Friday, November 07, 2025

Poetry Connection: Connedting with Students from La Cuesta Continuation High School

 

With students at La Cuesta Continuation High School

Melinda Palacio, Santa Barbara Poet Laureate 2023-2025




Last week, I visited La Cuesta High School. La Cuesta is a continuation school and part of Santa Barbara Unified’s alternative education program. If you didn’t know about La Cuesta, you are not alone, I almost went to the wrong school. Luckily, I had to drop off some books earlier in the week and found the correct address. The continuation program provides support for students age 16 or older who are at risk of not graduating high school. With an average teacher to student ratio of one teacher for about fifteen students, each student is paired with a mentor and is given a second chance to succeed and graduate high school.


The visit was a bit rushed. The school itself is much smaller than most high schools or junior high schools. The room had a podium but no microphone. My visit was on a Thursday, a shorter day for all students. Had I known this ahead of time, I would have tried to give my presentation without a microphone. Also, trying to get anyone’s attention an hour before they know they are about to go home is challenging. When the students sat down, many seemed shut down or tired and or hungry. A few were quietly finishing their snacks. I was a little nervous because they seemed like a tough crowd at first. But they were very attentive and they responded positively when I asked them if they wanted to hear a song I wrote, based on the poem they had been studying, How Fire Is a Story, Waiting. They were very shy about asking questions, most of the questions came from the teachers. As I was reading and talking about my poetry, I could feel the energy shift and the students became more engaged. I was happy to see that two of the students stopped to shake my hand on their way out.


Instructional Support Specialist Lauren Gleason has been at La Cuesta for four years. She was previously at Alta Vista for 12 years. Alta Vista is alternative high school that students can choose to attend. Local poet and teacher James Claffey brought some of his Alta Vista students to hear my presentation. Lauren is very proud of the program. I asked her if there were any particular success stories she could talk about and she beamed and said that there were so many success stories. “I love my position,” she said. She also emphasized the connection between teachers, students, and parents and explained that La Cuesta forms a strong community in order to offer extra love and support to the students. Students at La Cuesta can stay for a second senior year but the goal is graduation, which takes place at the courthouse. For students who need more than 4 years to graduate, there’s a Flex program that makes up the third branch of Santa Barbara’s alternative school programs.


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

This week’s poem comes from Ventura poet, Danielle Pineda Brown.


Cap and Trade

Danielle Pineda Brown


Dr Oz says this, while Weight Watchers says that.  

They all seem to know how to get rid of fat. 

  

Achieving reductions can happen, you'll see, 

 if daily you drink of some green or white tea.  

 

Measuring, reporting, and verification  

just seems like a source for more humiliation. 

 

 Set limits on intake and earn extra credit: 

 walk, swim or bike. If you don't, you'll regret it.  

 

Fad diets? Oh no! They are out of the question. 

 They are good for two things: heartburn, indigestion. 

 

 I've listened to them and given all a try.  

The result is a credit card bill that’s sky high.  

 

 

But all is not gloom; yes, there's still hope in sight, 

 for instance, the article I read last night.  

 

Scientists discovered an adipose gene  

that decides if your body will be fat or lean.  

 

Accumulate or burn? Asks this master fat switch.  

How we are to control it is still the big glitch. 

 

 The right thing to do is to have Fat and Trade  

Between Roly-Poly and Skinny as a Blade.  

 

Take Jack Sprat and his wife, they could average it out.  

Put a “cap” on the calories of skinny and stout, 

 

Then what he doesn't eat can be put to her use.  

Who cares if her waistline is tight and his loose?  

 

What if she likes to gobble and he likes to taste?  

Bottom line is there’s no food gone to waste. 

 

 It sounded so good that I gave it a try. 

I have to admit with a tear and a sigh.  

 

After caps have been capped and trades had been made, 

 my scale said to me, “Girl, you've been betrayed!” 


Wednesday, November 05, 2025

A Modern Journey into the Past, Chiapas Beckons

An essay in photos. Remembering a fourteen-hour bus ride across Mexico to the colonial Mayan town of San Cristobal de Las Casas, San Juan Chamula on one side and a challenging bus ride to Palenque on the other. A modern journey into the past. 


A Tzotzil Woman with Child in Chamula

T
European, Mayans Encounter, Streets of San Cristobal de Las Casas

Religious Procession Opening Fiestas at San Juan Chamula

Tradition Adobe Home of Tzotzil Maya

A Reminder of the Zapatista's Presence

Basilica of San Nicolas 1530s, San Cristobal

The Church of Mysteries, San Juan Chamula

Mexico and its Revolutionary Heroes

The Hill to the Mercado, San Cristobal

On the Road to Palenque, the Sacred Falls

Night Falls in San Cristobal



Encuentro literario con Horacio Castellanos Moya


Domingo 9 de noviembre
1:30 pm-2:30 pm

Biblioteca Central de Los Angeles
Auditorio Taper
630 W. 5th St.
Los Angeles, CA 90071


Estacionamiento
524 S. Flower St.
Los Angeles, CA 90071

La Biblioteca Pública de Los Ángeles y el Instituto Cervantes presentan un encuentro literario con una de las voces mayores de Centroamérica y de las letras actuales en lengua española, el salvadoreño Horacio Castellanos Moya. En conversación con una de las figuras incontrovertibles del periodismo en español de Los Ángeles, Soudi Jiménez, el autor dará a conocer al público claves de lectura de su última obra, Cornamenta, publicada en español en los Estados unidos en octubre de este año y de aparición en inglés en 2026, así como una reflexión personal sobre su trayectoria como autor, sus sueños, sus desengaños, y sus esperanzas.

Este programa se llevará a cabo en español.

(213) 228-7000



Después de Moronga y El hombre amansado, llega la nueva novela de Castellanos Moya. Una nueva pieza fundamental de la saga de la familia Aragón.

Clemente Aragón no entiende por qué, siendo un hombre casado y con buena reputación en la sociedad salvadoreña, continúa enredándose con mujeres. Su aventura con Blanca, esposa de un general y buen amigo suyo, podría haberse filtrado. Anida ahora en Clemente una nueva sensación de paranoia, que se acrecienta con unas misteriosas llamadas y el extraño suicidio de uno de los luchadores de lucha libre que asistía al grupo de Alcohólicos Anónimos que coordina.

Es finales de febrero de 1972 y, después de que el gobierno militar de El Salvador cometiera un fraude electoral, el nombramiento de un nuevo presidente desata las protestas y una oleada de intrigas y conspiraciones. Clemente preferiría mantenerse al margen, pero los acontecimientos se precipitarán a lo largo de un fin de semana, mientras el destino de la familia Aragón se entrelaza con la deriva de una nación en medio de un conflicto inagotable.

A través de esta saga familiar brillantemente construida, Horacio Castellanos Moya explora la historia de violencia y caos de un país; una historia que recorre de forma indirecta con una prosa afilada y pulso tenso.


«Castellanos Moya ha convertido la ansiedad en una forma de arte y en un acto de rebelión». Natasha Wimmer, The Nation

«El instinto de Castellanos Moya por el humor marca también su trabajo: captura el absurdo noir que surge en los escenarios más mordaces o improbables».
The New York Review of Books

«Cada uno de los libros suyos que he leído es original y exigente a su manera. Su obra es política, pero íntima».
James Wood, The New Yorker

«A diferencia de tantos escritores que tratan la memoria, escritores que tienen fe en que pronunciar el horror de alguna manera lo silencia, Moya constantemente imposibilita esa opción. [...] En general, las novelas de Moya preguntan: ¿Cuál es el verdadero valor de la memoria?».
LA Review of Books

«Es uno de los escritores más auténticos de Centroamérica, capaz de trasladar a su ficción el ambiente de violencia que se ha respirado en El Salvador bajo formas que escapan a toda tradición y con una voluntad de estilo tan potente como original».
Diego Gándara, La Razón

«Horacio Castellanos Moya es un escritor experto [. . .]. Tiene instinto para narrar sucesos, maneja con habilidad las elipsis y utiliza un lenguaje dúctil, rico en matices y capaz de afrontar con solvencia cualquier modalidad discursiva».
Ricardo Senabre, El Cultural


Horacio Castellanos Moya es un escritor salvadoreño nacido en 1957, autor de catorce novelas y varios libros de relatos y ensayos. Su primera novela, La diáspora (1989), obtuvo el Premio Nacional otorgado por la Universidad Centroamericana (UCA) de El Salvador. Luego escribió El asco. Thomas Bernhard en San Salvador (1997), novela que dio lugar a controversias y amenazas que lo obligaron a abandonar su país. Fue editor de diarios, revistas y agencias de prensa, principalmente en Ciudad de México, donde vivió trece años; también ha residido en Costa Rica, Guatemala, Canadá, España, Alemania y Japón. Actualmente reside en Estados Unidos y es profesor en la Universidad de Iowa. Ha sido traducido a quince idiomas, y entre sus últimas obras publicadas destacan las novelas Moronga (2018) y El hombre amansado (2022). El Gobierno chileno le otorgó el Premio Iberoamericano de Narrativa Manuel Rojas 2014 por el conjunto de su obra.





Tuesday, November 04, 2025

Essays In Their Time: Now

Review: Dagoberto Gilb. A Passing West Essays From the Borderlands. Albuquerque, UNewMexico Press, 2024. Isbn 9780826366825 


In his author’s Preface to a passing west Essays. From the Borderlands (link), Dagoberto Gilb identifies differences between short fiction like his 2024 New Testaments (link) , and the twenty-five essays at hand. 

For one, fiction needs to be about itself, not the writer,  and

Nonfiction, these essays are another version of my want to write prose with the constraint and discipline of poetry. To capture, to have been alert to images over ideas. That haunt and linger, slow down, alter perspective. Not to plot and advance political points, but to reach the art source of the brain, not the momentary rhetorical, political blah. The method: Small scenes over catchy endings, tight sentences and graphs over lots of pages. 

Short fiction and essay share in common neither sells big numbers nor attracts major east coast publishers. I join Gilb in thanking University of New Mexico Press for publishing this arresting collection, a potpourri of Tom Miller-quality travel writing, food journalism in the vein of Paloma Martinez-Cruz (link) , parenting insights, and academic exploration. Unlike Gilb's fiction, the writer is the focus of each essay, making a passing west a personal memoir as it collects cogent observations on places the author’s seen. 

There’s self-deprecating humor in the persona of “The Hexagon of the Conquest”,the masterwork gem of the collection. The writer's a rustic construction worker and cultural tourist, come to Sevilla to view the Archivo de Indias (link), Spain’s library of documents derived from the European conquest of America. He’s awed by the majesty of a research library, thinking it somewhat like the library of Alexandria would have been, had he been there back when. 

He comes to Sevilla con papeles—bona fides that get him into the stacks to see for himself. He gets to lay lay eyes upon original documents. It’s a wondrous image to consider, the knowledge-hungry writer reading words from the first occupiers of Mexico.

I don't wait long for my request to ascend on the Gray cart. When the package is passed to me, I feel magic and mystery. I give a pause of deep respect as its weight is hefted to my time bound hands and I carry it to the table. A legajo is secured by one long, white cotton ribbon -- everyone must learn to rap and tie a legajo  Just right, be professional. The design of its cover is classic highbrow European: the lettering, and old typeface in caps, archivo general de indias, Sevilla, and artwork A linocut etching of, in the foreground, soft naked boys dumping their bounty of fruit and bread from baskets, behind them a king probably, with two archbishops or Cardinals on either side of him. The box unfolds on all four sides, revealing the document inside, which also has a tie.

The magic disappears when the writer discovers paleography, an essential skill for archive researchers: His untrained, layman's, eye can’t read a thing!

When I look at any of the pages, I am looking at an artistic rendering of letters and words and sentences -- the margins, for example, all around are filled in by swirls that look like Infinity marks with yet an extra dimensional loop of emphasis, or swirls that are tight, dark tornadoes or loose, weak springs, or worms, or curls, or curlicues--every garnish and flare that is possible. The first letter in a sentence is not just a cap, it's dressed in the finest feathers and hat and shoes and gloves. If it's the first letter of a paragraph? The letter swoops off the sides of the page and swings up and over into empty space. You can only admire what happens within a text to an e or f or m or  p or z just to name a popular few.

The Hexagon essay expresses the motivation of researchers and writers of place and identity when the author steps back from his unpleasantly unexpected confrontation with paleography to reason he hasn’t actually lost anything in his illiteracy:

Inches near an actual document, I am still so far away. From then. From time. From seeing clearly the colors and lines that might make sharper images in my mind. And if I could read any word, most, every word even, how much closer would I be then? How much less a dream, how much still like a “memory” that is as accurate as a two-year-old's, even a precocious one’s? How near must I get to be fulfilled? With what kind of eyes or seeing glass? What quantity of books, or detail from one in a library, in an archive, you're finally getting me there, wherever it is I want to go, whatever it is I want to learn?

Hence, keep walking, keep writing, keep eating.

Taco bell, Isla Vista Mexican food, “alfalfa sprouts in a burrito? ¡N’hombre, qué pinche desmadre!”  

Fatherhood offers the writer succor and pride. He writes of his dysfunctional relationship with his own father and the second wife, while recalling a cross-country trip with a son headed South for his first job, a trip of warmth and love, a sentimental journey to places of the writer’s youth. Father and Son share a moment in their present that mirrors a moment in the writer’s youth with his own father, intimate and pedestrian at once. They stand near the lanyard to pull the whistle in a factory. It’s Son’s first visit to a factory, the place writer’s father worked when he pulled the whistle.

Although publication of a passing west essays, and Gilb’s companion collection of fiction new testaments, happened a year ago, I only recently got my copies via mailorder from Santa Ana’s and Orange County’s only Chicana Chicano Literature bookstore, Libromobile, it’s just in time for gift-giving season. Now’s the time to order your copies of these, for your own enjoyment and for the immense pleasure of sharing books that ought to be read and don’t often get that way.

Link to a passing west (University of New Mexico Press): https://www.unmpress.com/9780826366825/a-passing-west/

Link to New Testaments (City Lights Books): https://citylights.com/city-lights-published/new-testaments-stories/

Link to Libromobilehttps://www.libromobile.com/


Sunday, November 02, 2025

“Luz de octubre / October Light” by Xánath Caraza

“Luz de octubre / October Light” by Xánath Caraza

 


La canasta roja para pan está lista

Las manos de Nila no paran

Hornean felicidad

Hacen flores de papel para el altar

Tejen arcos de cempaxóchiles amarillas

Bordan manteles de mariposas rojas

 

Campanadas suenan a lo lejos

Anuncian que la hora ha llegado

Hay que abrirles la puerta

Ya llegan, ya vienen

 

El humo de copal marca el camino

Ya llegan

Se oyen los pasos de azúcar blanca

Las voces del pasado

Las risas se confunden con las campanadas

Entonan su concierto

Anuncian la llegada

 

El sol se perdió entre las estrellas

Desde las montañas nubladas

Descienden las almas

Ya las veo

 

El pueblo se llena de alegría

Las puertas de madera se abren

Para los seres queridos que regresan esta noche

Tomados de las manos, juntos

Los vivos y las almas

Beben chocolate

Y papel picado

Ya llegan, las almas descienden

 

Tan sólo esta noche

Nila descansa

Viejita de manos grandes

De pasos de azúcar blanca

Cuyas manos no paran

Hornean para las almas

Luz de octubre que revuelve el alma

 

Xanath Caraza



October Light

 

The red bread basket is at hand

Nila’s hands do not stop

Bake happiness

Fold paper flowers for the altar

Weave yellow marigold arches

Embroider red butterfly tablecloths

 

Bells ring from afar

Announcing the hour upon us

Open the door

Here they come; they arrive

 

Copal smoke leads the way

Here they come

Their white sugar steps can be heard

Voices from the past

Laughter mixed with bells

Singing their concert

Announcing their arrival

 

The sun is lost among the stars

From the foggy mountains

The souls are descending

I see them

 

The town is full of happiness

The wooden doors are opening

For the loved ones returning tonight

Holding hands, together

Those alive and the souls

Drink hot cocoa

And colorful cut paper

Here they come, descending souls

 

Only tonight

Nila rests

Viejita with large hands

Of white sugar steps

Whose hands never stop

Baking for the souls

October light stirs in my soul

 


 

Luz de octubre & October Light” by Xánath Caraza are included in Conjuro (Caraza X., Mammoth Publications, 2012). Translated into the English by the author.

 


Conjuro received Second place in the ‘Best Poetry Book in Spanish’ category of the 2013 International Latino Book Awards.  In 2013 Conjuro also received Honorable mention in the ‘Best First Book in Spanish, Mariposa Award’ category of the 2013 International Latino Book Awards. Conjuro was an award-winning finalist in the 'Fiction: Multicultural' category of the 2013 International Book Awards.