Thursday, December 26, 2024

Chicanonautica: Rant for the End of 2024

 by Ernest Hogan

 


This’ll go up the day after Christmas. I’ll be back in California, SoCal, that place where I was born. My mom is having her 90th birthday. 


It’s always a little disturbing going there. It’s great to see my family, but everything keeps changing. Like the rest of the world, only faster.


California has always had one foot stuck in the future. It gets more futuristic every day. What’s a wandering, native son sci-fi writing Chicano to do? What I usually do: keep my eyes open and my sketchbook handy, jot and sketch what I encounter and the visions that it gives me. 


No time off for me, especially since the flow of the universe keeps kicking me out of my usual environment lately. Everything’s a-changing. Cue the Nobel prize-winning rock star. Can you say future shock? It’s not just this year. It seems every year is trying to outdo the last. 2024 really knocked me around, and here comes 2025 . . .



It’s not just the election. All kinds of things are happening. 


Everything is all fluxed-up. By next December, we may not recognize the world we are living in.


There’s a Latinoid renaissance going. I can’t keep up with all the books and other Cultura manifestations. It’s not making anybody rich, but Western Civilization still hasn’t figured us out yet. They’re not even sure if we exist. 


Maybe we’re just a weird rumor--a hallucination brought on by some bad mescaline that Hunter S. Thompson bought on L. A. and that article for Rolling Stone. Maybe if they imagine hard enough we’ll all disappear, and they’ll be back in a safely Anglo America again . . .


Naw, they're going to have to do mass deportations, even though they don’t have a clue how. Just try to go into the barrio and check everybody’s ID. Where is the barrio, anyway? It extends far beyond the traditional borders of Aztlán. I've seen signs of Chicanoization near the Canadian border.


Maybe the barrio, like Hollywood, is more of a state of mind, rather than a location. But what state? What mind? What location?


And I just realized that I made over a thousand dollars from writing this year, even though I didn’t submit anything. An experiment in aggressive marketing is in order.


Anybody want to publish some crazy novels and stories?


I’m in the final year of my sixties. Might as well have fun in a gonzo, Chicanonautic way.


Heh-heh-heh . .  .



Ernest Hogan will keep on being the Father of Chicano Science Fiction . . .

Wednesday, December 25, 2024

Esperanza Caramelo, the Star of Nochebuena



Written by Karla Arenas Valenti.

Illustrated by Elisa Chavarri.

 


Publisher: Knopf Books for Young Readers 

Language: English

Hardcover: 40 pages

ISBN-10: 0593488679

ISBN-13978-0593488676

Reading age3 - 6 years

 

 

A festive nochebuena treat for little ones who believe in the magic of Christmas (and the deliciousness of cake)!

 

On the night before Christmas, a spark of magic lights up Lita's Pastelería, and Esperanza Caramelo blinks open her eyes. Esperanza is a spun-sugar ornament, meant to sit atop the Nochebuena cake—but tonight she whirls through the bakery, singing and dancing, throwing a fiesta with all the other ornaments until . . . disaster strikes!

 

Can the cake be saved in time for Christmas? The clock is ticking, but on Nochebuena, anything is possible—and Esperanza never gives up hope.

 

 

Esperanza Caramelo, la estrella de Nochebuena 



Era la víspera de la Nochebuena, una noche en la que reina el asombro para aquellos que creen en magia. Para Esperanza Caramelo, una niña hecha de azúcar, esta sería una Navidad como ninguna otra…

 

En la víspera de la Nochebuena, un destello de magia despierta la Pastelería de Lita, y Esperanza Caramelo abre sus ojos. Esperanza es una figurita de azúcar, hecha para decorar un pastel de Nochebuena. Pero esta noche, Esperanza da vueltas por la panadería, cantando y bailando, organizando una fiesta con todas las otras figuritas de azúcar. Todos están felices hasta que… ¡ocurre un desastre!

 

¿Tendrán tiempo de arreglar el pastel antes de que sea demasiado tarde?

 


Review


"Valenti whips up a delectable tale of whimsical enchantment, with Spanish sprinkled throughout....Like a dash of sweetened wishes." —Kirkus Reviews

 

"Richly ­illustrated with vibrant colors, this picture book is sure to please." —School Library Journal

 

"The sweet backgrounds are full of delicious and delightful clues and plenty of other details to keep readers invested as they root for this unlikely heroine."—Booklist

 

"This book is sure to satisfy any reader’s sweet tooth." —The Horn Book



Karla Arenas Valenti is the author of many books for children of all ages. She grew up in Mexico City in a house that was built around a tree and surrounded by magic (which has stayed with her long into her adult years). Her storytelling is seeded in Mexican culture and lore, and often deals in explorations of philosophical and identity-based themes (inspiring the mind) while also taking readers on riveting magical realist adventures (inspiring the heart). She currently resides in the Chicagoland area.


Elisa Chavarri has illustrated numerous books for children including Pura Belpre Honor book Sharuko. She graduated with honors from the Savannah College of Art and Design, where she majored in classical animation and minored in comics. Elisa hails from Lima, Peru, and resides in Alpena, Michigan, with her husband and two young children. 




Tuesday, December 24, 2024

Review: Denvercentric Chicano Literature

Review: The Last Client of Luis Montez. Manuel Ramos. Arte Publico Press, 2024. 
            ISBN: 979-8-89375-001-0

Michael Sedano

Luis Montez runs a one-lawyer Denver firm surviving from client to client. In a major victory, Montez frees a low-life. His reward is getting arrested for murdering the low-life, a scion of wealth. The innocent lawyer descends into a moral hell in his quest to gather evidence of his innocence of murder. Who done it?

Author Manuel Ramos gives this plot of innocence in quest of vindication his signature chicano noir treatment in The Last Client of Luis Montez: A Luis Montez Mystery from Arte Publico Press (link).

Readers who enjoyed Ramos' 2023 The Ballad of Rocky Ruiz will be happy to see Arte Publico Press' release of its fourth of the five-title series of Luis Montez mysteries. The Luis Montez series, first published in the nineties by other houses, comes together for contemporary readers in the hands of Houston's Arte Publico Press.

The University of Houston-housed Arte Publico Press launched the series in 2023 with The Ballad Of Rocky Ruiz: A Luis Montez Mystery. That was followed by a pair of titles in 2024, The Ballad of Gato Guerrero: A Luis Montez Mystery, and the recent release of The Last Client of Luis Montez. Not yet published is Blues For the Buffalo. The press'  silence on the fifth title, Brown On Brown, adds mystery to when the series will be complete. 

Book marketers note how mysteries sales go up when other adult fiction sales decline. They attribute the jump to readers needing "cozy" literature, stuff that doesn't overdo the gore and psychology of lethality. Not mentioned is the inherent expectation that mystery novels will bring vicarious excitement, tension, interesting characters and setting, and above all, atmosphere.

With a Luis Montez novel, it doesn't pay to get all psychological. Montez, for all the seriousness of serving clients, is impetuous and wild. He would be a mujeriego, a roué, but younger women don't throw themselves at him. Then again, Montez feels himself past his prime y casí ya no puede but his imagination pushes him into erotic fantasy:

It was Glory Jane, of course. She stood very close, bending and weaving from the crush of the customers and effects of the Sin Fron's ghastly version of margaritas. Her breasts squirmed beneath her loose blouse, straining to pop out in freedom, and I was tempted to hold them to secure their modesty. The point of Glory Jean's knife, pressed against my kidney, brought me back to the immediate agenda.

Montez is more likely to be the old pendejo, getting seduced by a scheming conspirator and winding up in deep caca of his own doing by falling for the hottie. She wasn't after Luis, she was in it for the money.

The situation would be funny but for the darkness Luis sinks into questing to prove himself innocent. He goes on the lam, kidnaps a con man and his sister, burgles a client's house and get busted by them then holds them hostage. There's a chicano dick who wants to chalk up a score to even old resentments from movimiento days. And Luis has been thoroughly dumped by his former lover. And maybe Montez' beloved father is dying. Ramos builds some really dire circumstances.

Lower and lower the detective-malgre-lui sinks in the lawyer's astonished mind but survival and innocence drive the character.

Denver in winter becomes a meterological hell with slushy streets, punishing wind-driven cold, treacherous traffic. The atmosphere challenges Ramos to capture the misery that cold weather visits upon denizens of frozen cities:

At 3:30 in the afternoon, cold long shadows draped across the skyline, covered the parking lots and darkened most of downtown Denver. The streets were cold; the buildings were cold; I was cold. The January air whipped through the canyons of the skyscrapers, then aimed straight for me. Gusts twirled around my legs, raising bits and pieces of ice that clung to my heaviest pair of wool socks. I inhaled coldness through clenched teeth. Frigid slivers of oxygen and pollutants knifed down my throat and into my lungs. A drop of moisture stubbornly clung to the numb tip of my nose, and I ached like an old miner. I coughed and wheezed.

For this reader, synesthetic miserable cold awakens miserable memories of being miserably wretchedly unbearably cold while serving on a Korean mountaintop missile site, the world's highest. But weather isn't the novel's most important element. The Last Client of Luis Montez is a classically outstanding murder mystery, it keeps readers turning pages to assemble clues and confoundments Ramos masterfully doles out.

Who not only killed the liberated low-life, but why cut him into gory pieces? That happens off-stage, like the coziness criterion holds. Ramos holds down the intensity, talking about sex, for example, and not writing it. Blending telling with showing keeps the action flowing, leaving readers to fill in their own blanks, like Glory Jean's blouse.

Fill in those blanks on a cold day when all you want is to sit in front of a glowing space heater or a crackling fireplace. Give yourself a day or so to devour the story of this chicano lawyer up against all sorts of odds; a broken love affair, a seriously ill father, possible disbarment and imprisonment. Heck, he could have been shot as a felon on the run. When a cop drives his car off a remote precipice into thin air, detectives search for ways to connect Montez to that.

Ramos creates not only exceptional mystery stories, he's writing Chicano Literature. The character, his intimate and familia environment and hangouts, his history as a student activist in the movimiento, hasta the food Montez likes, it's raza. And it's exemplary writing; Ramos is a writer's writer.

There used to be a common complaint that our gente can't readily find themselves in mass media. Arte Publico Press makes it easy to find Ramos' soon-to-be four resurrected masterpieces. Navigate to the publisher's website (link) and place orders. Or give the ISBN to your indie brick and mortar bookseller, the book will soon be in your hands. 

The five Luis Montez novels make a worthy addition to a reader's library. Readers relatively new to cozy literature should welcome finding Luis Montez stories. Fans of the character will scoff at "cozy" because they enjoy filling in those blanks while tsk-tsking the character's pendejadas and empathizing that the character's exigencies drive him to darkness. That's what makes it good.

In The Last Client of Luis Montez, when light shines on everything, happy readers delight in already guessing the outcome, or slap their knees admiring the writer's craft.

Ramos' mysteries may be coming to streaming channels soon. I read somewhere the author's work has been optioned for broadcast development. A ver.


September Promise Realized

Early September this year, La Bloga-Tuesday celebrated the reincarnated Huizache (link), that moved from Texas to Davis, California. It was Houston's desmadre and Davis' windfall, publishing the distinguished magazine's tenth edition. La Bloga promised to share Number Eleven's appearance.

Students and aficionados of Chicano Literature need this collection of contemporary work. "The Magazine of a New America" offers a definitive snapshot of the state and nature of Chicano Literature. It's an important journal that libraries and bookstores should shelve.




Thursday, December 19, 2024

Poetry Connection: Connecting with Local Poets in Goleta, CA

Melinda Palacio, Santa Barbara Poet Laureate 

David Starkey, Cie Gumucio
Anna Mathews, Daniel Thomas, Shirley Geok-lin Lim, and Dylan Farrell




In a case of IYKYK, then you know that the Goleta Valley Poetry Series is one of the best kept secrets in our local poetry scene. Poet Laureate Emeritus, David Starkey, runs the series twice a year. He pairs seasoned and youth poets, with the help of Cie Gumucio who is the Santa Barbara County Coordinator and Poet Teacher with Cal Poets in the Schools. Starkey says he adopted the idea from a New England poetry series, The Liar’s Bench. This month’s Goleta Valley edition was outstanding. Perhaps knowing that the series might be put on hold due to the library’s upcoming renovation made each reader stand out for me. There was something special l about each of the poets. The librarian’s are committed to the poetry series and just might come up with a creative way to keep it going throughout the renovation. Let’s hope they come up with a solution to keep the biannual series going. Meanwhile, if you want to write more poetry in the new year, sign up for David Starkey’s Ekphrastic Poetry Workshop at the Central Library next month on Sunday, January 12. 


The line-up included Dos Pueblos High School student and 2023 Poetry Out Loud Regional winner, Anna Mathews (you may recall Anna Mathews from previous columns), 6th Grader at Mountain View Elementary, Dylan Farrell, Daniel Thomas, and Professor Emerita Shirley Geok-lin Lim, who merits her own write-up, look for more in a future poetry connection column. A proud Goleta resident, the UCSB Professor Emeritus said she was happy to be presenting at her local branch.


Anna Mathews is a poet to watch. As a Poetry Out Loud Regional winner, she knows how to deliver a poem, even offers some hand choreography. Her powerful poems linger in the ear and heart. Dylan Farrell, age 12, opened the reading series. He said it was his first poetry reading. However, he seemed so at ease at the podium, you would think he was a much older, seasoned poet. 



Nightmare 

written by Dylan Farrell

6th Grade , Mountain View Elementary


Nightmare 

Tonight in the darkness, an image struck me

a land where love is a dream and hate is a dark reality where you find

strength in pain and beauty in death

when I arose from my slumber I vowed not to let this dark illusion become

a reality

yet my wounded heart fell

so I looked out the window, a portal and I threw my heart out

I projected my thoughts in to the infant void

I screamed my mind to are beautiful country trying in vain to rid my life of

this nightmare

And the void answered back showing me a land of dreams a land where

you can unshackle your chains and set down your burdens

where love is your guide and hate is only a dark thought in the back of

your mind

As I looked through my portal my wounds hurt less and my scars

healed

yet my nightmare remanded It haunted me endlessly so I spoke

“‘I have tried fighting you and I have tried pushing you away so all that's

left to do is to embrace you” and so I did

And I have never stopped

I hold it still to this day and for some strange reason I see things differently

when I see things hurt and tinged with despair

I look back to where we started

I look at a nightmare and I see a dream



Dylan wrote the poem after a presentation and lesson to his 6th-grade class on how poets and politics have intersected over the years by Cie Gumucio. The class discussed Martin Luther King’s I have a Dream speech, Maya Angelou’s poem, Still, I Rise, and they watched and listened to Amanda Gorman’s The Hill We Climb. Cie asked the students to reflect on the inspiring words of each poet and write their own poems about their hopes for the future. 


This week’s poetry connection features a poem by Dylan Farrell and two by Daniel Thomas who is equally at home writing about music and stillness. There’s a spiritual, yin and yang quality to his work. His collection of poems include, Leaving the Base Camp at Dawn (2022) and Deep Pockets (2018). He has an MFA in poetry from Seattle Pacific University, as well as an MA in film and a BA in literature. 



THE FADO SINGER

Daniel Thomas


The word itself contains shadows,

as if the singer stands poised

between the saddened past

and the always fickle future, in a now

lit only by a glaring spotlight

that shines the sequins of her silver

dress and deepens the night sky

hidden in her eyes of black onyx.

Her long arms gesture to the balcony

and her voice trembles through

a languid melody in a minor key,

while three guitars pluck percussive

notes that frame her liquid arcs

like the simple setting of a fine

carnelian stone. Her Portuguese words

grant me liberty to hear only

rhythm and melody and the mouthed and trilled

consonants and vowels that might speak

of lost love, or death beside us

in the dim hall, or the deep sorrow

in these things we live beside. And so

I am transfixed by the origin of drama,

before plot or theme, just

the one life that shines through

her face, stares into darkness, sings

the pure song of her dangling fate.



GREEN PEARLS

Daniel Thomas


When illness stills you, and worry weights

your limbs—when you rub your eyes to wake up

and the rose light of evening slants

across the dusty table—you take a walk,

but the neighborhood is empty—even the birds

have flown, taking with them the furnishings

of sound that make the world inhabitable.

You remember Midwest autumns—how herds

of maple leaves skittered across the blacktop.

Nestled among tree trunks and leafless shrubs,

they found their place of winter rest.

You, too, hurry down the driveway, brittle

as the dried husk of a seed pod. But within you—

green pearls in a frail shell.


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

Where Are All the Vacant Lots?

                                                                                     
Ready for the bulldozer but no more vacant lots
 
    I Stepped out of my house this December morning under a bright California sun pasted against a deep blue sky…. “Pasted,” I like that, except it’s not mine. I stole it from T.S. Eliot, I think from one of his biggies, maybe Prufrock or the Wasteland. No matter. Writers steal from each other all the time. What the hell. There are only so many words in the dictionary, and even fewer in each of our personal vocabularies, so why not lift one or two metaphors when we need them.  
     I think of my childhood, winter and summer breaks, the sun nearly always there to greet us, kids, whenever we left home. L.A., the land of sunshine and cool ocean breezes. That’s the thing about living in the same general area where I was raised, a lot of memories around each block, down the street, or even a few miles away. They come flooding back, as I age, especially childhood memories, what Joyce saw as, "The Portrait of the Artist as a Young Man." 
      We were a motley crew of suburban youngsters, and if we didn’t have to go to work with a parent or relative, we’d meet at someone’s house, like budding outlaw bikers, but instead of choppers, our Schwinn cruisers, in different states of modification, parked along the curb, the cool ones, without kickstands, dropped to the ground. 
     Like Brando in the "Wild One," we usually wore jeans, white, or multi-colored t-shirts, and “tennis shoes” (the word “sneakers” absent in our vocabulary). In fact, one time a nurse asked me to remove my “sneakers” during a physical exam, and, shyly, I started to undo my belt and lower my pants, whereupon she cried, “No, no, no. I meant your shoes.” 
     How was I to know? Martin’s Shoes on Santa Monica Boulevard, in West L.A., only carried what we all called “Tennis shoes.” Keds’ high tops were king. The shoe store owner, Marty, a short Jewish man, a real charmer, never used the word “sneakers”. I think it was more an East Coast moniker for rubber soled, canvas shoes, and caught hold in California as more New Yorkers came west and began settling in the area. Later, a few kids started buying the slick-looking Converse, the ones whose parents could afford them. Keds was the official tennis shoe of the working class. 
     Depending on circumstances at home, like chores and work, there might be anywhere from five to fifteen kids on bikes parked along the curb, planning our morning excursion. In our more imaginative moments, we’d get adventurous and take a long ride up to Sunset Boulevard, into the Santa Monica Mountains, take the trails down to the creek at Camp Josepho, a Boy Scout camp in a wide canyon. That was an all-day hump and took our parents’ permission. 
     Sometimes, we’d ride through industrial streets and alleys, looking into dumpsters behind factories, to dig up whatever treasures they were throwing away, like slightly defective ceramics, electronics, even model airplanes, Winmack and Magnavox just up the street on Bundy Drive, not far from the Olympic Drive-in Theater. 
     In less creative times, we’d head to the neighborhood park, just up the street and play a pickup game of whatever sport was in season, usually enough kids for two teams. If it was summer, we’d always end up in the pool, or what our parents called the “plunge.” 
     But nothing compared to the vacant lots sitting there waiting to be invaded. We'd ride to one and play war, Germans vs. Americans, Cowboys vs, Indians, pretend we were Tarzan in the jungle, or just run around, and if havoc can be raised, we'd raise it, the dust and dirt filling the air. 
     There seemed to be vacant lots everywhere, just barren plots of land filled with piles of dirt, uprooted trees, weeds, and debris, like old lumber and chunks of concrete. We’d choose sides and build forts, find a cache of dirt clods for weapons, and go at it for hours. I have no idea why we never had a serious accident, no eyes poked out or broken skulls. 
     The beauty of playing in vacant lots is that each one was different, some bigger and shaped differently than others, each with its own character, perfect for games or make-believe worlds. In some, we’d find soft dirt and dig tunnels and caves, crawling through on our knees from one end to the other. A few lots had been vacant for a long time, so there were trees and shrubs, perfect for hiding and pretending we were in the jungle or the woods. 
     Once, we played war and decided to bring Daisy BB rifles. Of course, we had rules, our own Geneva Convention. I remember one rule was something like no shooting above the waist, so as not blind anybody. This particular vacant lot had trees and shrubs, tall mounds of earth, and deep holes, perfect for war. Everybody on both teams moved fast, running and diving from one hiding place to another. We'd fire but never hit our moving targets. 
     Then, in the heat of battle, I saw my friend Bobby stick his head out from behind a tree, his neck a juicy target, Geneva Convention be damned. Bobby stayed that way. I took aim but didn’t think I was a good enough shot to hit him, but I pulled the trigger, anyway. Next thing, I hear a yelp, “Ah!” Then sobs. “You hit me! You hit me.” 
     We stopped the battle and ran to his side. The tears were rolling down, his face scrunched like a prune. I apologized, saying I never thought I could hit him. It was an accident. Besides, what was he doing sticking his head out like that. “Let me see,” I said. 
     We all gathered around and looked. There was the BB, just under the skin, a small bubble, no blood, so it didn’t break the flesh. Bobby ran home. I followed, wanting to get my version of events to his mother before I became the villain. 
     His mom who spoke only Spanish but understood English, wanted to know everything. We started with the vacant lot, to which she replied, like many of our parents, “I told you to stay away from those places. They’re dangerous.” She took a pair of tweezers and quickly removed the BB from Bobby’s neck and placed a band aide over the red spot. After everything calmed down, I went home.
     I confessed to my mom, told her everything that happened, fearing the worst, corporal punishment, banishment to my room, or the dreaded, "Wait until your dad gets home." Instead, she started laughing at me, a pathetic child waiting to receive a death sentence. She called Bobby's mom to make sure he was okay. She said she hoped I learned my lesson, and she didn’t want me hanging out at vacant lots, anymore. They weren't only dangerous, but they were private property. 
     At the time, there was only one farm left in town, a lone survivor among the WWII stucco homes and new apartments popping up everywhere. Mr. Giannini would be out on his tractor each morning to plow the field. For a week, we saw he wasn’t out there. My dad told me Mr. Giannini sold his farm to a real estate developer, who was going to put up a bunch of apartments, but not for a few months. The farm took up an entire block. It would be the best vacant lot in town, like our own Western Front. 
     When the guys said they were going to old man Giannini's to play war, I knew I had to decline, remembering my mom’s warning. She let me off easy the last time. So, for me, my vacant lot days were over. 
     Still, as I drive through town each morning, my ritual, I keep my eye out for vacant lots, the kind where we used to play. I don't see any, not a one. When developers demolish a building, today, fencing quickly surrounds it, and within weeks, new construction begins, and in a few months, a new monster building rises from the ashes. There are new buildings everywhere, some really gigantic, mostly office buildings and condos, stylish, way too expensive for the average person's budget, but somebody's got money because they're rented out pretty fast. Gone are most of the old wood frame homes, a lost generation.
     One time, I drove around, specifically, looking for vacant lots, the kind where we once played – nothing, not a one, not in Venice, Culver City, or Santa Monica. They don’t exist anymore, neither do large groups of kids on bikes, or kids at the park, playing pickup games of football, baseball, or basketball. Even the fields at the park say "Reserved" for private schools, during the day. 
     It's like everything is organized, rules, rules, rules. If kids want to play, they have to pay a hundred-or-so-bucks to join a team, institutionalized, like everything else, planned, little spontaneity, everything about the almighty buck.
     I still have hope, as I drive through town, I'll find one vacant lot and a gaggle of kids running around widely, free as the proverbial "wind."

Wednesday, December 18, 2024

Broccoli and Cauliflower: Best Friends Forever/ Brócoli y Coliflor: Mejores amigos por siempre



Written by Romilda Byrd. 

Illustrated by Tincho Schmidt.


Paperback: ‎46 pages

ISBN-13: ‎979-8991798914

Reading age: 3 - 8 years


Broccoli and Cauliflower's friendship grows through perseverance, 

composting, and the magic of gardening.


Broccoli and Cauliflower: Best Friends Forever is a delightful children's book that follows the story of two inseparable friends, Broccoli and Cauliflower, who live in a vibrant garden. Throughout the book, they face challenges, learning valuable lessons about perseverance, the power of composting, and teamwork.

As they nurture their garden, Broccoli and Cauliflower discover that plants, like friendships, need patience and dedication to thrive. Together, they transform waste into nutrients through composting, showing how effort and perseverance can grow not only their garden but also their bond as friends. This book teaches children the importance of ecology, gardening, and friendship, all in a story full of adventure, color, and life.



Brócoli y Coliflor: Mejores amigos por siempre: La amistad de Brócoli y Coliflor crece a través de la perseverancia, el compostaje y la magia de la jardinería. 

Brócoli y Coliflor: Amigos por Siempre es un encantador libro infantil que sigue la historia de dos amigos inseparables, Brócoli y Coliflor, que viven en un jardín vibrante. A lo largo del libro, enfrentan desafíos, aprendiendo valiosas lecciones sobre la perseverancia, el poder del compostaje y el trabajo en equipo.

Mientras cuidan su jardín, Brócoli y Coliflor descubren que las plantas, al igual que las amistades, necesitan paciencia y dedicación para prosperar. Juntos, transforman desechos en nutrientes a través del compostaje, mostrando cómo el esfuerzo y la perseverancia pueden hacer crecer no solo su jardín, sino también su vínculo como amigos. Este libro enseña a los niños la importancia de la ecología, la jardinería y la amistad, todo en una historia llena de aventura, color y vida.


Romilda Byrd is a passionate writer and advocate for sustainable living, drawing inspiration from her rich cultural heritage and love of nature. Born and raised in El Salvador, Romilda developed a deep connection to the land and its bounty, a passion instilled in her by her father, who taught her the joys of growing her own vegetables. Now residing in the United States, she channels this love of the earth into her writing, creating stories that inspire children and adults alike to appreciate the wonders of nature.

Romilda’s works, including The Life of Tomato and Broccoli and Couliflower: Best Friends Forever, blend engaging narratives with educational themes, making complex concepts accessible to young readers. Her books often focus on the life cycles of plants and the importance of patience, responsibility, and perseverance, all wrapped in stories that are as entertaining as they are enlightening. With each new book, Romilda aims to foster a deeper connection between her readers and the natural world, encouraging sustainable practices and healthy living.

In addition to her writing, Romilda is deeply committed to her role as a mother and educator, continually seeking ways to integrate her love of agriculture and storytelling into her family’s daily life. She enjoys spending time in her garden, where she grows a variety of vegetables and fruits, and shares these experiences with her children, nurturing their curiosity about the environment. Her books are a reflection of her dedication to raising environmentally conscious children who understand the value of the food they eat and the importance of caring for the planet.

Romilda Byrd’s books are available on Amazon, where they have been praised for their heartwarming stories, beautiful illustrations, and the meaningful lessons they impart. Through her writing, Romilda continues to inspire a new generation of readers to connect with nature, embrace sustainable living, and find joy in the simple act of growing and nurturing life.