Panelists include:

Filmmaker Gabrielle Weiss screening her film on the Ghost Train of Buenos Aires

Journalist Pat Joseph discussing the environmental impact of soy production in the Brazilian Amazon

Journalist Kelly Hearn exploring Camisea, Peru's largest natural gas deposits, and the race to control it

The work of Etiqueta Negra journalists will also be presented.

Refreshments will be served, and the magazine will be available for purchase.

South America: Untold Stories

Geballe Room, 220 Stephens Hall
Townsend Center for the Study of the Humanities
UC Berkeley
Oct 24, 6pm

Lisa Alvarado

GUEST INTERVIEW: JUNOT DÍAZ

By Gregg Barrios

Junot Díaz burst onto the literary scene in 1996 with Drown, a collection of 10 tales from the barrios of the Dominican Republic to the struggling urban communities of New Jersey. It later won the PEN/Malamud Award.

That same year, the young writer, who was born in the Dominican Republic and raised in New Jersey, was featured on the cover of Newsweek (along with Oscar De La Hoya and Shakira) and named one of ten "New Latin Faces of 1996."

Since then The New Yorker has named him one of the 20 top writers of the 2lst century. He has since received a Guggenheim Fellowship and more recently a Rome Prize Fellowship. Díaz, now 38, is a tenured professor of creative writing at MIT.

A fortnight before the release of his first novel, The Brief Wondrous Life of Oscar Wao, he spoke from his publisher's office in New York City.

Q. It's finished. How does it feel?

A. That S.O.B. almost broke me. Books are not people. They are never late to the party. It doesn't make any difference, early or late, as long as you get it done.

Q. Are you going to kick back now?

A. I've kicked back enough. I am trying to work on a new book now. See where it takes me.

Q. Your mug on the cover of Newsweek — pressure or pleasure?

A. I can tell you that I do not believe any of my own press. For some reason, I seem to be immune to that stuff. It happens. I was just excited to meet Shakira. I was like Yo! That was the most important part of everything, but in the end it's not.

It somehow does affect the writing part of me and the writing part of me is already maxed out. In other words, there is nothing that could happen in this universe that could be any harder on me than myself.

Q. Junior is a marvelous guide to the de León family.

A. Junior is hopefully the biggest mystery of the book. He is omnipresent but he’s completely shadowy. There are really two things. Junior as the character and that’s the person that tells the college section and then there’s Junior’s narrative persona which is the watcher.

There are only a few that are me directly. I always thought the ones that were me were pretty clear. There is one about my mother that is direct autobiography, but the rest are Junior.

Q. You used a few elements from your non-fiction New Yorker piece “Homecoming with Turtle” and attribute it as it happens to Oscar.

A. That turtle busted my face up. I should get two or three mentions out of it. Talk about a singular trauma.

Q. I had chills whenever the mongoose appeared. What does the mongoose means to you and in relation to DR history?

A. The mongoose is funny because he’s my favorite character. He is the only real character. In the Díaz family cosmology, he’s the only real character in the whole book.

There’s a story my mom tells about encountering a mongoose. She was lost once so that in some ways inspired it. That character comes out of a childhood in the Dominican Republic being exposed to mongoose. And you see them and as a kid [but] you’ve never seen anything like it. They are extremely fast, extremely social, and clever.

And then of course you discover that they are immigrants to the island. There was something that pulled me about the image of another transplant - who is a really wild little trickster. In "Oscar," there is the actual footnote on the mongoose, where the narrator says that these could also be aliens.

I couldn’t explain it while I was writing it, but there was something about this family’s history that provoked an assistant from this mongoose character. It is almost as if because their life was so shitty, they are able to gain this luminous intervention from what might be an alien. That is what I thought was funny because some people have said, oh, this magic realism bit. And I am like, oh my God, it’s the exact opposite of it.

Q. Macondo versus MacOndo?

A. Right. But also magic realism in a very simple definition is like using the fantastic to describe the real, and this book argues that the real is fantastic. Which is very different. If you ask me [about] the reality of this book - this character is for real.

Q. The influence of comic book chingones Los Brothers Hernandez — Jaime and Beto — is very evident in Oscar.

A. You could say they were the secret fathers of this book. What I wanted to do was honor these Chicano brothers who had a large role in teaching me how to write.

Q. I was hoping for graphic art — perhaps a comic book based on one of Oscar's sci-fi novels. Is that totally off the wall?

A. Not at all. Actually part of the plan was to have a section where it would have been a comic book or a science-fiction story. But what ends up happening is that it was weird.

Every time I tried to write it, the book ejected it. Believe me, I had all these ideas. There were supposed to be dozens of comic book panels and photos throughout the book. Had I had the talent, and the book could have withstood it, I would have. Sorry to say, it didn't come together.

Q. Having Yunior narrate 20th-century Dominican history in a 21st-century voice makes it come alive.

A. The idea of history as a sepia-printed photograph is so wrong. I feel that any moment in history would be as crazy and illogical as our moment right now; and if anything, that is what they share in common. I think that Yunior's sort of rambunctious take on history is because he understood at some level that while it may not be the voice of that historical moment, it was the energy of life. And that is what goes wrong with historical pieces where people are trying to nail down the authentic voice that they sap all of life out of the moment.

Q. Two books about Trujillo or the Trujillato are referenced and critiqued: Julia Alvarez's In the Time of the Butterflies and Mario Vargas Llosa's The Feast of the Goat.

A. Vargas Llosa didn't blow my bone although I felt that Alvarez, from an author's point of view, was quite good. It's, like, her best novel. But it would be really wrong to miss the fact that Yunior has a lot to say about a lot of things. It would have been unrealistic for him to spare Latinos of some criticism. He goes after everybody, especially people that he loves.

And that is what I think is really good. The fact that Junior references two other books even though he is criticizing them, he’s also saying – Yo! Go look at these books and make your own fucking mind up. That was the one thing I could do as a writer beyond what Junior is doing. I could open the debate up. It’s one thing to just do your own portrayal of one historical moment and say this is it.

Q. In places, Oscar is not unlike that other famous geek in American Lit, Ignatius J. Reilly in Dunces.

A. In some ways I couldn't have written this book if it hadn't been for my love of other books. This book is all about a reader's love. If you think of it just as a book of a writer's craft, it leaves out that it is a love letter to the reading I did my entire life.

Q. I was both scared and fascinated as a kid watching the Dominican Hollywood star María Montez as the Cobra Woman putting the fukú on those condemned to die in the fire mountain.

A. I have a DVD copy. That was the moment of utter hilarity. There was actually a much longer note on the Cobra Woman in the book that I had to cut out.

Q. They named the airport in her hometown after her!

A. I didn’t mention the Barahona Airport. You know María hangs over the imaginary of the Island. There weren’t that many people from that period who didn’t have their hands covered in blood.

Q. No footnote on my other favorite Dominican actor Rafael Campos who introduced “Hey, Daddy-O” into the popular teenage lexicon in Blackboard Jungle?

A. And you know that is so funny, because that’s another of those moments. What ends up happening is as you said, and as Rushdie says, ‘in the end the world will always outdo you as a writer.” I missed more than I actually put in.

Q. The fact that the Spanish in the book isn't translated or italicized speaks volumes about the way we Latinos communicate.

A. In the end you have to write for the future. Unfortunately, the only thing most of us know is the present. You have to hope the future has any use for you.

[A shorter version of this interview first appeared in the San Antonio Express-News. Photo credit: San Francisco Chronicle.]

◙ Gregg Barrios also kindly offered La Bloga an opportunity to reprint his review of Junot Díaz’s new novel:

The Brief Wondrous Life of Oscar Wao

By Junot Díaz
Riverhead Books, $24.95

Junot Díaz's just-published novel originated as a 15,000-word novella (same title) in The New Yorker nearly seven years ago. Talk about making a good thing better. The author has rewritten and expanded his tale into one of the most original and heartbreaking works of this year. It also signals the arrival of a brilliant new American novelist.

The novel centers on "the jones and the woes" of Oscar "Wao" de León, a New Jersey ghetto-nerd of Jabba the Hutt girth who finds no respect, save in the fantasy world of sci-fi books, films and games. He dreams of someday becoming a once and future "Dominican J.R.R. Tolkien." Actually, he is more in danger of ending up a 30-year-old virgin.

"Our hero was not one of those Dominican cats everybody's always going on about — he wasn't no home-run hitter or a fly bachatero, not a playboy.... And except for one period early in his life, dude never had much luck with the females (how very un-Dominican of him)," writes Díaz.

We follow the sad sack nerd from lovelorn dweeb to college geek at Rutgers and on his trek back to his native homeland.

The book's narrative style shifts from the unreliable machista Yunior — last seen in Díaz's first book, the collection of stories called Drown — now a budding writer and college teacher. We learn he once roomed with Oscar at Rutgers at the behest of his sometime girlfriend Lola de León, Oscar's sister.

Lola, who during her punk phase appears to have stepped out of a Love and Rockets comic book, is now a gorgeous athlete and college grad. She also shares in the shoutout of Oscar's tale whenever she can wrest the MC mike from Yunior.

Díaz introduces an ancient curse to the mix — a fukú — brought to the New World by the Admiral (aka Cristóbal Colón). Five hundred years later, the curse intensifies during the Trujillato —Dominican dictator Rafael Trujillo's 30-year reign of terror on the island nation.

"Anytime a fukú reared its many heads, there was only one way to prevent disaster. Not surprisingly it was a word. Zata. A simple word followed usually by a vigorous crossing of the index finger."

The novel chronicles how this affected the de León clan — from the torture and death of their abuelo to a near-death assault suffered by their mother Belicia, who later during the Dominican Republic's diaspora escapes to the promised land of Paterson, N.J., where the fukú ultimately finds her.

The appearance of a magical mongoose during critical moments in this family's travails harkens to the eerie monolith in 2001, A Space Odyssey. And no, these elements are not magic realism but actually real.

Díaz's style veers between the highbrow and lowbrow literary, and pop — he opens the novel with a quote from Stan Lee's and Jack Kirby's "Fantastic Four" and a poem by Nobel laureate Derek Walcott.

But it is the heavy influence of genres — the comic books and graphic novels — that predominate, especially Marvel and DC comics and graphic novels such as The Watchmen, which Oscar quotes chapter and verse, and Los Brothers Hernandez, whose tropical Human Diastrophism and punk Love and Rockets seem to have inspired the author.

He also engages in morphing Macondo-style writing with its rival McOndo style with pop culture references, which rejects Macondo's magical realism.

A good example of this occurs when Oscar falls hopelessly in love with Ybón, an older prostitute — MC Yunior can't resist taking a dig at García-Márquez's recent Memories of My Melancholy Whores and still end up with a McOndo pop reference to The Matrix.

"I know what Negroes are going to say. Look, he's writing Suburban Tropical now. A puta and she's not an underage snort-addicted mess? Not believable. Should I go down to the feria and pick me a more representative model? But then I would be lying. I know I've thrown a lot of fantasy and sci-fi in the mix but this is supposed to be a true account of 'The Brief Wondrous Life of Oscar Wao.' Can't we believe that an Ybón can exist and that a brother like Oscar might be due a little luck after 23 years?" writes Díaz.

As in Citizen Kane, we never see or hear Oscar in the first person — only what his narrative handlers would have us see of him. One never quite knows what his manuscripts and journals actually contain since Yunior keeps them under lock and key. We never discover what Oscar's Rosebud really was — only the Tao of Oscar Wao according to Yunior to consider for better or worse.

Does Díaz pull this off? Is a degree in comic book heroes and villains mandatory? Is the ability to translate urban Spanglish glossolalia required? Does the reader need to have a thumb-worn copy of Dominican History for Dummies at the ready?

While this novel may leave some reeling, for the more adventuresome, Díaz's geek tragicomedy will both delight and astonish — with each additional reading.

This is the kind of writing from which Pulitzers are forged.

*******

Gregg Barrios is an independent journalist, playwright and teacher. He is a former Express-News book editor. This review first appeared in the San Antonio Express-News.

Conferences, a Memorial, a Premio, Rugs and Poets

Manuel Ramos

CASPER
The Casper College Literary Conference, whose theme this year was Spiritual Warriors, took place this week but I didn't know about it in enough time to provide advance notice. This annual conference was scheduled for October 17 - 19 in Casper, Wyoming. I do want to make note of the appearance of Ekiwah Adler-Beléndez at this conference. Blue Flower Arts has this bio of the young poet on its website:

"Blue Flower Arts is proud to introduce to the United States audience, 19-year old poet Ekiwah Adler-Beléndez, from Amatlan, Mexico, a small village an hour from Mexico City. The son of a North American father and a Mexican mother, Ekiwah is a poetic prodigy whose powerful verses have mesmerized Mexico's literary scene. Born September 14, 1987, Ekiwah is the author of three volumes of poetry: Soy (I Am); Palabras Inagotables, (Never-ending Words); Weaver (2003), his first book in English, and The Coyotes Trace, which features an introduction by Mary Oliver. Ekiwah lives in Massachusetts, has dual citizenship and is bilingual.

...

"Ekiwah, which means Warrior in the language of the Purepecha, is an appropriate appellation. He has been battling cerebral palsy at birth—born 10 weeks early and weighing less than two pounds. Ekiwah writes, 'I cannot walk by myself, yet in my poems I not only walk, but give myself license to have eight legs and experience movement. When I read a poem, on an ephemeral level I go to the places the poet describes.' His warrior nature also allows him this wisdom: 'I don't feel my cerebral palsy is a battle I have to win. I don't battle more or less then anyone else—my cerebral palsy is simply there. For me the connection of my name with my struggle has to do with the fact that I fought in my birth to live.'"

NYC
Last year the Council of Literary Magazines and Presses [clmp] inaugurated LWC}NYC, a conference to serve writers of fiction, poetry, and literary nonfiction. Rather than address the craft of writing, this conference brings together professionals from throughout the publishing community to help literary writers maneuver in the marketplace. The second annual LWC}NYC (Literary Writers Conference, New York City) will take place November 8 - 10 at The New School.

For more information follow this link...
http://www.clmp.org/lwc

SAN DIEGO
Adolfo Guzman Lopez, co-founder of the Taco Shop Poets, remembers fallen poet John Partida in an article for the San Diego CityBeat. Guzman says that "we’re going to throw down some poetry for John on Saturday at a taco shop. We’re putting a call out to the taco shop tribe. Whether it’s to remember the good Johnny, the bad Johnny or to ponder our own mortality, I don’t know. We all realize, though, that we have to do it." Read the entire article here.

The tribute to John Partida will be held on October 20, from 6:00 to 9:00 PM at El Comal, 3946 Illinois St. in North Park, 619-294-8292.



ALBUQUERQUE
Live Rug Auction to Raise Funds for Native American Books
The University of New Mexico Press has announced it will hold a live public auction of more than 200 contemporary Navajo rugs as a fundraiser to support the publication of books by or about American Indians.

The auction, to be held November10, in the Hibben Center of the Maxwell Museum of Anthropology on the UNM Main Campus, will be conducted with the assistance of R. B. Burnham Native Auctions. A preview of the items available for bid will be from 11:00 AM -1:00 PM, and the auction will start at 1:30 PM

This is the Press' first major fundraising event since the launch of its endowment campaign last spring.

"This is a wonderful opportunity for the Press and the public to support Native authors and artists and books about Native America," comments Luther Wilson, director of the UNM Press. "The funds we raise will help cover major expenses such as printing, research, permissions, and illustrations. The money will be applied to individual book subventions and to an endowment for long-term support. We are also pleased to be able to provide a sales venue for today's Navajo weavers. The pieces they are showcasing are truly beautiful."

The auction will be the first in a series of major events and outreach efforts by the Friends of the Press to raise funds for the $5 million endowment campaign launched this past May. The Press said in a news release that monies collected for the endowment will help it "publish high quality children's books on science and Southwestern cultures, defray cost increases in book production, perpetuate its commitment to high editorial standards and maintain independence in a world of publisher consolidation."

Premio Aztlán Literary Prize
The University of New Mexico Libraries is issuing a call for submissions to the Premio Aztlán Literary Prize, a national literary award, established to encourage and reward emerging Chicana and Chicano authors.

The competition is open to writers who have published a work of fiction in the 2007 calendar year and whose publications do not exceed two books. The winner of the prize will be awarded $1,000, and an invitation to give a lecture at an award ceremony, to be held at the
University of New Mexico in April 2008. Recipients are required to be present at the award ceremony.

Renowned author, Rudolfo Anaya and his wife, Patricia, founded Premio Aztlán in 1993, and the prize was reestablished in their honor by the University of New Mexico Libraries. Past award recipients include:

Reyna Grande (2006) Across a Hundred Mountains
Gene Guerin (2005) Cottonwood Saints
Mary Helen Lagasse (2004) The Fifth Sun
Sergio Troncoso (1999) The Last Tortilla and Other Stories
Ronald Ruiz (1998) Giuseppe Rocco
Pat Mora (1997) House of Houses
Wendell Mayo (1996) Centaur of the North
Norma Cantú (1995) Canicula: Snapshots of a Girlhood en la Frontera
Denise Chávez (1994) Face of an Angel
Alicia Gaspar de Alba (1993) The Mystery of Survival and Other Stories

The closing date for entries is December 31, 2007.
Submissions must include:
• 5 copies of the book
• Letter of interest, or if from the publisher, a letter of nomination
• Author’s curriculum vitae, resume or background information, which
must include a list of their published works and any communal
involvement with the Chicana/Chicano community.
• Be postmarked by December 31, 2007

Contact: Teresa Márquez at: andaluz@unm.edu or see the web site .

Submissions are to be mailed to the following address by December 31, 2007:

Premio Aztlán Literary Prize
University Libraries, Dean’s Office
MSC05 3020
1 University of New Mexico
Albuquerque, New Mexico 87131

Final reminder:
El Laboratorio
Emma Perez and Manuel Ramos
October 20, 2007
Reception 6:00 PM
Main Event 6:30-8:00 PM
Cost $10 ($5 members)

Emma Perez will read from her forthcoming novel Forgetting the Alamo followed by a reading by Manuel Ramos from a few works in progress.

The Lab at Belmar
404 S. Upham Street
Lakewood, CO 80226
(303) 934-1777


Later.

Dancing in the Flames: The Dark Goddess

Marion Woodman is a Jungian analyst—and is one of the most inspiring voices in the global movement for peace. Here she joins forces with Elinor Dickson, Director of Psychological Services at St. Michael’s Hospital, Toronto to produce an informed and penetrating investigation of a source of spiritual and creative power, not popular in Western circles. In Dancing in the Flames, they point to a constellation of archetypal ideas which they hope will be a source to inspire and inform: the mythical complex of the Dark Goddess. Their book operates on two levels, as a guide for individual transformation and ultimately transforming society.

The core of the book is a cluster of chapters using psychoanalytic material that draws on the mythology of the Dark Goddess. Mind you, the frame of reference is European, but Woodman does attempt to bring in a non-Western perspective, honoring as best she can the thousand years of Hindi veneration to Kali, the root source for this archetype.

At a broad-brush level, this initially involved the matriarchal phase, a belief in a living world where everything in nature held spirit-life flowing from source, the Great Mother. This was followed by the emergence of a separate. individual 'self', then the formation patriarchal and hierarchical power structures.

Throughout the early part of this history, the archetype of this Goddess progressively is split off more and more from that of the Great Mother, emerging as a her polar opposite---killer, and scourge. In reality, it's the cleansing aspect of the Good/Bountiful/Great Mother. The split of the Great Mother vs. Dark Mother mirrors that schism between matriarchy and patriarchy, the body and the spirit.

The authors make the case that in the period that followed, both the Great Mother and the Goddess are repressed, and driven into the "murky depths of our unconscious." Yet the culture of the Goddess lives on, underground, in succeeding centuries. It eventually finds expression, despite repression, in the form of the Black Virgin from the twelfth century onwards. And I would argue, our own veneration of La Virgen, of Tonatzin, who survived colonization, a remains a vital life force in the Chicano/Mejicano soul and psyche.

The authors make an impassioned case that society as a whole must reclaim the Dark Goddess. To underscore, they turn to personal analytic material, allowing the reader to make their own contact with the goddess archetype. The mythological aspects of Virgin, Mother and Crone, making up the European triple goddess, are followed through their appearance in the therapies of both men and women, these images used as tools in the process of personal evolution. In my experience of Eurocentric, new-age feminism, its subtle racism links creativity/goodness with the idea of light and so I found it powerful and liberating to be reminded of the imagery of the holy darkness, its power to cleanse, nourish and renew.

This idea of darkness, again, is no stranger to indigenous ideas of the Mother--She Who Is. I have a personal source of connection to the Santeria/Yoruba deity of Oya Yansa. Oya is also also Dark Goddess, keeper of the whirlwind, sweeping clean all that is decayed, corrupt. It was important for me to reframe my own ideas of Mother, particularly in contrast to the long-suffering, pale Virgin of my Catholic school youth. This book was a thought-provoking resource, stirring up a fleshy, full-bodied, powerful female deity, one with deep hunger, deep ability to consume, transmute and transform.

The authors give a picture of integration inspired by the qualities of the Dark Goddess, a process in which fear of death, fear of nature, and fear of our own femininity (whether we are men or women) are reconciled in the dark. They stress the dangers of yearning for a world of "pure" spirit and "light," a state where in our yearning for perfection, we confuse a certain kind of "perfection" with wholeness.

I would further challenge the notion of light equaling perfection---light without the regenerative power of darkness is half of what is and only half. And under the harshness of unending, unshrinking light, all fades and withers away, spent beyond resources, starving for rest, for the dream world, for losing oneself and finding the body made anew.

One of the most interesting parts in the book subdivides the process according to the traditional chakra system, while still basing the account firmly on the actual material of analysis. From this viewpoint, integration is seen as a process of “building the subtle body,” of embodying spirit in a complete and integrated way.

The key step in this process, for the individual, involves the recognition of our own autonomy, the acceptance of ourselves, and the finding of our own voice. For this to happen, "it takes great resolve to enter the darkness of our own chaos, to give up the familiar path and begin to trust in our own experience. The recognition and unconditional love of oneself is never a selfish journey."

It's a journey of seeking awareness, increasing confluence between those things we normally separate as "physical" and "spiritual." At the end, the book returns to the societal level, where the authors’ believe the protests of the Sixties "were the seeds, at a culturally recognized level, of a movement based on hope for a more meaningful existence.... What began as a protest has become a challenge, a challenge that will involve not only technology, but a new understanding of human mythology."

Depending on how we choose to phrase it, either ideas of ' science' must be revamped to include this relatively unused 'female' approach, or should be blended into a larger perspective that gives equal status to this view. The authors’ account at the end gives us a start -- some tools that may enable us to do this. They give us immense hope, and also a profound challenge. This new vision is not one that we can dream up intellectually: it can be reached only by transformation, only if we "throw ourselves into the flames and dance in the refining fire..."

Our traditional ideas of 'science' stresses the intellect, the rational—in archetypal terms, a 'masculine' construct. It operates with ideas of impersonal, 'objective' discovery and 'absolute' truth. While it's an important way of knowing, it has limits as a basis for a new world view. There are deep questions that emerge. How do we construct gender and identity? How are those concepts linked to to behaviors like violence and passivity? How can we integrate complicated, contradictory ideas of male/female that include ‘dark’ and healing forces in both?

This book kept me up at night. It was another piece of encouragement to let go, to delve deep, and look at what's revealed without flinching. I'm always on the lookout for things that will strengthen me, as well as shake me up. The themes of violence, sexualized violence in particular, are shot through the fabric of this American life, and to ignore them is one darkness I find unacceptable. Dancing in the Flames provides a kind of comfort, as well as a challenge.

ISBN-10: 1570623139
ISBN-13: 978-1570623134

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Presented by CHICAGO FOUNDATION FOR WOMEN'S Latina Leadership Council An Evening with "MACHOS" BY TEATRO LUNA 6:30 p.m. wine and cheese reception 8-9:30 p.m. performance Friday, Nov. 9 Chicago Dramatists 1105 W. Chicago Ave. Chicago Call (312) 577-2801 ext. 229. Tickets are $45. Proceeds from this event benefit the Unidas Fund of the Latina Leadership Council. No refunds or exchanges. A world premiere production, "MACHOS" is an interview-based play about contemporary masculinities. As always, Teatro Luna asks hard-hitting questions, such as: Exactly how did you learn to use the urinal? "MACHOS" presents a range of true-life stories with Teatro Luna’s trademark humor and unique Latina point-of-view. "MACHOS" follows Teatro Luna's critically-acclaimed shows "S-E-X-OH" and "LUNATIC(A)S." It moves beyond the everyday stereotypes of gender, offering a complex look at how 50 men (and eight Latina women) learned how to be men. Performances are drawn from interviews with 50 men nationwide and performed by an all-Latina cast in drag. After the performance there will be a reception with director Coya Paz and the actors. Featuring Belinda Cervantes, Maritza Cervantes, Yadira Correa, Gina Cornejo, Ilana Faust, Stephanie Gentry-Fernandez, and Wendy Vargas. Learn more about the Latina Leadership Council of Chicago Foundation for Women. Chicago Dramatists is wheelchair-accessible. If you have other accesibility needs or questions, please contact Marisol Ybarra by Nov. 6 at (312) 577-2836 / TTY (312) 577-2803 or mybarra@cfw.org. AND The 17th Annual Gwendolyn Brooks Conference on Black Literature and Creative Writing Fine Fury: Celebrating Gwendolyn Brooks at 90 October 17-20 2007 Chicago State University As for that other kind of kindness, if there is milk it must be mindful. The milkofhumankindness must be mindful as wily wines. Must be fine fury. Must be mega, must be main. -- from Young Afrikans (of the furious) by Gwendolyn Brooks Featuring: Sonia Sanchez Martin Espada Ed Roberson Tayari Jones Donda West Cheryl Clarke Julius E. Thompson Haki R. Madhubuti Sterling Plumpp Angela Jackson Sandra Jackson-Opoku Margo Crawford Camille Dungy Jacqueline Jones LaMon Evie Shockley Adrian Matejka Gregory Pardlo Randall Horton Kelly Norman Ellis Nnedi Okorafor-Mbachu Bayo Ojikutu Kalisha Buchanon Workshops by Martin Espada and others. For registration information visit www.csu.edu/gwendolynbrooks or call 773-995-3750. Lisa Alvarado

Review: Fabulous Sinkhole

Jesus Salvador Treviño. The Fabulous Sinkhole and Other Stories. Houston: Arte Publico, 1995. ISBN: 1558851291

Michael Sedano

Several weeks ago, at the eleventh annual Lascano Family Pelada, I was chatting with a writer about her interest in chicana chicano detective stories. A fellow up to his wrists in green chile, asked if I knew a poem, "El Louie." "Ayer enterraron el Louie," I recalled, "and San Pedro o San Pinche are in for it." Who can forget Montoya's stirring language? He said he had a short film I just had to see, an oral interp of the piece, or perhaps a staging.

When the envelope arrived I opened it anticipating a DVD. Nope. Jesus Treviño has mailed me a copy of his collection-novel, The Fabulous Sinkhole. It's an excellent collection that I missed back in 1995 when it first hit the streets. Makes me wonder why I don't just sit down and read the Arte Publico catalog from cover to cover.

I don't see the necessity of the "and other stories" tag line. It's like saying Woman Hollering Creek isn't a novel. Treviño links all the stories back to the events of the title story. There's more to this sinkhole than meets the eye. A small puddle in Mrs. Romero's front yard grows large enough for the body of an old Chevy to surface. The locals gather around, plucking goods miraculously dry for having floated up from the hand of the Goddess or the Rio Grande.

The most touching story, "Last Night of the Mariachi" has a close second in "The Return of Pancho Villa." In the former, middle age and rock and roll have both caught up and surpassed the men, who've played the same songs in the same bar for decades. The sparse crowds in bar and the raucous success of the youth-oriented club down the street convinces the owner to fire the mariachi. For their last night, they dress up in full fresh-from-the-drycleaners charro traje. The empty bar fills with the sound of their playing. The mariachi is playing their hearts out, their souls. The muscians look up and there's a crowd, faintly familiar through the smoke. It's the famous singers and composers whose music has kept the mariachi going all these years, finishing their career playing to the ghosts of the music in an empty house.

The Pancho Villa story offers a total lark. Talking flies. At first I can't help but think of the Vincent Price movie, "The Fly", at the end the little fly with the man's head is trapped in the web crying and buzzing, "help me, help me". Instead, Treviño has flies take on the cucui of one's ancestors. Tío Pancho tells a tomboy it's time for her to grow up. She'd rather play second base and brawl in the dirt with the guys than wear make up and let her boobs hang freely. But Pancho Villa the fly urges the girl to go to the dance where she's a gorgeous blossom. It's the kind of story every little girl should read. (Note to literary fly collectors: this story rounds out your collection of the fly walker from Midnight in the Garden of Good and Evil, and the fly roper from Geek Love. Please alert me to favorite fly passages.)

If there's a stereotype chicana chicano writing wants to escape, it's stereotypy. Treviño takes this head on in his darkly satiric "Attack of the Lowrider Zombies." Movie stereotypes of Mexicans rise from the dead and go on a rampage murdering Hollywood producers who put out schlocky caca. The author's message grows a bit heavyhanded here, but obviously, it's a writer having a lark, as when the characters intrude into the zombie lair in Evergreen Cemetery, If they really were characters out of movies, it would be the pain of hundreds of films' worth of moral and psychological abuse. No wonder they were in pain. Treviño directs network television drama. I wonder if there's a second krypto message here television watchers might pick up?

As I closed the book, glad to get it but still hoping to see the video of "El Louie", I noted the dedication page, "To Bobbi". That's the writer who was telling me she enjoys chicana chicano detective stories. So that's why Treviño was standing next to her.

There we are, gente, October moves rapidly into Fall. Remember, if you read something interesting or have something to share-- like a favorite fly story-- leave a comment. And La Bloga's always open to guest columnists. Interested? Email a bloguera bloguero and let us know what you've got. See you next week. mvs

SPOTLIGHT ON EDUARDO SANTIAGO

Eduardo Santiago was born in Cuba and grew up in Los Angeles and Miami. He holds a BFA from California Institute of the Arts and was a 2004 PEN Emerging Voices Rosenthal Fellow. His novel, Tomorrow They Will Kiss (Back Bay Books), took Best Historical Novel and Best First Book honors at the 2007 International Latino Book Awards and was a finalist for the Edmund White Award for Debut Fiction. He lives in Los Angeles with his dog Lyon and teaches creative writing at UCLA.

Santiago kindly agreed to answer a few questions for La Bloga.

DANIEL OLIVAS: What special role, if any, do Latinos play in literature?

EDUARDO SANTIAGO: Currently, we play the role of connectors. Latinos in the U.S. are scattered far and wide – and I can only speak of my own experience, but I read other Latinos to find out what it’s like for them here. I’ve always felt personally disconnected. Unlike other Cuban exiles of my generation, who all bunched up in Miami and grew up with a similar mind set, I was raised in El Monte, California and later moved to Los Angeles. El Monte, or better yet, South El Monte, was almost 100% Mexican-American. So there was no way to connect with them as children. For one thing, most of them were second generation and didn’t even speak Spanish. So, through literature, I started looking for situations that resembled mine and people who maybe thought a little bit like I did. Interestingly, the first writers I ever identified with were Jewish – although I was raised Catholic. I guess at the time, which was the early seventies, they had enough distance from their immigrant experiences to be able to write about it clearly. And Latinos were not publishing as many books as they do now. Today Latinos born or raised in the U.S. and in particular, Cubans of my generation like Rosa Lowinger and Gonzalo Barr are putting out great work. It’s actually a very exciting time to be a Latino writer “of a certain age.” And it’s an amazing experience when we actually meet, which we have done at book fair panels and conventions. It’s like running into long lost cousins you love – we connect.

OLIVAS: Why did you become a writer?

SANTIAGO: I became a writer because I have always loved to read. So for me there was no higher purpose in life than to write books and have them published and have people read them or walk through a book store and see them sitting on the shelf among literary giants. Growing up, and even now, I never feel happier or more complete than in a book store or library, where there is silence all around, but it’s so noisy with words, stories and ideas inside our brains. I find it fascinating that when I look at a person reading they are very still, just breathing and turning pages, but inside they may be galloping on a stallion at breakneck speed or having their hearts torn out.

OLIVAS: What authors have had the most influence on you as a writer? As a person?

SANTIAGO: Tons of writers. The list is endless. But the ones I discovered earlier on were Philip Roth and Isaac Bashevis Singer. So how does a Cuban boy growing up in El Monte get these books? Well, when I was a teenager my grandfather, who lived with us, became what is now known as a dumpster diver. And I guess back in those days dime stores used to tear off the cover of paperback books and throw them in their dumpster. My grandfather, who knew I liked to read, would sometimes bring me these coverless books, but most of them were of no interest to me. Until he gave me Philip Roth’s Portnoy’s Complaint and Isaac Bashevis Singer’s Enemies, a Love Story. There was something in those novels that I totally connected to – which was good in the long run, but it made me sort of an odd ball growing up. For a long time I totally identified as Jewish, something that became even more intense when I went into therapy with a Jewish analyst whom I love and have seen, on and off, for about 30 years. It’s almost as if she raised me. For example, at my very first public reading of my very first novel, she was there – my mother was not. Sometimes I call myself Eduardo Santiagostein in her honor.

OLIVAS: Thanks for spending some time with La Bloga.

◙ I just got word that two friends of La Bloga have won a 2007 American Book Award: Rigoberto González for Butterfly Boy: Memories of a Chicano Mariposa (University of Wisconsin Press), and Reyna Grande for her novel, Across a Hundred Mountains (Simon and Schuster). The awards will be given out at Laney College Theatre in Oakland, California, on December 2, 2007, 4 pm to 7 pm. More information to come.

◙ Opening at San Diego State University, Professor of English & Comparative Literature: Creative Writing – Fiction. Open rank tenure-track position. Successful candidate will have distinguished teaching experience & publications in fiction. PhD or MFA preferred. The applicant should have significant experience in teaching fiction as well as other genres of creative writing & literature. The applicant should be a well-published writer, with at least two volumes of fiction or creative nonfiction, who has a deep commitment to teaching, writing, & working with students, & one who sees these activities as complementary rather than competing. Teaching experience should include creative writing workshops, form & theory seminars, & literature classes. Administrative experience is desirable. Demonstrated commitment to working with diverse student population & to making contributions to the program, department, university, & community required. Send applications to include cover letter, c.v., & dossier (letters of recommendation & official or unofficial transcripts) to: William A. Nericcio, Chair, Department of English & Comparative Literature, San Diego State University, 5500 Campanile Drive, San Diego, CA 92182-6020. Explain in cover letter how expertise in relevant areas is demonstrated by teaching experience & publications. Review of applications will begin Oct. 15. Applications should be postmarked by Friday, November 2.

◙ Writer Lisa Alvarez has entered the world of blogging with The Mark on the Wall. Pay a visit and say hola.

◙ An interesting opportunity sent by our good friend, Marcela Landres:

CHICAGO REVIEW PRESS SEEKS LATINO WRITERS: Lawrence Hill Books, an imprint of Chicago Review Press, seeks authors to expand its Latino nonfiction list. Chicago Review Press is a dynamic midsize company with a list of national and international interest, and Lawrence Hill Books publishes mostly nonfiction on topics of African American and Latino interest, progressive politics, civil and human rights,and feminism. Unagented, first-time authors are welcome to submit their proposals. Contact Susan Betz at sbetz@chicagoreviewpress.com for more information.

◙ Daniel Alarcón announces the publication of a collaborative issue of Virginia Quarterly Review and ETIQUETA NEGRA entitled South America in the 21st Century. They’ve been working on this project for the last eighteen months, and he very rightly says that “it’s incredibly exciting to finally see it complete.” About half the issue was written originally in Spanish, by the journalists of ETIQUETA NEGRA, many of whom appear here for the first time in English. For the table of contents and web exclusives, please visit: http://www.vqronline.org/. They’re hosting a few events to promote with the support of the Pulitzer Center in the coming weeks:

October 16: Washington, DC
October 17: University of Virginia
October 18: University of Miami
October 24: University of California, Berkeley

Please check here for more details.

◙ Gregg Barrios wrote this very interesting San Antonio Current article on Allen Ginsberg which begins: “One might be hard pressed to find a more apt person to honor during National Gay History Month than Allen Ginsberg — poet, activist, pacifist, ecologist, spiritual guru, Buddhist, holy bohemian, and gay-liberation trailblazer.” Barrios also let us know about a powerful essay by the novelist Erasmo Guerra which appeared yesterday in the New York Times entitled, A Drop of Blood, a Flood of Memories. Check it out.

◙ Conversation and book signing with Professor Mario T. García sponsored by the UCLA Chicano Studies Research Center: Prof. García will discuss his book, The Gospel of Cesar Chavez: My Faith in Action (Sheed & Ward), which presents the labor leader’s own words in an exploration of his profound faith and the way it shaped his life. The author is Professor of History at the University of California, Santa Barbara. The signing will be on Wednesday, October 31, 4:00 pm to 6:00 pm at the UCLA Young Research Library Presentation Room. Refreshments provided by Casablanca Restaurant. Directions to UCLA available at: http://www.ucla.edu/map. Campus parking can be purchased for $8 at the Wyton Ave./Hilgard Ave. kiosk. The closest available Lot is #3.

◙ While away on business in the beautiful city of San Pedro, I had a chance to visit with Charlotte Natale who runs Under the Bridge Bookstore and Gallery which specializes in Latino/a books and art. If you’re ever in town, it’s located at 358 West 6th Street, San Pedro, CA 90731, phone: 310-519-8871. What a nice collection of books and art.

◙ Over at PopMatters, Kate Soto reviews Manifest Destinies: The Making of the Mexican American Race (NYU) by Laura E. Gómez. Soto notes, in part:

“Gómez sets out to write ‘an antidote to historical amnesia about the key nineteenth-century events that produced the first Mexican Americans.’ A law professor at the University of New Mexico, Gómez takes a three-pronged approach: she looks at Chicano history via sociology, history, and law, using New Mexico as a case study. At the heart of the book is the idea that Manifest Destiny was not, according to Gómez, a neutral political theory. Rather, it was a potent ideology that endowed white Americans with a sense of entitlement to the land and racial superiority over its inhabitants.”

◙ That’s it for now but I do need to write a post on the West Hollywood Book Fair when I can sit down and write something that makes sense. So, until next Monday, enjoy the intervening posts from my compadres y comadres at La Bloga. ¡Lea un libro! --Daniel Olivas

Special Saturday Edition

Manuel Ramos

I was unable to post on Friday, but how about a few quick items for a special Saturday edition of La Bloga.

DAY OF THE DEAD PAPERBACK ALTAR
Now here is something a bit unusual.

"Miss Prothero's Books and book artist Deborah Horner are building a Day of the Dead altar out of mass market paperbacks. If you have a garage full of pulps, pocketbooks or mass markets that need a good home, please consider donating them to the project. We're looking for paperbacks that are approximately 4 1/4" wide by 7" tall. Bring your donations to Miss Prothero's by October 20. We're located at 1112 Santa Fe Drive[Denver]. We're open Tuesday through Thursday 10 a.m. to 6 p.m., Saturday 10 a.m. to 6 p.m., and Sunday 1 p.m. to 6 p.m. The altar will be unveiled on November 2nd at 7 p.m. You're welcome to bring something that pays homage to your favorite dead writer, reader, printer or binder on the evening of the unveiling. Call Miss Prothero's Books at 303-572-2260 if you need more information."

UPCOMING EVENTS AT EL LABORATORIO
Emma Perez and Manuel Ramos
October 20, 2007
Reception 6PM
Main Event 6:30-8PM
Emma Perez will read from her forthcoming novel Forgetting the Alamo followed by a reading by Manuel Ramos of works in progress.

Gustavo Arellano
November 14, 2007
Reception 6PM
Main Event 6:30-8PM
Gustavo Arellano will discuss his popular syndicated newspaper column Ask a Mexican and read from his book of the same name. Gustavo has appeared on The Today Show, The Colbert Report, CNN, Nightline and others. Ask a Mexican, the book, was published in 2007.

Sheryl Luna & Angel Vigil
December 1, 2007
Reception 6PM
Main Event 6:30-8PM
Sheryl Luna will read from her book Pity the Drowned Horses followed by a performance by award-winning storyteller Angel Vigil.
El Laboratorio, 404 S. Upham Street, Lakewood, CO 303-934-1777. All events are $10, $5 for members.

JUDITH ORTIZ COFER
A recent interview in the Nashville Scene produced an exchange that should be of some interest to La Bloga readers. Ms. Cofer was asked if she ever gets tired of being thought of and getting asked questions as a Latina writer, instead of just a writer. She responded:

"It’s inevitable. I usually am advertised with so many tags that I’m short- and nearsighted to it. Puerto Rican writer, Latina, whatever. It doesn’t bother me anymore because people have to find their way towards you. They will call you whatever they want, and then they come to the poetry reading and they understand that it’s about them. Even if I’m writing about my grandmother, it’s about them."

Good interview, check it out.

MODERN INDIAN IDENTITY
My father's stories:Remembering Oklahoma
October 25, 2007
7:30 PM, Atlas 100, University of Colorado, Boulder

The Center of the American West presents Dr. Eva Maria Garroutte in this fall's Modern Indian Identity Lecture. Professor Garroutte is the author of Real Indians: Identity, Community, and the Survival of Native America. In this talk, Professor Garroutte blends her father's stories of growing up in the Cherokee Nation of the 1930's with her own recent experiences as a tribal citizen working in the field of American Indian health. Reception to follow. More info here, or call 303-492-4879.

That's it. Have a great weekend, read and read some more, come back, often, to La Bloga, and how about those Rockies.

Later.

DeLaTorre and a Chicago Feast for the Eyes

Artist Luis DeLaTorre and Francisco Toledo in Oaxaca

Luis DeLaTorre is an artist in constant motion translating through the language of colors, shapes and shadows his experience of being Mexican-American in the 21st century and the dualities of living between these two worlds. Luis DeLaTorre was born in McAllen, TX 1969 and raised in the states of Jalisco and Nayarít, Mexico. His mother migrated with Luis and his two older brothers to the Bridgeport neighborhood in Chicago.

DeLaTorre began using art as a coping mechanism to understand his new surroundings and fill the void of having been transplanted from the place that he had always known as home. The art work will later took on a life of it’s own incorporating elements of time, history, geography creating universal themes affecting us all such as war, spiraling economies and the commercialization of humanity.

While in high school DeLaTorre was inspired by the paintings of artists such as Salvador Dali, David Alfaro Siqueiros and comic book illustrators Alan Lee and Bill Sienkiewicz. It was then that he decided to pursue an education in art. After developing his art skills he enrolled at the American Academy of Art where he had the opportunity to study under Master Watercolorist Irving Shapiro and earn his degree in Fine Art.

DeLaTorre’s art is exhibited frequently in the U.S., Mexico, and Europe. He recently received a grant from the Illinois Arts Council. This fall he has been commissioned to do two murals one at Spry Elementary School and one at Columbia Explorers Elementary School. He will also be participating in two group shows one at Neleh Gallery in Chicago and the Owings -Dewey Fine Art in Santa Fe, New Mexico. His artwork is currently in museum and private collections.

A huge part of his creative process is experimentation and constantly learning new things. DeLaTorre enjoys collaborating with artists of all genres. In the fall of 2006 DeLaTorre created visual elements for a Teatro Vista production and in 2005 included an enormous backdrop mural commissioned by Luna Negra Dance Theatre for a performance at the Harris Theatre for Music and Dance. His work has also been displayed at the Día De Los Muertos exhibit at The National Museum of Mexican Art. DeLaTorre has been involved in gilding restoration work at the historic Auditorium Theatre, the Illinois and Iowa State Capital Buildings and participated in the Frank Lloyd Wright House “Wing Spread” restoration project in Racine, WI.

DeLaTorre is committed to art in schools engaging kids to focus their energy on their own creativity. He is an advocate of artistic projects that enrich them and keep their creativity focused. He frequently participates as a guest speaker in Chicago Public Schools to encourage the exploration of the arts. In 2005 he also did a mosaic mural created for the Columbia Explorer Elementary School. The mural was done with children from the Yollocalli Youth Museum (a initiative of the MFACM).

DeLaTorre has also implemented an artist apprentice program in conjunction with the Big Picture H.S. in Chicago that includes the participation of two students a year. In the future he plans to create a scholarship program for young artists, and help implement more arts programs into inner-city schools. Check out DeLaTorre's new blog you can keep up with whats happing at the studio and read about the process the artist goes through in creating the paintings.

SAVE THE DATES! Come Celebrate Chicago Artist Month!

October 5, 2007
Opening Reception
6pm to 10pm

Looking for a way to CELEBRATE Chicago Artist Month? Celebrate with us! You can come and mingle with art lovers, meet the artists and learn about the INCREDIBLE work being produced in the Bridgeport neighborhood. There will be a variety of incredible work hanging on walls and easels. EXCITING NEW works featured by DeLaTorre, Cleeland, Gama, Noyes, Brasch, Ingold and Wyzensagel. DeLaTorre’s Oil paintings on richly prepared wood panels and watercolor portraits will have you spell bound. Runs thru Oct. 31 by appointment.

Eastbank Artist Group Exhibit
DeLaTorre Fine Art Studio
1200 W 35th Street – 3rd Floor
Chicago, IL 60609
773-927-7030
http://www.DeLaTorreArts.blogspot.com


Saturday, October 6, 2007
Opening Reception
Time: 6 to 9pm

Abstract Global Communities brings together four artists from differing backgrounds whose creative talents collectively represent our world community. The collective creativity of these artists represents the global concept of art without borders or boundaries. Come to this delightful gallery housed in a Frank Lloyd Wright gem in the Bronzeville neighborhood and Indulge your art craving with the rich layers and succulent colors of DeLaTorre’s newest work. You can be one of the first to see the unveiling of his painting “An Ode To Hillary” oil on canvas.

Abstract Global Communities/Neleh Galleries International
Chicago Artist Month Group Show
Opening Reception
Saturday, October 6, 2007
Time: 6 to 9pm
3219 S. Calumet Avenue
Chicago, IL 60616
http://www.nelehgalleries.com

Friday, October, 26 2007
Día de los Muertos Group Exhibit DeLaTorre’s art is on the move! If you happen to be in Santa Fe stop in and check out this fabulous exhibit at the Owings-Dewey Fine Art gallery. This exhibit will feature DeLaTorre’s take on this traditional Día de los Muertos holiday. Over the past twenty years the gallery has exhibited thousands of accomplished works by many of America's finest painters and exploring a variety of historical and contemporary themes.

Día de los Muertos Group Exhibit Owings-Dewey Fine Art / North 120 East Marcy Street Friday, October, 26 2007 Santa Fe, NM 87501 http://owingsdewey.com

Thursday, November 1, 2007 Opening Reception
This year, DeLaTorre dedicates his ofrenda to the U.S. Constitution raising questions on the contemporary and historical role of this country. The work emerges from subconscious inspired images painted on panels drenched in thick hand-made gesso resulting in glazes and paint integral to the artwork.

Thursday, November 1, Opening Reception Dia de Los Muertos Group Exhibit Latino Arts, UCC 1028 S. 9th Street Milwaukee, WI 53204 latinoartsinc.org New Mural Commission! Columbia Explorer Elementary

DeLaTorre will be creating a mural that will be 168” X 288” and will have three layers and images relating to hope and the ability to rise above faceless crowds and imagine the endless possibilities through the arts and education. Unveiling TBA.

DeLaTorre Arts Studio
1200 West 35th Street - 3rd Floor
Chicago, IL 60608

Tel: 773-927-7030

or e-mail us at:
luis@delatorrearts.com
or
dpando@delatorrearts.com

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More about our friends

The El Paso Times ran a profile of Gustavo Arellano written by EPT's book editor:

http://www.elpasotimes.com/living/ci_7105135

Also, Rigoberto Gonzalez reviewed Javier O. Huerta's new book, "Some Clarifications y Otros Poemas" (Arte Público Press, $10.95 paperback):

http://www.elpasotimes.com/living/ci_7105139

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More Raúl Niño news:

After a long hiatus, it looks like Bloga friend, poet Raúl Niño will be very busy promoting Book of Mornings. Here's what's on tap in October here in Chicago. Raúl sent me a couple of quotes in his press release, and they are too good not to list.

A poet is, before anything else, a person who is passionately in love with language.

W. H. Auden

For a writer only one form of patriotism exists: his attitude toward language.
Joseph Brodsky

October 17, Wednesday, at the Book Cellar, 4736-38 North Lincoln Avenue, at 7PM

On this evening of a "Local Author Night" -- it's reading with recently published writers Josh P. McClary, Lawrence Santoro, Renee Rosen and Mary Kinzie. This is a wonderful independent book shop, located in Lincoln Square, one well worth supporting. After all they serve wine by the glass, how many book stores can claim to do that?

October 23, Tuesday, at the Lincoln Park Branch Library, 1150 West Fullerton Avenue, at 7PM

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More News

First Macho feature at PROYECTO LATINA

Monday, Oct. 15 @ Tianguis Bookstore, 2003 S. Damen (across from the Blue line stop),
7:00 p.m. Free admission.

In honor of Teatro Luna's new Machos production, Proyecto Latina will present their first ever male feature, the wonderful Paul Martinez Pompa. The fabulous Diana Pando steps up as mistress of ceremonies for the evening. As always there will be Chisme box and open-mic.

Paul Martinez Pompa studied at the University of Chicago and at Indiana University, where he served as a poetry editor for Indiana Review. His chapbook, Pepper Spray, was published by Momotombo Press in 2006. His work has also appeared in the journals Borderlands and Barrow Street and the anthologies The Wind Shifts and Telling Tongues. Currently, he teaches at Triton College in River Grove, Illinois.

(Paul was the great poet who read at the inaugural Palabra Pura in 2006).

AND

The 17th Annual Gwendolyn Brooks Conference on Black Literature and Creative Writing

Fine Fury: Celebrating Gwendolyn Brooks at 90
October 17-20 2007 Chicago State University

As for that other kind of kindness,
if there is milk it must be mindful.
The milkofhumankindness must be mindful
as wily wines.
Must be fine fury.
Must be mega, must be main.

-- from Young Afrikans (of the furious) by Gwendolyn Brooks

Featuring:
Sonia Sanchez
Martin Espada
Ed Roberson
Tayari Jones
Donda West
Cheryl Clarke
Julius E. Thompson
Haki R. Madhubuti
Sterling Plumpp
Angela Jackson
Sandra Jackson-Opoku
Margo Crawford
Camille Dungy
Jacqueline Jones LaMon
Evie Shockley
Adrian Matejka
Gregory Pardlo
Randall HortonM
Kelly Norman Ellis
Nnedi Okorafor-Mbachu
Bayo Ojikutu
Kalisha Buchanon

Workshops by Martin Espada and others. For registration information visit www.csu.edu/gwendolynbrooks or call 773-995-3750.

AND

PALABRA PURA: PETER RAMOS and BERNARDO NAVIA

Wednesday, October 17
California Clipper, 1002 N. California
(corner of California and Augusta), Chicago
Doors open 8:00 p.m. Reading begins 8:30 p.m
Free admission. 21 and over show. (Don't forget your i.d.)

PETER RAMOS's poems appear in Indiana Review, Painted Bride Quarterly, Verse, and Poet Lore. In 2000, he was nominated for a Pushcart Prize. The author of several chapbooks, including Short Waves (White Eagle Coffee Store Press 2003), Ramos is an assistant professor of English at Buffalo State College where he teaches courses in American literature.

BERNARDO NAVIA was born in Chile. As the oldest of four brothers in a Protestant missionary family, he had the opportunity to live and travel in many cities in Chile, as well as throughout diverse countries in Latin America. He has published essays, poems and stories in numerous journals and periodicals in Chile, Puerto Rico, Mexico, Columbia, and Chicago, especially in the periodical, contratiempo. In 2000, a book of his poetry was published, Doce muertes para una resaca (Madrid: Betania 2000), and he is presently in negotiations for the publication of a novel. Bernardo Navia is an assistant professor at DePaul University.

Palabra Pura is supported by The Joyce Foundation, Letras Latinas at the Institute for Latino Studies at the University of Notre Dame, and the Rafael Cintron Ortiz Cultural Center at the University of Illinois at Chicago.

Lisa Alvarado

New Books From Children's Book Press

René Colato Laínez

Nana's Big Surprise/Nana, ¡Qué Sorpresa!
Story Amada Irma Pérez
Illustrations by Maya Christina Gonzalez

Amada and her family build a chicken coop, hoping their grandmother, visiting from Mexico, will enjoy raising the chickens and be distracted from her grief over their grandfather's death. From the Pura Belpré Honor award-winning team, comes an intergenerational tale of love, remembrance, and healing.

My Colors, My World
Mis colores, mi mundo
Written and illustrated by Maya Christina Gonzalez

Maya, who lives in the dusty desert, opens her eyes wide to find the color in her world, from Papi’s black hair and Mama’s orange and purple flowers to Maya’s red swing set and the fiery pink sunset.



On My Block
Edited by Dana Goldberg

Fifteen talented artists explore the places and spaces most special to them. This multicultural anthology is a celebration of community, an exploration of past and present, and an homage to neighborhoods everywhere.


Young Cornrows Callin Out the Moon
Story by Ruth Forman
Illustrations by Cbabi Bayoc

A celebration of city summers, sisterhood, and African American culture and community.




Kiki's Journey
Story by Kristy Orona-Ramirez
Illustrations by Jonathan Warm Day

When eight-year old Kiki travels to Taos Pueblo, the reservation where her parents grew up, she confronts her identity as both a Tiwa Indian and a big city girl.



A Place Where Sunflowers Grow
Story by Amy Lee-Tai
Illustrations by Felicia Hoshino

While she and her family are interned at the Topaz Relocation Center during World War II, Mari gradually adjusts as she enrolls in art class, makes a friend, plants sunflowers, and waits for them to grow.



Lakas and the Makibaka Hotel
Story by Anthony Robles
Illustrations by Carl Angel

Fun-loving Lakas takes readers on a new adventure, transforming one community’s struggle into a celebration of activism, spirit, and song.


The Closet Ghosts
Story by Uma Krishnaswami
Illustrations by Shiraaz Bhabha

Anu has ghosts in her closet! But a big move and a new home means more than just conquering her fears of the dark.



New in Paperback


A Movie in My Pillow / Una película en mi almohada
Story by Jorge Argueta
Illustrations by Elizabeth Gómez

A renowned Salvadoran poet recalls his experiences, dreams, and memories of his childhood in El Salvador and San Francisco.



The Upside Down Boy/El nino de cabeza
Story by Juan Felipe Herrera
Illustrations by Elizabeth Gómez

The author recalls the year when his farmworker parents settled in the city so that he could go to school for the first time.





i see the rhythm
Paintings by Michelle Wood
Text by Toyomi Igus

Beginning with the roots of black music in Africa and continuing on to contemporary hip hop, this visual and poetic chronicle is a celebration of the far-reaching impact African American music has had on the world.


Baby Rattlesnake
Told by Te Ata
Adapted by Lynn Moroney
Illustrated by Mira Reisberg

This hugely popular tale of family, love, and forgiveness, is now available in a paperback large-format English edition. With striking Santa Fe-style artwork, this Southwest Native American tale tells a story of family love and forgiveness.

Guest Columnist: Ann Cardinal

In May 2006, La Bloga reviewed Sister Chicas, a delightful young adult novel for adults by three writers, including Lisa Alvarado, who would eventually join La Bloga's regular line-up. 

Today it's La Bloga's pleasure to welcome one of Lisa's co-authors, Ann Cardinal, as our Tuesday guest.

Fifteen Candles

Ann Cardinal

For a moment, just a moment, we actually considered lying about it to a national reporter. But in the end we confessed that not one of us—the three authors of Sister Chicas, a coming-of-age novel that culminates in the celebration of one of the character’s quinceañera—had had our own Latin equivalent of a sweet fifteen party. For Jane and Lisa’s families money had been tight, and for me, well, my mother was not your typical Puerto Rican mother. She was a self-proclaimed socialist and openly disdained such events. But she had told me all about this ritual that seems to be coming back in style for Latinos in the U.S. with a vengeance. “But I never had one myself, you understand,” she would always say in caveat.

“It is the equivalent of a debutante ball, a coming-out party for girls from the ‘best’ families. It was more about the parents’ standing than the girl’s birthday,” she would tell me. According to her, formal events of this type were very popular when she was growing up in late 1930s and early 1940s Puerto Rico. There are scores of photos of her dressed in starched white lace at different ages, her hair in perfect ringlets, her hand clutched in her cousin Georgie’s, their young eyes weary but resigned to being paraded at carnival as Pierot and Pierrette. And though there is a series of photos of her at age fifteen, glamorous as any movie star of the period, she insisted she hadn’t had the event herself. She seemed proud of this fact. “It was designed to present a daughter of marriageable age to the community, to find her a husband. Bah! I refused to be paraded around like livestock in expensive white crinoline!” At the time I couldn’t understand her problem with it, I mean, isn’t it every girl’s dream to wear Barbie gowns and a tiara and have everyone’s attention on her?

When I turned fifteen, she sat me down and said, “sweetheart it is customary that I should throw you a quinceañera for this birthday, but I really don’t want to subject you to that and besides,” she continued as she surveyed my then thick black eyeliner, spiked ice blond hair and punk attire, “it really doesn’t seem like something you’d be into.” At that point in my life, I had to agree. But that day she gave me a diamond ring, her own engagement ring she had had reset into a simple gold setting. “I felt the need to mark this important birthday in some way,” she had said. I was grateful, but confused by her sentimentality given the disdain she had expressed for the traditions of that particular birthday. But whether or not I understood her reasons, I was always touched by her need to mark the occasion, if not with an all out ball (with the Ramones playing, of course), at least with a symbol that meant so much to her, and was a connection to my deceased father.

Years later I would recall my mother’s disdain for this event during the aforementioned interview with USA Today about the ritual of the quinceañera. “My mother didn’t even have one,” I told the reporter though it seemed odd to me as I knew my mother’s family was well-off and could have afforded one. I went on to explain that with the resurgence of interest in the event I had to admit I didn’t share her disdain. I mean, as long as it doesn’t put the family in the poorhouse to throw one for their princesa, then why the hell not? I myself love to dress up and the idea of sauntering about with your friends and family dressed in a full length gown with a tux-clad, handsome partner at your side sounds dreamy.


Three months later I was on a conference call with my co-authors, typing notes for a sequel to our novel on my computer, when an email came in from my sister Ellen.

“Look what I found in a box in the basement today,” the subject line said. I clicked on the attached scan while chatting on the phone and gasped as it opened up on the screen. It was a faded press clipping from 1939 that was captioned: “Una Alegre Fiestecita de

Cumpleaños” or “A Happy Birthday Party.” And there was my mother, dressed in a full length white satin gown, a spray of white roses across her chest and a wide smile on her gorgeous, lipsticked mouth. I did the math in my head…she was born in 1924, so it was…her fifteenth birthday.

“Annie? You still there?” I heard my chicas asking on the other ends of the phone line in Chicago and New York and it snapped me out of my slack-jawed coma.

“Yes,” I squawked, shock still tightening in my throat. “It’s just…well, my sister sent me a clipping that apparently is about my mother’s quinceañera!”

“But I thought she hadn’t had one?” Lisa asked.

“Me too.” I said. I went on to read the article in Spanish and translated it with Jane’s help.

“Whoa, the governor’s children came. Annie, that was a really important party if they were there.” Jane had grown up on the island and understood the lifestyle better than I ever would. “Why do you think she lied about it?”

Truth be told, I hadn’t a clue. It was no surprise that yet another of my mother’s stories turned out to be untrue—

I found out long after her death that it was from her I got my fiction skills—but why this? I mean, she wasn’t a socialist at fifteen; that came much later in her life. But as I stared at the pixilated image on my screen and a sea of teenage faces stared back at me, only one—her best friend Maria Mercedes—that I recognized, I realized that though the smile seemed honest, this glamorous event

 was certainly entirely of her mother’s doing. I knew that very few of those children were actually her friends and knowing her crazy and belligerent mother—God rest her troubled soul—none of the details had been under my mother’s control.

By the time I knew her, my mother had grown into a fiercely independent woman, who survived my father’s long illness and subsequent death and managed to raise her three children still remaining at home on a draftsperson’s salary. As I thought of her uniform of loosely flowing, Bohemian clothing and her radical ideologies I became certain that it was way more than not wanting a fancy party: just the idea of being pushed and pulled around in stiff formal finery by her overpowering madre had been her idea of hell.

After I hung up the phone I continued to stare at the clipping for some time. It was then I decided to cut the woman a break. If she wanted to forget the event ever happened, then good for her. I would forgive her for trading that one small white lie for a white satin formal, with a big fat heaping of rebellion on the side. I had to get it from somewhere, after all.

First novel pays homage to lost town of Santa Rita

Rise, Do Not Be Afraid (Ghost Road Press)
By Aaron A. Abeyta
Paperback; $15,95

Book Review by Daniel Olivas

Aaron A. Abeyta's debut novel, Rise, Do Not Be Afraid (Ghost Road Press, $15.95 paperback), is a hypnotically lyrical homage to a place and its people decimated by time and change.

The place is Santa Rita, a predominantly Mexican community so tied to the landscape that the people and their terrain seem to be the same. "Santa Rita is very real, a village in northern New Mexico about one mile from the Colorado border," said Abeyta, who lives in Antonito, Colo. "My dad used to take me there when I was a kid. Even as a boy, I thought the place was beautiful and somehow mythical."

The mythical aspects of Santa Rita are readily apparent in Abeyta's novel, which possesses elements of magical realism. Indeed, the Devil himself comes to town to wreak his own special brand of damage to the populace.

But perhaps the Devil is not the most dangerous thing to confront Santa Rita.
Abeyta said he was prompted to write the novel during a return trip to Santa Rita as an adult, "and finding that the road into Santa Rita had been blocked and padlocked, 'no trespassing' signs everywhere."

The town he once knew had been dramatically transformed: "The fact that the place had been bought up by outsiders and that original inhabitants could no longer go there without a key was, honestly, a big wake-up call for me. In the fate of Santa Rita, I began to see parallels with other small towns in New Mexico and southern Colorado."

The novel's structure is not traditional but rather moves freely back and forth in time as it also moves from character to character.

"I wanted the novel to reflect my influences, and those influences are very deeply rooted in the oral tradition," Abeyta said. He trusted the reader to "hear one story from several different people on several different occasions, with the details eventually filling themselves in."

The novel also relies heavily on the Bible and its imagery, particularly with its chapter titles.

"Most of the influence came from the Gospel of Luke," Abeyta said.

"I chose Luke for several reasons, but the most evident was that my abuelita used to tell me that Luke's was a gospel of mercy," he said. "I didn't know what that meant, but as an adult I began to understand."

Though Abeyta relied on friends to read drafts of his novel, the two biggest critics were his wife and mother.

"Their input was invaluable because it allowed me to verify that I was on the right track with people who knew Santa Rita and some of the people that I based characters on," he said.

Abeyta jokes that "having your wife and mom as readers would seem to register about a 0.0 on the objectivity scale, but they were very honest and helped me a lot."

Since the result is a powerful and eloquent elegy to Santa Rita, who can complain?

[This review first appeared in the El Paso Times.]

From Our Friends at ACENTOS

Tuesday, October 9th @7pm
ACENTOS Bronx Poetry Showcase
The Uptown's Best Open Mic and Featured Poet
MUNDO RIVERA

Mundo Rivera is a Nuyorican writer, born and raised in El Barrio.
He has attended artist residencies at La Fundacion Valparaiso in the
south of Spain and the La Napoule Art Foundation in France, near
Cannes. He has published articles in Urban Latino Magazine and the
New York Post, and is currently working on a novel and a collection
of poetry tentatively titled The Deliberateness of El Cuco in the Tree.
He is currently teaching 8th grade English/Humanities at the Urban
Assembly School for the Urban Environment in Bed-Stuy, Brooklyn.

The Bruckner Bar and Grill
1 Bruckner Boulevard (Corner of 3rd Ave)
6 Train to 138th Street Station
Hosted by JOHN RODRIGUEZ
FREE! ($5 Suggested Donation)

Coming from MANHATTAN:
At the 138th Street Station, exit the train to your left, by the last
car on the 6. Go up the stairs, to your right, to exit at LINCOLN
AVENUE. Walk down Lincoln to Bruckner Blvd, turn right on Bruckner.
Walk past the bike shop. The Bruckner Bar and Grill is at the corner:
One Bruckner Blvd., right next to the Third Avenue Bridge.

Coming from THE BRONX:
By Train:
At the 138th Street Station, exit to your RIGHT, by the FIRST car on
the 6. Go up the stairs, to your right, to exit at LINCOLN AVENUE.
Walk down Lincoln to Bruckner Blvd, turn right on Bruckner. Walk
alongside the bridge, past the bike shop. The Bruckner Bar and Grill
is at the corner: One Bruckner Blvd., right next to the Third Avenue
Bridge.

By Bus:
Bx15 to Lincoln Ave. and Bruckner Blvd. Walk one block west, past the
bike shop, to the Bruckner Bar and Grill.
Bx1, Bx21, Bx32 to 138th and 3rd Ave. Walk five blocks south along
the left side of 3rd Avenue to the end (Bruckner and 3rd). The
Bruckner Bar and Grill will be on the corner.

For more information, please call 917-209-4211.

More Bounty

Manuel Ramos





CALL FOR SUBMISSIONS
Chicana and other lesbians are needed to make submissions to a publication on Latina Lesbians to be edited by Chicana lesbian writer Juanita Ramos and published by the nonprofit Sinister Wisdom, a journal by and for female-born lesbians. With a focus on how Latina lesbians define activism and other issues, submissions can be a poem, song, letter, essay, short story, interview, journal entry, photograph, art work, etc., in Spanish and/or English. You can submit up to five entries, including written pieces and art work. Each written entry must not exceed 2,500 words. Submissions are due no later than November 1. For details, send an email to Juanita Ramos at companeras1994@yahoo.com

CATÁSTROFE
The Center for the Studies in Beckett and Contemporary Theatre Practice (Colorado State University) will present Samuel Beckett's play, Catastrophe in English and Spanish in Fort Collins and Denver, Colorado, including at El Centro Su Teatro on October 8 at 8:00 PM. The plays are directed by Eric Prince and José Luis Suárez-García. La Bloga has a special affection for Beckett, as shown by some of our previous posts, and this bilingual presentation of this particular play should be an excellent event.

LOS LOBOS SHOW TO BENEFIT ALMA MATER
Earlier this year an arson fire destroyed the auditorium at Garfield High School in East L.A. On October 14, Los Lobos will perform a benefit concert to raise funds for the reconstruction of the auditorium. The school sustained an estimated $30 million in damage. The band, whose original four members are all Garfield graduates from the early 1970s, will headline a bill with other Chicano artists including Tierra, Little Willie G of Thee Midniters and El Chicano. The event at Gibson Amphitheatre will also feature the Tex-Mex band Little Joe y La Familia and Upground.

FACE 2 FACE IN A FRENZY - ZARCO GUERRERO
I got the following info from Denver artist Jerry Vigil. Jerry also let us know that some of his most recent art can be seen in I Want Your Skull Fanzine, Issue Three, now on sale. Click on the links to find out more about Jerry or the magazine.

Face 2 Face in a Frenzy is especially geared to schools and prevention programs. It is an educational tool that addresses the many problems facing our youth today. Master Mask Maker Zarco Guerrero brings ancient archetypes to life in this freaked out and extremely funny folly featuring a curious cast of hand carved characters. Face 2 Face reveals the power of the mask to transform. The artist miraculously metamorphoses before our very eyes into multi personalities. Each masked character delivers a passionate and provocative monologue laced with poetry and song. The issues of diversity, discrimination, aging, substance abuse and nonviolence are but a few of the important themes addressed in this most artistic adventure. Face 2 Face is a maniacal one man masked melodrama that mirrors the mystery of the heart and mind in a myriad of fantastic faces. It's family friendly, and suitable for all audiences.

October 31st, 2007, Doors open - 6:30 pm
Performance: – 7:00 – 8:30 pm
Denver Museum of Nature and Science, Ricketson Auditorium, 2001 Colorado Blvd
Free but call to reserve tickets: 303.322.7009 or 1.800.925.2250

CHICANA NIGHT
The Hudson Valley Writers Center will host Chicana Night on October 28, beginning at 4:30 PM. Sergio Troncoso, who is on the board of this prestigious institution, told La Bloga that this year's event includes Alicia Gaspar de Alba and Helena María Viramontes. The writers will read and answer questions, and their books will be on sale. Suggested donation to attend is $5.00. Go here for all the details.

FLORICANTO PRESS ANNOUNCES NEW RELEASES
This press let us know that it has several new books including Papi Chulo by Carlos T. Mock, previously discussed here on La Bloga by Lisa. The message said:

"Floricanto Press's new releases include books in the Latina Series, and our new Gay Latino series. It also includes books about contemporary socio-political discourse, social commentary, and colonial literature (1600). Floricanto Press is definitively presenting a diverse view of Hispanic and Latino culture, including multiple voices of the literary and social spectrum to be found in the Latino community."

Click here for more about this press and its books.

LISA ALVARADO
Speaking of Lisa Alvarado -- she posted some of her fine poetry on her website and let us know that selections from her latest poetry volume, Raw Silk Suture, will be featured in the upcoming Ocho 15, edited by Francisco Aragón. You owe it to yourself to read Lisa's moving and powerful words.

INTERNATIONAL ACCORDION FESTIVAL
The International Accordion Festival kicks off October 12 at 6:30 PM at the Arneson River Theatre in La Villita in San Antonio, TX, with Santiago Jiménez, Jr, Chango Spaziuk, and Brandan. $5.00 admission. The Festival continues through October 14 featuring renowned artists from around the world playing just about every kind of accordion music you can imagine. Click here for details.

I have a couple of reading events coming up that I should mention: On October 11 at about 7:00 PM I'll speak at a gathering of the Rocky Mountain Chapter of the Mystery Writers of America, at the Chicano Humanities & Arts Council (CHAC). Wine has been promised. On October 20, around 6:00 PM, I will join Emma Pérez for a reading and program presented by El Laboratorio, the literary collective organized by Professor John-Michael Rivera. The reception includes food and drink, in addition to mingling with the authors.
CHAC - 772 Santa Fe Drive, Denver, CO 303-571-0440
The Laboratory of Art and Ideas at Belmar, 404 S. Upham St., Lakewood, CO 303-934-1777

Later.

October with Tia Chucha, Reyna Grande, and some thoughts....

Tia Chucha's Events for October 2007


Author Reading with Anna Marie Gonzalez
Saturday Oct. 6th at 2 p.m.




Ann Marie Gonzalez will present her new book and discuss its purpose. Divine for Life is a book written for people in search of divinity and understanding of who we are and what we are capable of. It is the Divine being's guide to life. This book will open doors to the truth of our existence.

"My deepest prayer is that sharing this information contributes to the empowerment of all who read this and ultimately to the spiritual evolution of humanity." Ann Marie Gonzalez


Book Reading with Mario Garcia
Saturday October 13, 2007 at 2 p.m.


Author and professor of History and Chicano Studies at UCSB Mario Garcia will present and read from his newly released book The Gospel of Cesar Chavez: My Faith in Action.
This is a book of spiritual reflections, prayers, or mantras from Cesar Chavez, one of the great spiritual leaders of our time. Perhaps the best-known Latino historical figure in the United States, a key aspect of why he did what he did was his faith. He was a devout Catholic and a man of deep moral and spiritual values, which is what drove him to seek basic rights for farm workers as well as recognition for their human dignity as children of God. Now, for the first time, The Gospel of Cesar Chavez calls attention to the spiritual side of this great leader through his own words.



Special Day of the Dead Workshop # 1
Satuday Oct. 20th from
11 a.m. to 1 p.m.

The first workshop of our 3 piece Dia De Los Muertos celebration!

-Danza Temachtia Quetzalcoatl
-Intro to group
-Historical Prospective of Day of the Dead
-Sugar Skull Workshop

Come join Danza Temachtia Quetzalcoatl as we introduce ourselves to the community and provide a historical and cultural perspective of the importance of Dia de los Muertos. This visual presentation will close with a sugar skull making workshop. It's fun for Everyone!

All the workshops are free!



Poetry Reading with Jim Moreno: The Artivist Movement
Saturday October 20th at 2 p.m.

Poet Jim Moreno will present and read from his newly released poetry collection, Dancing in Dissent: Poetry for Activism.

Dancing in Dissent is an artivist's (artist and activist) collection of poetry resonating with the legacy of speaking out against injustice and oppression. Moreno is a member of San Diego's Langston Hughes Poetry Circle and a past board member of the African American Writers and Artists.

He teaches poetry workshops for gang youth in lockups, children in after-school programs and adults who are beginning or practiced poets.



Michael Heralda Performs Aztec Stories
Saturday Oct. 20, 2007 at 6 p.m.

Come and experience the origins of this very special ceremony from the indigenous perspective in a presentation of music, songs, and stories.

The ceremony has evolved due to European influences, the artistic influence of Jose Guadalupe Posada's fanciful stylizations, and the commercial forces of our "modern" world. This program is for those interested in learning about the origins of this ceremony. It is also an opportunity to help establish a "balance" between today's modern practice and the ancient ceremony's true relevance and importance. You will hear things that touch your heart and at times seem very familiar. This is the ancient voice that you hear intuitively speaking to you from the past through your heart. Some of the information revealed in this presentation may surprise you, and some may validate an intuitive understanding you possess and have contemplated.


Special Day Of The Dead Workshop # 2
Sunday Oct. 21st from
11 a.m. to 1 p.m.
The second day of our 3 piece Dia De Los Muertos celebration
-Danza Temechtia Quetzalcoatl
-Historical Perspective of Danza
-3 groups
-dance, song, drumming
Day II of our Dia de Los Muertos workshop introduces the importance of danza in Day of the Dead celebrations. After the discussion, each participant is invited to learn an element of danza-drumming, dancing and/or Mexica songs-themselves!

All workshops are Free!
Special Day of the Dead Workshop # 3
Monday Oct. 22nd from
6:30 p.m. to 8:30 p.m.
This is the last workshop of our 3 piece Dia De Los Muertos celebration!

-Danza Temachtia Quetzalcoatl
-Mexica story telling
This will be a review and expansion of first 2 workshops. Day III of our workshop will continue to teach the elements of "la danza" and will close with Mexica storytelling for all!

On this final day of the workshop, Danza Temachtia Quetzalcoatl will host a community ceremony for all its participants. Traditional face painting will begin the celebration and everyone who participated will have a chance to share what they have learned!

All workshops are free!


Friday Oct. 26th at 8 p.m.

Join us for our famous Open Mic Night, this week featuring poet Thomas Gayton, along with some of the local poets and musican performers!

Works and Performances.
Thomas has read his poetry on Pacifica Radio, KPFK-Los Angeles and has performed with Jazz greats Charles McPherson, cousin Clark Gayton and Daniel Jackson. He has taught verse writing at the Writing Center in San Diego, founded the Poetry Workshop in La Jolla, California, at D.G. Wills bookstore and also cofounded the San Diego Poets' Press.
Book Reading with Beto Gutierrez


Saturday Oct. 27th at 1 p.m.
Author Beto Gutierrez will read and discuss his newly published book A Sentence with the District.

A collection of essays based on actual experiences of a former at-risk youth who became an inspired high school teacher in the Los Angeles Unified School District, Gutierrez sheds insight from a first person point of view that others dare not mention. A must-read book that advocates educational equity and quality.

Sugar Skull Workshop Hosted by Norma
Sunday Oct. 28, 2007 at 12 p.m.

Come experience a hands-on workshop for the whole family in preparation for Dia de los Muertos (Day of the Dead) with the making of Sugar Skulls, a centuries-old tradition in Mexico that plays an important symbolic role in this holiday. You are welcomed to join us in tribute of this fun and mysterious holiday.


Tia Chucha's Centro Cultural
10258 Foothill Blvd.
Lake View Terrace, CA 91342

(818) 896-1479

www.tiachucha.com
e-mail us at: info@chuchamail.com


Donate to Tia Chuchas! Tia Chucha's Centro Cultural & Bookstore | 10258 Foothill Blvd. | Lake View Terrace | CA | 91342

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Reyna Grande update



Under the Bridge Bookstore and Gallery
e-mail: underthebridge@sbcglobal.net
When:
Saturday Oct 06, 2007
at 5:00 PM
Where::
Under the Bridge Bookstore and Gallery
358 West 6th Street
San Pedro, CA 90731

UNDER THE BRIDGE BOOKSTORE AND GALLERY CELEBRATES DEBUT AUTHORS!

RSVP not required


SPREAD THE WORD...

Join us as Eduardo Santiago, author of Tomorrow They Will Kiss; Rosa Lowinger, author of Tropicana Nights and Reyna Grande, author of Across A Hundred Mountains, read and sign their new books.

Our readings/booksignings are a great opportunity to meet an author, hear them read from their work, or purchase an autographed copy of their latest book. As always, our events are free and open to the public.

If you are unable to attend an event and are interested in purchasing a signed book please please give us a call at 310-519-8871 or contact us via email at underthebridge@sbcglobal.net. We're happy to hold a book for you.



Some random autumnal thoughts...

Here in the Midwest, there is always a clear sense of seasons changing, of the time and life broken into segments. Now on my walks, I see the start of red gold rustling in the trees, the yellow and orange suns of zempasuchitl, and in my dreams, the faces of loved ones on the other side reminding me to make an ofrenda. On my good days, I see my things linked as a whole, a cycle beginning and ending and beginning.

Somehow too, at middle age, I feel more and more an affinity with autumn, I seem more in touch with the fullness of things as they begin to pass away. Somehow in the still of winter, the expectation of spring, and the busyness of summer I forget to quiet myself and take in what's everyday beautiful ---the walk in the park near my house, the full moon veiled partially with papel picado clouds.

Maybe it because I know once again things will fall away soon into a wintersleep , it seems more important to take time to walk, feel the crunch of leaves and grass under my feet, the smell of wood smoke from neighbor's fireplaces. Maybe it's because I have enough experience remembering and forgetting this, that this year I'm writing it down.

Lisa Alvarado

Books in English and Spanish for Halloween or Día de las brujas

René Colato Laínez

It is time to look in the closet for some clothes and scissors. Taran! You can make a great outfit. But if there is no time for mending, you can go to any store and buy your disfraz.

Meanwhile, this is my list of books for October.


Los gatos black on Halloween by Marisa Montes. Illustrated by Yuyi Morales.

Easy to read, rhyming text about Halloween night incorporates Spanish words, from las brujas riding their broomsticks to los monstruos whose monstrous ball is interrupted by a true horror.




Celebra el Halloween y el Dia de Muertos con Cristina y su conejito azul por F. Isabel Campoy y Alma Flor Ada. Ilustrado por Ivanova Martinez.

Even though Cristina has lost her blue bunny, she can still enjoy Halloween and the Day of the Dead by thinking about her favorite toy. Includes facts about Halloween and the Day of the Dead.




The witch's face : a Mexican tale by Eric A. Kimmel. Illustrated by Fabricio Vanden Broeck.

Don Aurelio falls in love with a witch who has a beautiful face but fails to heed her special instructions.




La mujer chiquitita contado por Jill Bennett. Ilustrado por Tomie dePaola.

Retells the tale of the teeny-tiny woman who finds a teeny-tiny bone in a churchyard and puts it away in her cupboard before she goes to sleep.






Hallo-What? by Christel Desmoinaux

A young witch wonders why everyone is so busy with pumpkins until her grandmother tells her about Halloween and some of the traditions associated with it.






La viejecita que no le tenía miedo a nada por Linda Williams. Ilustrado por Megan Lloyd. Traducido por Yolanda Noda.

A little old lady who is not afraid of anything must deal with a pumpkin head, a tall black hat, and other spooky objects that follow her through the dark woods trying to scare her.




Where the Wild Things Are written and illustrated by Maurice Sendak.

A naughty little boy, sent to bed without his supper, sails to the land of the wild things where he becomes their king.





Jugando con fantasmas : el libro de los cuentos de miedo por W. Kienitz y Bettina Grabis. Ilustraciones de Silke Voigt. Traducción de J. A. Bravo.

Ghost stories, games, activities, recipes and crafts for having fun with ghosts, goblins, witches and other spooky and macabre events.

Noticías

"It’s a wonderful book, filled with the grace and wisdom of being present, at every moment, and reminding us to do the same." Sandra Cisneros

And by-the-way, don't forget about Raúl Niño's upcoming Chicago readings at: the Sulzer Regional Library tomorrow, October 4th, at 7PM, or the DvA Gallery on Friday, October6, at 8-9:30PM. Available through MARCH/Abrazo Press


And good news about La Bloga's René Colato Laínez:

The Tejas Star Book Award was created by the Region One ESC Library Advisory Committee to promote reading in general and for readers to discover the cognitive and economic benefits of bilingualism and multilingualism. All the children of Texas will have the opportunity to select their favorite book from the Tejas Star list during the 2007-2008 school year. Details for participation and voting are coming soon. The Tejas Star Book Award Committee selected the following books for the 2007-2008 Tejas Star Book Award.

Byrd, Lee Merrill. (2006). Lover Boy/Juanito el cariñoso: a Bilingual Counting Book. Illustrated by Francisco Delgado. Cinco Puntos Press ISBN 0-938317-38-5. Grades PK-2. (Bilingual, English/Spanish) Reviewed in Críticas Magazine: http://reviews.criticasmagazine.com/BookDetail.aspx?isbn=0938317385; School Library Journal, Jun, 2006, Vol. 52, Issue 6, p. 142; Kirkus Review, 3/15/2006, Vol. 74, Issue 6, p. 287.

Juanito loves to count in English and Spanish, the kisses he gives to family, friends and pets.

Canetti, Yanitzia. (2006) Ay, luna, luna, lunita… Illustrated by Ángeles Peinador. Editorial Everest, S.A. (Distributed by Lectorum).ISBN 84-241-8774-1. Grades PK-2. (Spanish)
Reviewed in Críticas Magazine: http://reviews.criticasmagazine.com/BookDetail.aspx?isbn=8424187741

Farmer Federico Feliciano de la Feria never suspects that all the animals on his farm, except for one, are unhappy with who they are and wish to the moon to make them a different animal.

Colato Laínez, René. (2005). Playing Lotería/El juego de la Lotería. Illustrated by Jill Arena. Luna Rising. ISBN 978-0-87358-881-2 and 0-87358-881-9. Grades 1-3. (Bilingual, English/Spanish) Reviewed in Críticas Magazine: http://reviews.criticasmagazine.com/BookDetail.aspx?isbn=0873588819; School Library Journal, Oct. 2005, Vol. 51, Issue 10, p. 148.

A boy reluctantly spends the summer with his grandmother in Mexico. They have fun learning each other's language using the game Lotería, or Mexican bingo.

Garza, Xavier. (2006). Juan and the Chupacabras/Juan y el Chupacabras. Illustrated by April Ward. Piñata Books. ISBN 978-1-55885-454-3 and 1-55885-454-1. Grades 2-4. (Bilingual, English/Spanish) Reviewed in Kirkus Reviews, 10/15/2006, Vol. 74, Issue 20; School Library Journal; Oct. 2006, Vol. 52, Issue 10, p144.

After hearing their grandfather describe his encounter with the Chupacabras, Juan and his cousin Luz go into the corn fields at night to find out if the Chupacabras is a real monster.

Gonzalez-Bertrand, Diane. The Ruiz Street Kids/Los Muchachos de la Calle Ruiz. (2006). Piñata Books. ISBN 978-1-55885-321-8 and 1-55885-321-9. Grades 3-6. (Bilingual, English/Spanish) Reviewed in School Library Journal, Oct. 2006, Vol. 52, Issue 10, p. 144.

The Ruiz Street kids wonder why David, the tough-looking red-haired kid, has a different bike every time he rides down the street. They all think David steals the bikes and the rumors begin.

Hayes, Joe. (2005). A Spoon for Every Bite: Una Cuchara Para Cada Bocado. Illustrated by Rebecca Leer. Cinco Puntos. ISBN 0-938317-93-8. Grades 1-5. (Bilingual, English/Spanish)
Reviewed in Library Media Connection, Feb. 2006, Vol. 24, Issue 5, p. 57; School Library Journal, Oct. 2005, Vol. 51 Issue 10, p. 148-149.

In this folktale, a poor man tells his rich compadre that he knows someone who uses a different spoon for every bite. The envious rich man spends his entire fortune buying enough spoons for every bite he takes. He is surprised when he finds out how a poor man uses a spoon for every bite.

Mansour, Vivian. (2005). El Enmascarado de Lata. Illustrated by Trino. (The Tin Wrestler) Fondo de Cultura Económica. ISBN 968-16-7672-6. Grades 4-6. (Spanish) Reviewed in Críticas Magazine: http://reviews.criticasmagazine.com/BookDetail.aspx?isbn=9681676726

In this comical story, a small puny boy tries to convince his schoolmates, who pick on him daily, that the famous wrestler, El enmascarado de Lata (The Tin Wrestler), is his father. When his plans fail, he discovers the true meaning of friendship and integrity.

Villaseñor, Victor. (2005). Little Crow to the Rescue/El Cuervito al Rescate. Illustrated by Felipe Ugalde Alcántara. Piñata Books. ISBN978-1-55885-430-7 and 1-55885-430-4. Grades 2-4. (Bilingual, English/Spanish) Reviewed in Kirkus Reviews, 11/15/2005, Vol. 73, Issue 22, p1236-1236; Booklist, 10/1/2005, Vol. 102, Issue 3, p. 66; School Library Journal, Feb. 2006, Vol. 52, Issue 2, p. 127.

When Father Crow warns his son to beware of ungrateful humans, who do not appreciate what animals have taught them, Little Crow makes a clever suggestion to stay out of danger.

Lisa Alvarado

Immigrant foundations down Oz way

The Secret River. Kate Grenville. Edinburgh. Canongate Books, 2006.

ISBN 184195828X.

Michael Sedano

I'd love to meet the chicano version of Kate Grenville's Australian foundation novel, The Secret River. Imagine there's an Australian writer working on a novel about his great- great- great- grandfather and grandmother, who see a family of anglos set up a homestead, extinct a food plant, dig a system of settlements up and down the river. Some of these anglos would torture slow-moving blacks, keep sex slaves, a few would intermarry or live and let live. Ni modo, the writer would think, that world ended the day those people set foot on our land and no amount of romantic recreation will change that one awful fact.

Grenville doesn't shy away from the contradiction between native and invader in 1807. It is the heart of the conflict in the anglo family's story. The husband, a boatman, convinces his wife to abandon the hardscrabble encampment of Sydney for virgin land, free for the taking. They're fresh from London, he released from prison and transported to New South Wales. They make a living in Sydney but the man discovers paradise in the wilderness.

A frightening boat ride on open seas--the novel's best writing happens here--gets the family to their land. Along the slow river that rises and falls with the ocean tide, a handful of people have staked claims. There's enough freight for a boatman and company for the woman during his absences. Poor mother and three kids. And the crop to nurture. Puro city folk--she's a literate spirit--the transition to subsistence farming must have been terrifying. Then the blacks would appear.

The story idealizes the aboriginal people in a clearly despairing manner. The men shake sticks at the farmer who has destroyed the native crops. The women trade precious artifacts for trinkets. For the anglos, dinner is a boring menu of mush with a little salt pork. For the locals, lizard, snake, and kangaroo diet puts food simply everywhere, and they make fire by rubbing sticks together. The anglo family's middle son seems drawn to black ways, but the novel doesn't go in his direction, the author lets the boy's career tantalize the reader with its possibilities.

The author gives the women a pass when the inevitable massacre comes, three years into their stay along the river. Grenville's graphic bloodbath is the exclusive doing of the most hateful along with the weakest men among the anglos. The blacks take a few anglo lives with them in the attack, but gruesome slaughter of man, woman, and baby eliminates what had so troubled the characters, missing crops and stolen tools. For the rest of their lives the man would never mention the slaughter and the wife would never question where they'd gone.

The sea passage early in the novel and the massacre of the innocents near the end make for the story's most powerful writing. In between, Grenville unfolds her tale with a deliberate pace that keeps a reader turning pages, shaking one's head.

Sydney and Australia today form a thriving English-speaking land near the rim of the world where it's already tomorrow. No looking back down under. But still. I'll stay on the lookout for a counterpart to Grenville's The Secret River. In the meantime, The Secret River is one of those novels you read and pass along to another reader, curious what they'll make of it.

That's Tuesday the first one in October, 2007. Looks like it'll be a fine Fall in southern Cal. Same to you.

mvs

CREATIVE WRITING PROGRAM SEARCHES FOR TWO ASSISTANT PROFESSORS

The Creative Writing Program of the Department of English at the University of Arizona invites applications and nominations for two tenure-track assistant professors, one in creative nonfiction and one in fiction, to start August 2008. We are looking for outstanding writers and teachers to work with students at the graduate and undergraduate level. Our university, college, and department seek to expand our work with under-represented cultures and under-served constituencies, and so we welcome candidates with experience and interest in working with diverse students, colleagues, and communities. Our program also seeks to encourage a broad range of aesthetic approaches. Welcome, but not required, is secondary expertise in poetry and/or an ability to contribute to a college-wide initiative in border studies.

For full details and online application, click here (cite job #39165 for creative nonfiction, or job #39113 for fiction). Include letter of application, c.v., and writing sample (30 pages maximum) with the online application. Please have three letters of recommendation sent to Professor Alison Hawthorne Deming, Search Committee Chair, Department of English, P.O. Box 210067, ML445, University of Arizona, Tucson, AZ 85721-0067. Review of complete applications will begin October 10, 2007 and continue until the positions are filled. For more information on the department and the program, go to here.

◙ In yesterday’s El Paso Times, I reviewed Aaron Abeyta’s debut novel, Rise, Do Not Be Afraid (Ghost Road Press). As you know, Abeyta is one of La Bloga’s favorite writers.

◙ If you missed Rudy’s post from yesterday, check it out…he writes about an important landmark reached by La Bloga which would not have been possible without you, our readers.

◙ Tattoo Highway, an online journal of prose, poetry and art (and one of my favorite online litmags), is now reading for TH/16: "Sidekicks & Fellow Travelers." Deadline January 15, 2008.

GENERAL GUIDELINES: Interpret the theme literally or loosely, as you wish. Our tastes are eclectic. We like fresh, vivid language, and we like stories and poems that are actually about something – that acknowledge a world beyond the writer's own psyche. If they have an edge, if they provoke us to think or make us laugh, so much the better. We strongly suggest reading a previous issue or two before submitting. While we particularly welcome poetry and short "screen-reader-friendly" prose or cross-genre pieces (less than 1000 words), we do on occasion publish longer work. We encourage hypertext and new media (Flash .swf) submissions, also photographs and original graphics. For complete guidelines, click here.

◙ And this notice from that wild vato of literature, William Nericcio, Professor & Chair of the Department of English & Comparative Literature, San Diego State University: He will be doing a book reading at Skylight Books, 1818 N. Vermont Avenue, Los Angeles, CA 90027; Tel: (323) 660-1175, on Wednesday, November 7, 2007, 7:30 p.m. The book: Tex[t] Mex: Seductive Hallucinations of the Mexican in America (University of Texas Press). And here is the pretty ad:

◙ In the latest edition of the Santa Monica Review, a beautiful full-page ad runs for the forthcoming Latinos in Lotusland: An Anthology of Contemporary Southern California Literature (Bilingual Press). If you haven’t seen the ad yet, one of the contributors to the anthology, Daniel Chacón, posted a PDF link to his university’s website. The Santa Monica Review is a fine literary journal that you, as readers and writers, should check out. Now. Or else I’ll have to get a little Tony Soprano on you.

◙ Lo siento for the short post but I moderated a panel at yesterday’s West Hollywood Book Fair and was completely pressed for time. Such is life but I had a blast and will try to gather some photos to give you a report. So, until next Monday, enjoy the intervening posts from my compadres y comadres at La Bloga. ¡Lea un libro! --Daniel Olivas