Thursday, January 16, 2025

It's Like a War Zone Down Here

                                                                                     
Better Days, Santa Monica towards Palisades, painting by Danny Alonzo


    Monday morning, nearly a week after fires had devasted most of Palisades and Altadena, I drove to a scenic overlook above Culver City. I wanted to see which way the smoke was headed. 
     My Mar Vista home is only three or four miles south of Brentwood, not far when the winds are blowing 40-to-50 miles per hour. I tapped into Spotify and out came Randy California’s voice, the lead singer of the 1960’s band Spirit, “It’s nature’s way of telling you/ something’s wrong.” Prophetic, and something of a mantra in the 1960's, like Steven Stills reminder, “Something’s happening here/ What it is ain’t exactly clear.” 
     My generation questioned everything but didn't find many answers in anything. Did our arrogance, maybe even hubris, get the better of us? Everywhere, people look to place blame for the destruction the fires caused. Bob Dylan knew, "Something is happening here, but you don't know what it is/ Do you, Mr. Jones."
    Fortunately, it’s a clear day, no smoke anywhere, and barely a whisp of wind. I can see the San Gabriel Mountains to the east, a little hazy but clear. Scanning west, the Hollywood sign comes into view then the Santa Monica Mountains and the entire L.A. basin to the Pacific. It’s eerie. 
     Though the sky is blue, I know the Palisades’ fire, which threatened Brentwood, down to parts of West L.A., is only 11% contained, which means it must be heading north, or west, looking for something else to burn. 
     The Tuesday before last, I stood here at the same spot. The Santa Ana’s were blowing at a fair clip. I saw a guy with a camera and tripod. Beyond him I saw it, a billow of smoke rising between two mountains, down in one of the canyons. The guy with the camera turned to me. I said, “Is that smoke?” He said, “Yean, it is.” 
     As a native of L.A.’s westside community, I have seen the worst of L.A.’s Santa Monica Mountain fires, going back to the 1961 Bel-Air fire that destroyed nearly 500 homes. It started as a small flame from a trash heap, but once the Santa Ana’s picked up the embers, the fire spread from house to house.
     Living in L.A.'s westside flatlands, we never felt threatened by the fires in the hills, even if they were only a few miles away. I remember, in the early 1990s, early evening, and I looked out a window of the Santa Monica Hospital as my newly born grandson cried. The hills in the Palisades were ablaze, bright violet and orange hues filling the night sky. We expected fires in October and November, not into December and January, like now.
     I knew some canyons were inaccessible and said to the man with the camera, “Oh, no. That’s not good.” 
     “No,” he answered. “It isn’t.” 
     If the winds were whipping up down here, in the lowlands, they’d be gusting at much higher speeds up there in the mountains and canyons, where I’d spent many afternoons hiking, some canyon gorges deep and narrow, four-to-five hundred feet, solid rock cliffs, in some places, impossible to fight a fire on foot. The thick brush up there hasn't had rain in eight or nine months.
    The cameraman and I watched the fire spread. In no time, we could see the flames, which meant from this distance, those flames had to be thirty to forty-feet high, maybe more. I said, “That looks like it's around the Palisades.” The guy nodded, agreeing. 
     I walked around the crest of the Baldwin Hills Scenic Overlook, the rest of the basin appearing sublime, the sky a deep blue, the winds moving the tops of the pines. When I arrived home, I told my wife what I’d seen, a fire in the mountains and the winds blowing. 
    We turned on the television. The reporters said the winds in the mountains were pushing sixty-miles-per-hour, with gusts of up to one-hundred MPH, too hard air support. The firefighting crews arrived on the scene. They turned on their hoses. The flames were huge. I wasn't sure I could believe my eyes, the flames rapidly moving from house to house, the winds toying with the spay shooting from the hoses. Tall palm trees caught fire and shot flaming palm fronds in all directions, setting fire to homes blocks away, so many houses ablaze, firefighters working on one home as others around them burned. 
     It seemed like no more than a couple of hours, the firefighters were saying their hoses had run dry. When questioned by a reporter, one firefighter explained how neighborhood water hydrants were designed to carry enough water to fight a house fire, maybe two, not entire blocks of houses in 100 MPH wind gusts. 
     To make matters worse, in the Palisades highlands, the water had to travel uphill, pushed by electricity and generators to reach the hydrants, unless there were reservoirs or water tanks above and moved downhill by gravity to replenish the water supply. That was all news to me, and probably to many people in L.A., watching on television. I had always imagined an infinite supply of water in each fire hydrant. I'll never look at a water hydrant the same after this.
     Besides that, many homes in the Palisades, Topanga, and Malibu weren’t the 1940’s 1000 to 1500 square-feet tract homes, like ours in Mar Vista and the flatlands. In the Santa Monica Mountain communities, like the Palisades, Mandeville Canyon, Brentwood, Bel-Air, and the Hollywood Hills, since the 1970s, developers had bulldozed many of the more modest ranch homes and built mansions, anywhere from five to ten to fifteen thousand square feet, three-four stories, huge outdoor estates, surrounded by decorative shrubs, trees, hedges, plants, and flowers, much of it growing right up against the walls, plenty of tinder for a raging fire, already fed on chapparal and scrub oak. 
     It seems to me it would take a gang of firefighters to tackle a fire in, even, one home and estate, in some cases, the size of a city block.
     That night, it was reported fire had broken out in Eaton Canyon, Malibu, Calabasas, Sylmar, and the Hollywood hills, just above Hollywood boulevard, apartments and homes standing side by side. From where I sat, it appeared we were all surrounded by fire. 
     It was hard to believe, first watching flames engulf the homes, but then seeing them destroy the downtown areas, like the Palisades’ village, the community’s civic center and main shopping areas then, later, Altadena's downtown area. My stomach turned, a sick feeling, total dread, like Neil Young wailing, “Helpless, helpless, helpless, helpless.” 
     Outside, ashes fell on our cars and homes. The air was a muddy grey. Man was no match for nature. All aircraft, the muscle in any fire fight, was grounded. The gusts too violent. Evacuation orders and warnings came quickly. I thought, depending on the shifting winds, the embers could go anywhere, across Wilshire and Santa Monica boulevards, into the flatlands, Santa Monica, Venice, West L.A., and Culver City, vegetation-rich communities, Palm trees and tall eucalyptus, maples, pines, sycamores, oak, and so many others, everywhere, homes constructed on tract lots, sometimes separated only by feet. 
     For nearly three days, the winds had their way with the mountain fires, including a large fire, that blew up overnight, Tuesday, in Eaton Canyon, and by Wednesday afternoon had decimated many middle-class neighborhoods in Altadena. By Friday, the winds had subsided enough for the air power, first the water-dropping helicopters then super scoopers sucking ocean water into their bellies and dropping them on the fires, and finally the converted passenger jets, carrying fire retardant, to keep the fires from spreading. “It’s like a war zone down there,” I heard over and over from people on the ground. 
     The unsettled feeling in my stomach wasn’t fear but more a dread, something that comes when you see there isn’t a thing you can do, but you know your neighbors, friends, and relatives are in danger. It was very much like a war zone. 
     However, what I think most people were describing when they used the term were the consequences, the destruction after the fighting, like scenes from a WWII documentary, Dresden or Nagasaki, the burned-out and destroyed building. For me, and I assume many combat veterans, the idea of a war zone is real, the struggle in the midst of battle, not so much the destruction afterwards, especially in jungle fighting. 
     I was with a brigade-size unit in Vietnam, with competent coordination, easy to move from one place to another, whether in a convoy, on ships, or in planes. The media referred to us as nomads and firefighters, ironically, moving to wherever we were needed, wherever a new fire erupted. 
     Once the brigade established a center of operations, helicopters would ferry the infantry and artillery into the field. Huey gunships would drop the infantry down into a valley, where they’d begin the mission, usually what the army called, “Search and destroy,” much like firefighters on-foot, heading into the blaze. Double-propped chinooks would ferry the artillery, often to a mountaintop, to cut down brush and set up a firebase, and wait for the infantry to call, if needed. 
     More than not, the infantry carried out their mission smoothly, making sure the enemy had evacuated the area. Sometimes, we’d hear gunshots in the valley, the distinct sounds of M-16's and AK-47's. We knew the infantry had made contact, kind of like firefighters confronting the conflagration, mostly under control, except when the wind blew, or, in our case, the infantry ran into heavy resistance, something the intelligence people had missed, in which case, they'd call in artillery to soften a target, keep the enemy at bay, or, when desperate, stop the enemy from closing in and overrunning their position and spreading the fight further into the jungle, like a fire out of control. 
     When it got bad, we’d hear grenade launchers, mortars, and rockets. We'd get ready and wait for the call, “Fire Mission.” It wasn’t just the infantry fighting down in those valleys. Many of those guys were close friends and acquaintances we’d party with during our off-hours in the rear area, where we’d get sloshed, share stories about family and girlfriends, about our hopes and dreams, not unlike the people in the Palisades, kids I’d known in high school, or friends I’d met who now lived in Altadena. We had personal connections. 
     When the call came for artillery support, the battery would work as one unit. One or two-gun sections facing in the right direction would respond and, hopefully, send enough artillery into the valley to quell the opposition, the same way firefighters go up to burning homes or buildings and douse the flames with water from their hoses. Some of us would man "outposts," anticipating an enemy attack on the firebase. 
     The infantry carried their own equipment and weapons but a limited supply, never enough for a long, sustained battle. If it was a large enemy force, the battle took more time, hours, sometimes all day, the casualties on both sides mounting, and more firepower needed, like fighting a fire in abnormal conditions, high winds, and not enough water. 
     The infantry needed more than artillery, so they called in Huey gunships to lay down a steady stream of machine gun fire, just like firefighters calling in helicopters to drop thousands of gallons of water on a dangerous fire. At our firebase, we knew it was bad, and that dreaded feeling would crawl into our guts, helpless to do anything but hold our positions, wait, and watch for enemy forces that came our way to quiet our howitzers.
     If the battle raged on, the infantry might call in Puff the Magic Dragon, a Douglas AC-47 transport plane mounted with an enormous machine gun pointing out one door and roar as it spit thousands upon thousands of rounds of deadly fire on a hot target. 
     A few times, the battle was beyond both gunships and Puff. If the weather was favorable, an Air Force Thunderchief or a Navy F-4 Phantom jet would come, dip into a canyon, so close to our firebase, we could see the pilot’s face inside his helmet. The jet's explosions echoed through the valley and over the mountaintops, much like those super scoopers dropping tons of water on wildfire, or the converted transport jets unleashing pounds of fire retardant to keep the blazes from spreading, a scene Oliver Stone captured at the end of his movie, Platoon, enormous explosions then silence.
     Yet, in war, as in a fire, everything depends on the weather and the environment. For us, if it was overcast or raining, we were in trouble, like firefighters battling the wind. The infantry, often, had to fend for itself, just like the firefighters in the Palisades and Altadena, fighting the fire without any air support, the wind whipping the water in all directions as flames consumed, not just one home, but entire neighborhoods, so much like a “war zone.”
     Now, I remember the unsettling feeling in my stomach, a helpless sensation. It was what I felt for a year, long ago, in another time and place, fear for my friends and that, in the heat of battle, there wasn't a thing I could do, a thing any of us could do but to wait and see who emerged at the end, once we returned to the rear area.
     All Friday, through Saturday, and Sunday, the winds had finally subsided, and like the rest of the world, I was glued to the television watching the airpower, the converted jets dropping fire retardant across the mountains. One chopper after another and a line of super scoopers keep up their relentless water drops on the fire. Firefighters climbed across dangerous terrain to reach homes built along mountainsides and in canyons, hauling their hoses, picks, and shovels, everyone hoping, the winds continue to cooperate. 
     How can we not question nature, in this environment, beautiful but wild? Should we be building homes and communities here, in the wilderness, or, maybe, we should listen to Randy California warning about nature's way of telling us something’s wrong.

Wednesday, January 15, 2025

The Orchid of Quetzali


 

Written by Claudia D. Hernández.

Illustrated by Jazmin Villagrán Miguel.


From the author Claudia D. Hernández:

I am excited to announce that my latest book, The Orchid of Quetzali, is now available. This is the first book in a compelling trilogy that tells the story of Quetzali, a young indigenous girl from Tactic, Guatemala—my hometown—who faces the challenges of displacement, immigration, and assimilation.

In this first installment, we journey with Quetzali, who grows up in Tactic, where Poqomchi’ is spoken. She spends her days helping her family in the market and weaving on her kemb’al, a traditional backstrap loom. One day, a visit to the Biotopo of the Quetzal introduces her to the endangered Quetzal bird and the monja blanca orchid, both symbols of her homeland’s rich heritage. When soldiers arrive, delivering documents that force her family to leave their home, Quetzali embarks on a difficult journey north, carrying with her the monja blanca orchid—a symbol of the beauty, resilience, and hope she holds as she seeks a new beginning.



Praise for The Orchid of Quetzali:

"Memory manifests in many forms, is stored in many ways, and needs to be cherished. But there is a memory we seldom talk about, our memory with nature, the one held by plants, birds, and the land. This book is about that connection with life, a memory and poetry of journeys. A brief story of Latin America, of migration and resistance, told from a mountainous Guatemala by a girl and her orchid." -Julio Serrano Echeverría, Author of Balam, Lluvia y la casa / Balam and Lluvia's House

"Such a radiant and beautiful story of courage. It opens with an evocative setting and then the sudden struggle, but the family stays positive reflecting the resilience of nature-a great message for how we need to default to nature instead of war." -Kerry Madden-Lunsford , Author of Ernestine's Milky Way 

I can’t wait to share Quetzali’s journey with you. Your support in ordering the book means the world to me, and I hope this story touches your heart as much as it has mine.

Thank you for being a part of this journey.   

Warm regards,

Claudia D. Hernández 


 

Tuesday, January 14, 2025

Fire burns nothing but stuff

Late-breaking News
Lisbeth Coiman reminds that this Saturday, January 18, the popular and arrestingly interesting panel of other-than-Mexican immigrant poets (link), returns to the Los Angeles area.

Coiman writes: On Saturday 1/18/25 at 2PM at the Eagle Rock branch library, @viguerespertalicia @tue_my_chuc and @parchitapoet will be in conversation with @thelma_t._reyna. Our Immigrant Hearts is a discussion series created by Thelma Reyna in which three to four poets of completely different backgrounds discuss about what brought us to this country and under what circumstances. We will be happy to see you there.

Fire burns nothing but stuff: Two Reports
Michael Sedano

Painting by Margaret Garcia

La Bloga-Tuesday welcomes the temporary return of an OG La Bloga veterano, the founder himself, Rudy Ch. García. Motivated by the horrendous California firestorms, García's essay ruminates upon background causes and humane remedies to moral and actual conflagration. 

First, a personal note. 

It all burned down, the house I moved into with my daughter and granddaughter two years ago, following the death with Alzheimer's Dementia of my wife, Barbara. We'd been married 54 years when I lost her and despite my numbed devastation, I found new hope in my daughter's dream house. 

The fire knocked me down after I'd finally gotten back on my feet. My daughter and granddaughter are Sedano Women. This means they're strong, smart, indomitable. We shall rise again. 

Me, I numbed myself during Barbara's five year journey to the end of Time, and the fire hit me with less impact than it should have. I have nothing, the fire ran away with all of my stuff

In the days since the house went into ashes, I've begun remembering the stuff I left behind when I made my break for it, at Amelia's insistence. 

I thought sure the fire was too darn far away to reach all the way to our home. My daughter thought otherwise and insisted I head from the hills down into Pasadena where I now reside in a motel with the clothes on my back, a camera, and my laptop computer.  

The Arte. Ironically, one of the first lost paintings that comes to mind is a Margaret Garcia fire painting, her birthday gift to me back in August. (Not the one pictured above, since mine is ashes). Then more paintings, lino cuts, sculpture, serigraphs, my prized Diego Rivera etching. 

My clothing. Cashmere sweaters that were birthday and Christmas gifts from Thelma Reyna. My bespoke suits from Korea that still fit, casí. My other cameras. My spare change. My... 

One day soon, the insurance company will want an inventory. Maybe when I go through the rubble (once the blockade gets lifted) I'll have a more complete notion of what I lost when I say I lost everything.  

But it's just stuff. 

Each item stands as a token for memories, and those are indelible. I remember how Barbara fell in love with Garcia's "Dancing In the Moonlight." I asked Margaret about it and she told me "Cheech owns it." Barbara pined for the image. Then one holiday sale at Frank Romero's Frogtown studio, I walked in the front door where Margaret sat smiling. I smiled back. She points up at the wall above her. She'd made a version of "Dancing In the Moonlight."
 
"Dancing In the Moonlight" by Margaret Garcia

Barbara loved her copy of the work. I don't have Barbara, and I don't have Margaret García's pastel anymore. But nothing can deny me those memories, García's smile, Barbara's joy unwrapping the work. 

The move from my old abode, empty but for memories, to my daughter's house on the hill that itself now is only memories, creates new memories. Important, vital, alive memories. All that stuff is gone and all those memories spring forth when I begin to count the stuff I lost. 

I treasure the memories and will miss the treasures, but so it goes. It is what it is. Only Time will deny me my memories.


Top: foto Amelia Sedano. Bottom: Nancy Dillon Rolling Stone 

Note: Gente are kind and generous. As Rudy Ch. García recounts below, our local community is filling with aid workers and supplies to give to people who lost it all.

As word got out about our fire, I've been inundated with kindness and offers of help. Thank you, my friends, my daughter is on top of it and is making all the business and legal arrangements we need to rise from the ashes. 

However, if anyone knows a three-bedroom house with yard to rent in Pasadena, South Pasadena, or Arcadia, please let me know. 


Guest OG Columnist Rudy Ch. García 

Watching news of the devastation from California fires evoked memories of devastation from Israeli bombings of Gaza caused by Zionist greed for land that’s not theirs. Or the greed of fossil fuel investors putting profits ahead of even their own neighborhood’s interests.  

Hearing that one of the California homes lost belonged to LaBloga’s own Michael Sedano brought up the memory of Manuel Ramos and me, and Em, as he’s known, to establish La Bloga and carry on “the torch” passed to us by Teresa Marquez, over twenty years ago. 

Another reminder to the devastation was last week’s NPR news piece (link) the type of information that should be broadcast to the MAGA world, as well as news about the 100 Mexican firefighters sent to help southern California. 

Another memory: A house burned to the ground, along with a nearby tree. A distraught mother. Forty years ago. Mi amá. Caused by arson, not by Global Warming. The arsonist never caught, though it might’ve been a rival curandera using matches more than magic. 

Twenty years later my sister’s home would burn, possibly from bad wiring, also caused by greed that creates poverty among us, and poor construction based in meager incomes.

But there’s a higher level than that, a higher understanding that Californio individuals and families are experiencing. Witness the outpouring of food, clothing and other donations from other L.A. residents and groups. Higher like the NPR immigrants who went to desperately aid homeowners with incomes much higher than theirs. Not because they were brown like them, most of whom weren’t. Not because they were neighbors in neighborhoods unaffordable to people like them.  But because of something higher that I call EnComun, a term you can’t google. 

EnComun includes elements of survival of the species, protection of one’s own kind, even spiritual connection to a plight the immigrants know firsthand from their own lands, where cartel greed and corruption greed and corporate greed in power ruins their entire country.

Putting out wildfires ravaging even cities only battles the effects of Global Warming. But the immigrants likely know that too. Nevertheless they braved smoke and heat and some danger by going into those areas. 

No doubt other nationalities, US citizens, doused what they could as well. Just as western states and Canada have mobilized extensive agency support to reciprocate last year’s assistance under Biden.  We doubt many southern California multi-millionaires went to grab buckets to fill them with their own swimming pool water and help neighbors. But we also doubt any would raise their hand if asked how many invested fortunes in fossil fuels. 

But we need not worry about people who can afford more than one mansion, employing immigrants to tend their gardens and keep their pools clean EnComun. 

When enough of us realize we need to grab buckets and garden hoses to stop the mega-millionaires, politicians, bureaucrats and other empowered enablers from interfering in preserving the land, water, air and all the organic life, then EnComun could proliferate.

Instead of just sending Michael Sedano and other victims our thoughts, prayers, commiseration and sympathy, send them pledges that the greed that burned their homes will be uncoupled from positions of power by us all. 

When EnComun spreads, even injured wildlife, native trees, bush and grasses, insect life, and the earth, water and air can be connected to our everyday life. The day I flew into SanAnto to see mi amá’s charred rubble of a casa, a jumble of emotions filled me. Vengeance against the arsonist. Anger at the poverty we grew up in and she would continue living under. Eventually she would lose all the small houses on her rural property to unscrupulous and inept actions by extended family. No EnComun there at all.  

Working through my jumble at mi amá’s, we searched the ashes and soot for fotos or anything that could be salvaged. There was casi nada. Then we hired a bulldozer to rid the site of the debris.  

That night we were as EnComun as we’d ever been, unaware that decades later the results of Global Warming would reach literally the entire planet. But that night, armed with a bottle of Presidente and a case of beer, we all drank, chatted, joked and eventually laughed. Even mi amá got peda, something I’d never seen. Nor ever after.  

I hope some of the burned-out Californio residents might find ways to connect with the immigrants and others, EnComun or just in common. Both “sides” deserve to find solace and stronger connections in the extended times that are coming for us all. And likely more scalding for many more of us until greed’s stranglehold on power is smothered out 

Gracias, R.Ch.Garcia rchgarcia.com

Sunday, January 12, 2025

“Serpiente de primavera” por Xánath Caraza

“Serpiente de primavera” por Xánath Caraza

 

Soy hija de la luz con lágrimas de luciérnagas verdiazules en las mejillas. La espuma de mar sigue mis pasos en la playa, los borra, no deja huella, quiere esconderlos en sus entrañas. El mar me satura de diminutos caracoles y azules cangrejos, pero mi cuerpo engaña a la espuma y los deja deslizarse lentamente por cada centímetro de mi bronceada piel, dejando un haz de criaturas marinas sobre la arena. Soy hija de la luz y del canto de las aves en la húmeda selva. Llevo la esencia de las flores en el corazón. El canto del cenzontle late en mi vientre, se mezcla con las citlalis en el cielo de la noche. Soy hija de las lenguas perdidas, de los fonemas ocultos en la garganta de la selva. No hay caminos que no escuchen mis pasos y en los senderos que aún no he llegado, ya se presienten mis versos. Palabras encadenadas con sílabas de huehuetl. Soy hija de los latidos de congas y teponaxtlis, hija de la luz con el canto del cenzontle atravesado en el pecho. El mar azul me persigue los pasos cada día. Las resplandecientes luciérnagas ya han tatuado sus poemas en mi piel. Mi padre es el tornado que se mezcla con la ensortijada serpiente turquesa de primavera.

 

Serpent of Spring

 


I am a daughter of the light with tears of blue-green fireflies on my cheeks. Sea foam follows my steps on the beach, erases them, leaves no trace, attempts to hide them in its bowels. The sea soaks me with diminutive snails and blue crabs, but my body fools the foam and leaves them slipping slowly along every inch of my bronze skin, leaving a mound of marine creatures on the sand. I am a daughter of the light and of the song of the birds in the damp jungle. I carry the essence of flowers in my heart. The song of the cenzontle beats in my belly, it mixes with the citlalis in the night sky. I am a daughter of the languages lost in the tones hidden in the throat of the jungle. There are no paths that do not hear my steps, and on trails where I have yet to appear, premonitions of my verses hold sway. Words link to syllables of huehuetl. I am a daughter of the beating of congas and teponaxtlis, daughter of the light with the song of the cenzontle falling across my chest. The blue sea pursues my steps every day. Brilliant fireflies have already tattooed their poems on my skin. My father is the tornado and mingles with the plumed turquoise serpent of spring.

 

Koatl Xochitlipoal

 


Najaya ikonej tlauili ika ichokilis tlen xoxokazultik kokimej ipan xayaknejchikilis.  Iposontli ueyi atl ki tokilia no nejnemilistli ipan ueyiatentli, kipoliltia, axtlen mokaua, ki neki ipan ijtiko kintlatis.  Ueyi atl nech temitia ika pilkuetlaxkomej uan kin kauilia tlajmatsi ma mo alaxokaj ipan no tlatlatok kuetlaxkoli, kajkaua se tsontli pilatltekuanimej ipan xali.  Najaya ikonej tlauili uan iuikalis totomej ipan xolontok kuatitlamik.  Ipan no yolo niuika iauiyalis totomej ipan xolontok kuatitlamik.  Ipan no yolo niuika iauiyalis xochimej.  Iuikalis setsontlitototl uitoni ipan no ijtiko, momaneloa ika youalsitlalimej tlen ijluikatl.  Najaya ikone tlajtolmej tlen polijkenjinin kakilis ipan ikecholoyo kuatitlamitl.  Ax onkaj ojtli tlen ax ki kakij no nemilis uan kampa ayi ni nejnentok, mo machiliaya nouikalis.  Tlajtolsasali ika piltlatolmej tlen ueuetl.  Najaya ikonej iuitontli tlatejtsontli uan teponaxtli, taluili ikonej ika stsontlitototl ipan no yolixpa.  Asultikueyiatl nech tokilia mojmostla.  Petlani kokimej kitlatskiltijkejya inin xochitlajtol ipan no kuetlaxkotl.  No tata ejekatl tlen momaneloa ika ilaktskoatl xoxoktik xochitlipoal.

 

Serpente di primavera

 


Sono figlia della luce con lacrime di lucciole verdiazzurre sulle guance. La schiuma del mare segue i miei passi sulla spiaggia, li cancella, non lascia tracce, vuole nasconderli dentro di sé. Il mare mi riempie di minuscole lumachine e granchietti blu, ma il mio corpo inganna la schiuma e li lascia scivolare lentamente lungo ogni centimetro della mia pelle di bronzo, lasciando sulla spiaggia una scia di creature marine. Sono figlia della luce e del canto degli uccelli nella selva umida. Porto nel cuore l’essenza dei fiori. Il canto del cenzontle pulsa dentro di me, mescolandosi con le citlalis nel cielo della notte. Sono figlia di lingue dimenticate, di fonemi nascosti nella gola della selva. Non ci sono sentieri che non ascoltino i miei passi e sui lidi in cui ancora non sono arrivata, si presagiscono già i miei versi. Parole incatenate con sillabe di huehuetl. Sono figlia dei battiti di tamburi e teponaxtlis, figlia della luce, e il canto del cenzontle mi attraversa il petto. Il mare azzurro segue i miei passi ogni giorno. Lucciole splendenti hanno già tatuato le loro poesie sulla mia pelle. Mio padre è il tornado che si fonde con il serpente piumato turchese della primavera.

 


 

“Serpiente de primavera” está incluido en la Antología Somos Xicanas. Poema original en español de Xánath Caraza. Traducción al inglés de Sandra Kingery. Traducción al náhuatl de Tirso Bautista Cárdenas. Traducción al italiano de Zingonia Zingone y Annelisa Addolorato. Imagen de Adriana Manuela. “Serpiente de primavera” fue nominado por la Casa Editorial Riot of Roses para los Pushcart Awards de 2024.

 

Friday, January 10, 2025

Dog Days of January (?)




The retired lawyer stared at his computer screen, not as a retired lawyer but as a blocked writer trying to push through the final chapters of what might be his final novel.  He was, after all, retired, seventy-six years old, and dealing with Parkinson's, a disease that, in the retiree's opinion, was getting a lot of mistaken and possibly more-harm-than-good media attention. 

The ex-lawyer struggled with plot movement.  He couldn't figure out how to creatively move his characters to the next chapter.  He knew where the characters would land, eventually, and he felt okay about that, but he couldn't construct the literary device that would accomplish that goal. 

At the same time, he worried that the days and nights of his winter existence folded into one another at the speed of a frozen blizzard racing into Denver with climate change energy.  Time waited for no one, he gratuitously reminded himself, and the vaporous awareness of his mortality crept into his seventy-six years old bones and ninety years old guts and one hundred years old creaking neck.  But nothing stirred within him to solve the lack of movement, regardless of the urgency inherent in the process of solution. 

Disasters exploded to his left and right.  

To the west, California burned without pause, and bright entertainment stars usually untouched by mundane issues of survival found themselves on the six o'clock news talking about community and rebuilding and resilience.  How else could they prove that their anguish and pain were real and not post-production problems to be fixed with a good editor.  The lawyer watched the news, which suddenly had become old, and he realized he watched the future unfold on his big screen smart device, sponsored by appeals on behalf of big pharma's snake oil miracle tonic.

To the east, the disaster known as Trump eagerly prepared to ascend his Olympus where he would proclaim himself son of Zeus immediately before he created fires of his own and slashed the universe with his maga sword of greed, hatred, idiocy, and contempt for all those unable or unwilling to accept their fate. 

And yet, his characters remained in the computer, immobile, stiff, lacking substance.  They had no response to the disasters.  There was no easy inspiration in nightmares. 

It would be a long night.

Later.

_________________________________

Manuel Ramos writes crime fiction.



Thursday, January 09, 2025

Chicanonautica: A Chicano Scifiista in 2025



Here we are in the year of the conquistadors' calendar 2025. It sounds so sci-fi. And so does the news. Mysterious drones, exploding cars and immodest proposals to expand the United States of Norteamerica. Not to mention the mass deportations . . . at least not right now. 


What’s a not-so humble Father of Chicano Science Fiction to do?

I checked the news feeds and found that good, ol’ Speculative Fiction for Dreamers made Reader’s Digest’s list of 36 Must-Read Books by Contemporary Hispanic Authors:



Yeah, there’s no mention of my non-Hispanic surname because that would cause confusion (that’s me, Señor Confusion) and “Those Rumors of Cannibalism and Human Sacrifice Have Been Greatly Exaggerated” is a lot to put in a capsule description, but maybe it’ll sell a few copies of the book, and one of my best stories will find more readers.


Both the list and the anthology include other authors of the Latinoid Continuum, be they Hispanic, Latino/x . . . Hey, gente! Instead of the awkward, bureaucratic LatinEX why not say LatinEQUIS? It will also cause confusion as to how it’s spelled.


Ah, Tezcatlipoca would be proud. 

 

The problem is, while we're all arguing about what to call ourselves, and what the chingada language to do it in, most of those who view us through the Anglo gaze can’t tell Hispano from Latin from Native as they contemplate how to figure out who to deport and how.



Meanwhile, I’ve got a novel and a bunch of stories that I’ve got to get published in a hostile cultural environment. Okay, in the past this has actually helped my career, and the Anglophone publishing world has never been very welcoming to me, ever, but this situation we’re hurtling into is different this time.


I’ve got some feelings in my guts . . .


I have no choice but to charge ahead. There will be some deranged adventures that I will report. 


Also, I’ve got the beginning of a new story, “Once Upon a Time in a Mass Deportation” that I could have finished weeks ago, but I realized the situation is developing so fast, my original concept isn’t batshit crazy enough. I have to work hard so my Chicano sci-fi doesn’t come off like nostalgia for last month’s headlines. 


I know, nobody said this was going to be easy.


And the pendejo hasn’t been inaugurated yet.


So, hang on to your sombreros, watch out for those drones, sharpen your sense of humor, fasten your seatbelts, it’s gonna be a wild four years . . .



Ernest Hogan is the Father of Chicano Science Fiction, author of High Aztech, Smoking Mirror Blues, Cortez on Jupiter, and Guerrilla Mural of a Siren’s Song: 15 Gonzo Science Fiction Stories. He is guilty as charged. Catch him if you can. 

Wednesday, January 08, 2025

Julieta y el enigma del diamante

Por Luisana Duarte Armendáriz

 

 

Una inteligente novela de misterio de grado medio sobre un diamante que desapareció del Louvre, y la dulce Julieta resuelve el caso.

 

¡Julieta, de nueve años, finalmente está a punto de poner un pin morado en el mapa mundial de viajes de su familia! Se va a París para ayudar a su padre, un encargado del arte, a recolectar piezas para una nueva exposición en el Museo de Bellas Artes de Boston. Lamentablemente, dejan en casa a la madre de Julieta, que esta muy embarazada, pero están seguros de que llegarán a tiempo para el nacimiento del bebé.

 

Julieta ve lo mejor de París: la Torre Eiffel, el Sacré-Cœur y arte excelente. Pero las cosas salen mal cuando ella y su padre encuentran a un ladrón que roba la pieza más preciada del Louvre, el Diamante Regente, un diamante maldito de valor incalculable con una historia turbia.

 

Cuando Julieta corre en busca de ayuda ¡accidentalmente libera al ladrón! Ahora el trabajo de papá está en riesgo y él se a convertido en sospechoso. ¿Podrá Julieta determinar quién es realmente el ladrón?

 

¡Ganador del Premio Tu Books Nuevas Visiones 2018!

 

 


 

Julieta and the Diamond Enigma



By Luisana Duarte Armendáriz


 

From the Mixed-Up Files of Mrs. Basil E. Frankweiler meets Merci Suarez in this smart young middle-grade mystery about a diamond gone missing from the Louvre and the sweet and spunky girl who cracks the case.

 

Nine-year-old Julieta is finally about to put a purple pin in her family’s world traveling map! She’s off to Paris to help her art-handler dad collect pieces for a new exhibit at the Boston Museum of Fine Arts. Sadly, they must leave Julieta’s very pregnant mother behind, but they’re sure they’ll be back before the baby is born.

 

Julieta sees the best of Paris: the Eiffel Tower, the Sacré-Cœur, and plenty of great art. But things go awry when she and Dad walk in on a thief stealing the Louvre’s most prized piece, the Regent Diamond–a priceless cursed diamond with a shady history.

 

When Julieta runs for help, she accidentally frees the thief instead! Now Dad’s job is in danger and he’s become a suspect. Can Julieta determine who the thief really is before it’s too late?

 

Winner of the Tu Books 2018 New Visions Award!


 


Review

 

"[Julieta] is an endearing protagonist, and the loving relationship she has with her parents makes them an important presence in the narrative. . . Readers will enjoy seeing Paris with the irrepressible Julieta." – Booklist

 

"Readers of this debut author's entertaining middle-grade mystery will appreciate the back matter." – The Horn Book

 

"This gentle, fast-paced mystery will hook readers. . . Detailed descriptions of Paris landmarks and factual information about museum pieces are woven naturally into the fast-moving plot so that readers come away with knowledge of these topics alongside a satisfying story." –  Kirkus Reviews

 

"Julieta is a likable, bilingual character who will appeal to a middle grade audience."

– School Library Journal

 



Luisana Duarte Armendáriz grew up on the Juárez, Mexico/El Paso, Texas border. A writer and translator, Luisana earned her BA from the University of Texas at El Paso and her MA/MFA in Children's Literature and Writing for Children from Simmons University in Boston. She won the 2018 Lee & Low Books/Tu Books New Visions Award for her debut novel, Julieta and the Diamond Enigma. Find out more at luisanaduarte.com.