The world's longest-established Chicana Chicano, Latina Latino literary blog.
Thursday, April 10, 2025
We Are All the Children of Immigrants
Wednesday, April 09, 2025
Ecos migrantes
Escrito por Soudi Jiménez
*Publisher: Editorial Traveler
*Language: Spanish
*Paperback: 236 pages
*ISBN-10: 8412748786
*ISBN-13: 978-8412748789
Esta obra es una poderosa colección de veintisiete relatos que combinan el rigor del periodismo con la riqueza de la experiencia humana. Reúne testimonios vibrantes de mujeres y hombres migrantes en Estados Unidos, cuyas voces emergen con un profundo valor histórico, sociológico, antropológico y cultural. Cada historia está narrada a través de géneros periodísticos distintos —noticia, reportaje y crónica—, lo que da vida a comunidades que resisten el racismo, mujeres que desafían el machismo y personas que enfrentan una travesía marcada por la xenofobia. Sin embargo, estos relatos no solo exponen desafíos: celebran también las contribuciones de los migrantes, quienes fortalecen su identidad, preservan su cultura, reavivan la memoria histórica y demuestran una resiliencia ejemplar. En sus páginas destacan las vivencias de personas provenientes de Guatemala, El Salvador, Honduras y México, que tejen un lazo con la comunidad latina y nos recuerdan que hablar de migración es hablar de humanidad. Estas historias, originalmente publicadas en la sección en español del diario Los Angeles Times, ofrecen una ventana única y conmovedora a las vidas de aquellos que transforman la adversidad en esperanza.
Oriundo de El Salvador, Soudi Jiménez se graduó de la Licenciatura en Periodismo en la UES. Antes de unirse a Los Angeles Times en Español trabajó en Megavisión (Canal 21) en la capital salvadoreña, Radio World International y Hoy Los Ángeles.
Tuesday, April 08, 2025
Hands Off! Festival On Colorado Blvd
Sunday, April 06, 2025
“Niebla verde / Green Fog” by Xánath Caraza
“Niebla verde / Green Fog” by Xánath Caraza
![]() |
"Madre" by Juan Chawuk |
Hombres de humo
de eternidad azul
de pensamientos fragmentados
Hombres que ya no sienten a la mujer susurrante
a la mujer de cuerpo celeste
a la mujer de constelaciones dulces
a la mujer que estimula la imaginación
En el corazón de las ciudades divididas
de las ciudades sin playa
de las ciudades sin nombre
llega la niebla verde
como olas gigantes
como el Saturno de Goya que devora
como el aliento de la serpiente
que da entrada a los hombres de humo
Fuerza arrasadora que bloquea
fuerza que no deja fluir los sentimientos
que no deja crecer las almas
de líderes de corazones puros
¿Dónde están los recuerdos de la espuma?
¿Dónde están los barullos de la calle?
¿Dónde están las manos salvajes creadoras?
¿Dónde están los pensamientos eternos?
¿Dónde están?
![]() |
Xanath Caraza |
Green Fog
by Xánath Caraza
Men of smoke
of blue eternity
of thoughts fragmented
Men who don’t feel
the whispering woman anymore
the woman of
celestial body
the woman of sweet
constellations
the woman who
stimulates imagination
In the heart of
the divided cities
of the cities
without a shore
of the cities
without a name
green fog arrives
as giant waves
as Goya’s Saturn
that devours
as the breath of
the serpent
that lets the men
of smoke come in
Crushing power
that blocks
power that doesn’t
allow feelings to flow
that doesn’t allow
souls to grow
the souls of
leaders with pure hearts
Where are the
memories of the foam?
Where are the
sounds of the street?
Where are the wild
creative hands?
Where are the
eternal thoughts?
Where are they?
“Niebla verde /
Green Fog” is part of the collection Corazón de pintado by Xánath Caraza
(Pandora lobo estepario productions, 2015)
Art by Juan Chawuk
and cover art by José Jesús Chán Guzmán
Friday, April 04, 2025
Early Spring Events
Looking for a destination that will educate or enlighten? Maybe a piece of resistance? Something literary? Cultural? Musica? Here are a few suggestions for Denver trippers.
_____________________________________
The Tequila Blues Festival features Los Lonely Boys, Eric Gales, Harper O'Neill, Levi Platero, and Jack Hadley and is hosted by Erica Brown. The TEQUILA BLUES Denver Blues Festival 2025 is a one-day blues music celebration featuring a diverse lineup of local and national talent. Set against the breathtaking backdrop of Red Rocks Amphitheater on Sunday, April 13, at 12:20 p.m.
Later.
_______________________
Manuel Ramos writes crime fiction.
Thursday, April 03, 2025
Chicanonautica: Xicanxfuturism Live in Phoenix
by Ernest Hogan
We interrupt your deprogramming for an important announcement. I will be appearing, live in the flesh, at 12:30 PM, April 13 at Palabras Bilingual Bookstore, 906 W. Roosevelt St. Unit 2 in Phoenix, Arizona.
Scott Russell Duncan, author of Old California Strikes Back and editor of Xicanxfuturism: Gritos for Tomorrow will also be there.
Don’t let our gringo names fool you, we really are Dos Space Vatos.
We will be reading from our work, and talking about Xixanxfuturism as a needed alternative to Trumpfuturism and the rise of the techistadors.
I’ll have copies of Guerrilla Mural of a Siren’s Song: 15 Gonzo Science Fiction Stories, to sell and sign, and will be reading selections from “A Wild and Wooly Road Trip on Mars” from Xicanxfuturism. And “Uno! Dos! One-Two! Tres! Cuatro” from Guerrilla.
Now back to our regularly scheduled deprogramming. Don’t buy any recycled dystopias from sleazy con men . . .
Ernest Hogan, the Father of Chicano Science Fiction, will also be teaching the latest mutation of his “Gonzo Science Fiction, Chicano Style” in June at the (online) Palabras del Pueblo Writing Workshop.
Wednesday, April 02, 2025
A Maleta Full of Treasures/ La Maleta de Tesoros
Written by Natalia Sylvester.
Illustrated by Juana Medina.
Publisher: Dial Books
Language: English
Hardcover: 32 pages
ISBN-10: 0593462424
ISBN-13: 978-0593462423
From an award-winning author and illustrator, a warm, gentle ode to cherished visits from grandparents and the people and places that make us who we are even if we haven’t met them yet.
It’s been three years since Abuela’s last visit, and Dulce revels in every tiny detail—from Abuela’s maletas full of candies in crinkly wrappers and gifts from primos to the sweet, earthy smell of Peru that floats out of Abuela’s room and down the hall. But Abuela’s visit can’t last forever, and all too soon she’s packing her suitcases again. Then Dulce has an idea: maybe there are things she can gather for her cousins and send with Abuela to remind them of the U.S. relatives they’ve never met. And despite having to say goodbye, Abuela has one more surprise for Dulce—something to help her remember that home isn’t just a place, but the deep-rooted love they share no matter the distance.
Review
Pura Belpré Illustrator Honor Award
ALSC Notable Children's Book
Anna Dewey Read Together Award Finalist
Cooperative Children’s Book Center Choices 2025 List
"Medina perfectly captures the warmth of this family with her adorable, charismatic art . . . This book has charming themes of family and connecting to family culture, even if it’s far away. Distance does not diminish the love of family. This is a wonderful book that will be highly relatable to many families. A must-have for any picture book collection." —School Library Journal, starred review
"[A] beautiful and poignant homage . . . Sylvester weaves an emotional storyline that explores, through the loving, long-distance relationship, the nuances of being first-generation and longing for a land you’ve never visited but always heard about . . . In its vibrant, warm palette, Medina’s cozy style of illustration brings to life Abuela and the magic of her maletas while capturing the bittersweetness of alternating joy and sadness that such an anticipated visit causes." —Booklist, starred review
"Medina’s thick-lined cartoon images are drawn with simplicity yet are deeply expressive; the protagonist’s emotions are palpable . . . this tale of bridging gaps is sure to especially resonate with immigrant families, as well as those who find themselves far from their roots. A cozy story of family treasures that sustain connections across the miles." —Kirkus
Natalia Sylvester is an award-winning author of the young adult novels Breathe and Count Back from Ten and Running and the adult novels Everyone Knows You Go Home and Chasing the Sun. Born in Lima, Peru, she grew up in Miami, Central Florida, and South Texas, and received her BFA from the University of Miami. A Maleta Full of Treasures is her first picture book.
Juana Medina is the creator of the Pura Belpré award-winning chapter book Juana & Lucas and many other titles and has illustrated numerous picture books, including ‘Twas the Night Before Pride and Smick! Born and raised in Bogotá, Colombia, Juana Medina now lives with her family in the Washington D.C. area.
Tuesday, April 01, 2025
Never Forgotten Gone Forever
Michael Sedano
Uphill from where I’ve stopped to stare, a skip loader scrapes its yellow claw across the cement slab that, today, is what remains of where I used to live. A dream house built upon the legacy of an earlier dream house. A family story to warm the heart.
When Barbara died, I went to live with my daughter and granddaughter in this Edenic place. My daughter dubbed it “McDonald’s Urban Farm” and she meant it. She grew prize vegetables, fertilized the crops with the poop from her herd of pygmy goats and two free-range jaulas of laying hens producing dozens of easter egg colored eggs daily, a duck, and a few heirloom turkeys that never made it to a dinner table.
The Eaton Fire took it to the ground in a monstrous catastrophe that ravaged thousands of homes across miles of neighborhoods. We are not alone. An entire community disappeared in that firestorm.
Most of the goats survived. None of the poultry. We’re not sure what happened to the coyotes, the bear, the mountain lions that constantly challenged the security of the barn and jaulas. The horses down the street were evacuated before the entire street burned down.
After a preliminary visit, I abandoned hope of recovering stuff I held precious while I could hold them. I hoped maybe silver bells and bronze sculpture, no hope for my paintings and prints. But I submerged those hopes like I muted my feelings over the years of living with dementia. I reasoned what is gone is gone forever, something I understand with intimate profundity, sabes?
The day of this foto I finally succumbed to the aching longing to sift through the rubble of my stuff.
The drive to my former home takes me through devastated terrain, vast tracts of residential blocks now barren landscapes marked by towering fireplaces without homes to warm, front gates opening to nothing. Brown carcasses of automobiles litter remains of driveways and garages. EPA hands painted a legend “Not EV” across scorched scrap metal heaps.
Turning into the driveway where I used to live, I see the Granada tree’s green leaves. There will be a crop next year. One Aguacate tree survives, its companion a charcoal sculpture. The clean-up crew set up a shelter next to withered orange and toronja trees. The massive Coast Live Oak sports green high up, the fire passed under its canopy. There is life, there is hope, there is rubble.
What did I miss the most? What vain hope of finding a treasure under the ashes?
Computers, cameras, negatives, slides, hard drives, repositories of memories, familia, and experiences. Those artifacts from my parents’ home I carried here; my Dad’s WWII memorabilia, my Mom’s box of pennies.
The Go board Barbara hand-carried from Tokyo because we bought the antique the last few hours of my R&R. My jacks set. My Güiros. The wedding china. the...the...
I had that piano since third grade. And all that sheet music and Ur texts wouldn't have survived, nor the vinyl.
Every stitch of clothing I owned.
I lost everything and have everything I need now. After being motel nomads for two months—I moved six times—I have settled for a year in the same place. My amazing daughter found a three bedroom house and the family is together once again.
I’m not sentenced to restaurant food. I have a kitchen with gas and a few essential pots, pans, and sharp knives.
Thanks to generous friends I have several changes of warm clothes and towels. I have a warm bed, a rudimentary garden in pots, and nothing but Time.
What I do not have is my home and there’s not a darn thing I, nor anyone, can do about that. It is what it is.
Monday, March 31, 2025
Lissette Solorzano, directora de la Fonoteca de Cuba por Xánath Caraza
Lissette Solorzano, directora de la Fonoteca de Cuba por Xánath Caraza
Lissette Solorzano, Cuba, 1969, ha sido nombrada directora de la Fonoteca
de Cuba. Lissette, fotógrafa documental, ha visto su obra incluida en un gran
número de publicaciones y participado en múltiples exhibiciones y residencias
artísticas a nivel mundial. Aprovecho este espacio para felicitarla. He tenido
el placer de conocer personalmente y de trabajar con Lissette. Tuve la fortuna
de tenerla como invitada en un par de mis clases. Así mismo la imagen de
portada de uno de mis libros, Corta la piel (FlowerSong Press, 2020), es de ella. También hemos colaborado con otros
de mis poemas y sus imágenes. Aquí un enlace para “Escojo la luz” publicado el 8 de julio de 2024 con una imagen de Lissette.
Lissette Solórzano es artista visual. Cursó estudios en Instituto Superior
de Diseño Industrial (ISDI). En el año 2000 participa en varios talleres con la
universidad de fotografía de Maine. Durante el 2011-2012 realizó su maestría en
Microsoft en la Universidad Cristóbal Colón, Veracruz, México. Obtiene una
residencia artística en Estados Unidos con la Galería de Arte Contemporáneo Cara
and Cabezas (2010). Entre las publicaciones más destacadas que incluyen sus
obras está el catálogo Act of Sight (2022) (Colección Fotográfica de la
Familia Tsiaras); el libro de colección de fotografía cubana contemporánea: The
Light in Cuban Eyes (2015); Our Mothers (1996); Artes Plásticas
de los 90´s y Reflexiones: el Sensacionalismo del Arte de Cuba. Sus
trabajos forman parte de diversas colecciones públicas y privadas como: Casa de
las Américas; Fototeca de Cuba; Centro de Estudios Cubanos de NY; Universidad
de Harvard; Museo de las Américas en Denver; The Gallery (Milán y Washington
DC); Museo de Arte de Brevard; Colección de la Familia Plonsker; Museo Nacional
de Arte en Filipinas; Centro Nacional de Fotografía en Venezuela; Jenkins
Johnson Gallery NY - San Fancisco; Colby College Museum of Art; Colección de
Arte de la Familia Tsiaras; Museum of Fine Art Houston y la Universidad
Internacional de la Florida (FIU). Ha recibido importantes premios dentro y
fuera de la Isla entre los que destacan: Premio Especial a la mejor Obra
individual, Osten Bienal Skopje 2024 Primer Premio de Fotografía 11 Edición
“Lorenzo il Magnifico” en la Bienal de Florencia, 2017; Premio Nacional de
Curaduría por la obra “La Ciudad de las Columnas”, La Habana, Cuba, 2005;
Premio Tina Modotti de la prensa cubana, La Habana, Cuba, 1995; y mención con
la obra “Fantasmas Efímeros” en el Premio Ensayo Fotográfico, Casa de las
Américas, La Habana, Cuba, 1994. También es miembro de la Unión de Escritores y
Artistas de Cuba (UNEAC).
Thursday, March 27, 2025
I Tried, I Really Did or Thanks to Second Chances
by Daniel Cano
Books and Music, A Life in Education |
It was the first week of classes at the local city college, Santa Monica, a place many of us from working-class families passed on our way to the beach or to downtown Santa Monica to stock up on school clothes at J.C. Penny or Sears. I don’t remember stepping foot on campus, except to go swimming in the college pool or attend a football game. Most of the students enrolled at the college lived in the wealthier enclaves, like the Palisades, Brentwood, or the tonier parts of West L.A. and Culver City.
My dad told
me he only knew of one person who attended the local college, his friend, Mario
Vasquez, who attended in the early 1940s. Mario had been an outstanding
football running back at University High School, in West L.A., and the SM J.C. football
coach recruited Mario to play for the Corsairs. Later, Mario attended barber college
and cut the town's hair at his shop on Santa Monica Boulevard.
Even though I attended Catholic high school, the good brothers of St. Patrick didn’t encourage students, like me, to think about college. By the tenth grade, we knew which kids they were prepping for entry into the ivy walls. I guess the brothers assumed the rest of us would become manual laborers like our fathers. There’s the irony. Our parents sent us to parochial school so we wouldn’t have to work as hard they did, so we'd do something better.
Truth be
told, I only enrolled in college when I heard the Army was offering a
three-month “early out” and a monthly stipend on the G.I. Bill. Oh, sure, my
parents always talked about me going to college, but they never understood the
process or what it took to get us there. I guess that’s why they paid the
school and trusted the brothers would take care of it.
Growing up,
I only knew my family as workers, landscapers, gardeners, construction, etc. I
never saw myself as college material. All I cared about were music and sports. When
I showed no inclination to college, my mother decided to send me to barber
college, where I received my California’s Barber License after high school, the
youngest student in the class. My mother told me it was something to “fall back
on.”
Bored and
itching for adventure, I put the barber’s license away and joined the Army.
After nearly three years serving Uncle Sam, I matured, reached the rank of
sergeant, and was discharged, figuring I’d give college a try. I hadn’t been a
bad student in high school, just nothing to brag about, mainly, due to my own
lack of initiative. Put a guitar in my hand, and I’d practice for hours, a book
– not so much.
Those first
days on campus, I was swimming in a sea of strange faces, a lot of guys and girls with bleach blonde hair in
1969. In most of my classes, I was the only Mexican. I pretty much stayed to
myself, until one day, I ran into a guy I knew, Frank Juarez, a Chicano from Santa
Monica. We were both glad to see each other. Frank was also a veteran, discharged
from the Marines, so we developed a bond, brothers in arms.
Frank was much
more extroverted than I, and he introduced me to his friends from the
neighborhood attending classes, not the typical scholars, some rough around the
edges, even a few “cholos” who traded in khakis, white t-shirts, and Pendletons
for huaraches, jeans, guayaberas, and sarapes, mostly in college to avoid the
draft, like a lot of male students back then.
Frank and
his friends rounded up all the Mexicans they could find on campus and invited
them to a meeting. There were maybe twenty or twenty-five of us. We were the
first generation of Mexican college students from the community on campus, non-traditional
students, using today’s political jargon, and we referred to ourselves as “Chicanos
and Chicanas.” It wasn’t a term I’d ever used. I’d heard my dad call someone a
Chicano. Some Tejanos in the Army referred to each other as Chicanos, but it
had a different ring to it, more slang, as in “dude.” It wasn’t a commonly used
term and had no political connotation like it did later when college students
adopted it.
As kids, we
were simply Mexicans, the White kids Americans, and the Japanese just Japanese.
In West L.A., where I was raised, there was only one black kid, James Walker,
and he was just James, no need for a collective moniker. Anyway, that’s how it was
and had always been. I recalled times when the word “Mexican” was as much a
racial slur as an identifier, depending on the tone when someone said it.
Mexican American always sounded so clunky and was abstract. How can somebody be two things?
The
students in the meeting began referring to the group gathered there as members
of MEChA. I had a vague idea of the acronym, something about Chicanos and Aztlan,
the Aztecs mythical homeland. I guess, in my mind, I was still a soldier
thinking soldierly things, trying to break free of the military’s psychic
chains and transition into a college student, whatever that was. I really had no idea.
At the MEChA meeting, wild-haired guys wearing round wire-rimmed glasses filled the desks and spoke in an awkward Chicano academese. Frank and I didn’t talk about the military or Vietnam, that I remember, shy, or ashamed, of revealing our place as veterans since college kids railed against the war and anyone who fought in it. I think all of us Chicano kids were “outliers,” using Malcolm Gladwell’s term. We didn't know it, but we were opening doors for others, hopefully, our younger siblings.
I admit, it was hard fitting in, even among other Chicanos. I didn’t feel I belonged, and even though I wasn’t college bound in high school, I still took core academic classes and worked hard enough to maintain B and C grades, except for a D in geometry. The brothers had us reading, writing and discussing esoteric topics, like the existence of God and our place in the universe. Like all good Catholic school kids, we studied and analyzed bible stories and dabbled in Latin. When I graduated, I set a benchmark for my younger siblings. Doesn't sound like much, today, when so many have college degrees.
My father, an avid reader, never finished school, dropping out of high school to work, the same with his four siblings. My mother graduated from Santa Monica High School in 1942 and had no doubt her children would all graduate high school, and hopefully attend college, or at least work at clean, well-paying jobs. I can still hear the excitement in her voice when I called her from Fort Bragg, NC, and told her the Army had given me an “Early Out,” to enroll at SMCC. The year I'd spent in Vietnam had taken a toll on her.
I had no
idea what to expect in the MEChA meeting, I mean like why I was there or what
they were up to, so I sat back and listened. It started off like any other
meeting, what they call “housekeeping,” updates about financial aid and visits
to universities. I could sense something brewing. Some students took the lead
and, in my opinion, monopolized the discussion. Others started tossing out
topics, like ideas and projects, arguing passionately, as the rest watched. I
could see, right off, a couple of the “talkers” liked hearing themselves talk and
took themselves way too seriously.
I’d just
spent almost three years watching and listening to some of the best “talkers” from
across the country, black guys from Chicago, New York, and Philly, Chicanos
from East L.A., Albuquerque, and San Antonio, and white guys from Boston, Atlanta,
and Birmingham, each guy who could hold our attention during the longest all-night
gab sessions. Whether they were telling the truth or not, who knew?
Entertainment and insight were much more important than truth.
Two MEChA gallos
nearly came to blows. One wanted to stage a mass protest and force the
administration to put burritos into all the vending machines. Another wanted to
raise funds to bring El Chicano to play a concert on campus. A few, the more
serious students, said we should join the anti-war protests across the country,
or maybe rile up high school students for another “Blowout.” Somebody else was
worried about getting arrested and kicked out of school.
Well, I
wasn’t about to get arrested, not over burritos, anti-war marches, or blowouts.
Two years earlier, after the murder of MLK, I’d patrolled the area around
Howard University as Washington D.C. burned. Through the smoke, I saw the
capitol, a strange sight among the charred buildings, ashes, and madness.
I tried that
semester, and the next. I really did. My head wasn’t in it, none of it, especially the studying.
I thought the lectures were boring. I mean, how long can one person listen to
another talk? When I realized my heart wasn’t in it either, it was too late.
Two semesters had passed, and I, maybe, passed two courses.
I quit before they kicked me out. Besides, I was smart enough to realize, I didn’t want to hang around and use up all of my G.I. Bill. I might want to return, one day, who knows, take it all more seriously, which I did, two years later, earning all A grades in every class I’d failed.
Eventually I transferred to a
state college, Dominguez Hills, perfect for a married, older student, with
kids, and a world of experience behind him. I received a fellowship to study in
Spain for a year, and beyond my wildest dreams, enter the profession I once considered
the bane of my existence. Books became my constant companions. I taught
community college classes for the next thirty or so years, loving every
semester, hoping my students would learn from my past experiences.