With Chicano and Latino speculative fiction* blossoming, I and others believe its authors can blaze our own trails to not follow the paths of mainstream Anglo authors. This might sound like a risky way of succeeding as a writer, but the rewards go beyond book sales and personal income. All across the planet, writers advocate and practice this.
Cherokee author Celu Amberstone says of Indigenous speculative fiction: “Our fiction is alive with new possibilities inspired by our cultural heritage, fiction that can offer new insights to our troubled world. As Indigenous peoples, we understand that the specters of colonialism and corporate greed still haunt Earth’s future. It is our responsibility to offer humanity a new vision of the universe.”
An Australian aborigine from the Palyku people, YA spec fiction author Ambelin Kwaymullina is another. In a speech earlier this year, she said, "We are, along with speculative fiction fans in the world, the people who know. We understand the great promise and the great flaws of humanity; we have seen both writ-large across magical kingdoms and alternate realities and far off planets. So the question for us is not what the future will hold, because we’ve already seen a thousand variations of it. The question for us is, how do we create the futures of our dreams and not our nightmares? Like other spec fiction writers before me, I believe humanity is now living in the times that will define what is to come for our species."
American author Paolo Bacigalupi expects even more for writers of any nationality: "The real purpose of novels of Sci-Fi, apocalypse, dystopia, etc. should not be escapist. A spec lit novel that doesn't tell about the present moment is no more meaningful than a romance or tea cozy mystery. If it doesn't, then why did it have to be Sci-Fi to begin with?"
I agree with all of the above. More in my alternate-world fantasy novel, The Closet of Discarded Dreams than in my short stories, issues of immigration and border "security," militarization of the police, gentrification of barrios, "Christian" intolerance have all played roles. As a Chicano in the U.S., when I write, the reality that we and others live pushes for inclusion. I can't imagine any other approach that would make my stories worth reading.
Here's an example of what I mean: French kids don't suffer weight problems, obesity, diabetes & hypertension like ours do. They get fresh and freshly prepared fruits, vegetables, fish and meat that are locally sourced; only filtered tap water for drinks. Three recess periods, a total of 90 min./day; and they walk or bike alone (if you can believe!) to school. No school on Wednesdays. All of this, U.S. kids are denied. It doesn't mean we're stupider than the French; we've simply allowed food corporations to victimize our kids. So what?
So how would a spec author include the junk food we're sold into a novel? How about the pink slime served in school cafeterias? Written into a YA zombie novel, with the two main, non-white characters, one the mexicano Miguel. Add racism and flash round-ups of undocumented workers. Sound like a stretch? Not so much, even after you realize that Paolo is not a Chicano writer.
In a podcast this month, here's what he said about learning the story and facts behind pink slime: "The politics makes you angry enough to write fiction--the company "ethics", and government "protection" [of our food]. The status quo doesn't see us being able to talk about the data surrounding us. I was a sci-fi reader growing up and spec genre held my interest. But lots of sci-fi books were dated and not relevant to kids. Zombie was for my own joy, my own creativity, to feel passionate about. I knew that if I found something interesting, I could strive to make it interesting for my readers."
The publisher's synopsis of Zombie Baseball Beatdown: "In this inventive, fast-paced novel, award-winning author Bacigalupi takes on hard-hitting themes--from food safety to racism and immigration--and creates a zany, grand-slam adventure that will get kids thinking about where their food comes from.
"The zombie apocalypse begins on the day Rabi, Miguel, and Joe are practicing baseball near a local meatpacking plant and nearly get knocked out by a really big stink. Little do they know the plant's toxic cattle feed is turning cows into flesh-craving monsters! The boys decide to launch an investigation into the plant's dangerous practices, unknowingly discovering a greedy corporation's plot to look the other way as tainted meat is sold to thousands all over the country. With no grownups left they can trust, Rabi and his friends will have to grab their bats to protect themselves (and a few of their enemies) if they want to stay alive...and maybe even save the world."
The author didn't stop at publication. On the book's website, the political matters lace throughout the jokes, zaniness and funny, zombie madness. Here's a sample, and you might want to give the URL to your kids. (If you think this is violent, see the videogames kids play.)
- 70% of evil monsters come from nasty places like toxic waste dumps. 100% of documented zombie outbreaks originated from an infected food.
- Protect Your Head. To a zombie, your brain tastes like the best food ever.
- 9 out of 10 zombies say they prefer brains to any other food.
- The brain size of kids who like reading is 1/10 larger than that of kids who don't.
- On average zombies find bigger brains 33% more appetizing than small brains.
- 92% were easily able to bite through a single layer of clothing, penetrating the skin.
- 33% of zombies were unable to bite through 5 or more layers of clothing, and left to starve.
I recommend the book, even for some kids as young as eight. Latino kids will sympathize with and enjoy Miguel, a main character. Politically, the book promotes investigation, exposing the facts gathered, organizing other kids, and the success of defending your beliefs about what's true, even when corporations and adults don't know or hide the truth.
Paolo is beginning to mull ideas for a sequel to Zombie. Not to critique, but to suggest ways I think a sequel could improve over the first of the series, I note the lack of major girl characters. To all spec writers: the boys-only legacy of old sci-fi can and should be discarded. Research show boys will read books with girl protagonists and more, if they are intriguing and well written. And we need to help boys break down whatever impedes their working and living well with the opposite sex.
Secondly, I think the climactic battle (obvious from the title, but most of this is spoiler) has two huge real-world, emotional and action gaps that the author could have used to heighten conflict.
The hero organizes his friends in the final battle WAY too easily. Anybody who's had or worked with boys knows--organizing them is like herding olive-oil-slimed pigs in the middle of a muddy field, away from their trough of amphetamines. The protagonist Rabi should have had to more realistically overcome those problems. Yes, I know it was the climax, and maybe the author didn't want to give his hero too much to overcome. Still.
The second, emotional gap that the author missed out on was the trauma of who the boys had to beat, hurt and kill to escape the zombie breakout. Their friends, siblings, parents and adults they knew. According to my read, none of the boys had much trouble beating down their family and community. Obviously, in the real world, this would be major PTSD. (That coming in the sequel?) Adding bits of scenes about this conflict would have extended the big battle, which might be why the author excluded it. I won't say how he might have been able to do it; he's the author. As a reader, the gap left me unfulfilled, pick-pocketed.
Read the, buy it and give it as a present, order it for your room or library. If you're a Latino author, read it and see if you can say that we Latinos can't do the same or even better at bringing politics into our spec lit. For our gente to learn and read and enjoy.
Es todo, hoy,
RudyG, a.k.a. Chicano fantasy author Rudy Ch. Garcia
* Speculative fiction - spec lit includes fantasy, magical realism, horror, alternate world and alternate history, fables and science fiction, at the least.