Tuesday, October 06, 2026

After Alzheimer's: A State of Grace

Memory
Barbara, Michael, Their One Final Moment

Michael Sedano

 

“Dementia of the Alzheimer’s kind.” The neurologist’s cursive on the hospital form screams out at me. It’s only a few weeks past my Barbara’s 74th birthday.

 

I have meagre understanding of “alzheimer’s”, what I’ve read in newspapers and magazines. The diagnosis sends me into a frenzy of reading. The library has an extensive collection of books, journals, and magazines. None can offer succor, many offer lousy advice, a few feed what I will discover are misconceptions.

 

“The long goodbye” is a descriptive term I embrace. “Disappear” I reject but as time goes on, more and more of what made Barbara, Barbara, disappears. Barbara changes, a lot, but her person is always there, always my Barbara, always that joyful spirit I invited to the debate banquet in 1968, our first date.

 

We sat to say goodbye. How do you want to be remembered, Barbara, when you’ve forgotten everyone and can no longer remember? “I was Amelia’s mother. I was Charlotte’s grandmother. And I was a teacher!”

 

Unwelcome changes hit me hard. Since 2017 she’d abandoned decorating her house for her various holidays. She abandoned her parties, always her most joyous weeks of designing invitations, reviewing the guest list, planning the menu. Just like that, she stopped. I didn’t understand her unwillingness to open her computer files. Fatigue, I chalk up her reluctance; those grand soirées are a lot of work and for sure, both of us have been slowing down.

 

Now, with the rapid advance of the disease in 2018, I look back at 2017 understanding we already had begun our journey and I missed the signals. One characteristic of partners living with Alzheimer’s is regret and torturous thoughts of “Why didn’t I help her more? Why didn’t I see what was happening?”

 

The books and articles all have the same answer: there’s no treatment, no cure, nothing you could have done to change the outcome. All we have is Time.

 

In the early days of our disease, we sit in our living room and I play her favorite songs on the piano. I notice her lose interest as she rises and walks into the bedroom to lie down and sleep. Other days, the stereo plays oldies, music we both knew before we knew one another. We laugh at predicaments posed by Chuck Berry, I seek Barbara’s opinion on Maybelline’s behavior. Again, she will simply rise and walk away to rest.

 

After a few weeks we no longer sit and enjoy our music. I still play the stereo, I continue my piano practice, but Barbara no longer comes into the room to share the hours. She prefers her bed, or the easy chair I’ve set up in the bedroom.

 

Barbara knows a fellow named Michael. She asks after him. “I’m Michael,” I smile. “Not you, the other one. He was here this morning.” I’m happy she has memory. I ask, “Is he a good guy?” “Yes,” Barbara tells me. I am pleased to be a good memory.

 

The books and magazines and the neurologist confirm what I know for sure—Barbara no longer has memory. She also doesn’t have facial expression beyond a blank stare. She also doesn’t have emotions, nor hunger, nor curiosity, none of the behaviors that make her my Barbara. I don’t cry nor wail as if I’m doomed. I promised 50 years ago that no matter what, I’ll be by her side.

 

Then comes our final meeting in the second year.

 

It’s morning and our a.m. routine is well established. She’s awake and asleep periodically throughout the night and I’m in her sleep cycle, too. She sleeps deeply from around 3 or 4 until there’s light outside. When I sense she’s about to rise, I rouse myself, go the kitchen to prepare her breakfast. Back in the bedroom, I get her clothes ready for the day, make sure I have a new incontinence garment, and wait for her to rise.

 

This morning she rises and I find myself in a state of Grace. Barbara’s face is animated, she is fully in the moment, her eyes are alive with recognition. She smiles. I burst with joy and hope. My arm around her holding gently but firmly. “Barbara, welcome back. Where have you been?”

 

She comprehends. She tells me “I’ve been far, far away.” And as she tells me this, her face changes, loses the joy and I am desperate. I beg her, “Please stay, Barbara, don’t go away.” It’s a vain hope. Barbara has gone and this time, her absence is absolute. Never again does her face come alive, her eyes always stare blankly into space. I go into another room and cry like I’ve not done before.

 

I treasure that encounter, my final meeting with my wife. I curse myself for not writing down the date and time. I carry the memory as an artifact of Alzheimer’s worst and best day. Every day for a few weeks I look for that momentary return from so far, far away. I won’t cry again until she’s gone.

 

Alzheimer’s dementia strikes increasing numbers of souls every year. I hope as people find themselves in this hopelessness they will take notes, keep a journal, take photographs. All we have is Time, precious hours, days, weeks. When a behavior disappears there’s a delay between its final appearance and when the caregiver realizes what’s gone, and despite all hope, it’s gone forever.

 

When did we laugh that last time about Maybelline who can’t help herself? She’ll never be true. Who wrote the book of love? G l o r i a, what are the words to Louie Louie?

 

Many days I pull out a worn and tattered photograph. 

 

I’ve been home from the Army only a week when Barbara has to go back to work. First day, year two, teaching high school English. 

 

This morning, she wears a light sweater over a colorful sundress, slings her purse strap over a shoulder cradling a canvas bookbag like she’ll cradle her daughter four years from now. But right now, she’s leaving me to my own devices, no particular place to go in this brave new world where I am lost and will find a way to fit in.

 

Barbara stops at the door, turns, smiles at me. I take her picture. Barbara turns and heads out into the light and into her own world, excited at the prospect of her life ahead.

 

She smiles out at me from that photograph. This young woman still lives, out there, in the image and behind the photo, a moment suspended in time. She’s out there, just on the other side of this picture. 



 

Sunday, October 04, 2026

“Nocturno / Nocturne” by Xánath Caraza

“Nocturno / Nocturne” by Xánath Caraza

 


Nocturno

 

Para Superstition Mountain por Tom Weso Pecore

 

Recuerdos de filigrana de plata

Sobre las dunas del desierto

Noche morada que hiela el corazón

Luz negra que absorben los cactus

Efímera eternidad

Música nocturna

Viento del desierto

Sentimientos violetas en la vista

Los recuerdos se borran

Con la luz cegadora

 

 


Nocturne

 

After Superstition Mountain by Tom Weso Pecore

 

Silver, filigreed memories 

On top of desert dunes of the

Purple night that freezes the heart

Black light cacti absorb

Ephemeral eternity

Nocturnal music

Desert wind

Violet feelings in sight

Memories fade

With blinding light


 

Xanath Caraza

“Nocturno / Nocturne” son parte del poemario bilingüe Noche de colibríes (Pandora Lobo Estepario Press, 2014) de Xánath Caraza. Traducido por S. Holland-Wempe.

Arte, Superstition Mountain, por Tom Weso Pecore.

 

Thursday, October 01, 2026

Chicanonautica: Dispatches from the Xicanxfuturism/Ciberbandidx Front

  

by Ernest Hogan




Chicanonaut to Headquarters, do you read?


So ends the first summer in 112 years with no hurricanes. None. Zero. Zip. Nada. Not that hurricanes are necessarily a good thing, but they are part of the natural order. Some serious changes are going on folks. Pay attention.


Have I ever got weird feelings about the rest of 2026. 


Meanwhile, the Palabras del Pueblo class I was going to teach in October has been canceled. Only one person signed up. It’s happened before. This year I understand folks not having the spare cash or time to learn about writing. 


I’ll try again next session. Stay tuned. Hope things get better.


Speaking of better, I was interviewed by a pair of students from the University of New Mexico (they haven’t changed it to New America) for the Ernest Hogan Archive they’re putting together. Academics, even young ones, can ask three or four questions in one sentence. They were also very enthusiastic. It was like being interrogated and psychoanalyzed at the same time.


I thought that they just wanted background on my books and some of my art that will soon be displayed at one of their libraries, but this session was about my life from birth to when I started writing -- and they want more. If anyone ever wants to write my biography, their research is being done.



If I haven’t already mentioned it, Xicanxfuturism: Gritos for Tomorrow / Codex II finally has a release date: December 15, 2026. Watch this space and my social media for updates on how to pre-order, and anything else that develops. 


I keep trying to retire to write my bucket list novels but surviving in this world gone mad keeps getting in the way.


By the way, Codex I has received an honorable mention from the International Latino Book Awards in two categories!


In the meantime, I’m trying to get ahead of my blogging, so I don’t have to worry about it all on the next road trip that will be happening before I know it. Not only will it be Hispanic/Latino/Chicano month (should I make the os into xs? Has there been a pronouncement from Headquarters about that? Who is in charge of all this? That is the question . . .), including Halloween/Dia del los Muertos/Dead Daze, but we’re having the Midterm election from Hell. Colorful folk art clashing and intermingling with corporate appropriation while an abortive (I hope) attempt at a Nazi takeover and assorted factions go after the power like a school of starved piranha . . .  


Whither goes thou, America? Where for art thou? What the chingau are you transmogrifying into? Gonna have to take notes, and photos, maybe even doodle some ideas for cartoons, get ideas for stories, even novels.


As if I didn’t have enough to do.




Ernest Hogan isn’t just a Chicanonaut. He’s also the Father of Chicano Science Fiction and a participant in Xicanxfuturism and Ciberbandidism, because the world needs more of these kinda chingaderas. 

 

THIS JUST IN: His books are once again through Amazon and now Barnes & Noble! 

Wednesday, September 30, 2026

Lil’ Libros: High Contrast Bilingual Board Book Series

Dulces y Antojitos

By Aaron Bowersock 


Yum, yum, yum – it’s dulces & antojitos time! Designed with high-contrast imagery, Dulces & Antojitos is the perfect first-Board Books for your little ones to enjoy, with each spread specifically designed to help strengthen their visual development skills


¡Un elote con chile por favor! Introduce your little ones to the sweet and savory world of traditional Latin American treats like mazapán and elote in English and Spanish. This high-contrast bilingual Board Books is perfect for tummy time, helping babies easily perceive contrasting colors and shapes―one delicious treat at a time! Parents will appreciate this bilingual English-Spanish Board Books due to its high-contrast imagery meant for eye development and its introduction to the Latin American delights that fill our tummies from a young age! An infant’s first few months of sight are blurry as they cannot focus on objects more than a foot away. Their vision takes time to develop, and during that development stage, infants see most things as big, blurry blobs, even Mommy & Daddy. However, studies have shown that your little ones can see highly contrasting imagery with patterns and shapes as early as their first few days of life. This Board Books is filled with simple text, bold patterns, and sweet & savory imagery and provides a high-contrast learning experience for your little ones’ developing eyes.




Paletas


By Aaron Bowersock 



Ding, ding, ding – it’s paletas time! Designed with high-contrast imagery, Paletas is the perfect first-Board Books for your little ones to enjoy, with each spread specifically designed to help strengthen their visual development skills.


A little one’s first few months of sight are blurry as they are unable to focus on objects more than a foot away. Their vision takes time to develop, and during that development stage, they see most things as big, blurry blobs, even Mommy & Daddy. However, studies have shown that they can see highly contrasting imagery with patterns and shapes as early as their first few days of life. This Board Books is filled with simple text, bold patterns, and sweet imagery and provides a high-contrast learning experience for your little ones’ developing eyes. Bursting with vibrant splashes of summer colors, Paletas introduces little ones to the names of their favorite ice pop flavors, from watermelon to mango, coconut to bubblegum, and many more in English and Spanish! Plus, the bright contrasting shapes on every page are easy for infants to perceive, making this high-contrast Board Books the perfect tummy time companion.




Pan Dulce


by Aaron Bowersock



Conchas, empanadas, churros–it's pan dulce time! Created with high-contrast imagery, Pan Dulce is the sweetest Board Books for your little ones to enjoy. Each spread is specifically designed to help strengthen their growing eyes.


Introduces little ones to the scrumptious world of Latin America’s sweet bread, like orejas and galleta in English and Spanish. It is the perfect Sunday morning tummy time activity while parents finish up their café y pan dulce. Parents will adore this bilingual English-Spanish board book due to its high-contrast imagery meant for baby eye development and its introduction to delicious Latin American sweet breads that fill our morning tables and tummies. 


An infant’s first few months of sight are blurry as they cannot focus on objects more than a foot away. Their vision takes time to develop, and during that development stage, infants see most things as big, blurry blobs, even Mommy and Daddy. However, studies have shown they can see highly contrasting imagery with patterns and shapes as early as their first few days of life. This board book is filled with simple text, bold patterns, and sweet imagery—providing a high-contrast learning experience for your little ones’ developing eyes.






Tuesday, September 29, 2026

C/S: A Documentary on the Magazine and Its Creators

Con Safos Reflections of  Life in the Barrio 
Michael Sedano

Daniel Hernandez, Oscar Castillo, Denise Lugo, Jimmy Velarde, Diane Velarde Hernandez,
Michael O'Neill, Jose Antonio Aguirre

Johnny Roque, a pachuco at age seven, has tagged along with his invited sister, to my fifth birthday celebration. It is August 31, 1950. Out behind the garage, Johnny Roque uses a stick of charcoal from the firepit to scratch JR on the stucco wall and says “That’s me.” 

“What’s that?” I ask, pointing to the “c/s” Johnny Roque adds under his JR. 

 Con Safos, according to Johnny Roque, means his initials are safe from being defaced. Scratch it out or smear it, Johnny explains, brings horrible consequences for violating C/S. 

I’m experimental so, using my own chunk of charcoal, I smear Johnny Roque’s c/s. Proving the theory of “back at you”, Johnny smashes a nearby empty bottle on my head. I scream in pain. My older brother charges around the garage and punches Johnny Roque in the stomach then shoves him to the ground, sending him out of here. I return to the party sniffling with a full understanding of the power of Con Safos.

It is 1970, I’m home from the U.S. Army after 13 interminable months in Korea. A bookseller near East LA College shows me a magazine. It’s not a slick highly refined piece like Newsweek or Saturday Review, this is a handmade gem, la mera corazon of the community, it’s called called Con Safos Reflections of Life in the Barrio. Johnny Roque’s memory echoes as I riffle the printed pages of a completely new and different thing, a Chicano literary magazine. Along with El Espejo and Abelardo’s 25 Pieces of a Chicano Mind, it’s my introduction to Chicano literature, something that did not exist when I left the United States only a year before. 

It is September 26, 2026. I’m in the Chicano Resource Center of the Los Angeles County Library (link), a few feet from the starting point of the August 1970 Chicano Moratorium march that galvanized Chicano protest propelling el movimiento to historic heights. Jimmy Velarde and Michael O’Neill are here, with a panel of veteranas, veteranos, to share the documentary on the genesis and personalities behind the historic cultural icon that was Con Safos magazine. Its life was short with lasting impact on identity and literature.

The documentary carries the name of the magazine, Con Safos:Reflections of Life In The Barrio. Librarian Daniel Hernandez watches the time because the library closes when the program wraps, and there’s so much to see and say. Hernandez is ecstatic to acquire the eighth issue of C/S, completing the CRC’s holdings of the eight issues published.

Panelists include Oscar Castillo, c/s photographer whose work hangs at the Smithsonian; Diane Hernandez acknowledges she is the only woman among the male-dominated staff. She is the widow and the emotional force supporting c/s cartoonist Sergio Hernandez, whose incisive wit and Arnie and Porfi characters embody the insouciance of Chicano satire. 

Jose Antonio Aguirre

Today’s program is one in a series of  conversatorios sponsored by the Mexican Cultural Institute of Los Angeles. Jose Antonio Aguirre, Executive Director at Mexican Cultural Institute of Los Angeles, observes proudly outside the spotlight. The library’s monumental mosaic murals are Aguirre’s work.

The documentary weaves interviews of C/S originators—many of whom have passed to the Other Side—with fotos and restored 8mm film footage captured in staff meetings. Rich in detail and anecdotes, one of my favorite stories recalls when writer Mario Suarez protested an editor’s emendation of a single comma in Suarez’ contribution. They threw chingasos over that comma!

Jimmy Velarde with Rudy Salinas, a member of C/S founding staff

The Chicano Resource Center has a copy of the film, and right now, it’s the only opportunity for the public to view the documentary. You can read some of that history in a 2021 column by La Bloga alumnus, Antonio Solisgomez, one of the founding members of the magazine staff, who shares a thumbnail synopsis of the magazine’s history and personalities in a 2021 La Bloga column. (link) 

Panelist Denise Lugo, lecturer at California State University Channel Islands, reports the university’s extensive digital collection of C/S materials includes scanned copies of the magazine itself. https://archives.calstate.edu/collections/ft848v70q

Scenes from a Conversatorio on Con Safos and Chicano Literary History
Porfi and Arnie, Serge Hernandez' popular comic strip characters

Jimmy Velarde
Diane Velarde Hernandez

rrsalinas' "A Trip Through the Mind Jail" among the most anthologized poems of
movimiento literature first appears in C/S
Michael O'Neill produced the soundtrack for the documentary

Oscar Castillo

The filmmakers, Michael O'Neill, Jimmy Velarde
Denise Lugo
Velarde holds a copy of the documentary
Velarde contributes the "missing" C/S to the Chicano Resource Center

c/s

Sunday, September 27, 2026

“Agítense en su recuerdo / Rustle in Her Memory” por Xánath Caraza

“Agítense en su recuerdo / Rustle in Her Memory” por Xánath Caraza

 

 

Xanath Caraza

Agítense en su recuerdo

 

Como hiedra nace sobre el árbol. Su crecimiento es canto del bosque. Un crujir en las ramas colma el vientre de deseo. Espera. Sigue cuidando su esencia para el momento justo. La genealogía se expande y recuerda los ancestrales troncos, las viejas ramas que estuvieron antes que ella. Dioses ceiba, agítense en su recuerdo. Como serpiente de cascabel hagan sonar las ramas. Que los labios se humedezcan, la boca muerda la piel y las pupilas se alarguen.

 

 

El árbol

espera

su esencia

como serpiente de cascabel

 

 

Xanath Caraza

Rustle in Her Memory

 

Like ivy, she comes to life upon the tree. Her growth a song of the forest. A rustling in the branches fills her belly with desire. She waits. She continues caring for her essence until the perfect moment. Her family tree expands and recalls ancestral tree trunks, the ancient branches that came before her. Gods of the Ceiba trees, rustle in her memory. Let the branches be heard like a rattlesnake. Let her lips be moistened, her mouth bite the flesh, and her pupils grow large.  

 

The tree
waits
for her essence
like a rattlesnake

 

“Agítense en su recuerdo / Rustle in Her Memory” son parte del poemario Ejercicio en la oscuridad / An Exercise in the Darkness (Pandora Lobo Estepario Press, 2021) de Xánath Caraza. 

Xanath Caraza

Traducido al inglés por: Sandra Kingery, Hanna Cherres, Joshua Cruz-Avila, Zachary L. Donoway, Angelina M. Fernandez, Luis Felipe Garcia Tamez, Nicholas A. Musto, Julia L. Nagle, Aaron Willsea y Joshua H. Zinngrebe.

Ilustraciones por Tudor Şerbănescu

 

Xanath Caraza

  

Saturday, September 26, 2026

Dark Lit of the Suburbs

Review: David A. Romero and the Dark Lit of the Suburbs in The Enemy Sleeps

Margaret Elysia Garcia

Noir is having its Latino/Chicano moment, and I am here for it, and I hope it lasts decades to come. Historically, noir centers around a main character who is usually a white guy of some moral ambiguity; there is also a damsel of mystery who we never know until near the end whether she is a victim of circumstance or the orchestrator of downfalls. It’s always been a fun genre of murder and intrigue. But noir has its limits in character development and motivation.

While Walter Mosley has certainly been able to turn the genre on its head for the last few decades—noir is experiencing now what I would like to call its Latino emergence. 

Gabino Iglesias' third, and award-winning novel, The Devil Takes You Home with its follow up, The House of Bone and Rain, explore a new take on the genre of noir. 

Iglesias coined the term barrio noir to describe his characters and stories. In his books, the Latin American tradition of magical realism, American racism, and the desperation of impending contemporary poverty (lack of health insurance or a giant medical bill rather than a get rich quick scheme, for example) combine to make noir more relevant than ever. The Texas-based Puerto Rican author has moved the goal post in a literary direction for the genre.

Likewise, debut novelist David A. Romero takes the dark mystery story out of the easily identifiable and ethnic urban environment and into the assimilating suburbs. Romero provides an exciting new take on both the genre and expands the notion of what the Latino/Chicano story can entail with his novel The Enemy Sleeps. 

To remain relevant, noir and mystery must change and adapt to fit a more contemporary ethos and Romero’s novel certainly provides that. The cover art by Art Carrillo exemplifies this beautifully. For what is the southern California suburb if not one of pushing social order and ignoring the history of the landscape? Here we have a row of trash, organic waste, and recycle bins, ubiquitous in suburban life, the coyote of wilderness and conformities encroachment, and the bloody handprint. Perfect.

This makes the novel absolutely delicious to me, a connoisseur of the dark.

My grandfather, a gardener all this life, used to warn us that the ones most likely to stiff a gardener are never the rich or poor, but the precarious middle-class suburbanites who are just one step up from where they began. He had plenty of evidence over the years to the point where he would just not accept jobs in up-and-coming suburbs. In the suburbs, the component of danger is the precariousness of the newly arrived who climbed out of the urban landscape with aspirations of a higher economic status, but whose bank account has dwindled in making that down payment for the better life. It’s a haunting lifestyle change. Or more bluntly: you can take the Latine out of the city, but the moral fight might be remembering who you are in the new landscape.

David A. Romero, Martillo

I sat down with Romero recently to talk about The Enemy Sleeps. Romero, a well-known spoken word performance artist and poet from Diamond Bar accomplishes a challenging goal. Not everyone can make the jump from poetry to prose. Writing stories was Romero’s first love and poetry—what he’s known for—was the dalliance. He loves the tradition of Edgar Allan Poe and the use of colloquial language in a story of Kurt Vonnegut, themes of pre-destination and all roads leading to a bad end. True crime, after all, is now mainstream.

Not unlike myself, he’s been inspired by film and music—I’m finding more often that is the case with millennial and gen x writers, especially those of us who grew up in the bleak shadow of Hollywood. The book is intentionally cinematic, inspired in part by noir films like Double Indemnity. Think too in terms of modern horror and noir like Get Out.

The hills surrounding Diamond Bar seem the perfect setting for the unraveling of a story with murder. Ominous dry hillsides, long stretches of highway, and frontage roads at night, that perfect mixture of urban meets wilderness. Anything can happen. A body can easily be dumped. 

The long form of a novel gives Romero a chance to play, including the joy of going off on tangents—like how to set up a tent. But he also has intention with the style of his writing matching the main character. It was also fun for him to write. A murder mystery must have intention, red herrings, and a sense of foreboding. Literary fiction must have philosophical themes it is pre-occupied with, and social commentary must have its scapegoats. And twilight is when it all goes down. To get into the mind of the killer is exciting and thrilling and fun to write—and it speaks to America’s fascination with its macabre and serial killers (Netflix anyone?).

But Romero also touches on something often missing in Latino/Chicano literature that’s near and dear to my own heart: the relationship between Latinos/Chicanos to suburbia. Suburbia always seeks conformity, shared bland capitalistic values and a pretense of safety. Putting Latino/Chicano characters in the suburbs means a discussion on what it means to be Latino/Chicano in the upper working class/lower middle class. 

The pressure for assimilation is huge in the suburbs—it’s a question that is always looming and can be oppressive. Resonating with me is the subtlety of what it is to be Chicana/o and Latina/o—moving beyond the immigration tale and pushing back with our own expectations. I liken it to how, say, Chicano Frankenstein hits, or the Spy Kids franchise, or the Netflix series Wednesday--placing Mexican Americans in stories that humanize and find commonality rather than set us apart with the trauma porn of immigration/narco stories/poverty. Do we not deserve stories that go beyond that? Falling for our own stereotypes, writing with white progressives in mind, trap us in our own cliches.

Romero used his own family’s experience in the suburbs for some of his characters and descriptions. Authentically Latina Gabriela and Xochitl he bases on a cousin’s wife. His first version of the story was front loaded with local history and interspersed with a character who knows the history, the fauna and flora of the region –coyotes always an omniscient presence. The author explodes the prejudice against the undocumented. Romero’s favorite character is Michael Martinez, complex and prideful. Not having a perfect and noble character has always been a part of noir.

A story like this is hard to publish due to agents' and publishers' largely stereotypical expectations of what a Latino story will be. Often, it’s only acceptable to be set in Boyle Heights or East LA with a gang component or immigration story in the mix. We need more stories telling the plurality of what is, and is not, assimilation, and how assimilating does and does not work.

Perhaps, however, Southern California will always be the perfect setting for the murder mystery and the noir. Consider how our history and myth fit snuggly into the genres. We have a mostly mild climate and stolen water. We have the myth of the Californio Spanish period of romanticism. We have the tenacity and exploitation of the robber barons whose names still line our streets and institutions. There is the cinematic aspect to such novels that signify we are—if nothing else—a giant company town of lies and storytelling.

Romero, after much consideration of other presses and acquiring an agent ultimately decided to place it with El Martillo Press—where he is the co-founder and editor-in-chief. The press, while continuing to publish internationally renowned poets and Chicano poets closer to home, has moved into publishing fiction and plays, such as Herbert Siguenza’s Anthology of Latino Plays and my short story collection, Chicana Noir & Other Stories.

Romero is now writing a prequel to The Enemy Sleeps.