Thursday, March 05, 2026

Chicanonautica: The Surrealistic Burrito Western of My Dreams

 by Ernest Hogan





Once again, I’m waiting . . . for Codex II of Xicanxfuturism to come out . . . for the other shoe to drop on the world-transmogrifying moment of history we’re living through . . . for news about the precarious state of the publishing industry . . .


So, I do what I usually do, let my monstrous imagination wander, feed it the weirdness I see, let things happen.



Often I end up getting flashes of the Surrealistic Spaghetti Western of My Dreams, that I’ve decided to start calling the Surrealistic Burrito Western of My Dreams. It’s a better name for something growing in a Chicano brain. A collection of stuff wrapped in the tortilla of my twisted worldview.

 


They come from living in Aztlán, looking through the veneer of corporate Americana into the forgotten history and the witch’s brew of battling mythologies and my imagination. The word decolonized doesn’t seem to be strong enough.

 


The fact that it all gets more post-apocalyptic, alternate universe-y, and surrealistic (I overuse the word, but it’ll do it until somebody comes up with a better one) every day makes it more intense.




Though I grew up watching the likes of the Lone Ranger and Roy Rogers, my favorite western is El Topo, so it ain’t gonna be no Johns Ford and Wayne kinda thing.



I mostly see things, take a picture—thank Tezcatlipoca for the camera phone— and imagine . . . mostly images, occasional fragments of scenarios like those wacko dreams that I can’t even begin to describe.



I’ve mentioned them to my wife and joked about writing a screenplay. (So many things in my life start as jokes!) But I can’t come up with a plot or characters (yet). Just imagery that amuses me no end.



Maybe if I added some elements of my Irish/New Mexican family history with my ancestors riding in a posse after and testifying against Billy the Kid, giving Pancho Villa a curandero cure, working in a Mexican circus. 


Like most Chicano families, our history is undocumented, mostly legend, full of holes that can be filled with glorious delirium.




Probably it will have to be more multiversal or surrealistic than post-apocalyptic. Time, space, realities . . .



Maybe it should be a novel, but only if I can make it so outrageous that no one dares call it magic realism.




Or maybe I should have the screenplay be nothing but opening scenes . . .



Fade in: The sun rises over a desert making twisted and decaying cacti into a tangle of bizarre silhouettes. The wind whistles. A flaming tumbleweed rolls past a Mayan pyramid in front of jagged mountains under psychedelic clouds. The camera pans to a close-up of the head of a person buried up to their neck. Ants swarm over it, feasting on the flesh. Bare skull shows in places. A dirigible painted like a feathered serpent passes by overhead. Cowboy boots decorated with art nouveau circuit patterns move in on either side of the screen. A stream of urine hits the head. The ants are undisturbed. The remaining eye opens. Cue Pepe Guízar’s Guadalajara, LOUD!



Ernest Hogan has been using radio.garden to listen to stations from parts of Mexico where Americans are told not to go. On one he heard songs with lyrics including “maquina del tiempo” and “no puedo teleporte.” Meanwhile, buy Codex I of Xicanxfuturism!


Wednesday, March 04, 2026

CABE 2026

The CABE 2026 Annual Conference will be held at the San Francisco Marriott Marquis from March 4–7, 2026.


The California Association for Bilingual Education (CABE) is a non-profit organization incorporated in 1976 to promote bilingual education and quality educational experiences for all students in California. CABE has chapters and members, as well as partnerships with other state and national advocacy organizations, working to promote equity and student achievement for students with diverse cultural, racial, and linguistic backgrounds. CABE recognizes and honors the fact that we live in a rich multicultural, global society and that respect for diversity makes us a stronger state and nation.

CABE conferences, such as the CABE 2026 Annual Conference, focus on themes like biliteracy, multicultural competency, and educational equity for English learners. These events serve as important venues for addressing the educational needs of California's millions of English learners and provide opportunities for professional development and collaboration among educators.


CABE VISION AND MISSION

Biliteracy, Multicultural Competency, & Educational Equity for All.

To support the vision of biliteracy, multicultural competency, and educational equity for all students, we will embody our shared values by implementing priorities, initiatives, and services designed to increase California’s capacity to create caring and highly effective learning environments that promote multiliteracy and support English learners and all diverse populations to graduate college, career, and globally prepared to live their lives to their fullest potential.


 If you are around come and say hello at the East West Discovery Press Booth.

Tuesday, March 03, 2026

Casa de Colibríes

At Home With Hummingbirds 

Michael Sedano 

Concha screamed in agony. The smaller boy heard her pain and understood immediately something awful had taken place. The older boy stood over the pile of green and brown feathers staring stupidly at what he'd accomplished. 

Concha gave him a look of pity and picked up the carcass. In a few seconds, Concha returned from inside carrying a hefty black book. The woman opened the Bible to some random page in the middle, laid down the dead bird and closed the book around it to dry. Concha told the small boy about la chuparrosa's magic and how she would keep the dried body for luck. 

It wasn't lucky for the hummingbird. The boy didn't understand that part. He knew about lucky rabbit's feet, but didn't understand that part, either. 

That’s the beginning of my attachment to hummingbirds. I am that smaller boy in the story, which occurs in Spanish at my grandmother’s house, sometime around 1949.


I can see Concha’s Biblia, how she brought it out into the sunlight. She had some flowers pressed in the pages of that book that proved to my eyes the efficacy of using books to dry stuff. 

Today, almost eighty years later, I have a photographer’s memory of hummingbirds. That is, I remember where I’ve seen them nectaring on one or another tree, shrub, or flowers, and I return with my longest lens, time and again. 



I stalk the Huntington Library and Los Angeles County Arboretum in search of good fotos. I talk to the gardeners—mostly in Spanish—asking where they’ve seen colibri in the area. The gardeners are from different places and they call the flying jewels chuparosa or picaflor, in addition to colibri. 

Chicano literature expresses high regard for hummingbirds. Luis Alberto Urrea’s gifted readers his Hummingbird’s Daughter (link), which isn’t about hummingbirds per se. My favorite literary hummingbird is Graciela Limon’s title character in Song of the Hummingbird. The character, Huitzitzilín, is named hummingbird in her native Mexica language, and has a mind faster than a speeding colibri as she torments the Inquisitor assigned to civilize her. 

I live well, after Alzheimer’s, and now, post-Eaton fire. My daughter bought a house where the yerba buena grows like a weed and mejor, a hedge of Cuphea ignea, cigar flower, firecracker flower, that hummingbirds love. I noticed that right away when I moved here las Fall.


Instead of walking miles and waiting half an hour or so for a glorious sight, I sit outside near my front door, lens pointed toward the hedge and wait. And wait. With enough patience, and a healthy dose of serendipity, these sparkling souls share themselves with a happy photographer.

While I enjoy the walkabout and all the other critters I get to see and photograph, I like the thought "cast down your buckets where you are." I'm not forced to look anywhere but here, I don't have to click my ruby slippers incanting "there's no place like home" but that's the way it is, for my hummers and me, there's no place like home.

Sunday, March 01, 2026

“Música Acuática” by Xánath Caraza

“Música Acuática” by Xánath Caraza

 

Xanath Caraza

What a pleasure to share my work. Last Thursday I was invited to read some of my poetry and one of the poems that I presented was “Música acuática / Water Musica”. I’m happy to share that on this occasion this poem was very well received by the audience. Hope you enjoy this poem along with a few photos of the event.

 

“Música Acuática” by Xánath Caraza

 

Música acuática sobre la superficie del lago

Gotas de sonidos naturales

Vibraciones de lluvia entre los pinos

Sonidos del bosque

Murmullos celestiales que perforan el lago

Tic, tic, tic, tic, tic, jiiish, jiiish

Círculos de plata en crescendo

Reflejo de nubes grises

Sinfonía de musgos y líquenes

Superficie de agua interrumpida por la música

Pasión sonora suave y abrumadora

Tic, tic, tic, tic, tic, jiiish, jiiish

Sonidos asaltando las fosas nasales

Sentidos exaltados al ritmo de la lluvia

Tic, tic, tic, tic, tic, jiiish, jiiish

Sinfonía acuática

Pintura musical

Lago impresionista

 

 

Xanath Caraza

Water Music

 

Water music on the surface of the lake

Drops of natural sounds

Vibrations of rain among pine trees

Sounds of the forest

Celestial whispering that pierces the lake

Tic, tic, tic, tic, tic, hiiish, hiiish

Circles of silver in crescendo

Reflection of gray clouds

Symphony of moss and lichen

Surface of water interrupted by music

Audible passion soft and exhausting

Tic, tic, tic, tic, tic, hiiiish, hiiiish

Sounds assaulting the nose

Senses running high to the rhythm of rain

Tic, tic, tic, tic, tic, hiiiiish, hiiiish

Aquatic symphony

Musical painting

Impressionist lake

 

Su Müziği

 

Gölün yüzeyindeki su müziği

Doğal seslerin damlacıkları

Cam ağacı arasındaki yağmurun titreşimleri

Ormandaki sesler

Gökyüzünün fısıldaması gölleri deliyor

Tic, tic, tic, tic, tic, hiiish, hiiish

Gümüş daireler giderek artıyor

Gri bulutların yansıması

Yosunların ahengi

Müzik suyun yüzeyini titrettikçe

Yumuşakça ve çok yorgun bir ses

Tic, tic, tic, tic, tic, hiiiish, hiiiish

Sesler burnumuza saldırırken

Yağmurun ritmini daha çok duyuyoruz

Tic, tic, tic, tic, tic, hiiiiish, hiiiish

Suyun ahengi

Göldeki izlenimler

 

 

Xanath Caraza

Musique aquatique

 

Musique aquatique sur la surface du lac

Gouttes de sons naturels

Vibrations de pluie entre les pins

Bruits de la forêt

Murmures célestes qui percent le lac

Tic,tic,tic, tic, tic, jiiish, jiiish

Cercles d'argent en crescendo

Reflet de nuages gris

Symphonie des mousses  et lichens

Surface de l'eau interrompue par la musique

Passion sonore douce et écrasante

Tic,tic,tic, tic, tic, jiiis

Sons assaillant les narines

Sens exaltés au rythme de la pluie

Tic,tic,tic, tic, tic, jiiish, jiiish

Symphonie aquatique

Peinture musicale

Lac impressionniste

 

 

Música acuática & Water Music” by Xánath Caraza are included in Conjuro (Caraza X., Mammoth Publications, 2012). Translated into the Turkish by Eyyup Esen and into the French by Justine Temeyissa Patalé. Translated into the English by the author.

 

Música acuática” was recorded by Phonodia, University Ca’Foscari in Venice, Italy. 

 

Xanath Caraza

Conjuro received Second place in the ‘Best Poetry Book in Spanish’ category of the 2013 International Latino Book Awards.  In 2013 Conjuro also received Honorable mention in the ‘Best First Book in Spanish, Mariposa Award’ category of the 2013 International Latino Book Awards. Conjuro was an award-winning finalist in the 'Fiction: Multicultural' category of the 2013 International Book Awards.

 

  

Friday, February 27, 2026

Poetry Connection: Following Santa Barbara's New Poet Laureate, George Yatchisin, Around Town

  

 

Santa Barbara Poet Laureate George Yatchisin

 

 Melinda Palacio, Santa Barbara Poet Laureate 2023-2025


Over two weeks in February, I followed Santa Barbara Poet Laureate, George Yatchisin, as he spoke to two very different book clubs, the Santa Barbara Women’s Book Club at Rockwood and the Montecito Poetry Club. The Women’s Book Club, led by Linda Alderman, is unique in that they don’t read a shared book ahead of their meeting. Unlike most book clubs, they invite an author to talk about their work and encourage them to bring books to sell. They asked George to offer a more general discussion on the role of a poet laureate. This topic never gets old. It’s interesting to see how many people don’t know what a poet laureate is or that the position exists in Santa Barbara.


George is the city’s 11th Poet Laureate. He charmed everyone at the Women’s Bookclub with his poetry and deep dive into the history of the laurels worn by Apollo and Poets Laureate. He brought a sample laurel crown to add to his explaination of the mythology surrounding the laurels. The wearing of the laurels are associated with the Greek God Apollo who was struck by one of Cupid’s golden love arrows. The nymph Daphne happened to be in his sight but Cupid didn’t use the same arrow on her. In praying for a solution to escape Apollo, she was transformed into a laurel tree. Since Apollo is associated with poetry, he declared the tree sacred and wears the laurels in her honor. Ancient traditions passed the tradition of wearing of laurels to heroes and poets. Someone asked the question, that I often hear as well, ‘Does every city and state have a poet laureate?’ You guessed correctly, the answer is No.


Santa Barbara didn’t have a poet laureate until 2005 with the installation of the inaugural position going to the late Barry Spacks. Sometimes, institutions appoint a poet laureate that is separate from the city poet laureate, such as former Independent intern, Leticia Hernández-Linares who is San Francisco’s library laureate. There’s also the example of former Santa Barbara resident, David Oliveira, who was recognized as Santa Barbara’s Millenial Poet from 1999-2000 for his promotion of poetry, for founding the Santa Barbara Poetry Series, and for co-founding Mille Grazie Press with Cynthia Anderson. David will make a return trip to Santa Barbara on March 27 when he reads at the Santa Barbara Public Library in the series he founded.


Over at the Montecito Library, the format for the Montecito Poetry Club is very different. This group is made up of poets, four poets laureate were in attendance. Santa Barbara Librarian Jace Turner organizes this group. Packets of George’s poems were passed out. People sat in circle and there was more sharing and less of a lecture or presentation from the featured poet. This group is used to discussing favorite poets who are not in the room. It was a treat for them to be able to ask questions from the poet. George read some poems to the Rockwood group, but at the Montecito Poetry Club, George had the honor of hearing the audience read his poems to him and then ask questions about his process and inspiration. Jace set the tone by asking each person in the circle to describe what draws them to poetry. George was asked how he felt about language.


As someone who writes about food for the Independent, George discussed the taste of language in poetry: “I like how a poem feels in my mouth,” he said. He adds spice and flavor to his poems by infusing them with obscure or eclectic song lyrics. There’s much freedom and playfulness in his poems and he says that he tries to move around while he writes. In April, for Poetry Month, there will be plenty of opportunities to taste and sip poems. George and Gunpowder Press will release a food poetry anthology celebrating local food, drinks, restaurants, and agriculture. Also, George will curate the 12th Annual “Spirits in the Air: Potent Potable Poetry, April 15 at the Good Lion.


This week’s poem comes from Santa Barbara Poet Laureate, George Yatchisin.


An Air



Feathers are the things

with hope, for who doesn’t

brighten at a first glimpse

of birds, whether alight

or in flight, stealthily silent

or full-throated in song.



You can’t over-value them

in charm per pound,

in the lift they give,

not thinking about giving at all.

Even a simple house wren

prefers bugs to your bird feeder.



They’re unruffled we can’t

distinguish among their happy

host of dust-colored birds.

Just ask the cold-eyed hawk

or hungry cat what good

distinction does its feathered prey.



But beneath the lowest reach

of bushes, their clutch of cheerful 

cheeps hint at what we’ve missed.

Please, then, even off-key come

sing with me, something awkward,

unrehearsed, unadorned, but true.



George Yatchisin


*an earlier version of this article was published in the Independent


Thursday, February 26, 2026

Following the Calexico Comet to Cal

 Note: DEI is about stories, and ours are under attack, so I thought it would be a good time to repost this story, a story about the U.S. and its people, our people, our elders. by Daniel Cano

                                                                     

Following the Calexico Comet to UC Berkeley

     Recently, I came across some old black and white photos of my dad and his friends, Larry Baez, Freddie Santana, and my uncle Rufino Escarcega. In one photo, I see a car, maybe a 1952 or ’53 light colored Chevy. It could be my dad’s 1953 light-green Chevy. I don’t know for sure. On the driver’s door, someone painted the words: “CALEXICO, Comet ‘Primo’ UCLA.”

     Kneeling beside the driver’s door, I see Dario Sanchez, I think. It’s a small photo. Beside Dario, standing to the rear, it looks like my dad. Beside him in the foreground is Georgie Saenz, and behind Georgie is Richard Sanchez, Dario’s younger brother, all hearty UCLA fans, most of them veterans, and the first generation of Chicanos, proud Mexican Americans. They pose next to Primo’s name, UCLA’s star running and defensive back. Primo, short for Primitivo, his father’s name.

     I try to put it all into context. I wish my dad was here to tell me the story. I’m sure it’s 1954, the year UCLA won the National College Football Championship. My dad and his friends travelled to Berkeley to watch Primo and UCLA battle Cal. A couple of things…. Now, a road trip to Berkeley doesn’t seem much to us today. But in the early 1950s, without freeways or major highways, that was one hellava drive.

     To reach the San Fernando Valley from West L.A., you had to wind around the Santa Monica Mountains along the Sepulveda Pass, in a car with no power anything. To cross the Valley, you had to grind your way up Sepulveda Blvd, stopping at red lights through every little settlement in San Fernando, Sherman Oaks, Van Nuys, Reseda, Pacoima, Sylmar, etc. etc. 1954 was only twenty years after the great Okie migration west, which meant crossing the San Joaquin Valley was a major achievement, not just a weekend romp. There were few hotels, gas stations, restaurants, or facilities for travelers, especially if you were a dark-skin Mexican, forget about it.

     As I study the photograph, I think: man, UCLA football must have been a powerful draw to get them to make that journey. Then I remember, it wasn’t just UCLA football, it was Primo Villanueva, and the pride my dad and his friends had in the kid who came from a small border town down south. I mean, Primo played for one of the greatest football coaches to ever walk the sidelines, Red Sanders. What must it have been like for Primo, a minister’s son, a kid from a small farming town where racism was rampant and poverty was a way of life, to know a football icon wanted him to move to Los Angeles and play for his team, UCLA, in the heart of Los Angeles, Hollywood, bright lights, big city?

                                                                                           

One of the all-time greats, Primo Villanueva

     To many of us Chicanos in Los Angeles, even non-UCLA fans, Primo was king. He’d dominated high school football in Calexico, the Imperial Valley, and San Diego County. At UCLA, he became an idol to thousands of kids across Los Angeles and California, and at a time when Chicano kids needed someone to look up to. When the media flooded us in the ‘50s with images of Mexicans as rapists, murderers, thieves, and slackers, Primo showed the true side of our community, where the majority were law-abiding, hardworking folks contributing to the development of this country, striving to educate their kids, and give them a good life.

    Primo, as a running back, led UCLA’s offense with 886 yards. If that wasn’t enough, he also played defensive back, and helped take the Bruins to a national championship, an undefeated season, 9-0. The kid was barely 19. He held his own among UCLA’s superstars, powerhouse athletes like Jack Elena, Jim Salisbury, and Bob Davenport, names known in college football across the country. We aren’t talking about good athletes here. We are talking about the best in the country.

     My dad and his friends couldn’t stop talking about Primo during those years. Sometimes, I’d attend games with them, the only kid in the car, or my cousin Junior squeezing in, as they made their way each Saturday night to the Coliseum, an hour drive, easy, in those days, from West L.A. After the game, the fans rushed on to the field to touch or shake hands with the gargantuan players. One time, my dad pushed his way through the crowd, so I could gawk up at the Chicano in cleats and full pads towering over us. After the field had emptied, my dad and his friends waited for the players to walk up the ramp, out of the Coliseum, and into the adoring fans, shaking hands and giving autographs. I can still hear my dad and his friends yelling, as if they were kids, “Primo! Primo! Primo!” He’d always smile and wave at them. They never missed a home game.

     Coincidentally, my wife hails from Calexico, California. Her brothers played high school football, and, of course, I had to ask them if they knew Primo. Her oldest brother, who received a football and academic scholarship to Dartmouth, told me when he played for Calexico High School, the coach gave him Primo’s helmet, mainly because it was the largest. My father-in-law, who also played high school football in Calexico, told me that fans would caravan from Calexico each season to watch Primo play. He said that on one trip, he and his friends got into a bad car accident, but even that didn’t stop them from attending the game. They sat the Coliseum, wrapped in bandages, watching Primo pull out another victory.

     I have visited Calexico over the years disappointed that there is little recognition of Primo, or his younger brother Danny, a punter and field goal kicker, for UCLA, the Los Angeles Rams, and the Dallas Cowboys. I would have thought for sure the high school might be named after Primo, or if not, at least the high school football field, gym, even a swimming pool. After all, Primo was an All-American football star. But no, nothing, no mention of the man. Most public facilities are named after…who knows, ex principals, superintendents, parents of city council or school board members?

     Then I heard Primo Villanueva hadn’t even been inducted into the UCLA Football Hall of Fame. How could that be? What was I missing here, the Calexico Comet who led UCLA to its only national football championship? Then, I heard a rumor that nominees and inductees, or those who nominated them, were expected to donate or raise big bucks for the university, just like a buying a star on the Hollywood Walk of Fame, nothing comes for free, not even for excellence.

     What I do know is that Chicano(a)/Latino(a) Studies, and all fields of study, should not be solely about scholars digging into esoteric, antiquated intellectual issues. It should be about people, their stories, and their contributions to Chicano/Latino culture, whether academic, musical, film, literature, art, athletics, or any other human endeavor. Chicano Studies should uplift the community, as well as show the difficulties and obstacles we’ve faced. To me, forgotten names of men like Primo Villanueva, Art Aragon, and Leo Carrillo, and women like Dolores del Rio, Isela Vega, and Linda Ronstadt, through their life’s work, have earned a place in the academy. Students should know about them.

     For me, anyway, I will always consider Chicano Studies as having begun with my father’s stories, and those men and women of his generation who lived to tell them.