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.

Wednesday, March 26, 2025

¡LA CELEBRATES MACONDO! AWP OFF-SITE READING


 #AWP25: March 26-29, 2025 

Los Angeles Convention Center

 


The AWP Conference & Bookfair is the essential gathering for writers, teachers, students, editors, and publishers. Join thousands of attendees, explore hundreds of events and exhibitors, and immerse in four days of vital literary community and celebration in Los Angeles!

 

 

From  macondowriters.com:





If you plan to attend AWP 2025, please swing by and visit us at Booth #1027, which we are sharing with Women Who Submit. You can find a map of the LA Convention Center here.



 


Also, please join us for a lively, unforgettable evening of readings by Macondistas at the LA Plaza de Cultura y Artes. The night will be filled with poetry, stories, and the spirit of Macondo, accompanied by light refreshments and snacks. Bring your friends and help us celebrate the launch of the workshop's 30th year!

 

Date: Thursday, March 27, 2025

Time: Doors open at 6:00 PM | Event from 7:00 PM to 9:00 PM

Location: LA Plaza de Cultura y Artes, 501 N. Main St., Los Angeles, California 90012




 

This year, 2025, marks the 30th anniversary of the Macondo Writers Workshop. Stay connected through our website for the latest updates, Macondista news, writer opportunities, and more.


 



The Macondo Writers Workshop is an association of socially-engaged writers working to advance creativity, foster generosity, and serve community. Founded in 1995 by writer Sandra Cisneros and named after the town in Gabriel García Marquez’s One Hundred Years of Solitude, the workshop gathers writers from all genres who work on geographic, cultural, economic, gender, and spiritual borders.




Tuesday, March 25, 2025

Rich Weekend Anticipates Writer Trade Show

Pair of Readings Launches Writing Week in Cityof La

Michael Sedano

AWP is coming to the city of LA, and with the coming of the peripatetic writing industry trade show come dozens of offsite poetry-centric literary readings. It’s going to be a stimulating week and endurance test for night owls. I’m not, so I won’t be seeing AWP week’s stellar lineups nor doing a lot of communing with long-distance friends from out-of-town. 

I got to make up for the anticipated losses in the recent weekend’s pair of stellar readings, both coming at reasonable afternoon hours. 

The first event, the Los Angeles Public Library Eagle Rock Branch's Saturday poetry series featured the luminous work of Alicia Viguer Espert (link) and a host of open mic readers. Eagle Rock supports a lively poetry community that comes together regularly thanks to the library staff's commitment to connecting poets and listeners.

The second event, in Pasadena, a joyous celebration combining dance, outstanding open mic poets, and a roster of spotlighted poets that included an enchanting two-generation presentation by mother and daughter poets. 

Tribute dance to all things good and positive, community, poetry and poets.

The Pasadena event, “Still A Rose, An Ode to Altadena,” sponsored by International Black Writers & Artists/Los Angeles, co-sponsored by Poets & Writers, brought enthusiastic listeners to Alkebulan Cultural Center, only a few blocks south of the Eaton Fire devastation. 

The poetry program featured Tricia Cochee accompanied by special guests Teresa Mei Chuc, Hazel Afia Clayton, Angela Ama Clayton, and Thelma T. Reyna. 

Angela Ama Clayton

Angela Ama Clayton gets a triumphant
abrazo from mother Hazel 
Afia Clayton

Thelma Reyna

Teresa Mei Chuc


Hazel Afia Clayton

Two dancers frame the program's elements. The first dancer opens the readings by the special guests with a glorious dance celebrating the upcoming voices. The second dancer captivates in a glorious blue gown to evoke the orisha Yemoja as an introduction to the day's featured poet.

The program’s featured poet, Tricia Cochee, polls the audience. In another's poll, I join only a few other hand-raisers who’ve lost their homes to the Eaton Fire. Everyone else raises a hand that they know people who’ve lost their place. 

Water quenches fire 

Tricia Cochee

The Association of Writers and Writing Programs (link) and its offsite readings coming to Los Angeles March 26–29, promise a daily program of talks and readings followed by after hours socializing and celebrating the best of contemporary U.S. writing and poetry. 

Even if I miss the whole AWP thing, my need for great art has already found satisfaction in this weekend’s pair of sublime celebrations of culture and art that happened while the sun was out.

Sunday, March 23, 2025

Yolanda Montes, la Tongolele, y Paquita la del Barrio por Xánath Caraza

Yolanda Montes, la Tongolele, y Paquita la del Barrio por Xánath Caraza

 


Yolanda Montes, mejor conocida por su nombre artístico la Tongolele, murió el pasado mes de febrero de este año. Muere en México donde vivió desde 1947. Me atrevo a hablar un poco de ella porque para mi grata sorpresa era Chicana, Mexicoamericana, Xicana.

 

Siempre había oído de ella. Sabía que participó en un gran número de películas con actores como Tin Tan, entre otros grandes de la época de oro del cine mexicano, que era una gran bailarina pero no sabía que había nacido en la costa oeste. Nació en el estado de Washington en la ciudad de Spokane. Su nombre completo era Yolanda Ivonne Montes Farrington. Desde niña bailaba y se especializó en danza de Tahití y ritmos africanos. De hecho, su nombre artístico, Tongolele, es una combinación de voces tahitianas y africanas.

 

Actuó en un gran número de películas mexicanas con varios de los actores de la época de oro del cine mexicano, 1936-1956. Tongolele fue la última actriz de esa tan apreciada época. Algunas de las películas en las que participó son El rey del barrio, ¡Han matado a Tongolele!, Nocturno de amor, Chucho el remendado y ¡Mátenme porque me muero!, entre muchas más. Actuó al lado de actores como Tin Tan, Germán Valdés, Víctor Junco, Miroslava y otros grandes.

 

Tongolele murió el pasado 16 de febrero a los noventa y tres años en Puebla, México. Espero que siga entreteniendo a todos y siga bailando donde quiera que esté.

 

Otra que se nos fue recientemente,17 de febrero de 2025, fue la cantante Paquita la del Barrio. Paquita era del estado de Veracruz, de Alto Lucero, o como comúnmente le dicen, del Alto, Veracruz. Nació el 2 de abril de 1947 y su nombre completo era Francisca Viveros Barradas. Escribió y grabó un gran sin número de canciones originales a lo largo de su carrera artística que comenzó oficialmente en 1970. Una de sus canciones más conocidas es “Rata de dos patas”. A continuación, un enlace con su interpretación.

 

“Rata de dos patas” por Paquita la del Barrio.

Friday, March 21, 2025

New Books for Spring


Two new titles coming in May.

_____________________________________________


Isabel Allende
Ballantine Books - May 6

[from the publisher]
In San Francisco in 1866, an Irish nun, abandoned following a torrid relationship with a Chilean aristocrat, gives birth to a daughter named Emilia del Valle. Raised by a loving stepfather, Emilia grows into an independent thinker and a self-sufficient young woman.

To pursue her passion for writing, she is willing to defy societal norms. At the age of seventeen, she begins to publish pulp fiction using a man’s pen name. When these fictional worlds can no longer satisfy her sense of adventure, she turns to journalism, convincing an editor at The Daily Examiner to hire her. There she is paired with another talented reporter, Eric Whelan.

As she proves herself, her restlessness returns, until an opportunity arises to cover a brewing civil war in Chile. She seizes it, as does Eric, and while there, she meets her estranged father and delves into the violent confrontation in the country where her roots lie. As she and Eric discover love, the war escalates and Emilia finds herself in extreme danger, fearing for her life and questioning her identity and her destiny.

A riveting tale of self-discovery and love from one of the most masterful storytellers of our time, My Name Is Emilia del Valle introduces a character who will never let hold of your heart.

________________________________


Alexis Daria
Avon - May 27

[from the publisher]
No strings

After Ava Rodriguez’s now-ex-husband declares he wants to “follow his dreams”—which no longer include her—she’s left questioning everything she thought she wanted. So when a handsome hotelier flirts with her, Ava vows to stop overthinking and embrace the opportunity for an epic one-night-stand complete with a penthouse suite, rooftop pool, and buckets of champagne.

No feelings

Roman Vasquez’s sole focus is the empire he built from the ground up. He lives and dies by his schedule, but the gorgeous stranger grimacing into her cocktail glass inspires him to change his plans for the evening. At first, it’s easy for Roman to agree to Ava’s rules: no strings, no feelings. But one night isn’t enough, and the more they meet, the more he wants.

No falling in love

Roman is the perfect fling, until Ava sees him at her cousin’s engagement party—as the groom’s best man, no less! Suddenly, maintaining her boundaries becomes a lot more complicated as she tries to hide the truth of their relationship from her family. However, Roman isn’t content being her dirty little secret, and he doesn’t just want more, he wants everything. With her future uncertain and her family pressuring her from all sides, Ava will have to decide if love is worth the risk—again.

This emotional rollercoaster ride of a novel will have you laughing and crying and believing in happily-ever-afters!

Later.

________________________

Manuel Ramos writes crime fiction.

Thursday, March 20, 2025

Chicanonautica: Xicanx Futurism Covered

by Ernest Hogan



The cover of Xicanx Futurism: Gritos for Tomorrow has been revealed, and it’s gorgeous. They went with the image I would have picked.


It’s the work of artist who goes by El Indio © 1985, a master of digital collage who also writes poetry, and has a feel for Xicanx past and future. 


Fits in with the idea of Chicano (by any other name) as science fiction state of being. It’s also in the spirit of Paco Cohen, Mariachi of Mars. 


A good cover for a book that’s not just a collection of stories, but art, and a Cultura event.




Coming just in time, with certain creatures in Washington D.C. hijacking the resources of the U.S. government to rearrange the world according to their deranged preferences. Have you seen the AI video of their Gaza Riviera “utopia?” Always remember what is utopia to some is dystopia to others. Did they notice that the belly dancers had beards? Or did they want them that way?


Whatever turns you on, as we said back in the 20th century . . .


We really need alternative futurisms, guerrilla worldbuilding to counter these diabolical, state-sponsored visions.


I’m glad I’m part of Xicanx Futurism. I’m gritoing for tomorrow. Before it’s too late.


Pre-order now!


 

Ernest Hogan is the Father of Chicano Science Fiction.

Wednesday, March 19, 2025

Abuelo, the Sea, and Me


Written by Ismée Williams. 

Illustrated by Tatiana Gardel.

 


*Publisher: Roaring Brook Press 

*Language: English

*Hardcover: 40 pages

*ISBN-10: 1250848776

*ISBN-13: 978-1250848772

 


Abuelo, the Sea, and Me is a tender, heartwarming picture book that vividly explores intergenerational connections, family history, and the immigrant experience.

 

When this grandchild visits her abuelo, he takes her to the ocean. In summer, they kick off their shoes and let the cool waves tickle their toes. In winter, they stand on the cliff and let the sea spray prick their noses and cheeks. No matter the season, hot or cold, their favorite place to spend time together is the beach.

 

It’s here that Abuelo is able to open up about his youth in Havana, Cuba. As they walk along the sand, he recalls the tastes, sounds, and smells of his childhood. And with his words, Cuba comes alive for his grandchild.

 



Review

 


Pura Belpré Honor Book for Children's Illustration

An ALSC Notable Children's Book

 

"This confidently told story, made up of brief moments between Abuelo and the grandchild, gets deeper as it goes on, with richly textured digital illustrations highlighting the changing light and weather as summer, fall, winter, and spring each take their turn... A deftly told immigrant’s story of bittersweet memories and a grandparent’s love." -Kirkus

 

"A gentle text that offers a nuanced and relatable perspective on the bittersweetness of remembering a faraway home and that celebrates the relationship between grandparent and grandchild." -Horn Book

 

"Over the course of four seasons, a child and their abuelo connect during visits in this loving intergenerational book that looks both forward and back... [accompanied by] sensory-rich descriptions... [and] delicate digital art [that] has the feel of watercolors on textured paper." -Publishers Weekly

 


 

Ismée Williams is the award-winning author of Water in May (2017) and This Train Is Being Held (2020), a Junior Library Guild Gold Standard Selection and winner of the ILBA Gold Medal for best YA Romance, published by Amulet books. Ismée also co-edited the YA anthology, Boundless: Twenty Voices Celebrating Multicultural and Multiracial Identities (2023), published by Inkyard. She has been an invited speaker at The Virginia Festival of the Book, The Miami Book Fair, The NYC Teen Author Festival, The Southern Kentucky Book Festival, and The Bronx Book Festival among others. Ismée is a co-founder of the Latinx Kidlit Book Festival as well as a pediatric cardiologist in New York City where she lives with her family. She is the daughter of a Cuban immigrant and grew up listening to her abuelo’s bedtime stories.

 

Tatiana Gardel is a New York City–based artist whose work has been recognized by the Society of Illustrators and American Illustration. Previous books she illustrated include The First Day of Peace and Abuelo, the Sea, and Me. Tatiana loves to paint and sketch at the green meadows of Central Park, dance to the music of its performers, and go for walks on its lush pathways. She was born and raised in Brazil and teaches animation to young artists at the Harlem School of the Arts.




Tuesday, March 18, 2025

The Gluten-free Chicano Cooks Comida de Cuaresma

Gluten-free Cheese Enchiladas for Lent or Not
Michael Sedano, The Gluten-free Chicano • fotos: Thelma T. Reyna

It so happens this is Lent, in the Catholic world many Chicanos are brought up in, but that’s not the reason for making Lenten food, that is, meatless meals. It also happens the Gluten-free Chicano has a long-standing antojo for enchiladas and, restricted to restaurant food for the past two months, I was sentenced to enchilada deprivation: red-sauced enchiladas invariably contain wheat flour to thicken the sauce. 

The Gluten-free Chicano cannot find good red enchiladas in most restaurants, where kitchens use wheat flour to thicken the chile sauce. At home, if you want a thicker sauce, use corn starch. El Gluten-free Chicas Patas thickens by using lots of chile.

Company was arriving and enchiladas are company food despite their simplicity. Not the company, the enchiladas. (The past two months, la familia Sedano was separated living in temporary housing as refugees from the Eaton Fire in Altadena. This week, the family reunited in a rental house in Pasadena. We have a home again, and that means a kitchen.)

Ready for the oven

The Gluten-free Chicano and his bull cook assembled sixteen enchiladas. We knew it was too many for a small gathering. Ni modo. No one should ever make enchiladas without planning for leftovers for tomorrow’s breakfast with an egg on top.  



Ingredients
Brown onion
black olives sliced or whole
Gebhardt’s chile powder
tortillas de maíz
salt
water
Optional: fried ground beef or roasted chicken

Executive Summary:
Heat olive oil in a frying pan. Dip tortillas one at a time into hot oil until the masa is soft and pliable. Stack on plate to cool.
Make a chile roux. Dilute with water. Boil down to reduce and thicken. Cool to touch.
Grate cheese.
Finely chop onion.
Drain black olives.
Dip tortilla in red sauce, both sides.
Fill with cheese onion olives and roll.
Decorate the baking dish filled with raw enchiladas with grated cheese mix.
Bake at 350º until cheese melts.
Provecho (frijoles and a salad)

Process

Grate a good cheddar, or for muy fancy, grate manchego, cheddar, mozzarella/jack cheese.
Chop the onion into ⅛" bits.
Drain a can of sliced black olives.
Put the onion, cheese, and olives into a bowl. Some gente add cilantro to the cheese mix.
Note well: some gente do not care for onions and olives. Reserve some cheese and roll up a half dozen cheese-alone enchiladas.


Dip tortillas in heated olive oil. Dip only one side and place the "wet" side down. Stack the wilted tortillas on a glass plate. Oil will collect so carefully reintroduce the oil from the tort plate into the sartén.


Enchilada sauce comes in cans. It's not bad, but it's not as good as making enchilada sauce from "scratch."

Gebhardt's chile powder makes delicious sauce. Use the pan from the tortillas, add more olive oil to the pan over low-medium heat. 

Making 16 enchiladas I begin with a ½" of oil and a glass (pint) of water.

Stir in half a bottle of Gebhardt's to the boiling oil. (You can substitute any ground chile mix or puro chile, but Gebhardt's has the right blend of garlic and comino for absochingaolutely delicious enchladas.) 

Cook the chile roux until all the oil is absorbed. If you wish, let the chile roux turn dark before adding liquid. I normally like a red enchilada so I add water while the roux is still red.

Boil and stir the sauce to reduce volume and thicken. Let the sauce cool ten minutes or until a finger dipped into the pan isn't scalded. It should be hot.

Set up an assembly line. The chile, the tortillas, the cheese mixture, a baking dish.

Dip both sides of a softened tortilla in the chile sauce. Lay the tortilla on your greased baking dish.

Practice makes perfect enchiladas. A big pinch of cheese-onion-olive mix at the edge of the tortilla and gently or tightly roll the enchilada and slide it over to the edge of the dish. Repeat as many times as you have wilted tortillas.

If your baking sheet or pan are on the small size, don't worry. Stack the enchiladas in two or more layers. They bake beautifully and separate easily when you serve them.

When you've laid down all your enchiladas, scatter cheese/onion mix across the whole shebang and put into a 350º oven until the cheese is totally melted, around 15 to 20 minutes.

The Chef, el Gluten-free Chicano, and bull cook Thelma T. Reyna



Deluxe Comida: Enfrijoladas

Visit this link for a detailed recipe to make a chicken-filled version of an enchilada using not chile but frijoles and sour cream.


Good Eatin' Tip: For additional Gluten-free Chicano recipes, search for "gluten" and "gluten-free" in Blogger's white search box located in the upper left corner of a La Bloga homepage.





Friday, March 14, 2025

Poetry Connection: Connecting with the Poetry Buffet in New Orleans

 

Poetry Connection: Connecting with the Poetry Buffet in New Orleans

Melinda Palacio, City of Santa Barbara 10th Poet Laureate






Gina Ferrara at the Poetry Buffet



While the search for Santa Barbara’s next Poet Laureate is in full swing, I’ve taken a little time off to catch the last weekend of Mardi Gras in New Orleans and read at the Latter Library’s longstanding series, the Poetry Buffet. Fat Tuesday fell on March 4 and I happened to connect with four Santa Barbara friends who were also in town for Mardi Gras.


Mardi Gras is not the best time to visit New Orleans because the roads are closed for parade lineups and parade routes. During the last weekend of Mardi Gras, there are day and evening parades and it’s nearly impossible to get a reservation at a popular restaurant or find a cab or uber driver willing to brave the traffic, road blocks, and general mardi gras mayhem. Both sets of friends were staying in the French Quarter and getting to the uptown parade routes could cost over seventy-five dollars for a cab or uber fare that would normally be eight to ten dollars, thank you price surging.


The Poetry Buffet usually falls on the first Saturday of each month. However, due to Mardi Gras parades, hostess Gina Ferrara moved the date to March 9, which happened to be International Women’s Day. The reading at the Latter Library in New Orleans featured a smorgasborg of women poets, including: Anne Babson, Dionne Cherie Baker, Stacey Balkun, Katheryn Krotzer Labord, Christine Kwon, Kay Murphy, Biljana Obradovic, Beverly Rainbolt, Mona Lisa Saloy and me. It’s always a pleasure to read at the poetry buffet with its elegant chairs and chandelier, the space feels regal, like stepping in a french castle. We even had our very own queen that day, thanks to poet Dionne Cherie Baker, who regularly dresses in royal regalia for events such as the Renaissance Faire and her show last week at Quest for the King at Contra Flow in Biloxi (she drove over an hour to take a break from the festival and read some poems in New Orleans).

Dionne Cherie Baker

The Poetry Buffet is a feast of poetry and joy that has been running since 2007. Like everything else, the series moved to zoom readings during the pandemic. For now, in person readings have resumed. I asked Gina Ferrara how the Poetry Buffet started and she said the series began when the city was still in recovery after hurricane Katrina. Before the hurricane, Gina had a reading series at the library a called the Women’s Poetry Conspiracy. Afterwards, librarian Missy Abbott wanted to get the poetry reading started but suggested a more inclusive group, along with the name Poetry Buffet. I have had the pleasure of being previously featured at buffet, always a fun time and a generous audience.

Mardi Gras Float Bacchus Parade



This week’s poetry connection features two poems by Gina Ferrara.



Variations in Fencing

Gina Ferrara



Always before the afternoon rains, 

when the sky was a chosen color and empty



or held clouds harmlessly white, 

scalloped, voluminous, 



chain links obliterated, we sought the vine covered, 

lithe, armed with imagination:



the objective to walk the fence,

entrenched in tangles, twists,



segueing to intricacies and gnarled complications,

small trumpet blossoms, hidden droplets of nectar, 



appearing as a river, the verdant

too dark, too jade to offer reflections,



resistant to confinement and control, 

nothing landscaped, the patch of thorn prone pyracantha, 



loquats gold, dollop sized orbs, pink bristled mimosas,

we took turns, some navigating,



others shook with grinning intent, 

to simulate the feeling 



on either side of a fault line,

seconds before the fissure.  



6-8-23



Previously published in The Delta Review



My Sapphire Shoes (March, 2020)

Gina Ferrara


Without leaving home,

I bought shoes the color of sapphires during the pandemic,

perusing sales, scrolling in descent,

as the bees in the backyard

swarmed, built their sprawling flag shaped hive.


Workers, hardly seen, though heard laboring

the lantana, the roses, the orange cosmos,

the apple tree blossoms, those

providing a superlative nectar coup

to bring back to the queen.


The weft and weave becoming waxier, more amber,

holding weighted viscosity, honied evidence

as people were intubated rolled on their sides, even

my friend Melanie, hospitalized, who wouldn’t come home.


She would have liked my sapphire shoes,

recognized they were like birthstones,

a bit deeper than the sapphires of Ceylon

that shared the color of a true March sky,

the one above the oblivious bees.


I had no place to wear my sapphire shoes,

except outside where they looked strange

and inappropriate in their gemstone blueness

when the buzzing, the din, took on sounds of a dirge.


Previously Published in Sheila Na Gig




Gina Ferrar bio:

Gina Ferrara has five poetry collections:  Ethereal Avalanche (Trembling Pillow Press, 2009), Amber Porch Light (Word Tech 2013), Fitting the Sixth Finger: Poems Inspired by the Paintings of Marc Chagall (Kelsay Books 2017), Weight of the Ripened (Dos Madres Press, 2020), an Eyelands Poetry Prize Finalist, and Amiss, also published by Dos Madres Press in 2023. Her work has appeared in numerous journals including Callaloo, The Poetry Ireland Review, Tar River and The Southern Review and was selected for publication in the Sixty-Four Best Poets of 2019 by Black Mountain Press.  In 2024, her poetry was nominated for a Best of the Net and a Pushcart.  Since 2007, she has curated The Poetry Buffet, a monthly reading series in New Orleans.  She is an Associate Professor of English at Delgado Community College, and she is editor of the New Orleans Poetry Journal Press.

 

 

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