Friday, March 27, 2026

The Good Land Offers a Home for Goleta Poets

Melinda Palacio

The Poetry Club

      

When I saw the announcement of a poetry club at the Goleta Valley Library, I was happy to check it out since I thought the library was closed for renovations. When I arrived, I realized there was some information missing from the announcement. The Goleta Valley Library is indeed closed for renovations but there was a sign sending people to the express library. Since last July, the library’s collection is in a temporary building at 6500 Hollister Avenue, Suite 105, known as GVL Express. At the Express library you can use one of four computers, check out and return books, buy books from the Friends of the Library, and take advantage of a variety of free bilingual services and resources.

I walked in expecting to be only a little late to the poetry club. However, the friendly staff explained that the poetry club was being held at the Goleta Community Center in the opposite direction I had traveled. The librarian’s encouragement kept me going. She said that the poetry club is worth finding and lots of fun. Most of the library’s social meetings, their mystery book club and film club, are located at the Goleta Community Center. By the time I found The Poetry Club, the doors to the community center were locked. Luckily, someone heard me rattling the door and let me in.

What I found was a welcoming group of diverse people, both poetry enthusiasts and budding poets in a large comfortable room with chairs and comfortable couches. The atmosphere was of friends learning about poetry and commenting on the poems. At least two people shared their own poetry. Library Assistant Tara Patrick brought copies of well known poems to discuss, but was pleased that participants brought their own favorite poems to pass out. “The idea is you don’t have to be a poet,” she said, “but we love for people to read their own work. Poet César R. Verrier enjoys bringing new drafts of his work to the group for feedback. “You can test how it resonates with other people and work on it,” he said.

César R. Verrier



 

A young poet, Nazani Cassidy, found the Poetry Club on instagram through the library’s @goletavalleylibrary account. She cherishes the monthly meetings and says she would attend more often should the group decide to meet weekly. Nazani works in Old Town and was thrilled to find a poetry group in her community that fits her full time work schedule. The Poetry Club meets the 3rd Sunday of the Month from 2-3:30 pm at the Goleta Community Center, 5679 Hollister Avenue and is a free program offered by the Goleta Valley Library. Nazani appreciates the support and encouragement she receives from the group. “This is a great group of local people who really care about taking the time to listen.

 

Nazani Cassidy



 *an earlier version of this column was published in the Santa Barbara Independent

Thursday, March 26, 2026

Reflections on the Other "You"

                                                                                   

Ideas on colonized people

     What do we mean when we use the term “Latino” or “Latina,” probably the mpst widely used term for people of Indo-Spanish descent? I suppose a direct translation of “Latino” is “Latin,” which indicates a descendent of Rome, as in Italian, even though the preferred word for people from Latin America, collectively, is “Latino,” as in “Latino Americano;” though, usually their first response, if asked, would more likely be: “Guatemalteco, Peruano, Chileno, Colombiano, Mejicano,” etc. So, how did “Latino” get into the lexicon and what does it really mean?

     To some people, words of identification, like “Latino,” are more a “state of being,” even if the dictionary says “Latino” is “Latin—of or relating to Latium, its people or its culture, or relating to ancient Rome, or places and peoples using Romance languages.” That’s complex, and a little unsettling when I hear John Leguizamo say, “Latin” instead of Latino, which I suspect comes from an inferiority which many of us have when pronouncing words in Spanish to Anglo listeners.

     It took a quick google search to learn it was a Frenchman, Michel Chevelier, who, in the 1830s, began calling the countries south of the United States, from Mexico to Argentina “Latino America.” And, indeed, he did want France to form an alliance with countries whose people spoke Romance languages versus those European countries whose people spoke Anglo-Germanic languages. He used the name,Latin America, officially, at a conference in Paris in 1856.

      So, are Americans of Mexican descent “Latino?” That’s different from, say, “Hispanic” or "Hispano," coined for the 1970s census, with input from activist organizations, like the National Council of La Raza. The term means “of or relating to the language, culture, and people of Spain, or Spanish speaking countries, especially Latin America.” My guess is some of those early organizations cringed when non-speaking Spanish people mispronounced, “Latino.” Maybe they thought “Hispanic” a better alternative. It kind of rolls off the English tongue.

     A child of the WWII, Zoot Suit generation, my father, with no malice, whatsoever, saw no contradiction in calling Mexicans from south of the border “Wetbacks,” yet, he wouldn’t stand for anyone to refer to him, his parents, or his friends with that word. His friends he called “Chicanos” or “Hispanics,” which he pronounced, “High-spanic.” I think an accent he picked from his neighbors, many who came from Oklahoma to L.A.'s Westside "slums" during the 1930s Dust Bowl, where they took up residence among poor Mexicans and Japanese. I think my father's generation was the first Mexican generation to see themselves as having "Brown skin, White Masts." They knew they were Mexican and spoke Spanish, but the dominant culture educated them to believe they were "American," so that's how they saw themselves, maybe even "White." They didn't question it, the meaning of "American" or "Whiteness," like those of us in my generation, especially when ordered to go to an "unpopular" and, possibly, "illegal" war.

     When I graduated college in the late ‘70s, ethnic studies professors began using “Chicano” and “Latino,” interchangeably, saying “Chicano” is more specific to a politically aware Mexican American, where “Latino” is a person of Spanish descent, collectively, including mestizos and indigenous people of Latin America.

     “Hispanic” is a person of pure Spanish descent, no hint of Indian blood. That can get confusing in a U.S. census meant to count all people of Indo-Spanish descent. I do know there are some people in parts of New Mexico and Colorado who refer to themselves as “Puro Hispano.” They say they can trace their bloodlines back to the Spaniards who conquered the Southwest in the 1600s. It’s difficult to imagine no mixing of the blood in such small communities for more than four-hundred years.

     So, what about Spanish actors, say, Antonio Banderas, who has played Mexican roles, like in Zorro and Desperado -- Latino or Hispanic, or both? Though, one might argue it doesn’t really matter since Zorro was a fictitious Disney creation about a Spaniard, Don Diego Vega, living in 1800s Los Angeles, before the Anglos arrived. By 1800, the Spanish had been in Mexico 280 years, a long time, and probably few pure-blooded Spaniards among the pobladores, so Zorro was probably more Mexican than Spanish, even if the actor, Guy Williams, who played Zorro in the original 1960’s television series was really Armando Catalano, an Italian American, close, right, technically “Latino,” if we go by Chevalier’s definition.

     What about Julio Iglesias or his American-son, Enrique, or Shakira, Ricky Martin, Bad Bunny, Rocio Durcal, Fidel Castro, Che, Jorge Luis Borges, Selma Hayek, Jorge Bardem, or Penelope Cruz, Latinos or Hispanics? My guess is if you asked, they’d identify with their country of origin; though Hayek is proud of her Mexican-Lebanese ancestry as is Shakira about her Colombian-Spanish-Lebanese ancestry. There a lot of different flavors in the punch.

     Mexican writer Carlos Fuentes didn’t like being pigeon-holed and saw himself as a citizen of the world and, even, referred to himself a “Chicano,” a person straddling borders, both Mexican and American. And, he was right, if he saw “Chicano” as a “state of being” more than an official moniker. Actually, nobody really knows where the word “Chicano” originated, not 100% anyway. One older friend told me when she was a child, she remembered her Californio parents calling Mexican peasants in the U.S., “Cholos,” so she wasn't enthusiastic about the word "Chicano."

     Some argue ethnic labeling is limiting? Psychologically, attaching one’s identity to a particular ethnic term could determine the way the person sees himself or herself. I have a Chicano friend who grew up “Mexican,” like the rest of us. When he heard his family had Native American blood, the next thing we know he had a ponytail and wore turquoise, leather, and feathers.

     Truthfully, I can barely remember the last time anyone asked me my ethnicity. I think int was in the 1970s. My friend’s Anglo wife asked me if I was Italian. I answered, “No. I’m Mexican,” and left it at that. It is strange, though, when I write or if I’m asked to talk on a “Chicano” topic, that’s about the only time I use the word or concepts that have to do with “Chicanismo.” If I don’t know a person’s specific nationality, I refer to him or her as Latino, which might be right or wrong. They may not even see themselves as Latinos.

     Yet, what we call ourselves or how we see ourselves has to affect our identities as individuals, like my friend who learned he was Native American and changed many of his cultural behaviors, except he didn’t give up his Mercedes or home in the suburbs. That would have gone too far.

     Does identifying ourselves as something other than “American” make “less than”? Are Mexicans born (or raised) in the U.S. a colonized people, since Mexcio lost the war with the U.S.? Some of us are the children of refugees, our ancestors fleeing the violence and famine in their own country during revolution and civil war. Yet, like my father's generation, aren’t we all educated to see ourselves as Americans, from a very early age, which raises the question: what is an American?

     If you went to school in say, East L.A., or along the border, where the student body was as 90% “Mexican American,” or higher, the U.S. education system taught you to be an American. So, you look around at all your friends and think, “Yes, we’re American.” So, you see yourself and your friends a certain way – the culture of your community. That is American, even if many people speak Spanish and there are taco and fruit vendors everywhere.

     What happens the first time you leave your neighborhood and travel to, say, play football against Beverly Hills High School, or any wealthier, predominately White school? You enter an entirely different “America.” You might see students who have the best of everything. The students themselves are “beautiful,” like you see in the movies and on television. The guys on their team are gargantuan. They’ve had the best training. They get the best coaches and teachers. How does this affect a person’s psyche. Does it cause one to question what it means to be American? Or, you attend a university, say, like in the Ivy League, and you don’t look like the others, don’t have their money, their privilege, or their prestige, or your first job is with a prominent corporation, and you’re the only “Juan” or “Juana” in the room?

     Black Psychiatrist Frantz Fanon, one of the first people of color to study the effects of colonialism, using Blacks raised in French Martinique as his subjects, might say:  to get through successfully you draw on the Mexican “you,” the American “you,” and the human “you,” the one who made it this far already?” You don’t dwell on the past but focus on the present and the future, not on how others see you but on how you see yourself.

     Fanon suggests that the problem is many of us our caught up in studying who we were, and often the past is an illusion, we forget about studying who we are, now, as humans, apart from the group, each of us unique and different in our own ways, regardless of racial or ethnic identification.

Wednesday, March 25, 2026

The Invisible Parade

Written by Leigh Bardugo

Illustrated by John Picacio 



*Publisher: Little, Brown Books for Young Readers

*Language: English

*Print length: ‎60 pages

*ISBN-10: ‎0316295701

*ISBN-13: ‎978-0316295703

*Reading age: ‎5 - 12 years

*Grade level: ‎Kindergarten - 4


 

Winner of the Pura Belpré Award Honor for Illustration!

The picture book debut from #1 New York Times bestselling author Leigh Bardugo and World Fantasy Award winner John Picacio.

It’s time to join the party! Adventure awaits readers of all ages on Día de Muertos​ in this stunningly original and lushly illustrated tour de force about family, love, and overcoming grief.


Everyone in the neighborhood was getting ready for the party.

Everyone knew somebody on the guest list . . .

This was the day the dead returned.

 

There’s a party tonight, but Cala doesn’t want to go. While her family prepares for the celebration, Cala grieves her grandfather and tries to pretend she’s not afraid.

But when she is separated from her family at the cemetery, Cala encounters four mysterious riders who will show her she is actually quite brave after all.

Brimming with magic and humor, The Invisible Parade is the first picture-book collaboration between award-winner John Picacio and New York Times bestselling Leigh Bardugo. Set on the night of Día de Muertos, Cala’s story is one of love, loss, and the courage that can be found in unexpected places.

 


Review


"A stirring story of personal and familial observance in this sweeping work... Truly captivating."―Publishers Weekly, starred review

"An understated masterclass in processing grief through culture."―Booklist, starred review

"Simply wondrous."―Kirkus, starred review

"A heartfelt journey through grief, memory, and celebration...Touching and visually stunning."―School Library Journal

 


Leigh Bardugo is the #1 New York Times bestselling author of The Familiar, Ninth House and the creator of the Grishaverse (now a Netflix original series) which spans the Shadow and Bone trilogy, the Six of Crows duology, the King of Scars duology—and much more.  Her short fiction has appeared in multiple anthologies including The Best American Science Fiction and Fantasy. She lives in Los Angeles and is an associate fellow of Pauli Murray College at Yale University.

John Picacio is a World Fantasy Award– and Hugo Award–winning artist who has created book illustrations for major works by George R. R. Martin, Rebecca Roanhorse, and many more. He’s the founder of the Mexicanx Initiative, spearheading the journeys of more than forty Mexican and Mexican American creators into the wider awareness of fantasy and science fiction audiences. John lives in San Antonio.






Tuesday, March 24, 2026

Things falling apart, the center must hold on

Things Falling Apart, Be the Center

Michael Sedano


Raza are walking around with a dazed expression on their faces over the revelations of rape and sexual abuse by Cesar E. Chavez. The Chavez family’s response acknowledged their abject dismay and acknowledged the man’s crimes. That should put a finis to the controversy and remove the term “alleged” from the public discussion.

But no. Conspiracy theorists are writing crap like “why now?” and their addled readers scream “Yeah!” because, why not? Numerous writers jump into the fray rehashing the same ground as if repetition will make the truth less hurtful to themselves; their discourse contributes little to public knowledge and can have a deleterious impact on the writer's peace. Pax, gente, let us find the center and gather together.

It’s been a horrid week changing street signs, renaming schools, feeling shame for being duped. But that’s not all that’s falling apart.

The poetry community, too, has gotten entangled in pedo that may have been kicked off by the Chavez debacle. Over in Texas, a poet announces she’s pulling her book from Flowersong Press. Why? The announcement hints at dark news without sharing it. Pulling a book is a big deal. Flowersong Press is a big deal, among the nation's premier publishers of poetry.

In Southern California, another poet writes to describe a man’s abuse by his common-law wife. Stomach-turning examples of the man’s suffering--a noted poet-- get exacerbated by a group of “mean girl poets” whose presence at readings has some influence on the poetry community. Subversives chip away at the solid foundation that has grown since movimiento days. The movement lives, and it requires affirmation, reaffirmation, purification. Not the crap that's so easily penned and posted.

Things are falling apart. Mean girls, icons, bad stuff hinted at, conspiracy theories, rejectors of truth; these people are filled with passionate intensity. They’re not the worst—those are the MAGATs who rub their hands in gleeful schadenfreude seeing beautiful raza and allies cohesion being torn apart.

And what about the Epstein files? And a meaningless attack on Iran?

Things fall apart. Our best don’t lack conviction, and we are not whelmed by the crap these worst-of-us scatter into the winds hoping to ignite a conflagration, seeking to hold onto clearly failed hero worship, or simply to hear the sound of their own words.

Things come together when people make them come together. This is poetry month and the month of International Women’s Day. Poetry is a way of observing, making sense, being heard, of finding beauty and truth even as things fall apart.

A recent Saturday reading at the appropriately named El Tranquilo Gallery in the heart of Los Angeles’ Olvera Street, finds these truths to be evident if not self-evident. Four poets and a small audience gather to share longer poems celebrating womanhood, antipatriarchical insights, joy and protest in the context of love, not division. The afternoon’s readings offer not only respite but medicine.

La Bloga-Tuesday was there with camera in hand and would love to have some of the work to share in an online Floricanto. Ni modo. Poetry readings are meant to be seen and heard in person. These portraits of the writers capture key moments of expression by four superb writers and performers. They include Jennifer Baptiste, Rio Diaz, and Andrea Lee. Lupe Montiel, organized the event.  

The gallery walls create an arresting ambiente for the reading. The show, “She Rises, Women of Strength and Beauty,” curated by Ginette Rondeau, features women artists whose work exemplifies the exhibition’s title. In fact, the poets read in front of a large Margaret Garcia canvas that reflects the strength and beauty of the words and the readers themselves.

Portrait Gallery in the Gallery

Jennifer Baptiste

Rio Diaz



Andrea "Coach" Lee

Lupe Montiel


Sunday, March 22, 2026

“Equinoccio” por Xánath Caraza

“Equinoccio” por Xánath Caraza

Xanath Caraza

El equinoccio de primavera de 2026 empezó el 20 de marzo a las 9:46 de la manñana. Hoy, para celebrar el equinoccio de primavera de este año, les comparto un poema originalmente escrito en español que forma parte de mis poemarios Sílabas de viento / Syllables of Wind (Mammoth Publications, 2014) y Le sillabe del vento (Gilgamesh Edizioni, 2017). Hoy incluyo una traducción al francés.

¡Qué la poesía nos salve!

Xanath Caraza

Equinoccio 

Cuando la noche y el día se hacen uno

La tierra canta al unísono- La Serpiente

Emplumada desciende con su sombra.

 

Equinox

 When night and day become one

Earth sings at unison - the Feathered

Serpent descends alongside its shadow

 

Equinozio

Quando la notte e il giorno diventano uno

La terra canta all’unisono - Il serpente

Piumato scende insieme alla sua ombra.

 

L'équinoxe

Quand la nuit et le jour ne font plus qu'un

La terre chante à l'unisson - Le serpent

Plumé, il descend avec son ombre.

  

“Equinoccio” fue publicado por primera vez en el poemario Sílabas de viento/ Syllables of Wind (Mammoth Publications, 2014) con la traducción al inglés de Sandra Kingery.

 

Xanath Caraza

En 2015 recibió el primer lugar en Poesía / Poetry para los International Book Awards for PoetryTambién en 2015 recibió Honorable mention “Best Poetry Book in Spanish” para los International Latino Book Awards.

 

Xanath Caraza

Le sillabe del vento (Gilgamesh Edizioni, 2017) fue traducido al italiano por Annelisa Addolorato y Zingonia Zingone.  

La traducción al francés es de S. Holland-Wempe.

Xanath Caraza


  

Friday, March 20, 2026

If Dr. MLK, Jr. Could Speak to Us Now...

If Dr. MLK, Jr. Could Speak to Us Now, What Might He Say?


Thelma T. Reyna


Historians and political scientists know best, and I am neither. I am simply a poet. In 2017, as our nation reeled from the chaos and upheavals of the first Trump presidency, I wrote a book, Reading Tea Leaves After Trump (link), trying daily to parse how our country was being dismantled. Here is a persona poem in which one of our greatest Americans again spoke for many.


MARTIN, FROM THE GRAVE


If I could turn, I would, but this coffin holds me still. I whisper to you now through fifty years of tears for what you have endured.

We’ve marched these sizzling streets before, these bridges blocked by dogs, batons, and helmets of hate.

We’ve pitched these battles before, teeth tearing ankles, rubber bullets burning backs, clubs dense as rifle butts cracking skulls.

We’ve locked arms, locked eyes, locked hands on heads for safety when they came with boots and hoses to shut us down. We’ve dragged cheeks and chins on concrete when they pulled us by our feet across blood-stained streets. 

We’ve been shot unarmed, flayed to the bone, hanged like dead rabbits by back doors, white folks picnicking by trees where our mangled bodies turned in air, photo ops galore. 

If I could spin, I would, for what they did, what they do, should’ve died decades past but won’t. So my rasp will filter like earthworms through these clods, through stones,  through smoke of churches burnt, through ether and miasmas of stillborn hopes, through centuries of hacking on the shackles. No amount of blood we shed can satiate their hate.

I whisper to you now through fifty years of hush, for I hear boots tramping once again, and smell the Ku Klux stench in the People’s House. I rush my rasp to you right now, for I hear the rattle of voter-suppression chains, hear our ballots torn and tossed, hear us mocked again for marching arm-in-arm.

I send my rasp to you, from here, for I see ramrod arms stretched high, and the man who would be king tell daily lies, and see billionaires with secrets taking reins. I whisper to you now, from here, for I see zealots in towers and lounging by lakes, our people’s money raked into pockets mysterious and soiled.

You’ve stared in these men’s eyes before, withstood forked tongues that turn equality to roulette wheels. You’ve heard their codes and veiled slurs, taken shields against these wars. If you can hear my whisper, remember what my heart once said: The measure of a man is where he stands at times of challenge and despair. Today these heartbreaks bore to the core of earth.

If I could spin or turn, I would. My coffin keeps me prisoned while my spirit weeps for you. My dessicated eyes, vacant mouth,  ears filled with dust ceased mattering on that balcony in spring. My lips are stilled and filled with worms, but your feet hold fire, your arms still link, and your voices are oceans unleashed.

-----
Reading Tea Leaves After Trump, by Thelma T. Reyna (Golden Foothills Press, 2018). Winner of seven national book awards, the book is available through the press, booksellers like Libromobile, and amazon. Here's a link to the publisher, Golden Foothills Press.

Thursday, March 19, 2026

Chicanonautica: Whatchcallus, Anyway?


by Ernest Hogan



I did a display of science fiction by writers of what I call the Latinoid Continuum and I used the term Latinx. There will probably be objections from some of my peers, so here’s an explanation:


The sign is for the patrons of that library where I work, and while we get my fellow Chicanos here, we also get a lot of others, African Americans, “whites,” et cetera. . . It’s in a public place and as inclusive as possible.


Also, not all of the writers featured are, if you want to get nick-picky, Chicanos. Silvia Moreno-Garcia is Mexico born and lives in Canada. V. Castro is a Tejana who lives in England.  Speculative Fiction for Dreamers: A Latinx Anthology includes “Those Rumors of Cannibalism and Human Sacrifice Have Been Greatly Exaggerated” one of my best stories, along with “Old Folks” by Scótt Russell Dúncan (note the accent marks–should I do it too? Érnest Hógan . . .) editor for Xicanxfuturism: Gritos for Tomorrow–Codex I (out now, buy it, read it, live it) and works by a diverse crew of writers from cultures transmogrified by contact with the Spanish Armada.



The x is still esoteric and controversial and not really known outside of college campuses and bureaucracies, but I consider exposing people to things from outside their comfort zone part of my job.


Once near the ruins of Monte Alban, I identified myself as a Chicano to a Zapotec guide. He had never heard the word. I tried to explain, but ended up leaving him thinking I was from Chicago.


In my career, I’ve found that it helps to use words that outsiders—Anglos (some take offense, “I ain’t from Angola!”), gringos, (et and cetera)— can understand. When dealing with more than one culture, declaring an official name never works. What usually happens, quite organically, is new languages are created.



New life and new civilizations. Chicanidad evolving into Xicanxfuturism. Talk about a concept that could cause trouble. 


The word Yucatan is based on one of the many Mayan dialects for “I don’t understand you.”


I’ve never been picky about what people call me. The internet thinks I’m a cyberpunk, though I’ve never been part of the movement. People have a hard time figuring me out, so I let them slap a handy label on me and go on with my business. These labels are usually insults or place-holders for something they don’t understand.



So what? Political correctness is for losers and I’m  a bizarre phenomenon. I’m lucky they don’t call in the military.


You usually don’t get called what you choose, you get called what your enemies call you, if they win, that is . . .


Chicano started out as a vile insult. Like the N-word.


The Navajo call themselves the Diné. The many Apache tribes call themselves variations on Ndé, Ndee, N’de or even Diné. Yes, they are related, but then aren’t we all? 

 

Do you have Neanderthal or Denisovian DNA? Or both?


Navajo and Apache are Spanishized versions of Zuni and Tewa Pueblo words for “enemy” and “cultivated fields in the valley” as in  apachu from the navahu’u.


We all call the Kanien’kehá:ka the Mohawks, a Dutch/English version of the Algonquian mohowawog, “man-eater,” cannibal, if you will.



So rather than arguing about what we should be called and what language we should be arguing in we need to form a united front. But first there will be a lot of fighting about it.


Meanwhile, I’m using Latinoid Continuum . . . 


ICE can’t tell Mexicans from Chicanos from Latinos from Latinx from Xicanx from brown from black from white. And a warehouse is being converted into a “detention center” not far from where I live. 


New languages, and realities, will be created in the process. 


Xicanxfuturism is the future!


Or as Jean-Luc Godard’s evil computer Alpha-60 said in Alphaville:  “Sometimes reality can be too complex to be conveyed by the spoken word. Legend remolds it into a form that can be spread all across the world.” 


See? Chicano really is a science fiction state of being.



Ernest Hogan, Father of Chicano Science Fiction, wants you to buy Xicanxfuturism: Gritos for Tomorrow / Codex I, read it, and start building the rasquache future of our choice. His Paco Cohen, Mariachi of Mars story “A Wild and Wooly Road Trip on Mars” will be in Codex II, soon . . .