The world's longest-established Chicana Chicano, Latina Latino literary blog.
Thursday, January 15, 2026
The Answer Is 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
¿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.
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.
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.
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.
“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.






