Friday, September 13, 2024

Poetry Connection: Poetry and Music in Santa Barbara

 Melinda Palacio





There’s a fun venue in Solvang that offers some evening entertainment as the sleepy town winds down for the night. Lost Chord Guitars is a quaint venue with an amazing array of talent that passes through it. On the last day of August, poet Ruben Lee Dalton from Buellton happened to play his original songs on guitar, along with Peter Claydon and Friends. It was an evening of all original songs and I was not surprised to notice how much I enjoyed Ruben’s lyrics. The poetry in his work really stands out. It could also be that I was attuned to hearing his lyrics because I recently read with him at the Goleta Valley Library. Look for an upcoming interview with Ruben Lee Dalton in the near future. If you are a fan of the local poetry scene and are scratching your head, wondering why you haven’t heard of Ruben Lee, it might be because he has changed his name. I kept asking myself the same question. Why is it that I haven’t heard of this poet and musician. Ruben Lee Dalton is the stage name for Bruce Schmidt. I remember reading with Bruce Schmidt years ago. I am happy to make the connection. 

 

September brings the celebration of National Hispanic Heritage Month. I am honored to participate in two events celebrating the Latino Poetry Initiative, Places We Call Home. The first is Palabras Vitales: Latiné Poetry Series on Wednesday, September 18th 1pm-2pm at Calden Overlook at Santa Barbara City College. All community members are invited to attend this special event. I will be presenting a series of poems and their companion songs that I have written. It’s not always a given that I am asked to prepare both music and poetry. As someone who is a late-blooming musician, it’s only been during the past couple of years that I have been adding music to my poetry readings. In some cases, the song preceded the poem. Although the themes of the poems and their companion songs are similar, each poem and song is its own entity and stands on its own. I am grateful for the time I have spent as your poet laureate to pursue music in addition to poetry and fiction. 

 

Another event that is part of National Hispanic Heritage Month and the Latino Poetry Initiative is the community open mic I am hosting at La Casa de la Raza, Thursday, September 26 from 6-7:30pm. This event is sponsored by the Santa Barbara Public Library. Poets and poetry lovers are invited to read a favorite poem that speaks to and from our Latino community. Participants may read from the Latino Poetry Anthology or read their own poems in English, Spanish, Spanglish, or Indigenous languages to Latin America, with one poem per person and a three-minute.   

 

Poet and pianist, Esteban Ramirez also combines poetry and music. He writes instrumental piano pieces to accompany his poems. On September 21, he will offer a free concert showcasing his piano work and his new book of poems, Welcome Home. He has added a third element to his presentation, visual art. Ramirez combines artificial intelligence and photoshop to produce illustrations for his poems. He says he is excited to share this multi-sensory experience with the community: “The audience can expect an evening of rich, evocative storytelling, brought to life through spoken word, visuals, and the beautiful harmonies of piano and cello." 

Upcoming Poetry Events:

 

September 11, Blue Whale Reading Series, 5:30-7:00 pm, Chapel, Unity of Santa Barbara, 227. E. Arrellaga Street. Featured poets includes Jace Turner and Catherine 

Abbey Hodges. 

 

September 18, Poetry and Music presentation by Santa Barbara Poet Laureate, Melinda Palacio at Santa Barbara City College’s Calden Overlook, 1pm-2pm with a reception to follow. This free program is part of Palabras Vitales: Latiné Poetry Series. This program is presented as part of Latino Poetry Places We Call Home. 

 

 Saturday, September 21, an evening of artistic fusion as Esteban Ramirez unveils his second poetry collection, Welcome Home—The Poetry Book, inspired by the romantic neoclassical melodies of his piano/cello album. at the Community Arts Workshop (CAW), located at 631 Garden St, Santa Barbara, CA. The event will begin with a mixer at 4 PM. The concert starts at 5 PM and concludes at 6 PM.


Sept. 21st at 11:30: Youth Poetry in the 805 hosted by Estimable Poet & Poetry Impresario, Sean Colletti
Don't miss this group of younger poets!  They are the nerve center of the next generation of Ventura County's famous poetry scene.

Sept. 22nd at noon:  Places We Call Home hosted by Marsha de la O.

This reading is in conjunction with the exhibit called "Places We Call Home" at the Santa Paula Agricultural Museum and with the statewide initiative by our California Poet Laureate, Lee Herrick.  It's called 'Our California' and is designed to get people throughout the state writing about their home whether that be their city, county, natural surroundings, place of origin or personal family.

 

September 26, Favorite Poem Open Mic/Poemas Favoritos, 6-7:30 pm, La Casa de la Raza 601 E. Montecito Street. Santa Barbara Public Library invites the community to a poetry open mic. In celebration of National Hispanic Heritage Month and the Latino Poetry Initiative, Places We Call Home, poets and poetry lovers are invited to read a favorite poem that speaks to and from our Latino community. 



*a version of this column was previously published in the Santa Barbara Independent 

Thursday, September 12, 2024

Browning of America: Fact or Myth

                                                                                 
Clinton's NAFTA helped fuel the Zapatista war in Chiapas

     I was fifteen years old when “they” killed President John F. Kennedy in Dallas, Texas. Like most Americans, I grieved, more because he was an Irish Catholic, and the Irish nuns and brothers who educated me talked about him in damn-near saintly language, same as my Mexican-Democrat working-class family, my dad a “union man,” who said he’d have no healthcare, pension, or vacation days without the AFL-CIO. As a child of Mexican immigrants, he was one of the first in his family to be a natural born U.S. citizen.
     My guess is none of us really understood the politics of the day, only that Republicans cut taxes for the rich, while Democrats spent them on social programs for the poor and middle-class. Sound familiar? And that was sixty-two years ago. Talk about “same tired old playbook.” What do you expect when you only have a two-party system -- or I stand corrected, we once had a “two” party system? Now, one of the two parties has morphed into party straddling the “middle,” while, according to pundits, the other side has been hijacked by a “cult-like” figure who refuses to go along with the "system," simply because he didn’t win the last election, and his party, or those remaining, follow him wherever he leads them, his main gripe: immigrants are destroying our country. This from a man who built his wealth on the backs of immigrants. Many undocumented immigrants have claimed to work for Donald Trump, at one time or another, nobody ever once asking for their papers.
     In fact, or so the former president says, from what he sees on television, residents of Springfield, Ohio, are claiming, immigrants are "eating their dogs and cats.” Okay, now, I, and many Americans, can deal with an immigrant-bashing as a political campaign strategy. There is an argument to be made, but eating dogs and cats? Gimme a break. I guess his point is to spread fear in Americans that our country is turning "brown."
     It wasn’t until 1966, after I served in the military with Americans of every stripe and color, I realized America, culturally, was, even then, much wider and broader than I was led to believe in my little sheltered corner of Los Angeles. In Vietnam, how was it one of my close friends was a black kid from the Virgin Islands, Ronnie La Beet, another, Jerry Lugo, from New York by way of Puerto Rico, Jack Brun, a white kid from Arkansas, and Bobby Simmons, a black kid from the Alabama. Then there were Lakota friends from South Dakota, Asians from California, funny speaking guys from the Bronx and lowlands of Pennsylvania, not to exclude Mexicans from Texas who could barely speak English? Talk about a brown America. 
     If a kid volunteered for the military, his legal status meant nothing. Hell, Puerto Rico and the Virgin Islands weren’t even states, and we drafted their kids, in droves. All of the guys who served, from the hills of West Viginia to fields of Delano, California, all the way to the Dominican Republic, and up to New England, shed their blood, and, sometimes, gave their lives in Vietnam. Nobody questioned their immigrant status. 
     It wasn’t an anomaly. When I talked to my dad about it, kind of jokingly, about all the characters I met in the army, he said it was the same during his time in the service during WWII, in the 1940s. He said he met guys from everywhere, and of all colors and ethnicities. Today, I assume, its ditto for the guys and women who fought our wars in the Middle East. This is the real America, but you’d never know it listening to politicians who rail about the browning of American and the changing culture. What they bank on are voters who haven't seen the "real" America outside their towns and communities.
     We’ve always been "brown," from the time Dutch and English pilgrims meandered about the shores of Plymouth, trading with the native people, who numbered in the hundreds of thousands, if not millions, considering all the land that would one day be called the United States. If not for the Iroquois Confederacy, the white strangers from far shores would not have lasted a winter here. Benjamin Franklin saw it. In an essay opening with, "Savages we call them..." tried educating early Americans about the sophisticated culture the natives practiced.
     So, if you’ve never left your neighborhood and travelled the country, you’d never know it. Sure, there are some parts of the country that are more homogenous, “all one color,” maybe like an Amish town in Ohio, not a lot of color there, but drive down through the Rio Grande Valley, it’s still homogenous, but the dominant people are Mexicans, not unlike Pine Ridge, in South Dakota, all Lakota, or towns in Alabama, Mississippi, and Tennessee, nearly all black, even parts of California’s Orange County, Vietnamese, and L.A.’s Monterrey Park, Chinese and Korean. Put them all together, that’s a lot of color. 
     Maybe that’s why New York, L.A., Philadelphia, Chicago, and San Francisco are such strange places to many outsiders when they first migrate to these cities, where the “browning of America” happens, and often the financial and cultural hubs of the nation, where the newest ideas bloom, from music to technology. Who would think of putting African percussion to American jazz but a Cuban conguero sitting in with Tommy Dorsey or Louis Armstrong? Put together a German accordion, Spanish guitars, electrified by Les Paul and Leo Fender, and toss in a few country voices, and you’ve got the Texas Tornadoes. 
     The thing is we’re so segregated into our own communities, we don’t consider America has always been a brown country. That makes it easy for politicians to spread lies, and I’m not just talking about an opportunist like Trump, who has taken the propaganda to new, and vile heights. Many of them do it, from both parties, and have always done it, pit our immigrant past with our immigrant future. 
     For me, the more I read, and the more I travelled, the more I saw it. America never was all “white,” like many would have us believe, which brings me back to JFK. I recall, after his assassination, Malcolm X made the comment, regarding the president’s death, “The chickens have come home to roost.” If Malcolm wasn’t an outcast before the statement, he sure was after it, in many circles, but I was intrigued. I didn’t get it. What did it mean? 
     Some might interpret it as “You reap what you sew.” Then, that’s like saying, JFK deserved what he got. How could that be? Is that what Malcolm meant, or was his comment more nuanced, open to interpretation? Maybe it wasn’t really about JFK, at all. Maybe it was more about what he represented. If JFK was president, then, didn’t he represent our nation, just like Washington, Adams, Jefferson, and all the other presidents? Was Malcolm saying more, something deeper, about the U.S., and not even talking about one man? Was he talking in symbols? 
     I thought back on Smedley Butler’s statement, “War is a racket.” Butler, a Marine general, won two medals of honor, wrote a memoir pretty much stating that, as a Marine, he was a “hitman” for U.S. business interests around the world, participating in the invasions of weaker nations, terrorizing and killing innocent people, all for the purpose of stealing their resources for our growing country. 
     Starting in Cuba, in 1892, across to the Philippines, to China, and back to Mexico, around 1914, where he led the invasion of Veracruz, and since Mexico didn’t have much of an army, his Marines slaughtered hundreds of innocent Mexicans, old men, women, and children who took up whatever made a good weapon to help fight off Butler’s Marines, all justified under the banner of the U.S., to keep Mexico’s ports open to American trade. Butler believed that was a medal he didn’t’ deserve. 
     Military conquest isn’t my point here. Countries have been invading and conquering other nations since the beginning of time, but what historians began to notice was that after any conquest, the decimated country is left with hungry people, often left without homes and livelihoods. What do they do? Where do they go? Most, get on boats or take to the road and migrate as refugees to the conquering countries. 
     It happened in Britain and France, colonialists to many subjects throughout Asia, Africa, and the Middle East. Since the late 1800s and into the 1900s, even, today, in the 21st century, whether through direct invasion or proxy wars planned by agencies in our government, Butler’s arguments still seem to be hold true, “War is a racket.” 
     After years of wars in the Philippines and Latin America, immigrants from those countries flooded into the U.S. During the Mexican Revolution of 1910, hundreds of thousands of Mexicans left their homes and settled in the U.S. Even though, the U.S. didn’t fight in the war, directly, many of its policies towards Mexico helped initiate the war. American mining interests poured money into the federalist government, led by Porfirio Diaz, while U.S. bankers supported the rebel forces of Francisco Madero, offering each side money and weapons. Without this support, who knows whether the war would have ever taken place. Maybe those immigrants, like my own grandparents, refugees of the revolution, would have stayed home, where they said they were always happiest. 
     After our military exploits into Santo Domingo, Dominicans began heading here in droves. I heard one U.S. sportswriter explain to his American readers: the reason so many Dominicans, Cubans, and other Latin Americans fill the ranks of major league baseball today is because they picked up the bats, balls, and gloves the U.S. marines left behind after they invaded and occupied those countries. 
     Our support of wars, or our participation of coups, in Nicaragua, El Salvador, Honduras and Guatemala didn’t only destroy economies but ruin farmers, it created multitudes of refugees. Where do those people go? They come here, crossing treacherous jungles, like the Darien Pass. 
     After our wars in Southeast Asia, Vietnamese and Hmong came here as “boat people,” to escape communism. Iranians arrived here by the thousands after we assisted in overthrowing the Shah in Iran. In 1990’s Mexico, Clinton pushed through his NAFTA plan, which helped U.S. corporations more than it helped Mexican farmers. A steady stream of Mexicans began heading north to the U.S. border once their farms couldn’t complete with U.S. agriculture. They’re still coming. Now that Gaza and the West Bank are pretty much being flattened, where will the Palestinian refugees flee when they find their homes no longer exist? If history holds true, most will come here to join their relatives who fled, years earlier, during the 1980s Israeli-Arab wars. Have the chickens come home to roost?
     My point isn’t to say any of these wars is right or wrong. I will keep that to myself, but I am saying, our wars have consequences, and they leave behind refugees who need to survive. Track the route of refugees and where they migrate during and after ours wars abroad, you’ll find many come to the U.S. It’s been that way through the last hundred and fifty years. Once here, immigrants, legal or otherwise, spend their lives working in the worst, most dangerous, low-paying jobs. 
     Some Americans demonize them or use them as political pawns. Who knows how many undocumented immigrants were buried after the covid pandemic, when they worked, often without proper protection, as we hid away safely in our homes. At the time, we called them, “essential workers,” nice name, when we needed them. Afterward, they became "immigrants" again, "rapists and murderers", their heads on the chopping block as meat for politicians' rhetorical rants, a convenient place to place blame for all the corruption and poor decisions made in Washington, in both parties. 
     So, I wonder, when Malcolm X claimed, after JFK’s death, that the chickens have come home to roost, did he blame the president’s death on our country’s political machinations, sinister plans abroad to overthrow democratically elected governments, unjust wars against weaker nations, or covert operations that go way beyond what any of us can ever imagine? My guess is if we put an end to these policies, immigrants might just stay home, where most of them say they prefer, instead of traveling hundreds of miles, only to sit on a border not knowing whether they will even be allowed to enter the promised land.

Wednesday, September 11, 2024

LA FIESTA DE LAS PUPUSAS / THE FIESTA OF THE PUPUSAS


Written by Jorge Argueta

Illustrated by Gabriela Moran

Publisher Luna's Press Books


Las pupusas son la comida nacional de El Salvador, reconicidas internacionalmente. Este bello libro escrito por el afamado escritor salvadoreño, Jorge Argueta es un homenaje a esta delicia salvadoreña. Las coloridas ilustraciones de Gabriela Moran son una fiesta cultural revuelta de todos los colores. 

Pupusas are the national food of El Salvador, recognized internationally. This beautiful book written by the award-winning author, Jorge Argueta is a tribute to this Salvadoran delicacy. Gabriela Moran's colorful illustrations are a mixed cultural festival of all colors.




OTHER BOOKS PUBLISHED BY LUNA'S PRESS BOOKS


La piedra mágica de la Chinchintora/The Chinchintora Snakeend the Magic Stone

Written by Manlio Argueta and illustrated by Male Cuéllar


The chinchintora is a snake that lives in the backwoods of El Salvador. It has a magic stone in its body that everyone wants to own. But to get it, you have to be an excellent dancer and challenge the snake to dance cha cha cha, salsa, cumbia, merengue, samba or Aztec dance.


ABC EL SALVADOR

Written by Holly Ayala and illustrated by Elizabeth Gómez 


With this fun‭, ‬unique‭ ‬ABC book‭, ‬learning-to-readers will travel‭ with Xiomara and her brother Kevin to some of their favorite places in El Salvador‭. ‬Spanish and Indigenous-influenced‭ Salvadoran words‭, ‬with beautifully painted illustrations by award-winning illustrator Elizabeth Gómez‭, ‬will guide children through‭ the culture‭, ‬history and traditions that make Salvadorans proud‭.‬‭



Olita and Manyula: The Big Birthday / Olita y Manyula: El gran cumpleaños

Written by Jorge Argueta and illustrated by El Aleph Sánchez


Olita and Manyula: The Big Birthday / Olita y Manyula: El gran cumpleaños is about Manyula, a beloved elephant that lived in El Salvador's zoo for over 50 years. Winner of an International Latino Book Award: Honorable Mention. This book is loved by children all over the United States of America and El Salvador.


Telegrams to Heaven/ Telegramas al cielo

Written by René Colato Laínez and illustrated by Pixote Hunt


Telegrams to Heaven/ Telegramas al cielo recounts the moving childhood of Archbishop Óscar Arnulfo Romero y Galdámez, who from an early age discovers the candor, light and power of the word, which he uses to pray and to write poetry, sending telegrams to heaven from his heart. René Colato Laínez, the renowned Salvadoran writer, has written a touching story about the great Arcbishop Romero. The colorful, modern illustrations of Pixote Hunt make us reflect with deep tenderness, showing us the innocence of the great Archbishop Romero as a young child. ‬


Tuesday, September 10, 2024

Glassy Arte Graces Fullerton Event, Building Community Through Writing and Arte

Reports from Fullerton, Altadena, Pico Blvd, Denver
Michael Sedano

"Culture" is the concatenation of things people do, make, share in common. It's the theoretical basis of a physical community. Today's La Bloga-Tuesday examines a variety of community-building cultural activities. An upcoming art exhibition offers Southern California residents a prime opportunity to join in celebrating sublime material cultura--art fashioned from glass. We look back at a pair of recently experienced events, a writing and crafting workshop sponsored by Altadena Poets Laureate, a conversation between an artist and his model in a newly-founded gallery. These illustrate ways people come together to make and share community. A literary anthology of work by first-time and professional writers illustrates a strategy anyone can emulate to uncover cultural connections that fashion community through individual effort to create material culture in readily accessible ways.

Shattered Hearts: Illuminated Minds
September 12 - November 8 • Muckenthaler Mansion, 1201 W. Malvern Ave. Fullerton, CA 92833

Looking back at a party at Casa Sedano in 2016, it was obvious that Margaret Garcia's then-new interest in fused glass portaits would become an important part of the painter's repertoire. "Come out to the car," Garcia told the guests. "It's too heavy to bring inside."

Indeed. Given the scale Garcia likes working in, and the fragile mass of ¼" plate glass, the portait would have required kid gloves and hefty gente to move the compelling magnificence of the portait resting on the cushioning carpet of the vehicle. So we all gathered at the curb in puro wonderment at what Margaret had wrought.

That was the beginning.
Margaret Garcia shares a fused glass work-in-progress

The artist's vision and skill working in glass and fire have taken on a maturity that a wider public has the opportunity to share at an upcoming exhibition in Fullerton, California, at a venue new to many art collectors and aficionados, the Muckenthaler Mansion (link).

From the Muckenthaler's publicity:

Experience a visual feast and immerse yourself in the beauty of glass in its many shapes and forms. This unique exhibition showcases a Southern California collection of both established and emerging artists, each sharing their techniques and diverse skills. Artists on show:
Cat Machine Gems Einar & Jamex de la Torre Evan Chambers Frank Romero Indre Bileris McCraw Jesse E. Rodriguez Lee Harris Leigh Adams Magda Audifred Margaret García Ron Garcia Tina Arroyos Zara Gomez

The exhibit is inspired by the fragility and functionality of glass and the artist’s ability to push design boundaries in the studio. 

Join us to explore this beautiful world of glass art, where shattered hearts are transformed into illuminated minds and visions of clarity.

La Bloga will attend with camera in-hand to share the opening night's festivities on Thursday September 12, 2024 commencing at 6:00 p.m. 

You're invited to join us, to be among the first to enjoy this unparalleled exhibition of amorphous solid. We won't necessarily delve into the physics of supercooled liquids, slow-moving molecules, and crystallography. We'll just dig the arte and the company.

Six-Word Memoir 5-Pocket Libro Cartonero: Olga García Echeverría and Altadena Laureates

It seems there's always someone who doesn't get the word. Count me that "someone" when I attended Olga García Echeverría's (link) six-word memoir and book making workshop hosted by Altadena Poets Laureate in the Altadena Library Community Room. I persistently thought it a five-word memoir. Ni modo. When you distill a lifetime or an event into pocos palabras, five will do as well as six. I added the disambiguating title to my workshop creation.

Alzheimers: Five Years Loving Intensely, Ends

García urged each person in the full-house workshop to craft an important personal statement that would become an element in a hand-made, low-cost no publisher needed, book. The libro cartonero is a crafty activity that provides hours of classroom creativity and fun with a capital "U" in fun. Kids, adults, writers, crafters, all will enjoy the activity and its precious results.


Here is a libro cartonero-in-progress, solo falta su cardboard cover. García supplied workshoppers with index cards, magazines, loteria cards, and related recyclable materials. Fashioned from two brown paper bags, the project creates five pockets for inserts, and six surfaces to decorate or write upon.

Olga and her attentive workshoppers. Attendance demanded an extra table.

Workshopper affixes a carboard cover to the double-bag libro



Altadena Poets Laureate Sehba Sarwar and Lester Graves Lennon
flank workshop leader Olga García Echeverría


Matter Studio Gallery Open to Community: J Michael Walker and Gerda Govine-Ituarte

"Intersectionality Matters" Solo Exhibition

Karla Funderburk, Gallerist of Matter Studio Gallery, welcomes an excited audience to enjoy a colloquy between Gerda Govine-Ituarte and J. Michael Walker for Walker's solo exhibition, Intersectionality Matters

For most of the house, it is an initial visit to the space located unobtrusively on Los Angeles' Pico Boulevard (link). The place is easy to reach from anywhere in Southern California. Only a few days remain in the exhibition, so there's urgency to make the trek.

Funderburk issues an open invitation to poets, writers, artists to hold events at her space. It's for the community, she says. The comma La (Kamala)-wearing gallerist wants people across the region to take her up on the invitation. All sensible and moral people will heed that playera  and mark their ballots straight D. And seek out those hiding-in-plain-sight Rs in "nonpartisan" races like school boards and county supervisors and deny their infiltration of the body politic.


Walker tells La Bloga the event "felt like we covered a lot of ground, with Gerda's incredible insight". Govine-Ituarte, a poet, is one of nearly a hundred women who've posed nude for Walker's portraits. The portraits, while sensuous, are effective because Walker's camera, per Govine-Ituarte, captures the spirit and personhood of his subjects.

But the gallery conversation and audience Q&A weren't solely about the nude photographs of women of color, but the exhibition of Walker's drawings. Of women of color. Órale.


Q&A creates interactive community triangulating artist, arte, and the exhibition's implicit narrative

J. Michael Walker earned a residency in Bahia, Brasil where the artist was befriended by the community, creating a profound inspiration to capture faces and bodies of the residents of the 80% African-descendants community.

Years before the residency, Walker bought a tattered folio-size book written in Portugese. The artist, fluent in Spanish but not Portugese, had no idea the pages of a history of slaver settlers would be the perfect media for his portraits of people generations removed from chains. Creating the drawings becomes a form signifying not liberation but justice. The work is glorious!

Govine-Ituarte and Walker speak in front of a large scale drawing of a woman's legs. Walker explains he was intrigued by the way the model held her right foot. He wanted to capture the pose, and feared the detail would be lost in the full work--which is 12 feet high. 

When the model sees what you see in the foto, she immediately recognizes herself, exclaiming "my legs!" The experience illustrates a personalized potency that converts Walker's drawings into duende. Here are not portraits of people but evocations of Soul.

J. Michael and Mimi Walker join poet Gerda Govine-Ituarte

A Little Rock, Arkansas native, Walker exemplifies intersectionality in so many ways. An outcast in racist Arkansas, J. Michael found love and welcome in a Tarahumara community in Mexico. His drawings depict people of color. His first nude subject is a 90-year old woman. When he exhibits the portrait, a bevy of women surround him and demand he photograph them, too.

Collectors can acquire Walker's individual works at Matter Studio Gallery, 5080 W. Pico Boulevard LA, CA 90019. HOURS: Fridays 4-6 PM. Saturday and Sunday'12-6 PM and by appointment with gallerist Karla Funderburk at telephone 323-697-4988. The exhibition closes September 15. View the full exhibition at this link.

Admirers who want to view the artist's work can order the book, All the Saints of the City of the Angels: Seeking the Soul of L.A. on Its Streets. The book collects Walker's interpretation of the Saints with streetnames in the city (link).

"San Miguel Street: The Last Judgment of Don Vicente de los Reyes de la Osa"

Sumi ink on three panels of polypropylene paper; 84" high x 150" wide overall. 2017.





Communitarian Anthology: Mentors and Mentees On the Front Range

There's a meme circulating on the Face(book), citing a Robert Frost quotation to the effect half the world has something to say but cannot, and the other half has nothing to say but keep on saying it. I cannot cite the source, although doing my own research, I find a possible attribution to The Life of Robert Frost: A Critical Biography by Henry Hart.

In Denver, Colorado (the Front Range of the Rocky Mountains) a community of professional writers formed CALMA, Colorado Alliance of Latino Mentors and Authors, as a way of creating community from voices silenced by their lack of opportunity to speak.

Opportunity arrives for Colorado's silenced voices in book form, Ramas y Raices, available through calmaco.org and indie booksellers via ISBN 978-1-7328244-3-0.

Editor Mario Acevedo echoes Frost's thoughts when he writes, "with this anthology, we of CALMA present an historic collection of work showcasing what we admit is a narrow and limited slice of the rich talent of Latino voices from those who must be heard."

Fiction, poetry, memoir, vignette, history, essay, short story, these are the materials that fill the contents of this worthy collection. The literary quality of the anthology makes it worth the effort to order the book. More so, the communitarian nature of the book stands as an avatar for other localities to do like they do in Denver: Form your own coalition of experienced voices and find that missing half, the gente who have a lot to say but have never had the opportunity to say it.


Monday, September 09, 2024

Honorable Mentions for FlowerSong Press Authors for the International Latino Book Awards 2024

Honorable Mentions for FlowerSong Press Authors for the International Latino Book Awards 2024

Xánath Caraza



FlowerSong Press este 2024 ha recibido tres menciones de honor para los International Latino Book Awards en las siguientes categorías. ¡Felicidades, FlowerSong Press!



 The Rudolfo Anaya Best Latino Focused Fiction Book Award – English:

 Honorable Mention, The Sacred History of Braulio Cantero, C.F. Espinoza

The Juan Felipe Herrera Best Poetry Book Award - One Author – Bilingual:

Honorable Mention, Tejerás el destino, You Will Weave Destiny, Xánath Caraza

Honorable Mention, La Lengua Inside Me, Adrian Ernesto Cepeda


The Sacred History of Braulio Cantero by C. F. Espinoza


This dark and comic novel tells the Cantero family's exaggerated and sometimes fantastical stories in the wake of losing their patriarch, Braulio "Pepper" Cantero. The protagonist explores the rich textures of life in Mexico, the Frontera, and the American Southwest while navigating the horrific experiences of abuse and the intergenerational pain carried across these landscapes. The Sacred History of Braulio Cantero delves deep into the stories we tell ourselves to justify and possibly forgive generational family abuse. This novel explores the importance of story and family history and how they influence our mundane lives. The Sacred History of Braulio Cantero is a raunchy, exuberant novel filled with images that will haunt and have you laughing simultaneously.  

 

Tejerás el destino / You Will Weave Destiny by Xánath Caraza


Traveling and being transported to another place means experiencing different seasons and times. It is an essential part of Xánath Caraza’s poetry. The feeling given by the pages of Tejerás el destino / You Will Weave Destiny stems from the complexity of the images with which we are presented. These Nahuatl images and objects appear as offerings for our appreciation and to bring us closer to times that initially seem remote.

This collection, Terás el destino / You Will Weave Destiny, is also a passionate homage to one of the women who made a difference in fifteenth century Tenochtitlan. Macuilxochitzin or Macuilxochitl was a poet born during the most prosperous period of the expansion of the Aztec civilization. Daughter of the royal advisor Tlacaelel and niece of the Tlatoani warrior Axayacatl. Her life and her texts are an example of the gender parallelism of pre-Hispanic Mexico where women had the same opportunities as men.

 

La Lengua Inside Me by Adrian Ernesto Cepeda


La Lengua Inside Me is a journey reflected in poems inspired by mi familia, LatinX cultural heroines and heroes and politico-themed verses that share the universal passion on every page of this empowering poetry collection. La Lengua Inside Me starts off with me as a child, and as the narrative grows, the poems progress by rediscovering mi cultura that has been so prominent and influential in mi vida. The poems from La Lengua Inside Me focus on reclaiming my Latinx heritage, mi lengua and my culture that will resonate in our community and beyond.

 

Friday, September 06, 2024

Pancho Villa and Six Words

This week La Bloga features two of our favorite things:  A brand new book about Pancho Villa, one of our favorite heroes, written by one of our favorite authors; and the annual Six-Word Mystery Contest from the Rocky Mountain Chapter of the Mystery Writers of America.  Can't go wrong with either.

_______________________



Pancho Villa: A Revolutionary Life
Paco Ignacio Taibo II, translated by Todd Chretien
Seven Stories Press - August

[from the publisher]
With Pancho Villa, renowned writer Paco Ignacio Taibo II offers a wild ride and revealing portrait of the controversial revolutionary figure Pancho Villa. Until now, Villa’s life and legacy has been defined and interpreted mostly by his enemies. Here, for the first time, he finds himself among friends. Click here to read an excerpt on our website.


Canonized as one of the greatest military commanders of all time, Pancho Villa used calvary charges to rout superior armies in battle after battle, turning the tide in campaigns that kept the dream of the Mexican revolution alive even after its founding principles had been betrayed. Here in this magisterial biography of Villa, novelist, biographer, historian, and crime fiction writer Paco Ignacio Taibo II presents a new vision of Villa not only as a master of war but also as the living incarnation of the revolutionary hopes of a great nation. Taibo’s irreverent and conversational style, together with his deep research, make Pancho Villa a major advance in our understanding of the Mexican revolution and its most explosive leader. Until now, Villa has been defined and interpreted mostly by his enemies. Here, for the first time, he finds himself among friends.

Includes period photographs that indelibly capture the rocky transition from the wild and agrarian past towards modern Mexican statehood.

__________________________





Six-Word Mystery Contest

DENVER, August 23, 2024 – There are short stories. Then there are really short stories consisting of only six words. Writers who can boil down a mystery into a half-dozen words are encouraged to enter the fifth annual Six-Word Mystery Contest sponsored by the Rocky Mountain Chapter of Mystery Writers of America (RMMWA).

The contest opens September 1, 2024 with instructions posted at www.rmmwa.org. Entries must be received by midnight, Oct. 6, 2024, MST. Six-word “whodunits” can be entered in one or all five of the following categories: Hard Boiled or Noir; Cozy Mystery; Thriller Mystery; Police Procedural Mystery; and/or a mystery with Romance or Lust. The Six-Word Mystery Contest is open to all adults 18 and over. No residency requirements.

Award-winning author and RMMWA Chapter President Lori Lacefield said, “Follow the tradition set by Hemingway in the 1920s with your own boiled-down intriguing mystery, written in just six words and be judged by professional writers, editors, and agents. Writers from across the nation as well as Europe, Asia and Australia have entered our previous contests. We’re excited to see what big and fun story ideas are revealed this year.”

Last year’s overall winning entry from the police procedural category was written by David Bart: Dead bookie: all bets are off.  Another previous contestant, Kathleen O’Brien, said her entry landed her a literary agent.

This year’s esteemed judges include Alfred Hitchcock’s Mystery Magazine Editor Linda Landrigan; New York Times best-selling author Anne Hillerman; award-winning author, Manuel Ramos; literary agent Terrie Wolf, owner of AKA Literary Management; and John Charles of The Poisoned Pen Bookstore in Scottsdale, Arizona.

The contest entry fee is $6 for one entry (just $1 per word); or $10 to enter six-word mysteries in all five categories. The grand prize winner will receive $100 in cold, hard cash. Winners in all other categories will receive $25 gift certificates, and all winners and finalists will be featured in Alfred Hitchcock’s Mystery Magazine, on our RMMWA website, and in our popular monthly newsletter, Deadlines.

Participants will be invited to the chapter’s annual Mystery & Mistletoe Holiday Party in December which will be held live and on Zoom.

According to legend, the first six-word novel was born in the 1920s when Ernest Hemingway at New York’s Algonquin Hotel or Luchow’s restaurant (depending on whom you ask) won a $10 bet by writing a six-word story. His dark and dramatic submission was: For sale: Baby shoes. Never worn. Urban legend or no, memorable, heart-breaking, and sublime six-word stories have been penned ever since.

For more information about the contest rules and how to enter, please visit www.rmmwa.org beginning August 23, 2024.

ABOUT MYSTERY WRITERS OF AMERICA

Mystery Writers of America is a nonprofit professional organization of mystery and crime writers, editors, publishers, and other professionals in the mystery field.

MWA watches developments in legislation and tax law, sponsors symposia and mystery conferences, presents the Edgar® Awards, and provides information for mystery writers. Membership in MWA is open to published authors, editors, screenwriters, and other professionals in the field.

The Rocky Mountain Chapter represents member writers in Colorado, Montana, New Mexico, Utah, and Wyoming. The Rocky Mountain Chapter meets monthly and provides educational presentations by subject matter experts on topics related to crime, law enforcement, investigative, forensic, medical and legal issues among others; and often sponsors special events of interest to mystery writers in the region.

Later.

__________________________

Manuel Ramos writes crime fiction. Read his latest story, Northside Nocturne, in the award-winning anthology Denver Noir, edited by Cynthia Swanson, published by Akashic Books.