La Bloga
The world's longest-established Chicana Chicano, Latina Latino literary blog.
Thursday, July 31, 2025
The New Elites and the War Against Knowledge
Wednesday, July 30, 2025
Lotería Remedios Oracle: A 54-Card Deck and Guidebook Cards
Written by Xelena González.
Illusttrated by Jose Sotelo Yamasaki.
*Publisher: Hay House LLC
*Print length: 144 pages
*ISBN-10: 1401974724
*ISBN-13: 978-1401974725
A beautifully-illustrated 54-card oracle deck that reimagines the iconic game of Lotería by using the traditional symbols for divination, reflection, and healing.
La Rosa. La Muerte. El Nopal. These are just a few of the 54 iconic symbols that appear in the beloved card game Lotería, also known as Mexican Bingo. Since reaching modern-day Mexico in 1779, the deck has seen many artful incarnations, and across Latinx cultures, it has served the multilayered purpose of practicing the Spanish language, bringing loved ones together, and of course, trying our luck.
But Lotería Remedios enters the cards into the canon of cartomancy: it uses the traditional symbols for divination, reflection, and self-healing. Here author Xelena González, a member of the Tap Pilam Coahuiltecan Nation, is continuing the work of her great-grandmother, a curandera sought-after and highly respected for her abilities. Through beautiful illustrations and lyrical written remedios, La Sirena (The Mermaid) becomes an invitation to view your own magic and beauty. La Bandera (The Flag) suggests the need to wave your flag high, so that you may discover who is ready to join your cause. And the much-loved La Luna (The Moon) encourage you to look within, and understand that night will always find its morning, that the tide always changes.
Xelena González practices the healing arts through writing and movement. She is a storyteller, dancer, and visiting author who centers self-love in her multi-disciplinary workshops for all ages. Her picture books include the multiple award-winning ALL AROUND US (Cinco Puntos Press, 2017), the recently-released WHERE WONDER GROWS (Lee & Low, 2022), and the forthcoming title REMEMBERING (Simon & Schuster, 2023). Xelena’s storytelling skills were honed as a public librarian in her hometown of Yanaguana/San Antonio and in Guangzhou, China, where she served as head librarian for an international school. Through her author visits, she has introduced a method of “tai chi storytelling” to more than 100 schools, museums, and libraries around the globe.
Jose Sotelo Yamasaki is a San Antonio based painter, screenprinter, and illustrator. He has garnered a national following as the owner and operator of El Fin, an exclusive online gallery showcasing the vibrant artwork that has made San Antonio a cultural mecca. His work is heavily influenced by Mesoamerican design, Mexican folk art, and Japanese Zen art. In this way, Jose’s creations pay homage to his mixed ancestries.
Tuesday, July 29, 2025
On-line Floricanto features Angel Guerrero
La Bloga-Tuesday proudly shares poetry from a recently-debuted poet, Angel Guerrero. Guerrero’s work has taken an upward trajectory ever since the poet made her initial public reading at the Eagle Rock branch of the Los Angeles Public Library in May 2024.
Since the reading, Angel Guerrero’s been published in Don Campbell’s So Cal Steps and the upcoming on-line Altadena Poetry Review. Guerrero has shared her work at Casa Reyna's Poetry Garden in a backyard floricanto. This is Angel's first On-line Floricanto appearance.
Guerrero enjoys a diverse artistic life. She’s a noted collector of Chicana Chicano artists, she studied sculpture and painting with Magu, Angel Guerrero was assistant to Pola López for the restoration of the Daniel Cervantes indigenous faces mural at the foot of Los Angeles’ endangered Southwest Museum.
Editor's Note: La Bloga's On-line Floricanto series started in 2010 in collaboration with Francisco X. Alarcón qepd, in anticipation of that year's three-day Festival de Flor y Canto: Yesterday • Today • Tomorrow, organized by Michael Sedano. Francisco and Michael reasoned that that Fall's reunion of poets from the first Flor y Canto in 1973 shouldn't be limited by geography, hence we took the opportunity to share established and emerging work, particularly work submitted to the Face group, Poets Responding to SB1070, via La Bloga-Tuesday.
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Angel Guerrero, left, Pola López, right, restoring a heritage mural in northeast Los Angeles |
On-Line Floricanto Featuring Angel Guerrero
by Angel Guerrero
For what seems like forever.
I’ve climbed Seventy-One,
Each one has my name engraved on it.
This is my path, and it is well-worn.
I step carefully nowadays,
gone are the days of
Skipping and jumping
and daring myself to fly,
Slipping and falling to the bottom,
only to start again.
That energy has faded,
and caution has taken its place.
I dare not look down
a dense fog threatens to overtake me.
So, I look upward
and refuse to lament the past.
I climb slowly,
I am unsteady,
but some days I get excited
to see what awaits on the other side.
But every step has its own lessons and wonder,
One day soon I’ll reach my destination
So, for now,
I will continue climbing.
THINGS LEFT BEHIND
by Angel Guerrero
I run around my bedroom frightened by the familiar voice on my cell phone,
The voice sends out warnings of
Amber Alerts, Flashfloods, and Earthquakes.
And now that voice insists,
we must leave, leave our home,
Our art, sculptures, books, our love letters,
Small and large items, mean something only to me.
Everything is precious,
our photographs, the kind you can hold in your hand,
The images of life together, our youth,
And family members we will never kiss or hold again,
We must get out now, “it’s only stuff.”
So instead, we gather necessary items,
our survival kit is small,
And our time is short.
I search out my husband's eyes,
His still-strong arms envelop my quivering body and still my fears.
As we turn to leave, he whispers in my ear
“It’s only stuff.”
I realize that the things we leave behind are no longer
more important
Than our fingers holding on tightly to each other.
He leads me down the staircase
just in time to hear
That the warning was not meant for us,
But for another community of people.
We stand frozen.
Our hearts are pained for them, in shock, for them.
For the many who will now have to deal
with this horrific loss
we pray that your families survived
And that it is only their things that were left behind.
CHARRED STAIRS
by Angel Guerrero
I went to search for you,
but could not find you.
Everything was gone,
Charred rubble,
which was once precious memories,
Was all that was left.
Gone was the beauty that had once existed,
All was scorched beyond recognition.
So, on and on I walked,
So sure, I would find the path that led to you.
Finally, I looked up and there was your street.
I followed the now-broken road
Once edged by everything that was lush and green.
I walked until I saw the stairway that led to your home,
It was stark and blackened by the ravenous flames.
My heart was filled with dread,
but I climbed on.
Once at the top, I fell to my knees in tears,
As if it had been my home,
As if it had been, my loss, my pain.
Finally, I turned and slowly walked down those stairs,
Which no longer led,
to anyone or anything,
I once knew.
Saturday, July 26, 2025
Interpretamos la niebla / We Interpret Fog por Xánath Caraza
Interpretamos la niebla / We Interpret Fog por Xánath Caraza
Interpretamos
la niebla en la concavidad infinita. En el alba reconocemos la opalescencia en
las montañas y el aroma a madera penetra la piel. Descubrimos las aves en las
frondas de la aurora mientras la lluvia se desliza en las calles empedradas y
golpea los techos de teja. El rocío, en las violetas, se vuelve bruma con los
áureos rayos de sol mientras un colibrí busca miel. Las sombras de los
ancestros, bordadas en el follaje de los cedros, se vislumbran cuando la luz
del amanecer las traspasa.
We Interpret Fog
We interpret fog inside the infinite concavity. At dawn, we recognize
opalescence within the mountains while the scent of wood penetrates our flesh.
We discover birds upon the fronds of first light as the rain slips along
cobblestone streets and strikes tile roofs. The dew, on the violets, turns to
haze in the golden sunlight while a hummingbird hunts for honey. When the
morning light soaks through it, the shadows of the ancestors, embroidered
within the foliage of cedars, can be discerned.
Poema incluido en el
manuscrito De niebla y olvido de Xánath Caraza. Traducido por Sandra
Kingery.
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Xanath Caraza |
Friday, July 25, 2025
New Literature About a Pair of Icons of Resistance
Mafalda: Book One
Quino
Elsewhere Editions -- June 10, 2025
Six-year-old Mafalda loves democracy and hates soup. What democratic sector do cats fall into? she asks, then unfurls a toilet paper red carpet and gives her very own presidential address. Mafalda’s precociousness and passion stump all grown-ups around her. Dissident and rebellious, she refuses to abandon the world to her parents’ generation, who seem so lost.
Alongside the irascible Mafalda, readers will meet her eclectic entourage: dreamy Felipe and gossipy Susanita, young-capitalist Manolito and rebellious Miguelito. You can clearly see Mafalda is small, when she is dreaming in bed or soaring on a swing — “As usual, as soon as you put your feet on the ground, the fun finishes,” Mafalda grumbles — but her hopes for the world and her heart are as huge as can be. Generations of readers have discovered themselves in Mafalda’s boundlessly adventurous spirit, and learned to question, rebel, and hope.
Edinburgh University Press - July 31, 2025
[from the publisher]
Luis Rodríguez is a prominent Latinx poet, memoirist and activist renowned for his candid visceral accounts of urban working-class life that includes youth gang violence, incarceration and drug abuse, grueling factory work and union organizing activities and collective approaches to redemption and political empowerment, which have resonated across multiple communities in the United States and abroad. Accordingly, whilst Rodríguez has been the focus of some critical scholarship, huge segments of his life, work and legacy remain unexamined. This anthology has commissioned new and unique critical essays and reflections on Rodríguez’s life and works, putting forward new ideas about bringing the voices of 'barrio organic intellectuals' to the fore. The anthology deliberately includes traditional academics as well as more public intellectuals and creative writers from across Europe and the Americas to reflect Rodriguez’s own diverse outputs as a prisoner author and activist.
Thursday, July 24, 2025
Chicanonautica: Chicano Art Interrupts This Pogrom . . . Program . . . De-Program . . . Re-Program . . .
by Ernest Hogan
One of the perks of being the Father of Chicano Sci-Fi is that people send me weird shit. And I love me some weird shit.
So, in the middle of this jam-packed bizarro summer, a small, slim, unsolicited package appeared in my P.O. box. It was from L.A. The handwriting, name, and address were all unfamiliar to me. I grabbed my Swiss Army knife and sliced.
It was a paperback book: Aztec Leisure Suit Or Brown People Under Fluorescent Light. Sounds like a Chicanonautica kinda thing. The author was Vincent Ramos. The front cover and the blurb on the back intrigued me.
Flipping through it, I found that there weren’t many words. Most of it was photos reproduced in full color on slick paper. They were of collages.
They fit perfectly with the title.
Collage is a good art form for Chicanos—do it myself on occasion—because we are collages.
Once at an event celebrating Latino science fiction, I met a brown girl who looked like she could still be in grade school. She wanted to be a writer and asked me and Rudy Ch. Garcia what the rules for being a Chicano writer were. We both immediately told her that there weren’t any. She looked confused.
You see, just being a Chicano is a do-it-yourself project. Rasquache!
I wonder -- what happened to her? Is she currently writing stuff that will soon astound the world? Or was she shocked into her senses and became a doctor, lawyer, teacher, or something else reasonable?
Weird, mixed-up, rasquache stuff makes me smile. It makes me feel at home—it’s not just where I come from, but what I am!
Some folks think I’m trying to be avant-garde, but we’ve been doing this stuff for centuries, since before diverse cultures got together in the marketplace of Teotihuacán, when we were smuggling the wisdom of the Centipede God and Giant River Serpents up from lost garden cities of the Amazon . . .
This little book is a brain-battering barrage of conflicting symbols. Andy Warhol probably couldn’t handle it. It’s like a visual version of William S. Burroughs and Biron Gyson’s cut-up/fold-in technique and J.G. Ballard when he was writing The Atrocity Exhibition (aka Love and Napalm: Export USA) and “Why I Want to Fuck Ronald Reagan.”
Make art not war? Nah. Art is war.
That is, if you’re doing it right . . .
Someday scholars will study Aztec Leisure Suit, searching for clues to the arcane mysteries of Chicano (and its ever-mutating Siamese twin Latino Latin, Latine, Latinx . . .) identity as if it were an untranslated codex from a lost civilization. The problem is, we aren’t lost. We’re right here. We’re everywhere.
Some people’s sensory arrays get overloaded when they try to focus on us.
“Ya got any ID?” they keep asking.
Good question . . .
Maybe I should carry around a copy, and when ICE asks who and what the quehquetza I am, I’ll hand it to them.
I wonder if their brains will explode.
Ernest Hogan is descended from Mexican circus performers who sometimes dressed like bullfighters.
Wednesday, July 23, 2025
A-Ztec: A Bilingual Alphabet Book
Written and illustrated by Emmanuel Valtierra.
*Publisher: Levine Querido
*Publication date: September 9, 2025
*Language: English
*Print length: 64 pages
*ISBN-10: 1646145674
*ISBN-13: 978-1646145676
Chocolatl
and Axolotl
Guacamole
and Quetzacoatl.
Open up this treasury
Aztec words--
from A to Z!
From singular artist Emmanuel Valtierra comes a spectacular introduction to twenty-six words, concepts, and gods central to Aztec and Mexican culture, presented in both English and Spanish.
Emmanuel Valtierra is a Texan Mexican illustrator. He studied graphic design at the Visual Arts Faculty in Monterrey, Nuevo León. Since 2016, he has focused on creating different projects related to the Aztec culture, among which stands out Codex Valtierra that won the Sidewise Award for Alternate History in 2018. Through his work, he intends to instill Mexican pre-Hispanic cultures and to show its ancestral arts to new generations.