Thursday, May 21, 2026

The War on Drugs Is Like Kids in a Candy Store

 

                                                                                    

                                                                                    

All kids love candy

     The United States war on drugs is like trying to close a candy store in a town where, as far as you can see, there are kids with sweet tooths (or sweet-teeth) and money to spend.

     It starts out slow, maybe a trickle of kids, then a steady flow, and before anyone knows it, there are lines waiting outside. To keep up with the demand, the candy store owner has candy manufacturers sending in truckloads of candy. Kids from outside the area start coming in to buy candy, so the candy store owner opens another candy store, then another. When the trucks aren't enough, he hires pilots to fly in gobs of the sweet stuff, hard candy, soft candy, all sorts of candy.

     Parents start complaining about cavities and high dentist bills; though, the local dentists are delighted and so is the local bank holding all the profits, at a pretty good interest rate, even knowing it comes at the expense of kids' health. The kids break out in pimples. Their teeth begin to decay, some teeth even fall out or need to be pulled, but they can’t stop eating tasty candy. One dentist says, “Don’t worry about it. It’s just their baby teeth,” so they keep eating it, as do the older kids, and even a few adults, especially the dark chocolate almond clusters. 

     It's an epidemic. They can’t stop eating the delicious treats, and everyone starts having tooth decay and other dental problems. There is a run of bridges to hold together the molars. Diabetes is on the rise, but nobody will listen to the doctors’ warnings about heart, kidney, and liver damage, neuropathy and loss of limbs.

     The mayor and town council decide to close the main candy store, the one that started it all, but it’s too late. The store has started to branch out, and many local businesses depend on its revenue. It's a windfall, but the mayor doesn't see it that way. He, and those who oppose it, calls it a public nuisance. The town council drafts laws to help stop the madness. Kids leave wrappers all on the streets and sidewalks. The police start harassing kids who've put up tents outside the candy stores, wanting to be the first ones in each morning. The cops call in reinforcements.

     By this time, though, the candy store owner has opened so many stores in other towns and hired scores of employees, not even the mayor and council can keep up. “They (the kids) just keep coming,” says the store owner to a friend. To avoid paying taxes, the wily entrepreneur starts selling candy from, what people call, “Sweet Houses,” illegal locations where kids can go without even telling their parents. Chefs and housewives good at cooking begin googling “Candy Making,” and start bootlegging their own special brands of candy, even sweeter, and cheaper, than those in the stores.

     The candy store owner knows he’s lost control of the candy business, and “Sweet Houses” begin to pop up everywhere, in different neighborhoods, among the wealthy and poor, and out in the countryside, as more and more kids begin eating candy. The candy manufacturers, the store owner, the banks, and local businesses don’t complain, as business booms, pulling in kids hungry for candy from other towns and counties.   

     Everyone just ignores laws banning candy, but to show they're tough, the council passes more laws. In response, the manufacturers, candy store owners, and many businesses, fearing a loss of revenue, buy campaign adds accusing the politicians of all sorts of crimes, and the citizens vote in a new mayor and council, more accommodating to the candy business. Of course, all of this is done under the table, nobody seeing the money pass from hand to hand. Some don't like the corruption and cavities and speak out in the media. Hundreds of angry kids surround their offices and homes and begin pelting them with eggs and toilet-papering their houses.

     The police step in and start chasing the kids away. To keep order, the cops decided to close a few candy stores, but no matter how many stores they close, more open. Then, the police realize they can never close them all, so they begin to work strategically, closing the smaller candy stores, at least to make it look like they’re attacking the problem, but, suspiciously, they allow the larger stores to continue selling candy to the kids.

     Somehow the kids get the money, not only to keep buying candy, but to buy endless supplies of eggs, toilet paper, and brown paper bags to harass anybody who is anti-candy. They begin assaulting the police officer’s homes, egging their cars, toilet papering their yards and houses, lighting fire to brown paper bags filled with dog poop they leave on the porches, ringing their doorbells, at all hours, then running away, all after dark when no one can see and the cameras can’t catch them. It’s the police against mobs of angry kids, their “sweet teeth” out of control, and even the parents realize they’ve lost their own kids. It’s a candy bonanza, and the need for candy spreads far and wide.

     Parents and citizens are calling the governor’s office to complain. To make a long story short, the governor calls meetings, does studies, and decides to pour money into the coffers of the local police to fight the candy curse. Suddenly, a new, state-of-the-art police headquarters pops up over the old one, a new fleet of police cars in the parking lot, and the chief and his officers receive a hefty pay raise, not counting the thick envelopes left in their mailboxes after dark, but the candy keeps flowing.

     One cop makes a suggestion to the chief telling him that since the kids are making the demands, the police should make friends with the more outrageous youngsters, the leaders, to get them to stop all the chaos, the toilet-papering and whatnot.

     So, they invite the kids to their own kids’ birthday parties, bar mitzvas, confirmations, and the like. They strike some kind of deal. Without the chaos, as more kids crave candy, more candy store open, and the police, clearly outmanned and outgunned, turn a blind eye. A few cops are seen driving around in new Subaru SUVs, and one in a BMW.

     For the officers who refuse to accept the envelopes, the harassment continues, even to the point of endangering their families. When one officer can take it no longer, he tells his friends he’s going to “blow the whistle,” and “name names.”

     That night he receives a visit from large group of kids, dressed all in black, hoodies covering their eyes. The next night, the officer’s house has been eerily abandoned, he and his family never heard from again, but the candy business thrives, as do all the businesses in town, and more and more kids, younger and younger, start in on the candy frenzy.

     The local towns receive new courthouses and municipal buildings, some get new aquatic centers and new Little League complexes, complete with fresh grass infields, announcers’ booths, and digital scoreboards. When it all reaches the state government, state police swoop in and start attacking and closing illegal candy makers and stores, arresting the owners and filling the jails. 

     Finally, the lieutenant governor arrives to question one candy store owner, with a threat to close him down, the owner's response, "All I can say is, you can close me down, close us all down, even lock us up, lock up our truck drivers and pilots, but as long as the kids keep buying and eating candy, somebody’s going to provide it, so either you play ball or it may be your house next,” and he hands the politician a manila envelope, even heavier than all the others. "This one's for you and the governor."

Wednesday, May 20, 2026

Lucía’s Goals / Los goles de Lucía

Written by Angela Quezada Padron

Illustrated by Christina Barragan Forshay


*Publisher: Lee & Low Books

*Language: English, Spanish

*Print length: 40 pages

*ISBN-10: 164379681X

*ISBN-13: 978-1643796819

*Reading age: 6 - 8 years

*Grade level: 1 - 3


In Lucía’s small hometown, girls weren’t supposed to play soccer and they definitely weren’t supposed to be good at it either. But Lucía was determined to prove everyone wrong!

Whenever Lucía played soccer, she imagined herself as a professional futbolista. She sprinted and dribbled, headed and juggled, zigged and zagged, kicked her best kicks, and scored “Goal!” after “Goal!” After finally getting the chance to join an all-female soccer team, Lucía set her sights on becoming the best goal scorer anyone had ever seen.

Told in English and Spanish, Lucía’s Goals / Los goles de Lucía is a rousing story about a young girl’s determination to defy gender stereotypes and break through barriers. Lucía’s story will inspire readers of all ages to take charge on and off the field to achieve their GOALS!


En el pequeño pueblo natal de Lucía, se suponía que las niñas no jugaban al fútbol, y mucho menos se suponía que fueran buenas en él. ¡Pero Lucía estaba decidida a demostrarles a todos que estaban equivocados!

Siempre que Lucía jugaba al fútbol, se imaginaba como una futbolista profesional. Corría y regateaba, daba cabezazos y hacía malabares, zigzagueaba de acá para allá, daba sus mejores patadas y marcaba gol tras gol! Después de finalmente tener la oportunidad de unirse a un equipo de fútbol exclusivamente femenino, Lucía se propuso convertirse en la mejor goleadora que nadie jamás hubiera visto.

Narrada en inglés y español, Lucía’s Goals / Los goles de Lucía es una historia conmovedora sobre la determinación de una joven para desafiar los estereotipos de género y romper barreras. ¡La historia de Lucía inspirará a lectores de todas las edades a tomar las riendas dentro y fuera del campo para alcanzar sus GOLES!


Review

"Part fairy tale, part social -commentary, this account empowers readers to pursue personal goals even with difficult setbacks.... A strong choice for collections in need of girl representation in sports books for children.” -School Library Journal

"Soccer fans will cheer Lucía's rise.... Game on for girls with big goals." -Kirkus Reviews

"An accessible introduction to larger conversations around fairness and equality in sports.” -Booklist


Angela Quezada Padron is a Latina author-illustrator who spent her childhood days writing stories and doodling on the garage walls of her New Jersey home and summers visiting family in the Dominican Republic. She first started playing soccer at the age of four and became an all-star goalie on recreational, school, and traveling teams. You can learn more about her at angelapadron.com.

Christina Barragan Forshay is a Mexican American illustrator known for her colorful images and joyous style. Born and raised in sunny California, she was inspired to become an illustrator by her many visits to Disneyland and by watching hours of cartoons as a child. When she's not drawing or painting in her studio, she can likely be found cheering on her kids at their many soccer matches. You can see more of her work at christinaforshay.com.





Tuesday, May 19, 2026

Yes, We Are

Yes, We Are. 

 

Review: Rey M. Rodríguez. Todos Somos Sagrados All Are Sacred. Translated by Javier H. Morrone and Rey M. Rodríguez. Preface written by Father Gregory Boyle. Los Angeles: El Martillo Press, 2026.

ISBN: 979-8-2957-9055-3

 

Michael Sedano

 

Rey M Rodriguez’ supplement to his MFA thesis (a novel), Todos Somos Sagrados All Are Sacred, arrives as the poet’s tribute, accolade, and IOU to women of  Dolores Catholic mission for showing him “the need for radical love, kindness, tenderness, forgiveness, and joy to mend a wounded world.” 

The collection endeavors to achieve those objectives through thoughtful meditation and poems. Together with the prefatory and afterword material, the collection is a sincere introduction to work by women over a 40-year history of doing Good by Proyecto Pastoral of Boyle Heights’ Dolores Mission. 

Dolores Mission, Rodriguez’ inspiration, hits people right between the brain and heart. In her preface, the Mission Directora writes of her first visit:

 

“¡Mi corazón y mi mente no

podían comprender lo que veían mis ojos! ¿Una iglesia que permitía

que hombres sin hogar dirigieran una misa para toda la comunidad?

Todos eran iguales, todos pertenecían. Supe en mi corazón que

necesitaba ser parte de esta comunidad sagrada.

 

“I remember

seeing mujeres, the giants of our community, talking and praying,

and the men of the Guadalupe Homeless Project leading the

evening service. I was impresionada. My heart and mind couldn’t

make sense of what my eyes were seeing! A church allowing

homeless men to lead a mass for the entire community? Everyone

was the same, everyone belonged. I knew in my heart that I needed

to be part of this sacred community.”

 

The book comes from a special place, geographically, in Los Angeles' Boyle Heights community, and spiritually, in the hand of the poet, and in the eyes and feelings of his readers, all of these and what readers bring to any poem.

 

When I approach a poetry collection my first readings are its poems. Skipping through prefatory matter, first I’ll riffle the pages stopping when a provocative title flits past, or read a poem at random. This practice introduces the DEI quotient of the writer’s breadth, and the book-at-a-glance riffle informs the poet’s sense of order and use of elements such as white space, indents, justification, concrete poetry. 

I read the final poem next on the basis this is the last thing the book wants me to think about and experience, it's the culmination of the journey. This last impression forms the basis of future engagements. I consider what I’ve exposed myself to and decide if this stuff is for me. Usually it is, so I go through prefaces then I read the pages cover to cover and arrive at that final poem. I may read it a second time, or just go through to find my favorites. 

I file away the good lines, the best poems, and decide I’ll read more by the author. Todos Somos Sagrados All Are Sacred offers compelling reason to read more of what Rey M Rodriguez thinks and sees in his world. 

The first at random piece to catch my eye is page 125/124 of this 166/167 page collection. Todos Somos Sagrados All Are Sacred presents facing-page translation. I read this poem first in English, on the right hand side. The left hand page shares a Spanish translation of “Nunca se trató de mí” “It Was Never About Me.”

An opening stanza has mystery, is he being fired off a job?

“Sitting at the back of the room

         waiting to see if I would be let go

Some wanted me to leave”

“Sentado al fondo de la sala

         esperando a ver si me despedían

Algunos querían que me fuera”

But he’s not worried about losing paid employment. His concern is joining a women’s group. The “it” is maybe fear this man is an infiltrator; maybe this man is here for other nefarious end; for sure he’s a he. Whatever this unspoken “it”, he’s a focus of some unseen adversary as the following stanza discloses:

“Estábamos ayudando a demasiados hombres sin hogar

         por eso la iglesia olía mal

Estábamos ayudando a demasiados pandilleros

         por eso algunos se sentían inseguros

Estábamos ayudando a demasiados inmigrantes

por eso nos llamaban la iglesia de los mojados

We were helping too many homeless men

         so the church smelled

We were helping too many gang members

         so some felt unsafe

We were helping too many immigrants

so they called us the church of wetbacks”

“Pero nunca se trató de mí”

“But, it was never about me”

They let him stay, at the end of the poem. And as “Nunca se trató de mí” “It Was Never About Me” ends, the facing page translation offers a richness not appreciated without reading both sides of the page:

“Nunca se trató de mí

entonces las madres me dejaron quedar.”

“It was never about me

so the women let me stay.”

Mothers, mujeres, women, madres. For the translator, the poet’s choice of “women” doesn’t carry the weight of whom the opening poem, indeed the entire collection, speaks. Yes, these are women. Nurturing, giving hope light and life in places where those are rarely felt. Madres do that.

This randomly chosen first impression satisfies some itches. First, the poem, entonces the collection, celebrates good people doing needful work, the poet seeks soulful connections with readers. Second, the words are constructive, pro- not anti-, reasoned not whiny. Third, the work reads fluidly on both sides of the double truck. Fourth, some of these topics are interesting on their own, e.g. Rodriguez' love poem, and for their context in the religio-political nexus, such as the title poem, inverted as a question, "¿Son todos sagrados?/Are All Sacred?" 

Now I read the book’s last poem, “Una comunidad con tanto que enseñar al

Mundo”. It’s an anthem of Peoplehood, gente declaring themselves human and equal.

 

“No matter what we do, that is what they think wrongly of us. 
We work, we strive, and we dream like any person.

We are not the monsters, criminals, and vermin that they say we

are.

We are proud, we work hard, we dream big. We will never give up.

 

“Realizing that we hate the word, “lazy.”

That’s all people call us.

No matter what we do, that is what they think wrongly of us.

We work, we strive, and we dream like any person.”

“Y hagamos lo que hagamos, eso es lo que piensan erróneamente de nosotros.

Trabajamos, nos esforzamos y soñamos como cualquier otra persona.

No somos los monstruos y parásitos que la gente dice que somos.

Somos soñadores orgullosos y trabajadores que nunca se rendirán, a

pesar del odio.

The stanza reaches for an ultimatum, a battle protreptic, an action step in standard persuasive argument, to an audience of supporters. What are we doing about this? The poem’s not about changing minds but finding a level perception ground, a laissez-faire actitud toward "they":

“Pero algún día tendrán que aprender que juntos somos el futuro, sin

otra opción que descubrir que nosotros mismos somos más que

suficientes.”

 

“But one day, they must learn that together, we are the future, with

no other option but to discover our whole selves is more than

enough.”

 

Todos Somos Sagrados All Are Sacred closes on this hopeful note. This is the author’s definition of sacred, Sagrado: enterados de nuestra igualidad; informed of our equality. A reader’s take-away will place this philosophy in context of a working mission in urban Los Angeles. Proyecto Pastoral at Dolores Mission. Not only did las madres allow him to stay, he sat the Board of Directors for thirty years, growing from an idealistic young man to an idealistic husband, father, and optimist who closes his poetry with a small essay of notes & acknowledgements:

“The people of Proyecto Pastoral have much to teach the

world about love. It is my intention by detailing some of the people

and stories that their work will be honored and their teaching will

be preserved so that we may all learn from their example.”

 

Todos Somos Sagrados All Are Sacred comes from California small press publisher, El Martillo Press. To purchase copies, order from your local indie bookseller, Libromobile (link), or visit the publisher’s website, elmartillopress.com

  

If we are all sacred

We choose peace over violence

Joy over envy

Reciprocity over selfishness

Kindness over cruelty

Solidarity over division

Humane acts versus inhumane ones

Harmony over chaos

Balance over imbalance

Love over hate

We need each other. Nothing separates us. We are

interconnected.

All are sacred.

(excerpt, ¿Son todos sagrados?/Are All Sacred? )

 



Sunday, May 17, 2026

ArtSpeak & “Brota vida” por Xánath Caraza

ArtSpeak & “Brota vida” por Xánath Caraza

 

Xanath Caraza

El sábado 16 de mayo fui poeta invitada para el evento ArtSpeak. Hoy les comparto unas imágenes de éste junto con el poema “Brota vida / Emerge Life”. Espero que lo disfruten. ¡Qué la poesía nos salve!

 

Xanath Caraza

Brota vida

 

En las desnudas

puntas de los árboles

rojos arabescos renacen

la vida insiste en latir.

 

Árbol, satura

con las áureas

ramas la mirada.

Báñame de luz.

 

Vida desbordada

no te esfumes

muévete entre

las células de mi sangre.

 

Brota vida desde

la carmín memoria

dorada sombra

eras.

 

Xanath Caraza

Emerge Life

 

On naked

treetops

red arabesques are reborn

life insists on beating.

 

Tree, saturate

my gaze with

golden branches.

Bathe me in light.

 

Overflowing life

do not slip away

move within

the cells of my blood.

 

Emerge life from

carmine memory

golden shadow

you were.

 

“Brota vida/ Emerge Life” are part of the collection Sin preámbulos / Without Preamble (2017). Sin preámbulos was originally written in Spanish by Xánath Caraza and translated into the English by Sandra Kingery. In 2018 for the International Latino Book Awards Sin preámbulos / Without Preamble received First Place for “Best Book of Bilingual Poetry”. 

 

Xanath Caraza

In 2019 Sin preámbulos / Without Preamble / Fără preambul was translated into the Romanian by Tudor Serbănescu and Silvia Tugui.

 

Xanath Caraza

 

 

 

 

Thursday, May 14, 2026

Chicanonautica: Springtime with Xipe Totec, Xochiquetzal, and Xochipilli


by Ernest Hogan



It looks like we're into another early Summer here in Arizona, but Spring hangs on, keeps clawing back. Clouds blow in. Temperatures fall (but not too much). Palo Verde trees and sage bushes explode with yellow and purple blooms, painting the urban sprawl like a psychedelic poster. Not to mention those cactus flowers.


All while the other parts of the country brace for a major snowstorm . . .



In Arizona, it seems we can’t keep a good season of rebirth and resurrection down. You’d think someone made a sacrifice to Xipe Totec, the Corn God, who demands the sacrifice of human skin the way the leaves need to be husked off ears of corn. The Mexica believed that all flesh was the same, as are we all, plant, animal, human just variations on DNA. Life is all there is to eat. Vegetarians and cannibals are siblings under the detachable skin.



Xipe does tend to stand in for Jesus in this culture.


I had a dream in which I stepped on a flower and it rose up like a snake to attack me. Forgive me, Xochiquetzal, Goddess of the Flowering Earth and Creativity. We need you in these times. Thank you for all the flowers. I’ll watch my step in the future.


We should pay our respects to her brother Xochipilli, God of all kinds of Sex, Drugs, Rocking, and Rolling. Yup, it looks like the Mexica invented hippies. Jipis. “By the time we got to Tenochtitlán . . .”



It does seem to be him the Norteamericanos are evoking when they celebrate Cinco de Mayo. The Battle of Puebla is ignored, or not mentioned, swept under the carpet of modern life. What a lot of governments would like to do as they rekindle their taste for human sacrifice at taxpayer expense. 


Reminds me of a ritual I once witnessed in Mexico City–there was a man in full Aztec priest regalia and a drugged rattlesnake . . .


If it only I could find a bottle of Escorpion Negro . . .



Ernest Hogan, Father of Chicano Science Fiction, uses the word Mexica out of respect, but delights in the fear Aztec strikes in the hearts of certain kinds of people. He is also teaching his “Gonzo Science Fiction, Chicano Style” course as part of the Palabras del Pueblo writing workshop again online, the weekends of June 6-7 and 13-14. Only $100. Sponsorships available. Deadline is May 20. Sign up now!




Wednesday, May 13, 2026

Un hogar en todas partes / A Home Everywhere


Written by Juliana Javierre
Illustrations by Claudia Marianno



*ISBN: 979-8-89375-036-2
*Publication Date: May 31, 2026
*Format: Hardcover
*Pages: 32
*Imprint: Piñata Books
*Ages: 4-8



A heartwarming story that will remind readers home is where love is.


Pablo is nervous about starting school in his new country, but everyone is kind and welcoming. In class, his teacher points out Colombia on a map. When she asks the boy what he misses most about his life there, his voice quivers as he talks about his grandmother, dog Lola and old friends. It’s okay to feel sad, the teacher tells him, because “missing is how we remember those we love.”


When Mom picks him up from school, Pablo has lots to share with her—until he sees she’s been crying. She admits that she too misses their home. That evening, Pablo begins drawing his cherished memories: the house with its mango tree, sweet Lola and his grandmother, who is as “chubby as if she was full of stories.”


He excitedly shows his mother everything when she comes in to say goodnight, including the empty box he left for her to fill in. There are many things she misses about Colombia, she tells him, but “you are my home everywhere.” This sweet bilingual picture book with vibrant illustrations will reassure children that it’s okay to miss people and places. Kids—and their parents too—will appreciate the sentiment that home is wherever love is found.



JULIANA JAVIERRE, a writer, researcher and teacher, has published four books, including the novel Plaga (Planeta, 2021; ArtRage 2025); the novel Siete veces Lucía, winner of the National Novel Prize Aniversario Ciudad Pereira (2018); and the illustrated children’s book, Historia de un desencantamiento, recipient of the 2020 Stimulus Call Grant for the Creation of an Illustrated Children’s Book. Her short stories and articles have appeared in national and international anthologies. She is currently pursuing a PhD in Creative Writing at the University of Houston.


CLAUDIA MARIANNO is an illustrator from Brazil. She holds a BA degree in Architecture and Urbanism from the University of São Paulo.









Tuesday, May 12, 2026

Twenty Years Of Altadena Poets Laureate

Altadena Poet Laureate Program At Twenty+ 
Michael Sedano

April and early May  2026 brings significant poetry celebrations to the upper reaches of California's San Gabriel Valley with Poetry & Cookies in Altadena and LitFest in the Denas in Pasadena. 

In Altadena, a changing of the Laureates is a highlight of Poetry & Cookies (link), along with the impending distribution of the published anthology. In Pasadena, the new Altadena Co-Laureates activate their office by joining eight Laureates-emeriti in a happy reunion at LitFest in the Denas, allowing a rare portrait opportunity. Sadly, the portrait series fails to capture the 2010-2021 Laureate, Alene Terzian.
Alene Terzian | May 2010 — April 2012, Thelma T. Reyna | May 2014 — April 2016, Elline Lipkin | May 2016 — April 2018, Teresa Mei Chuc, Hazel Clayton Harrison | May 2018 — April 2020, Carla R. Sameth | May 2022 — April 2024 (with Peter J. Harris, Presente!), Sehba Sarwar, Lester Graves Lennon | May 2024 — April 2026. Standing, Rhonda Mitchell, Altadena Poet Laureate for Community Events,  Shahe Mankerian, Altadena Poet Laureate Editor-in-ChiefThe Altadena Poet Laureate program owes its ongoing existence to Altadena Library District's commitment to poetry. Initially a gathering of a handful of writers at the behest of librarian Pauline Pauli Dutton, the gathering published first with photocopied sheets, then spiral bound booklets titled Poetry&Cookies. Growing community involvement grows and they name several Laureates, and now as literary opportunities multiply, Co-Laureates. 

During the Laureateship of Carla R. Sameth and the late Peter J. Harris, Altadena's Laureates were recognized with a $50,000 Academy of American Poets Laureate Fellowship (link). It was the first and now a second. Sarwar and Lennon, too, are recognized with a $50,000 fellowship to support the Co-Laureates' community programs. 

Thelma T. Reyna, whose family-owned publishing house Golden Foothills Press, publishes the 2026 edition of Altadena Poetry Review: Anthology 2026, shares this history of the program's origins and particularly spotlights Pauli Dutton's founder's role. This is from Reyna's Foreward to the collection, about to enter distribution via the publisher, local independent booksellers, and a conglomerate. La Bloga's Michael Sedano has a poem in the anthology as well as the cover photograph. Thelma Reyna shares La Bloga's Friday column with Melinda Palacio.


FOREWORD
By Thelma T. Reyna
Poet Laureate Emerita, Altadena Library District, 2014-2016.
Publisher, Golden Foothills Press

 
HOW WE GOT HERE

This Altadena Poetry Review: Anthology 2026 is the eighth edition of an anthology birthed in 2015 as part of my Poet Laureate contribution to Altadena. That seminal year, our book contained 105 poems written by 60 poets. This 2026 anthology showcases 180 poems written by 158 distinguished and emerging poets—a testament not only to our community’s stalwart advocacy of poetry, but also to the depth and breadth of our commitment to nurture and expand access to it, and visibility of its power and beauty.  

This is a heavy lift for any anthology. But the fertile ground we now till and inseminate was laid and well-prepared for us by a longtime Altadena librarian and visionary poet: Pauline (Pauli) Dutton, to whom I refer, with much admiration and gratitude, as “The Godmother of Altadena Poetry.” This 2026 anthology stands on her shoulders.

Pauli Dutton and Michael Sedano

Pauli brought poetry by, of, and for the people to Altadena during her 29-year tenure as Principal Librarian, then as Acting District Director of the Altadena Library District. She blazed new trails that helped solidify Altadena as a poetry mecca in Southern California by engaging like-minded community members in fulfilling her goals, as follows:

In 2003, Pauli established the now-renowned “Poetry & Cookies Reading Event”—an annual gathering of poets reading their poems to packed audiences.  Now, the participants are specifically poets whose poems were published in that year’s anthology. This event has run continuously since 2003, including via Zoom in 2020 during Covid.
In 2004, Pauli established the first local anthology, Poetry & Cookies, and produced it unfailingly for 12 years until she retired. (It was replaced by the Altadena Poetry Review.)
In 2006, she founded the Poet Laureate Program, which continues unabated to this day, with some Altadena Laureates distinguishing themselves on the national stage of poet leadership. Fourteen poets, to date, have held this distinction.

When Pauli retired in 2014, she could have “rested on her laurels,” as the old saying goes, since these programs she created were well-received and firmly established by then. But fortunately for our poetry community, she didn’t. She remained in her role as leader of the Poet Laureate Selection Committee, e.g., insuring the rigorous process stayed intact and Laureateships continued. She remained active, energetic, and devotedly engaged in the readings, workshops, committees, festivals that were and are hallmarks of Altadena’s loving embrace of poetry writ large. Her influence and legacy continue to inspire us. (For more details, visit https://www.altadenalibrary.org/poetry)

ABOUT THIS ANTHOLOGY
This collection showcases 180 poems of varying styles, themes, lengths, and formats by 158 culturally-diverse poets primarily from Southern California, but also from across the United States and internationally.  Authors include past and present Poets Laureate of local, regional, and state levels, including two Los Angeles (CA) Poets Laureate, Luis J. Rodriguez and Lynne Thompson. Some poets are at the beginning of their careers, but most are experienced authors with publication experience and name recognition. Many are award winners at local, regional, and higher levels; others are affiliated with colleges and universities; and others are mentors and poetry leaders in their communities.  Overall, the poets published in this anthology are distinguished and markedly skilled in their art.

Advance praise of this anthology underscores the depth of sentiments expressed in the poems, especially compassion, humanity, strength, and resilience regarding the "fire poems" in the book: poetry bearing witness to the devastation caused by the horrific wildfires that swept through Altadena, CA, on January 7, 2025, one of the most destructive fires in California history. This anthology attests to the human will to overcome, to be reborn, and it does so with poetry that is lyrical, solemn, thought-provoking, insightful, and full of heart and soul.
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2026 is a great year for poetry and poetry anthologies. Copies for participants are now in distribution, and public sales commence when the poets have been served. Órale, to Altadena Poet Laureate program.

Altadena's Co-Poets Laureate 
Shahe Mankerian, Altadena Poet Laureate Editor-in-Chief, 2026 - 2028
Rhonda Mitchell, Altadena Poet Laureate for Community Events 2026 - 2028


Altadena's Immediate Past-Laureates
Lester Graves Lennon, Altadena Poet Laureate Editor-in-Chief 2024 - 2026 Sehba Sarwar, Altadena Poet Laureate for Community Events, 2024 - 2026

Readings by Laureates-Emeriti
Carla R. Sameth, Altadena Co-Poet Laureate with Peter J. Harris QEPD, 2022 - 2024 Hazel Clayton Harrison, Altadena Co-Poet Laureate 2018 - 2020   
Teresa Mei Chuc, Altadena Co-Poet Laureate 2018 - 2020   
Elline Lipkin, Altadena Poet Laureate 2016 - 2018


Thelma T. Reyna, Altadena Poet Laureate 2014 - 2016

Laureates' Farewells
Lester Graves Lennon delivers his farewell reading. Lennon edited the Altadena Poetry Review: Anthology 2026.

Sehba Sarwar delivers her farewell reading. Sarwar organized community poetry events over her two-year co-Laureateship. Readings engaged audiences with spotlighted poets and open mics. Workshops stimulated creativity and generated numerous poems and several La Bloga columns.
The Co-Poets Laureate wrapping their two-year service to the Altadena, California and greater Los Angeles poetry community.


Sarwar and Lennon flank Nikki Winslow, Altadena Library District Director. Winslow's support is the heartbeat of Altadena Library District's community involvement, including the twenty-year legacy of the Altadena Poet Laureate Program.  Órale, Nikki.