Thursday, October 08, 2026

Killing the Spirit: A Land before Borders

 

                                                                                   

                                                                                    
            My Gonzalez-Villalobos grandparents, from Mitic, a Tecuexe village preceding European arrival

     When I listen to the news today and hear how our government is erasing Ethnic Studies classes from our universities and schools, banning books about race, and physically attacking Mexican and Latin American immigrants, with or without documents, I can’t help but take it personally, like they’re coming after me, and my family.

     Should I really have to warn my teenage grandson, “Eli, if ICE or men in dark clothes and facemasks pull you, or your friends, over, do exactly what they say. Be polite, answer them respectfully, or they can take you in and make you disappear.” It's a technique terrorists use to kill the spirit, straight out of a novel by Camus or Kafka. We used in Vietnam to threaten innocent villagers from cooperating with the Vietcong. Pinochet used it in Chile, so did the military generals in Argentina. I never thought I see it used here, in the "land of the free."  

     I always thought my Mexican relatives and I were protected from deportation, but when I look in the mirror and see the olive skin and high cheekbones I’ve inherited from my indigenous ancestors, I'm not so sure. What if I'm at Home Depot, and I accidentally get swept up in an immigration raid and don’t have the necessary documents to prove my Yankee status, will I end up, another victim lost in a detention center some place? I could show ICE officers my military disability card, but they're taking Latino veterans, too. Sometimes, I imagine an ICE agent, pissed off at the world, look past my pleas, and say, “I don’t wanna hear it, Pancho.”

     It wouldn’t be the first time. Immigration enforcement deported hundreds-to-thousands of Mexican Americans in the 1930s, when politicians needed a scapegoat to blame for their reckless economic decisions that ended in a great depression. I am a third-generation American, my children fourth generation, my grandchildren fifth generation, and my great-grandchildren sixth generation, our roots burrowed deeply in the land.

     According to archeologists and linguists, my Mexican Indian ancestors had been traveling from the far reaches of Mexico up to what we know today as Colorado, Utah, Wyoming, and Montana, traces of the Nahuatl language detected in Shoshone, a root language of many northern indigenous people, thousands of years before the English landed at present day Massachusetts or the Spaniards marched into Tenochtitlan. Some paleontologists and geologists claim their archeological discoveries prove indigenous traders conducted business from the Inca Empire in Cusco up into present-day New Mexico and Colorado.

     As a teacher, I found my vocation in literature and storytelling, especially the stories of those who came before us, historians and novelists who tell of old San Diego, San Gabriel, and Los Angeles, the oldest settlements on California, what the Spanish named Alta California, and the early Chinese referred to as “Gold Mountain,” or “Land of the Barbarians.”

     That’s what started me on a search to talk to the descendants of Californios, who have a documented history on these lands. It was a cold November night in 2001, when I met octogenarian Fred Machado and his nephew, Ron Mendez, descendants of Manuel Machado y Yanez and his wife Maria de la Luz Valenzuela, who left Sonora on an overland expedition of settlers and reached the San Gabriel Mission in 1781.

     After a grueling and harrowing trek through the savage deserts of Arizona and California. Their future sons Agustin and Ygnacio, along with other family members, the Lugos and Talamantez, would eventually establish the family ranch, Rancho La Ballona, a large section of land just below the Westchester bluffs, butting up against today’s Playa del Rey.

     When I spoke to Fred (RIP), he still lived in Culver City, “part of the old land grant,” he told me, laughing at the irony of having to have purchased a house on land his family once owned. He told me the original grant stretched from Playa del Rey east to Baldwin Hills, east across to Palms and Rancho Park, north to about the southern fringes of West L.A., and west to Pen Mar and Venice beach, land known as Pwinukipar, or “full of water” to the native Tongva people, who would watch the land flood during the rainy season.

     After the early Californias staked their land claims, the floods caused the property lines to shift, raising havoc at a time when ownership boundaries were often identified by dead tree trunks, dry gulches, weedy mounds of earth, and maps drawn on homemade linens.

     As we spoke, Fred pulled out one document after another and told me a myriad of fascinating family stories he’d uncovered in his years of researching his family’s history. He and Ron talked as if their ancestors still lived, calling them by their first names. After a couple of hours steeped in Machado family history, I prepared to leave, much to ponder, but first, Fred told me he had one more piece of family lore he wanted to share with me. Barely able to contain his excitement, he placed a copy of an old map across his dining room table.  “Look at this,” he said.  

     Ron responded, "This [map] has its own story." 

     Fred said, “After my cousin Jimmy died, Jimmy's wife found an old tube container at the back of a closet.”

     Fred said his cousin’s wife opened the tube and pulled out a faded, rolled-up cloth--a map of some kind. She knew Fred’s interest in the family history and called him. Printed on linen, the map measured three feet by four feet. In 1868, someone, probably their elder ancestor, Agustin Machado, had meticulously drawn, in neat handwritten script, an outline of the land, Rancho La Ballona, indicating all the boundaries.

     Agustin had drawn parallel lines starting at the coast, most of what is the Marina and Venice Beach today. Fred laughed calling it, "beachfront property." Agustin had written a family member's name in each tract, which represented three hundred feet of land. This was the Machado family inheritance as handed down by Agustin Machado to his children.

     I noticed the lines on the map showed portions of land where Playa Vista Development, west-side environmentalists, and the remaining Tongva people were once battling over La Ballona’s Wetlands, the last open sanctuary for wildlife in the Westside basin.

     Fred showed me where his grandfather Ricardo’s ranch house, or as Fred called it, “the Big House,” his birthplace, had once stood. Fred took out a wrinkled black and white photograph of the house, surrounded by open fields. He said, “Today, that’s near the corner of Jefferson and Centinela.”

     Fred guessed his cousin Jimmy received the map from their grandfather, Ricardo, who received it from Jose Agustin, his father. Ricardo Machado, a farmer and real estate investor in the early 1900s, continued to use the map, making his own pencil markings and notations. Throughout the years, some of the pencil markings had faded.

     Fred told me he needed to do more investigating, at the time. He took the map to a friend who had a blue light, and under closer observation, he could decipher much of the handwriting.

     “Let me tell you an interesting story about this map,” Fred said. “One day, I received a call from a young man in Washington D.C. He had been discharged from the Air Force and was living back East.” Apparently, the young man had been studying and researching our family.

     Fred invited the young man to visit and stay a few days. When he arrived, the young man told Fred he had heard his grandmother was the daughter of a man named Juan Lugo, a relative of the Machado family and one of the original founders of the ranch. Fred told the young man there were Lugos in the family, but he had never heard of a Juan Lugo and nothing in the family's records showed that name.

     Fred said, “It could have been a mistake or Juan Lugo was illegitimate,” in which case, his name probably wouldn’t appear on any legal documents.

     Fred thought the young man might enjoy seeing the map, so he took it out and spread on the dining room table. As they looked closely, surveying the designated plots of land, boundaries and names, their eyes came to rest on a tiny corner where they saw the almost invisible name written, Juan Lugo. Fred had never noticed it.

     "The kid became unglued, just unglued," Fred said, delightedly. “No one had ever mentioned a Juan Lugo. And there in my great-grandfather’s writing was the notation, showing where Juan Lugo had lived on the ranch, close to where Walgrove Avenue crosses Venice boulevard," today.

     Fred realized the young man wanted a link to his past, maybe even to a family connection where none had existed.

     Fred's eyes gleamed as he finished telling the story, a near tear-jerker, which showed me that to Fred, and his nephew, Ron, history is not simply books with facts and dates. History is people and their stories. As someone once said, history is a breathing, living thing. If teachers approached it this way, students might have a better appreciation of our past and the people who lived it, and it might make it more difficult for those who are trying to erase it, as if we and our ancestors never existed.

     Of course, Fred realized the historical value of the map. He told his cousin’s wife, "Whoa! You're not giving this to me to keep. It's too important for one person to have."

     After verifying the map's authenticity and its place in Los Angeles history, the family donated the map to Loyola Marymount University, where, Fred said, scholars are still studying early Southern California history, particularly the history of early Los Angeles, a rich history unknown to many, and sadly, a history many would prefer remains uncovered and untold.

Wednesday, October 07, 2026

Hopeful Heroes: More Poems About Amazing Latinos- Héroes de la esperanza: Más poemas sobre latinos asombrosos

Hopeful Heroes: More Poems About Amazing Latinos


Written by Margarita Engle.

Illustrated by Juliet Menéndez.



*Publisher: Godwin Books

*Print length: 48 pages

*ISBN-10: 1250313945

*ISBN-13: 978-1250313942

*Reading age: 5 - 8 years



In this companion to Bravo!, Margarita Engle's beautiful poetry introduces young readers to lesser-known Latinos from varied backgrounds who have all shown tremendous resilience.

Prepare to be inspired by this empowering collection of poetry that tells a larger story about fortitude and community across Hispanic history. From environmental activists such as Christina Figueres to record breaking athletes like Pelé, each role model featured is a legend in their own right. There’s no better time to champion the accomplishments of this remarkable group of unsung heroes from all across Latin America!

Those profiled in this collection include Anacaona, Martín de la Cruz and Juan Badiano, Sor Juana Inés de la Cruz, Micaela Bastidas Puyucahua, Simón Bolívar, Mariana Grajales Cuello, Ana Roqué de Duprey, Julio Garavito Armero, Ramón Fonst Segundo, Christiana Figueres, Juano Hernández, Gabriela Mistral, Martín Chambi de Coaza, Marina Núñez del Prado, Noé Canjura, Nicolás García Uriburu, Pelé, and Rigoberta Menchú Tum.



Héroes de la esperanza: Más poemas sobre latinos asombrosos




Prepárese para inspirarse con esta colección empoderadora de poesía que cuenta una historia más amplia sobre la fortaleza y la comunidad a lo largo de la historia latinoamericana. Desde activistas medioambientales como Christiana Figueres hasta atletas que batieron récords como Pelé, cada modelo a seguir presentado es una leyenda por su propio mérito. ¡No hay mejor momento para celebrar los logros de este grupo notable de héroes de toda Latinoamérica!

Entre los perfiles de esta colección figuran el de Anacaona, Martín de la Cruz y Juan Badiano, Sor Juana Inés de la Cruz, Micaela Bastidas Puyucahua, Simón Bolívar, Mariana Grajales Cuello, Ana Roqué de Duprey, Julio Garavito Armero, Ramón Fonst Segundo, Christiana Figueres, Juano Hernández, Gabriela Mistral, Martín Chambi de Coaza, Marina Núñez del Prado, Noé Canjura, Nicolás García Uriburu, Pelé y Rigoberta Menchú Tum.




Review


"No matter when the subjects lived or what they did, Engle highlights their creativity, ­dignity, and the impact they had on their worlds. Accompanying Engle’s direct, concentrated free verse with similar power, Menéndez’s full-page illustrations blend blocky, mural-like characterizations with vibrant colors as bold as the lives of the heroes. . .The message is clear: Latin ­America’s past and present are filled with individuals whose examples can inspire ­readers in pursuing their passions today. . .An uplifting collection of Latinx ­heroes united by their tenacity, ideal for those in need of inspiration." -School Library Journal, starred review

"Menéndez’s watercolor artwork shines throughout each hero’s double-page spread, depicting these immense figures in bold form against mostly monochromatic backgrounds of warm colors. . .Worthy songs of praise for Latine legends." -Kirkus

"Each brief two- or three-stanza selection is written in free style and includes a bit of historical context, as well as first-person commentary that encourages relevancy and immediacy. . .Eye-catching, detailed full-page portraits reflect Latin American folk art motifs" -Booklist



Margarita Engle is the Cuban-American author of many verse novels, memoirs, and picture books, including The Surrender Tree, All the Way to Havana, Bravo!, Drum Dream Girl, and Dancing Hands. Awards include a Newbery Honor, Pura Belpré Medals, Golden Kite Award, Walter Honor, Jane Addams Award, PEN U.S.A., and NSK Neustadt Prize, among others. Margarita served as the national 2017-2019 Young People’s Poet Laureate. Margarita was born in Los Angeles, but developed a deep attachment to her mother’s homeland during childhood summers with relatives on the island. She studied agronomy and botany along with creative writing, and now lives in central California.



Juliet Menéndez is a Guatemalan American author and illustrator living between Guatemala City, Paris, and New York. While working as a bilingual teacher in New York City’s public schools, Juliet noted the need for more books that depicted children like the ones in her classrooms. She studied design and illustration in Paris and now spends her days with her watercolors and notebook. Latinitas is her first children's book.









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