Thursday, January 15, 2026

The Answer Is Close to Home

                                                                                  
The travelers who came before us, our legacy

     I consider myself a traveler. I start most mornings with a drive, cruising the different neighborhoods near my home, which is located in Mar Vista, bordering the old Palms community, once part of the Machado family holding, Rancho La Ballona. 
     If I stay on Palms Boulevard going west, I reach Sepulveda Boulevard, and I have my choice of directions, straight ahead to Santa Monica, where my mother was raised, to my right the old township of Sawtelle, my father's hometown, or to my left, north, toward Culver City and Venice, where many of my relatives once lived. Some claim Sepulveda Boulevard, named after Francisco Sepulveda, the patriarch of one of Los Angeles’ founding families, is the longest street in Southern California, 43 miles, reaching to the north end of the San Fernando Valley and south to Long Beach. 
     Usually, my morning cruise, followed by a zesty walk takes me about one to two hours, so I stay relatively close to home, sometimes just heading to Venice Beach and walking along the shore before the tourists arrive. There is something in my blood that gets me going when I think of travel, whether it's on a jet somewhere or just cruising local neighborhoods. Maybe, like many American, it's because my grandparents traveled from somewhere else to make this their home, unless I go far enough to a time when this land was also my ancestors' land, so there's a part of me that feels I belong here. 
     No matter how many times I drive past a familiar location, I see something new, something I missed, and I’ve lived here most of my life, so it surprises me when this happens. In her classic book of essays, Slouching Towards Bethlehem, Joan Didion wrote about driving L.A.’s freeways, both a travel and a cultural expose of L.A.’s freeway system and its effect on people. Before covid, I’d buy the Best American Travel Writing, a compilation of the finest essays on travel, the stories taking me to all parts of the world. It’s something I enjoyed about Ron Arias’ novel, The Road to Tomazunchale, a Chicano surrealist trip from Los Angeles to Cuzco, Peru, and back to Los Angeles. 
     Travel writing goes pretty far back, consider the Iliad and the Odyssey or the Bible, filled with travel writing like the book of Genesis, Adam and Eve expelled from the Garden of Eden and sent into the wilderness. In Exodus, the Jews traveled from Egypt to the promise land, and the story of the Prodigal Son whose father welcomes him home after returning from a life of vice. Actually, most of the Old Testament is about travel, in one way or another. 
     I read the New Testament as a travel journal, Joseph and Mary fleeing Bethlehem to Nazareth, the three wise men in search of the Messiah, and the apostles crisscrossing the Middle East spreading the word of God. It's reported Peter and Paul made it all the way to Rome. Can’t forget Chaucer's Canterbury Tales, the pilgrimage of thirty travelers and their adventures on the way to the tomb of St. Thomas of Beckett, or Cervantez’s Don Quijote, about old man Quijana’s travels through the dry, desolate plains of La Mancha and Castilla, not to forget Gulliver’s Travels, Robinson Crusoe, and the wild sea adventures of Moby Dick
     When I lived in Granada, Spain for a year in 1977, I carried James Michner’s Iberia, something of a Spanish travel Bible and Washington Irving’s Tales of the Alhambra, whose enchanting stories I read each time I took a walk up to the old Arab castle, in the days when a traveler could pay a couple of pesetas and take all the time needed to wander through the ancient fortress. 
     One semester, I had a night class inside the walls of the Muslim alcazar. There, an old professor chased us from the classroom and told us to go explore the palace and gardens. We ended up underneath, walking through mysterious passageways, lifting cannon balls and entering dusty rooms, which gave life to Irving’s tales, a lot like the magical stories of Ali Babba in the Thousand and One Nights
     One of the most magical tales for Americans comes from Mark Twain and the Adventures of Huckleberry Finn, a vast travel tale of a young boy taking a slave to freedom up the Mississippi River, all the while questioning the morality of right and wrong, of keeping the law or breaking it, of his love for another human being. Then there was Twain's travel story as a river boat captain in Life on the Mississippi.
     Of course, I suppose for Americans, the mother of all modern travel books is Steinbeck’s Travels with Charley, a book Steinbeck wrote about his journey in a pickup truck and camper across America with his small dog, Charley, meeting strangers and encountering adventures along the way. I thought the book read more like a novel, which one of Steinbeck’s sons thought also. He knew his father as an extremely shy person, in public, and couldn’t imagine Steinbeck initiating encounters with complete strangers as he described in his book. We’ll never know. The book still stands as a tribute to travel in search of America, along with William Least Heat Moon’s Blue Highways
     I can’t read Steinbeck’s small book without getting the urge to move and take a trip somewhere, even if it’s only for a cruise around the neighborhood. The first lines always get to me, like an upbeat song, sending shivers through my legs, get up, drive, walk, anything, just move. 
     Steinbeck writes: When I was very young and the urge to be someplace else was on me, I was assured by mature people that maturity would cut this itch. When years described me as mature, the remedy prescribed was middle age. In middle age I was assured that greater age would calm my fever and now that I am fifty-eight perhaps senility will do the job. Nothing has worked. Four hoarse blasts from a ship’s whistle still raise the hair on my neck and set my feet to tapping. The sound of a jet, an engine warming up, even the clopping of shod hooves on pavement brings on an ancient shudder, the dry mouth and vacant eye, the hot palms and the churn of stomach high up under the rib cage. In other words, I don’t improve, in further words, once a bum always a bum. I fear the disease is incurable. I set this matter down not to instruct others but to inform myself. 
     So it is, nearing eight decades on earth, last year, I still had the urge to travel, Colombia my destination, with twelve friends, from Medellin to Santa Marta and the gates of old Cartagena de las Indias, which today our president is threatening to bomb. I don’t get it, beautiful people, friendly and accommodating, music in the streets, good food, and a lot of history. Drugs? If we'd stop using, they'd stop supplying.
     I question how many more of these journeys I have left in me. My spirit soars when I hear others my age still hitting the road, like my fellow blogueros Michael Sedano and his “walkabouts” each morning or Ernest Hogan and his rasquache, gonzo trips across town or across different states, stopping to take pictures of America’s eccentric folk art hanging on walls, lining the highway, or sitting on someone’s front porch. 
     The greatest trip awaits us all, as in Dante's Divine Comedy, and his travels through purgatory, heaven, and hell, some argue the true model for Christianity’s belief in an afterlife. For many Mexicans, how can we not follow Juan Preciado, the main character in Juan Rulfo’s classic Pedro Paramo, who travels into the mythic underworld “Comala,” looking for his father, not unlike Homer’s Telemachus, son of Odysseus, searching for his father who’d been away at war for twenty years or Carlos Fuentes’ the Death of Artemio Cruz, and the memories of an old man in bed dying and, in his mind, traveling back to relive his life, bad, good, and evil. 
     Then there are the travel stories of the greatest indigenous Palestinian Jew, Jesus the Christ, traveling each day on foot, by donkey, or in a small boat, spreading the new word, an abomination to orthodox pharisees and rabbis, a story he and his followers believed to be the truth, until the Romans convicted and sentenced him to death, marching him up to Golgotha where he was hung on a cross. 
     One more travel story among life's greatest travelers, Confucius, Buddha, and Mohammed, who, like the rest of us were searching for answers, only to find, on our return from our journeys, the answers were right here all along, close to home.

Wednesday, January 14, 2026

Silenced Voices: Reclaiming Memories from the Guatemalan Genocide


Written and illustrated by Pablo Leon 




*Publisher: HarperAlley

*Language: English

*Print length: 240 pages

*ISBN-10: 0063223554

*ISBN-13: 978-0063223554

*Reading age: 14 years and up

*Grade level: 9 - 12



In this moving intergenerational tale perfect for fans of Messy Roots and Illegal, Eisner-nominated creator Pablo Leon combines historical research of the Guatemalan Civil War with his own experiences as a Guatemalan immigrant to depict a powerful story of family, sacrifice, survival, and hope.


Langley Park, Maryland, 2013

Brothers Jose and Charlie know very little about their mother’s life in Guatemala, until Jose grows curious about the ongoing genocide trial of Efrain Rios Montt. At first his mother, Clara, shuts his questions down. But as the trial progresses, she begins to open up to her sons about a time in her life that she’s left buried for years. 


Peten, Guatemala, 1982

Sisters Clara and Elena hear about the armed conflict every day, but the violence somehow seems far away from their small village. But the day the fight comes to their doorstep, the sisters are separated and are forced to flee through the mountains, leaving them to wonder…Have their paths diverged forever?




Review


“A stirring story about the power of familial bonds and historical recollection in the face of grief, fear, and hopelessness.” - Publishers Weekly (starred review)


"A beautiful, timely reminder that hope is never out of reach." - Kirkus Reviews (starred review)


"A riveting graphic novel about a family coming to terms with the far-reaching ways their lives have been traumatized by genocide. Despite its brutal subject, Silenced Voices manages to be hopeful." - BookPage (starred review)


"In every way, this title is hard to put down, difficult to forget, and unequivocally needed in all collections as buried stories of marginalized groups are brought to the forefront through the refreshingly ­accessible graphic novel format." - School Library Journal (starred review)



Pablo Leon is an author and artist from Guatemala, currently living in Los Angeles, California, and jumping between the TV animation and comics industries. His original comic, The Journey, an account of an unaccompanied child coming from Central America to the US, was a 2019 Eisner Award nominee, and he was the illustrator for the exciting middle grade graphic novel Miles Morales: Shock Waves and its follow-up, Stranger Tides. He's worked with Disney, Warner Bros, and Nickelodeon, and when not working he enjoys cooking alongside his two helper cats, Agave and Moth.







Tuesday, January 13, 2026

SHG at 50: Nine Scholarly Looks

 Review: Tatiana Reinoza and Karen Mary Davalos. Self Help Graphics at Fifty: A Cornerstone of Latinx Art and Collaborative Artmaking. Oakland CA: U of California Press. 2023. Link.

Michael Sedano


The “garage sale” at Self Help Graphics drew hundreds of people, an energetic assembly convening collectors waving dollars, artists showing wares, neighborhood visitors enjoying the festive ambiente. 

During the year, SHG hosted artist ateliers and other community-centered art-making endeavors, building inventory for its annual sale. People like me browsed stacks of serigraphs aiming to take home original arte at prices under $300. 

Tatiana Reinoza and Karen Mary Davalos share the story of Self Help Graphic’s inception and institutional praxis, its influential place in Chicanarte, and Chicanarte’s place in the art marketplace. It’s a serious, scholarly work that deserve the time it takes.

The anthology collects nine scholarly articles centered upon a venerable Los Angeles community arts organization founded in 1970 and formally incorporated in 1973. The book offers insights into Chicanarte’s place in art history, Self Help Graphics (link).

Davalos observes one raison d’etre for SHG’s ongoing influence in helping inform understanding of Chicanarte, the organization  privileged “social values and ethical practices not authorized by the art market or museum world.” Another reason emerges when reading between the lines for SHG’s longevity and leadership: the people running the place know what they’re doing.

Founder Sister Karen Boccalero, then Tomas Benitez, ran the place as a thinking artist’s refuge. Art-making began with talk, with community, with agreement. There’s an interesting insight into an unspoken conflict between the organization’s interests and artists’.

At first, SHG wanted artists to sign over the © to the organization. Under that model, SHG would sponsor the creation of a silkscreen, publish a run of multiples, share the money with the artist, and SHG own the ©.  Yolanda Lopez objected, others agreed, and the policy was changed so artists owned their own work.

Benitez is quoted as saying SHG’s © status quo ante was to the artist’s benefit, but the article doesn’t explain the argument beyond that. In what ways is depriving an artist ownership of one’s own work an advantage to the artist?

Despite this one perplexity, the anthology will be a welcome addition to any collector’s library. Reading the essays will help organize ways to understand one’s own collection and find directions to expand, even if its origin is not SHG, nor serigraphs. 

Davalos’s “Contributions” essay enumerates SHGs contributions to art history including west coast conceptualism, punkero and goth aesthetic, queer art, rasquachismo, abstraction, minimalism, domestiacana, psychedelia. She doesn’t discuss graffiti, spirituality, pop, expressionism, and abstraction, but says the subjects merit study.

The final essay in the anthology addresses the elephant in the room when assessing the nature, growth, and effectiveness of any arte, and that’s sales. “Creating Infrastructures of Value: Self Help Graphics and the Art Market—a Conversation with Arlene Dávila.” While the conversation doesn’t offer solid advice on pricing, representation, and making a living selling your own art, artists will appreciate the chapter’s professional point of view.

University of California Press does art a favor, printing on coated paper that adds depth and detail to the numerous color and B&W plates illustrating the essays.




Sunday, January 11, 2026

“¿Cuántas vidas?”, “How Many Lives?”, “Πόσες ζωές;”, “Quante Vite?” por Xánath Caraza

“¿Cuántas vidas?”, How Many Lives?”, “Πόσες ζωές;”, “Quante Vite?por Xánath Caraza

 

Xanath Caraza

¿Cuántas vidas?

 

El trinar matutino

dicta las injustas horas.

 

Fractura la oscuridad

imágenes del caos.

 

¿Cuántas vidas

más tendremos

que perder cada día?

 

Niñas arrebatadas

del principio del camino

absorbidas por un frío

silencio forzado.

 

¿Cuántas lágrimas

en las palmas

de las manos

desbordarán el cauce?

 

Ríos de efímeros recuerdos,

tiernas vidas,

remolinos de injusticia

a nuestro alrededor.

 

Inexistentes vidas

bombardean

el angustiante trinar

de las madrugadas.

 

¿Es acaso la estridencia

de los metales

la que determinará

los nuevos lamentos?

 

¿Cuántas vidas antes

del amanecer se perderán?

 

Violenta mano:

 

¡detente!

 

¿Dónde está la otra?

 

La creadora

la que encuentra

el color en la aurora.

La que plasma las

letras en las páginas.

 

¿Cuántas vidas más?

 

Femeninas

siluetas 

se esfuman.

 

Un cuerpo más

se integra a la

ardiente arena

del desierto.

 

En una fosa

clandestina,

un grito

de pronto

enmudece.

 

Xanath Caraza

 

How Many Lives?

 

Morning birdsong

dictates the unjust hours.

 

Fractures the darkness

images of chaos.

 

How many more lives

will we have

to lose every day?

 

Daughters snatched

from the very beginning of the road

absorbed by a cold

forced silence.

 

How many tears 

in the palms

of our hands

will make the riverbed overflow?

 

Rivers of fleeting memories,

tender lives,

whirlwinds of injustice

surround us.

 

Inexistent lives

bombarding

the agonized birdsong

of first light.

 

Can it be that the shrillness

of metals

will determine

the new lamentations?

 

How many lives

will be lost before dawn?

 

Violent hand:

 

Stop!

 

Where’s the other one?

 

The one that is creative,

the one that finds

the color of dawn.

The one that captures

letters on the page.

 

How many more lives?

 

Feminine

silhouettes 

vanish.

 

Another body

becoming one with the

burning sand

of the desert.

 

In a clandestine

grave,

a scream is

suddenly

silenced.

 

Xanath Caraza

 

Πόσες ζωές;

 

Το πρωινό κελάηδημα

υπαγορεύει τις άδικες ώρες.

 

Σπάζει τη σκοτεινιά

εικόνες χάους.

 

Πόσες ζωές

ακόμα πρέπει

να χάνουμε κάθε μέρα;

 

Κορίτσια αρπαγμένα

απ’ την αρχή του μονοπατιού

απορροφημένα από μια ψυχρή

σιωπή βιασμένη.

 

Πόσα δάκρυα

στις παλάμες

των χεριών

θα ξεχειλίσουν την κοίτη;

 

Ποταμοί εφήμερων αναμνήσεων,

ζωές τρυφερές,

στρόβιλοι αδικίας

τριγύρω μας.

 

Ζωές ανύπαρκτες

βομβαρδίζουν

το αγχώδες κελάηδημα

του ξημερώματος.

 

Είναι ίσως ο στριγκός ήχος

των μετάλλων

αυτός  που θα καθορίσει

τους νέους θρήνους;

 

Πόσες ζωές πριν

το χάραμα θα χαθούν;

 

Χέρι βίαιο:

 

σταμάτα!

 

Πού είναι η άλλη;

 

Η δημιουργός

αυτή που βρίσκει

το χρώμα στην αυγή.

Αυτή που απεικονίζει τα

γράμματα στις σελίδες.

 

Πόσες ζωές ακόμα;

 

Θηλυκές

σιλουέτες

εξαφανίζονται.

 

Ένα κορμί ακόμα

ενσωματώνεται στην

καυτή άμμο

της ερήμου.

 

Σ’ ένα τάφο

κρυφό,

μια κραυγή

ξάφνου

σωπαίνει.

 

Xanath Caraza

 

Quante Vite?

 

Il canto mattutino

detta le ingiuste ore.

 

Frattura l'oscurità

immagini del caos.

 

Quante vite

ancora dovremo

perdere ogni giorno?

 

Bambine sottratte

all’inizio del loro cammino

assorbite da un freddo

silenzio forzato.

 

Quante lacrime

nei palmi

delle mani

faranno tracimare il torrente?

 

Fiumi di effimeri ricordi

tenere vite

gorghi di ingiustizia

attorno a noi.

 

Inesistenti vite

bombardano

l'angosciante canto

delle albe.

 

E' forse il frastuono stridente

del metallo

ciò che determinerà

i nuovi lamenti?

 

Quante vite prima

dell'alba si perderanno?

 

Mano violenta:

 

Fermati!

 

Dov'è l'altra?

 

La creatrice

quella che incontra

il colore dell'aurora.

Quella che plasma

lettere sulla carta.

 

Quante vite ancora?

 

Forme

femminili

si sfumano.

 

Un corpo in più

si fonde

nell’ardente sabbia

del deserto.

 

In una fossa

Clandestina,

un grido

all'improvviso

si ammutolisce.

 

“¿Cuántas vidas?” is part of the collection Lágrima roja by Xánath Caraza (Editorial Nazarí, 20217).  This collection was originally written in Spanish.  Of the International Latino Book Awards, Caraza received First Place for Lágrima roja for “Best Book of Poetry in Spanish by One Author” in 2018.

 

Xanath Caraza

How Many Lives?” and “Πόσες ζωές;are part of the collection Red Teardrop / Κόκκινο δάκρυ (Pandora Lobo Estepario Productions, 2022).  This collection by Caraza was translated into the English by Sandra Kingery and Aaron Willsea, and into the Greek by Natasa Lambrou. Of the International Latino Book Awards, in 2023, Red Teardrop received Gold Medal for Best Fiction Book Translation—Spanish to English.

 

“Quante Vite?was translated into the Italian by Claudia Iglesias.

 

 

Cover art by Miguel López Lemus.