Friday, May 30, 2025

Summer Fiction

Here's a quartet of new books ready for summer.  Are you ready for them?
_____________________________________


The Bewitching
Silvia Moreno-Garcia

Del Rey - July 15, 2025

[from the publisher]
“Back then, when I was a young woman, there were still witches”: That was how Nana Alba always began the stories she told her great-granddaughter Minerva—stories that have stayed with Minerva all her life. Perhaps that’s why Minerva has become a graduate student focused on the history of horror literature and is researching the life of Beatrice Tremblay, an obscure author of macabre tales.

In the course of assembling her thesis, Minerva uncovers information that reveals that Tremblay’s most famous novel, The Vanishing, was inspired by a true story: Decades earlier, during the Great Depression, Tremblay attended the same university where Minerva is now studying and became obsessed with her beautiful and otherworldly roommate, who then disappeared under mysterious circumstances.

As Minerva descends ever deeper into Tremblay’s manuscript, she begins to sense that the malign force that stalked Tremblay and the missing girl might still walk the halls of the campus. These disturbing events also echo the stories Nana Alba told about her girlhood in 1900s Mexico, where she had a terrifying encounter with a witch.

Minerva suspects that the same shadow that darkened the lives of her great-grandmother and Beatrice Tremblay is now threatening her own in 1990s Massachusetts. An academic career can be a punishing pursuit, but it might turn outright deadly when witchcraft is involved.

______________________



Isabel Cañas
Berkley - August 19, 2025

[from the publisher]
In 1765, plague sweeps through Zacatecas. Alba flees with her wealthy merchant parents and fiancé, Carlos, to his family’s isolated mine for refuge. But safety proves fleeting as other dangers soon bare their teeth: Alba begins suffering from strange hallucinations, sleepwalking, and violent convulsions. She senses something cold lurking beneath her skin. Something angry. Something wrong.

Elías, haunted by a troubled past, came to the New World to make his fortune and escape his family’s legacy of greed. Alba, as his cousin’s betrothed, is none of his business. Which is of course why he can’t help but notice the growing tension between them every time she enters the room…and why he notices her deteriorate when the demon’s thirst for blood gets stronger.

In the fight for her life, Alba and Elías become entangled with the occult, the Church, long-kept secrets, and each other… not knowing that one of these things will spell their doom.

_________________________




Natalie Guerrero
One World - July 15, 2025

[from the publisher]
After her sister Nena’s sudden death, Xiomara, an Afro-Latina singer and actress born and raised in Washington Heights, is numb. With her sister gone, Xiomara, painfully close to thirty, is living in a tiny apartment with her ultra-Catholic Puerto Rican mother, and having the same shitty sex with the same shitty men that she’s been entertaining for years. Behind on rent despite two minimum-wage jobs, one of which involves singing show tunes while serving pancakes to tourists at Ellen’s Stardust Diner, Xiomara is bitingly cynical, especially in her grief, and barely treading water.

But when a once-in-a-lifetime opportunity falls into her lap—the chance to audition for Manny Santos, the most charismatic director of the moment—Xiomara sees a second chance to pursue the dream she thought she’d lost. Meanwhile, something about Santi, a new co-worker at the print shop where she spends half of her days photocopying other performers’ headshots, starts to tug at the threads of her apathy. Nothing is simple, and soon Xiomara finds herself interacting with the ugliest sides of the industry and the powerful men who control it. Sometimes the closer you are to your dreams, the further away you become from yourself, and as Xiomara grapples with this hard truth, she is forced to ask herself if she has what it takes to build a new shiny life without losing the truth of her old one.

With hopeful spirit and unapologetic energy, My Train Leaves at Three is a coming-of-age story about the balancing act between moving on and moving forward.

_________________________




Mia P. Manansala
Delacorte Press - May 13, 2025

[from the publisher]
Danika Dizon is a natural problem-solver. Thanks to her private investigator mom and mystery author dad, she’s equipped with the skills to offer guidance to anxious classmates who come to her for a tarot reading between classes. For a price, of course.

But when one of her clients vanishes shortly after they’re dealt a death card, the girl’s younger sister Gaby begs Danika to figure out what went wrong. Danika takes on the case, thinking it’s the perfect way to prove to her parents that she should be an official investigator in the family’s detective agency.

What starts off as a compelling challenge quickly devolves into something darker as Danika and Gaby peel back layer after layer of the secret life the missing girl has been living. A life that those involved would do anything to keep from being revealed ....


Later.

___________________

Manuel Ramos writes crime fiction.

Thursday, May 29, 2025

Chicanonautica: At the Intersection of Xicanxfuturism and Gonzo Sci-Fi


  

by Ernest Hogan



Seems I’m always in some kind of intersection. And intersection being another world for crossroad. In West African Vodun, Papa Legba is the Lord of the Crossroads, who like the Mexica Yacatecuhtli, God of Travelers and Merchants, influences my life. Sorry if I crossed a border–it’s something I do all the time, without thinking. It comes with the whole Chicano enchilada.


So now I'm in the middle where Xicanxfuturism and Gonzo Sci-Fi meet. Not only is Xicanxfuturism: Gritos for Tomorrow, with my new Paco Cohen, Mariachi of Mars story coming out, but all kinds of bizarre changes are happening thanks to the senile billionaire in the White House, and I’m trying to finish my story “Once Upon a Time in a Mass Deportation” before I have to teach my online “Gonzo Science Fiction, Chicano Style” class in which I write a story over the course of two weekends, telling the students how I do it.


Whew!


The story is coming together. The plot is a done deal. Now all I have to do is figure out how to fit in all the insane details I’ve come up with. It’s more like composing a surrealistic mural rather than storytelling at this point. Yeah, it’s crazy, but it’s actually how I've always done things.


I don’t usually stop, look at, and think about what the hell I’m doing, but that’s what the class is all about. Funny how it goes from violent bursts of outrage in my brain to a kind of delicate surgery . . .



And of course, I’m being distracted by the ongoing Trumpocalypse. Trying not to obsess over all the bad news, but ignoring it would be like not paying attention to the nearby volcano that’s spewing smoke and spurting out fountains of lava. Maybe the eruption won’t be so bad, but then I want to know if a pyroclastic flow is heading my way.


It doesn’t help that the president is disconnected from reality:


Greetings, America, this is the Alternate Reality News Network.

Turns out El Chapo isn’t such a bad hombre after all, besides his business savvy will be good for the economy. And does have money. 


We need immigrants like him and his family.


And we need to welcome and help all those Afrikaners threatened by that white genocide. Who says we’re not good humanitarians?


Dr. Strangelove III has been put in charge of the Golden Dome project that will keep us all busy building lots of satellites that will shoot down missiles in mid-air—fallout, anyone? And the doctor says he’ll be ready to come up with new defenses against any countermeasures all the other nuclear powers develop. A new arms race will be fun.


Ack!


And there’s a lot more happening as I type. 


Meanwhile, in the real world, a new species of bacteria has been found on the Chinese Taingong space station, and the prevalence of feeders has caused a species, Anna’s hummingbird, to undergo mutations, and expand beyond their native California. New life, new civilizations. The evolution will not be televised.


What kind of future are you making?



Ernest Hogan is getting creative as the going gets tough.


Wednesday, May 28, 2025

The Reel Wish- El deseo de mi corazón


Written by Yamile Saied Méndez


Publisher: Lee & Low Books

Print length: 368 pages

ISBN-10: 1643796437

ISBN-13: 978-1643796437


After a panic attack prevents Florencia from performing as Clara in The Nutcracker and her best friend takes the lead, a new dance style helps her face her anxiety as well as a troubled friendship.

Ballet is Florencia del Lago’s entire world. After years of hard work, she is chosen as Clara in the winter production of The Nutcracker. Not only is she the youngest dancer to receive such an honor but also the first Latina. She’s on track to be recruited by the best ballet companies.

Unfortunately, she suffers a panic attack on opening night–on stage, in front of everyone. And then Selena, Florencia’s best friend, steps right into the role to replace her. Just like that, Florencia’s whole world falls apart–the ballet studio expels her, and her best friend turns on her, tormenting her on social media and in real life.

But even though the one thing she was driven toward has come to an end, therapy and family support help Florencia open up to new experiences. She notices people at school she’s never paid attention to before, and she even stumbles upon an Irish dance school and decides to give it a try. Can a new passion for Irish dance help Florencia find the joy of performing on the stage that she lost that fateful winter night?


El deseo de mi corazón


Cuando un ataque de panico impide que Florencia actúe como Clara en El Cascanueces y su mejor amiga actúa como Clara en lugar de ella, un nuevo estilo de baile la ayuda a enfrentar su ansiedad y una amistad problemática.

El ballet lo es todo para Florencia del Lago. Después de años de arduo trabajo, es seleccionada como Clara en la producción invernal de El Cascanueces. No sólo es la bailarina más joven en recibir tal honor sino también la primera latina. Está en camino de ser contratada por las mejores compañías de ballet.

Desafortunadamente, la noche del estreno, sufre un ataque de pánico– en el escenario, delante de todos. Y luego Selena, su mejor amiga, la reemplaza como Clara. Así, se desmorona su mundo entero– el estudio de ballet la expulsa, y su mejor amiga se vuelve contra ella, atormentándola en las redes sociales y en la vida real.

Pero a pesar de que algo que ella amaba llegó a su fin, la terapia y el apoyo familiar la ayudan a abrirse a nuevas experiencias. Forma una amistad con dos chicos de la escuela a los que nunca les había prestado atención, e incluso se encuentra con una escuela de danza irlandesa y decide intentar aprender esta nueva forma de arte. ¿Podrá una nueva pasión por la danza irlandesa ayudarla a encontrar la alegría de bailar en el escenario que perdió aquella noche de invierno?


REVIEW

* "This age is difficult to capture, and Méndez portrays it beautifully; Florencia has very grown-up feelings and actions interspersed with childlike observances. . . . Seeing a fellow tween navigate a difficult time will inspire not just dancers but any young person finding their way back to themselves." -- Booklist, starred review

* "A beautifully realized book that reminds readers that there's more than one rhythm to dance to." -- Kirkus Reviews, starred review

* "Méndez examines the toll that participating in elite dance has on one child's friendships and mental health in this emotionally raw and honest offering." -- Publishers Weekly, starred review

* "Méndez offers readers a fully dimensional protagonist in Flor, an ambitious girl who balances her people-pleasing tendencies with her own desires. . . . Her grief, anxiety, and anger are all conveyed in a voice ringing with authenticity." -- Bulletin of the Center for Children's Books

"An impactful and nuanced look at childhood mental health and the pressures children sometimes face when pursuing their passions at an early age." -- Shelf Awareness, starred review


Yamile Saied Méndez is the award-winning author of many books for young readers and adults, including Furia, Where Are You From?, the Horse Country series, and On These Magic Shores, among others. She was born and raised in Rosario, Argentina, but has lived most of her life in a lovely valley surrounded by mountains in Utah. She's a graduate of the Vermont College of Fine Arts MFA Writing program, and a founding member of Las Musas, a marketing collective of Latine writers. Connect with her at yamilesmendez.com.






Tuesday, May 27, 2025

Poetry In Beautiful Burbank

Colloquy, Reading, Online Floricanto

Michael Sedano 

Two o’clock on a Friday afternoon makes an ideal hour to start a poetry reading, and with poets Alicia Viguer-Espert in tandem with Nancy Murphy, La Bloga gladly takes a seat in the Buena Vista Branch of Burbank Public Library. 

We enjoy an hour-plus of engaging dialogue and astounding poetry between the poets, then a Q&A with responsive listeners. And we're home before dark. Órale to the planners.

The hour comes as a feature in Reader Engagement Librarian Kyle Moreno’s service to the library’s mission. It’s an active poetry program with longevity; for example, in June 2024, La Bloga attended an early iteration of a conversation/reading, "Writing from Our Immigrant Hearts." (link. The innovative panel reading will be published in book form in the near future, details to follow.)

Viguer-Espert and Murphy’s mutual interview blending poetry performance offers this audience a satisfying listening and learning experience. Hearing superbly written and expressed work is the raison d’être for attending a poetry hour, and the poets not only fulfill but surpass expectations for sublime writing. More, colloquy of two minds into the discovery of subjects, disclosure,  and other vital elements of the poetry writing process, enriches the readings. The poets’ talk informs and sharpens insight into poems of empty places, absence, distance and separation.

The poets granted La Bloga-Tuesday permission to share a poem from the Friday reading to accompany the portraits captured during the readings.


 Alicia Viguer-Espert

She Lifts Her Burka 
By Alicia Viguer-Espert

I wonder how tough this young Kabul woman has it. This woman who shows me her lovely fifteen years old face, polished nails bright red, and the green eyes of a 1985 National Geographic cover. A youth already betrothed to a man three times her age, a friend of her father’s, luckily with only one wife, she whispers. Leaning on the noise of a building’s façade to hide her dismay, or protect herself from viewers, she pushes her chaperone’s hands as they try to pull the burka back. At home family prepares Halwa and praises God for the engagement. Nervous, asks about life in Europe, if I am allowed to dance until sunrise, how often women die in childbirth, whether I am married, and if my husband beats me. With the last question her smile disappears. I survey the snowy ridges circling us like rapacious birds starving for prey in that frigid December morning. He’s a good man, maybe he’ll let me go back to school, she says frowning.

I think about her often, her beauty, youth, pray fate will treat her with enough benevolence to raise healthy, educated children. She wouldn’t have had a chance, untrained as she was, but her daughters did before the Taliban. Now icy clouds of misery engulf the city, women sit around clanky kerosene stoves without kerosene, debate the dangers of defying the jailers to have a life of their own, or else. 

a bright light

fades fast

under the burka




Nancy Murphy


                                                                                   

 

All that Bergamot*

By Nancy Murphy


We are on our way from LA to Zion, 

the one in Utah. We stop in Hemet, 

 

the desert, a Starbucks. I need a midday 

lift. A man sits in a battered wheelchair 

 

by the entrance, no hat. It’s 102 degrees. 

His clothes an assembly of fabrics 

 

the color of an espresso he can’t afford. 

Sunburnt leathered face, patches 

 

of a beard, he was a blonde once. He was 

a lot of things once. I motion Brian 

 

to avoid walking past him. It’s just

a reflex. Not personal. Inside the cool 

 

café I order my usual–tea latte 

with English Breakfast tea, not

 

Earl Grey (all that bergamot!), 

soy milk for its sweet vanilla traces,

 

one Splenda, something I hope 

doesn’t kill me one day if they find

 

it causes cancer. But I’ve tried to quit

and I just can’t. As I wait I notice 

 

how I’m still able to make eye contact 

with strangers even with our masks on.

 

I think, we are all learning to use 

our eyes more. Humans are a wonder. 

 

The man outside the door comes into my mind. 

No one looks him in the eye. Sympathy floods

 

me, and some shame. But what does that buy? 

Even so, I resolve to give him something, 

 

and to ask him something. I say nothing 

as we exit. He turns towards us, the usual pitch 

 

beginning, Hey do you….I lurch forward, 

drop some bills into his lap so I don’t 

 

have to touch his hands, because, well 

covid of course. Then I pause, lean in, take in 

 

his face. I say, What’s your name?

He startles, squints, replies, What’s my name?

 

I turn quickly now with a small wave, 

mumble goodbye, hurry on to the car, 

 

flushed from the heat, the moment. 

Brian stands waiting, holding the door 

 

open for me, a habit he can’t break, 

a habit that makes me impatient. I’m 

 

ungrateful like that.    Then I hear 

a voice calling out behind me.            

 

Floyd.  My name is Floyd.

 

* The characteristic flavor of Earl Grey tea comes from the addition of bergamot. 




Sunday, May 25, 2025

“Sin preámbulos” por Xánath Caraza

“Sin preámbulos” por Xánath Caraza

 


Violeta es la mañana

sin preámbulos

 

se filtra la luz

en las grietas

 

se escurre el delirio

en los pétalos

 

saetas de color rompen

la superficie que tocan

 

tiñe aurora los recuerdos

polícroma melodía

 

violeta fue la luz

se desvanece

 

con la brisa

ráfaga de fuego

 

tiempo violeta

delinea la partida

 

tic-tac, tic-tac

tic-tac, tic-tac

 

 

Xanath Caraza

Without Preamble

 

Violet is the morning

without preamble

 

light filtering

through crevasses

 

delirium sliding

down petals

 

colored arrows broaching

the surfaces they touch

 

polychrome melody

tinting memories dawn

 

violet was the light

it dissipates

 

with the breeze

bursts of flame

 

violet time

delineates the departure

 

tick-tock, tick-tock

tick-tock, tick-tock

 



 



“Sin preámbulos / Without Preamble” is part of the collection Sin preámbulos / Without Preamble (2017). “Sin preámbulos” was originally written in Spanish by Xánath Caraza and translated into the English by Sandra Kingery. In 2018 for the International Latino Book Awards Sin preámbulos / Without Preamble received First Place for “Best Book of Bilingual Poetry”. 

 






In 2019 Sin preámbulos / Without Preamble / Fără preambul was translated into the Romanian by Tudor Serbănescu and Silvia Tugui.

 


 

 

Friday, May 23, 2025

The Question Everyone's Asking

Melinda Palacio, Santa Barbara Poet Laureate 2023-2025

There’s a question on everybone’s mind. If you follow this column, you’re probably curious about the answer too. Now that my two-year term as City of Santa Barbara Poet Laureate is over, it seems everyone I encounter wants to know how I feel. Most people who ask this question assume that my schedule over the past two year has been a burden. However, the truth is enjoyed every minute. I didn’t have a poetry boss forcing me to present my work or to bring poetry to different community spaces. Those were goals that I set for myself. I realize I was in a unique position, having received a post-pandemic laureateship, at a time when the world was opening up and recovering from our pandemic lockdown. My predecessor, Emma Trelles, SB PL Number 9, didn’t get a chance to receive all the pomp and circumstance of being crowned Poet Laureate at our city hall or have a gathering of friends and supporters after. I was lucky to have had friends attend my ceremony from as far south as Ventura, Oxnard, Los Angeles, Pasadena, and Tia Juana. After the City Hall ceremony and photos, everyone walked to the Santa Barbara Historical Museum where there was a cake and champagne. 

 

It was such an honor and continues to be so. I was more than happy to be the public face of poetry, a poetry ambassador and teacher for the community and beyond. I am also humbled and honored that the Association of Women in Communications is honoring the work that I did as Poet Laureate in naming me one of five Women of Achievement in their 17th annual Women of Achievement Awards. The theme for this year’s awards is Creative Communication: Building Community Through Arts. Honorees include Adriana Arriaga, visual artist known at adriana la artista, entrepreneur and activist; Teresa Kuskey, Founder/Artistic Director of La Boheme Dance; Frances Moore, Co-founder/Artistic Director, Santa Barbara Ringhout Project; Melinda Palacio, and JoAnne Wasserman, Artistic Director and Conductor, Santa Barbara Choral Society. 

 

La Santa Cecilia

 I cannot deny being a little relieved that I will be able to slow down and take a little break from the whirlwind poetry tour that’s been the past two years. One of the things I had a chance to enjoy again was the New Orleans Jazz and Heritage Festival or Jazz Fest. Jazz Fest takes place during the last week of April and the first week of May from Thursday-Sunday. Don’t let the term jazz fool you, there’s a large variety of music, something for everyone. The highlight for me this year was La Santa Cecilia. I saw her band over fifteen years ago at Tía Chucha's Words and Music Festival in Pacoima, well before they became internationally acclaimed grammy winners. La Santa Cecilia was recently in Santa Barbara as part of the Viva Artes program but it was fun seeing the band in New Orleans with the smells of Crawfish Monica and Oyster Poboys wafting through the air. 

 


In poetry news, I have a new collection I am working on and I am also aligning the stars to bring the Somos Xicanas anthology to Santa Barbara. This anthology, published by the independent press, Riot of Roses, features poetry from over 80 Xicana writers. Some names you might recognize and others will prove to be new gems you’ll want to explore further. The collection as a whole has been in the works for a long time and has endured multiple editors and survived changing publishing houses. I am honored to be included. I had the pleasure of reading with several contributors in March at La Plaza Cultural in downtown Los Angeles. I look forward to bringing this important anthology to Santa Barbara this Fall.

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

Thursday, May 22, 2025

Why Do They Fear Teaching Students the Truth?

 

                                                                                   

An important journey into ethnic America

     I wanted to say something about this Administration’s attack on Ethnic Studies classes and programs, especially after so many universities and school districts around the nation have introduced various classes on the subject, going back to the 1970s. Then, I remembered. I did write an essay back in 2021 on the topic, and it pretty much said what I had wanted to say, so I thought I’d polish it up and repost it.      

                                                                                      *****

     As I walked down the street, I saw a cardboard box filled with books in front of an apartment building. Most of the books were throwaways. Then, I noticed a familiar book cover. I picked it up. It was Ron Takaki’s book, A Different Mirror: A History of Multicultural America (1993). It was practically new, which meant someone had taken really good care of it or had hardly taken time to crack it open. Me, I can’t even read a newspaper without a pen in hand to mark it up with my comments and ideas.

     Dr. Ronald Takaki, a Japanese Californian, by way of Hawaii, died in 2009. He was a preeminent scholar in the field of Ethnic Studies at UC Berkeley. I’d read his book, Strangers from a Different Shore (1998), where he records the stories of Chinese, Japanese, Hmong and other Asian groups in the U.S., a topic few Americans, including myself, knew much about and I grew up on the West Coast, home to most Asian Americans in the U.S.

     After the publication of Strangers from a Different ShoreI heard Professor Takaki speak to a gymnasium filled with faculty at Santa Monica College, where I was teaching at the time. Takaki talked like he wrote, his words and ideas accessible to the public, whether scholars or everyday people, as if he was just another guy telling a story. Those who study pedagogy, the study of teaching, say students, especially African Americans and Latinos, learn best when teachers present information in narratives, rather than lecture in abstract, often vague facts and ideas couched in oblique academic language, like professors do in many university classes.

     Dr. Takaki started his presentation by asking, “How many of you know about Ellis Island.?” Every hand in the auditorium shot up, of course. “Good,” Takaki said, and laughed, something of a cackle, followed by deep breaths. He then asked, “How many of you have heard of Angel Island?” Slowly, as if needing to think about it, only a smattering of hands rose. The majority of educators sat silently, hands at their sides.

       Professor Takaki went on to explain Angel Island, adjacent to San Francisco, was the West Coast Port of Entry for Asian immigrants, mostly Chinese and Japanese, strangers from a different shore. He then said, “As educators, we should know about Ellis Island. We should also know about Angel Island, about the Middle Passage from Africa, and about El Paso del Norte, and so should our students.”

     In his presentation, he talked about stories he had uncovered in his research of Asians who had come to settle in the U.S. He told stories about their work, the living conditions, families, religion, and their culture characteristics, like the Hmong who had a difficult time settling into the cold Wisconsin winters, so different than the tropical weather of Southeast Asia. One would think students in Wisconsin or in Fresno, CA, where many Hmong settled, would benefit from a class about these new strangers living among them.

     During a short Q& A period at the end of Dr. Takaki's presentation, one teacher, though he didn’t explicitly say it, suggested Takaki’s degree and work in Ethnic Studies weren’t legitimate, even if he couldn’t explain why. Many of us in the audience took it as straight-up racism, or biased, to give him benefit of the doubt, definitely ignorance.

     The man's comment, I think, took Takaki by surprise, but I’m sure it wasn’t the first time he’d been faced with such criticism. Using his sharp wit, he told the man he’d received his doctorate in American History from the University a California, Berkeley, and as an historian, the more he taught American History, the more he felt obligated to teach the true history of America and not just the history of those who came from England and found their way to Plymouth.

     Takaki took us back to the 1970’s and the intense debates at Berkeley, when faculty decided students needed to take a course in Ethnic Studies to receive a degree in History. Takaki told us, at the time, one faculty member stood, obstinately, and asked, “What if a student chooses not to take a course in Ethnic Studies?” Takaki said he responded, “Then the student can choose not to graduate with a degree in history from the University of California at Berkeley.” He said he recalled hearing a low murmur run through the crowd, so he answered, “If university students don’t know the real history of the U.S., they are not worthy of a degree in history.”

     In the late 1980s, early 1990s, “American Ethnic Studies,” as a discipline, was just taking hold in the academy, introducing students to classes like Chicano, Black, Asian, and Women’s Studies. The study of world cultures wasn’t’ new in the academy. In Anthropology, Archeology, Sociology, Literature, and Music teachers had been researching ancient cultures, teaching such courses as Ethnomusicology, Folklore, and Mythology for decades.

     Noted mythologist Joseph Campbell first taught Mythology at Sara Lawrence College in 1938, introducing his students to storytelling from nearly every corner of the world, as documented in his bestselling book, A Hero with a Thousand Faces, which made such an impression on filmmaker George Lucas, the filmmaker followed Campbell’s research on the hero’s journey in his movie Star Wars.

     Educators like John Dewey, Howard Zinn, Edward Said, Bell Hooks, Noam Chomsky, Cornel West, Gloria Anzaldua, and others had begun looking at U.S. history beyond our mythical borders. Somehow, the study of American ethnic groups threatened many traditional faculty. Some, outright, said they didn’t want to study or teach about other U.S. cultures and to leave that to the Foreign Language departments.

     After I finished Takaki’s book, I wished I had read it earlier, when I started teaching U.S. Ethnic Literature. Professor Takaki follows an interesting pattern and style of writing. His book is an engaging read, storytelling based on historical research, moving from the early days of the United States, starting with the relationship between the colonists and indigenous inhabitants, citing journals and early writings, and moving on to Irish and indentured servitude then shifting to early slavery, before it was even institutionalized, explaining why and how it became an institution and affected the future of labor in the United States.

     In the early chapters, Takaki focuses on the Founding Fathers, from a different perspective. He’s always respectful, but he doesn’t hold back regarding their “real” views of slavery and forced labor, or their treatment of the Indians, especially from men, like Thomas Jefferson, who suffered a moral dilemma, introducing laws to abolish slavery, yet, at the same, time, building his fortune on the backs of African labor, on native American lands.

     I’ve read many historians of the Founding Fathers. I noticed Takaki includes what many historians choose to evade, or completely, ignore, especially harsh language leading to the detriment of those the Founders and early Americans considered outsiders, like the French, Germans, and Irish, but, understanding, the outsiders were here to stay, a complex part of the fabric that would become America.

     In the last chapters, Takaki moves on to Mexican and Asian immigrants and how they became American, and the unique challenges they faced. Where Irish and Africans were often forced, or coerced, to come to America to work, often under hellish conditions, many Mexicans were already here or, when nearly half of the United States belonged to Mexico. In the early 1900s, after the Treaty of Guadalupe Hidalgo, hundreds of thousands crossed the border to flee violence and starvation, much like the Chinese and Japanese who emigrated out of desperation.

     As a former teacher of American, Mexican, Latino, and Ethnic literature, I’ve read much American and ethnic history.  I’ve always known about Takaki’s, A Different Mirror, but never took the time to read the book, until now. I’ve been working my way through biographies of the Founding Fathers, to get a better grasp of this country’s foundation and the way these men thought and behaved. I hear so many people say, “Well according to the Founding Fathers….”

     What I learned was many people, including politicians, who quote the Founding Fathers haven’t read or studied them. They spout what somebody else said, and often, it’s not even accurate, especially about religion and economics. Many of the Founding Fathers were agnostics or outright atheists but could never admit it. Many, like Jefferson, wanted to abolish slavery but knew they’d upset too many rich, influential Southern plantation owners if they did.

     Takaki’s book provides a conceptual foundation for ethnic history in the U.S., and not in a dry, analytical scholarly way but, as I said earlier, wrapped up in engaging stories about people, based on historical research, often in the words of the historical figures themselves, as uncomfortable and disconcerting as those words might be.

     Navajos, and many American indigenous people, as children, had their languages and cultures stripped from them in school. Ironically, commanders in WWII gave it back to them by asking Navajo Marines to resurrect their language and create a code the Japanese couldn’t break. A similar code was used in Europe against the Germans.

     We often talk about why we used the atomic bombs on Japan. We had no choice, some argue. We would have lost too many soldiers and Marines had we invaded, was what most historians taught. Takaki and other historians’ research points to another path, one few talk about, a cultural path to peace, one our leaders did not understand or refused to accept. They chose a more destructive path, an intriguing dilemma for teachers and students to discuss.

     It is all part of our history, the real history of America and Americans, not the sanitized or invented history some would like us to believe, the one being forced on our schools and children today. Ethnic Studies teaches us how we are much more united as Americans, even though we come from so many different countries and cultures, or as the Founding Fathers said, "Out of many -- one."