Friday, March 20, 2026

If Dr. MLK, Jr. Could Speak to Us Now...

If Dr. MLK, Jr. Could Speak to Us Now, What Might He Say?


Thelma T. Reyna


Historians and political scientists know best, and I am neither. I am simply a poet. In 2017, as our nation reeled from the chaos and upheavals of the first Trump presidency, I wrote a book, Reading Tea Leaves After Trump (link), trying daily to parse how our country was being dismantled. Here is a persona poem in which one of our greatest Americans again spoke for many.


MARTIN, FROM THE GRAVE


If I could turn, I would, but this coffin holds me still. I whisper to you now through fifty years of tears for what you have endured.

We’ve marched these sizzling streets before, these bridges blocked by dogs, batons, and helmets of hate.

We’ve pitched these battles before, teeth tearing ankles, rubber bullets burning backs, clubs dense as rifle butts cracking skulls.

We’ve locked arms, locked eyes, locked hands on heads for safety when they came with boots and hoses to shut us down. We’ve dragged cheeks and chins on concrete when they pulled us by our feet across blood-stained streets. 

We’ve been shot unarmed, flayed to the bone, hanged like dead rabbits by back doors, white folks picnicking by trees where our mangled bodies turned in air, photo ops galore. 

If I could spin, I would, for what they did, what they do, should’ve died decades past but won’t. So my rasp will filter like earthworms through these clods, through stones,  through smoke of churches burnt, through ether and miasmas of stillborn hopes, through centuries of hacking on the shackles. No amount of blood we shed can satiate their hate.

I whisper to you now through fifty years of hush, for I hear boots tramping once again, and smell the Ku Klux stench in the People’s House. I rush my rasp to you right now, for I hear the rattle of voter-suppression chains, hear our ballots torn and tossed, hear us mocked again for marching arm-in-arm.

I send my rasp to you, from here, for I see ramrod arms stretched high, and the man who would be king tell daily lies, and see billionaires with secrets taking reins. I whisper to you now, from here, for I see zealots in towers and lounging by lakes, our people’s money raked into pockets mysterious and soiled.

You’ve stared in these men’s eyes before, withstood forked tongues that turn equality to roulette wheels. You’ve heard their codes and veiled slurs, taken shields against these wars. If you can hear my whisper, remember what my heart once said: The measure of a man is where he stands at times of challenge and despair. Today these heartbreaks bore to the core of earth.

If I could spin or turn, I would. My coffin keeps me prisoned while my spirit weeps for you. My dessicated eyes, vacant mouth,  ears filled with dust ceased mattering on that balcony in spring. My lips are stilled and filled with worms, but your feet hold fire, your arms still link, and your voices are oceans unleashed.

-----
Reading Tea Leaves After Trump, by Thelma T. Reyna (Golden Foothills Press, 2018). Winner of seven national book awards, the book is available through the press, booksellers like Libromobile, and amazon. Here's a link to the publisher, Golden Foothills Press.

Thursday, March 19, 2026

Chicanonautica: Whatchcallus, Anyway?


by Ernest Hogan



I did a display of science fiction by writers of what I call the Latinoid Continuum and I used the term Latinx. There will probably be objections from some of my peers, so here’s an explanation:


The sign is for the patrons of that library where I work, and while we get my fellow Chicanos here, we also get a lot of others, African Americans, “whites,” et cetera. . . It’s in a public place and as inclusive as possible.


Also, not all of the writers featured are, if you want to get nick-picky, Chicanos. Silvia Moreno-Garcia is Mexico born and lives in Canada. V. Castro is a Tejana who lives in England.  Speculative Fiction for Dreamers: A Latinx Anthology includes “Those Rumors of Cannibalism and Human Sacrifice Have Been Greatly Exaggerated” one of my best stories, along with “Old Folks” by Scótt Russell Dúncan (note the accent marks–should I do it too? Érnest Hógan . . .) editor for Xicanxfuturism: Gritos for Tomorrow–Codex I (out now, buy it, read it, live it) and works by a diverse crew of writers from cultures transmogrified by contact with the Spanish Armada.



The x is still esoteric and controversial and not really known outside of college campuses and bureaucracies, but I consider exposing people to things from outside their comfort zone part of my job.


Once near the ruins of Monte Alban, I identified myself as a Chicano to a Zapotec guide. He had never heard the word. I tried to explain, but ended up leaving him thinking I was from Chicago.


In my career, I’ve found that it helps to use words that outsiders—Anglos (some take offense, “I ain’t from Angola!”), gringos, (et and cetera)— can understand. When dealing with more than one culture, declaring an official name never works. What usually happens, quite organically, is new languages are created.



New life and new civilizations. Chicanidad evolving into Xicanxfuturism. Talk about a concept that could cause trouble. 


The word Yucatan is based on one of the many Mayan dialects for “I don’t understand you.”


I’ve never been picky about what people call me. The internet thinks I’m a cyberpunk, though I’ve never been part of the movement. People have a hard time figuring me out, so I let them slap a handy label on me and go on with my business. These labels are usually insults or place-holders for something they don’t understand.



So what? Political correctness is for losers and I’m  a bizarre phenomenon. I’m lucky they don’t call in the military.


You usually don’t get called what you choose, you get called what your enemies call you, if they win, that is . . .


Chicano started out as a vile insult. Like the N-word.


The Navajo call themselves the Diné. The many Apache tribes call themselves variations on Ndé, Ndee, N’de or even Diné. Yes, they are related, but then aren’t we all? 

 

Do you have Neanderthal or Denisovian DNA? Or both?


Navajo and Apache are Spanishized versions of Zuni and Tewa Pueblo words for “enemy” and “cultivated fields in the valley” as in  apachu from the navahu’u.


We all call the Kanien’kehá:ka the Mohawks, a Dutch/English version of the Algonquian mohowawog, “man-eater,” cannibal, if you will.



So rather than arguing about what we should be called and what language we should be arguing in we need to form a united front. But first there will be a lot of fighting about it.


Meanwhile, I’m using Latinoid Continuum . . . 


ICE can’t tell Mexicans from Chicanos from Latinos from Latinx from Xicanx from brown from black from white. And a warehouse is being converted into a “detention center” not far from where I live. 


New languages, and realities, will be created in the process. 


Xicanxfuturism is the future!


Or as Jean-Luc Godard’s evil computer Alpha-60 said in Alphaville:  “Sometimes reality can be too complex to be conveyed by the spoken word. Legend remolds it into a form that can be spread all across the world.” 


See? Chicano really is a science fiction state of being.



Ernest Hogan, Father of Chicano Science Fiction, wants you to buy Xicanxfuturism: Gritos for Tomorrow / Codex I, read it, and start building the rasquache future of our choice. His Paco Cohen, Mariachi of Mars story “A Wild and Wooly Road Trip on Mars” will be in Codex II, soon . . . 

 

Wednesday, March 18, 2026

Popo The Xolo- Popo El Xolo


Written by Paloma Angelina Lopez 

Illustrated by Abraham Matias 


*Publisher: ‎Charlesbridge

*Print length: ‎40 pages

*ISBN-10: ‎1623544572

*ISBN-13: ‎978-1623544577

*Reading age: ‎6 - 9 years


2026 Pura Belpré Illustrator Award

An emotionally resonant, visually stirring picture book illustrated by Pura Belpré Award–winning Abraham Matias, exploring life, death, and celebrating loved ones for children navigating grief.

Inspired by the 9 levels of Mictlān and the role Xolo dogs play by guiding those who have passed on in Indigenous cultural understandings of present-day Mexico.

Nana is surrounded by family and takes joy in her many grandchildren. She's also tired and feels pain. Soon she begins her transition from life into death, accompanied by her beloved Xolo dog, Popo.

Together they go on Nana’s journey, and by the end of the story, Nana's family celebrates the many years of love they shared with her. And a grandchild will now care for Popo.

Beautifully told by debut author Paloma Angelina Lopez and featuring stunning blend of colored art by Mexican illustrator, Abraham Matias, Popo the Xolo helps kids understand how loved ones live on in our memories. An unforgettable picture book that's grounded in the importance of the 9 levels of Mictlān and the role Xolo (show-low) dogs play in Indigenous cultural understandings of present-day Mexico.



¡Edición en español! Un libro ilustrado emocionalmente conmovedor y visualmente estimulante sobre la vida, la muerte y la celebración de aquellos a quienes amamos. Ideal para los niños con preguntas importantes, que están lidiando con el duelo y experimentando una pérdida.

Inspirado por los 9 niveles de Mictlān y el rol que desempeñan los perros Xolo al guiar a quienes han fallecido, según las creencias culturales indígenas del México actual.

Nana está rodeada de su familia y disfruta de la compañía de sus muchos nietos. También está cansada y siente dolor. Pronto ella comienza su transición de la vida a la muerte, acompañada por su querido perro Xolo, Popo.

Juntos emprenden el viaje de Nana y, al final de la historia, la familia de Nana celebra los muchos años de amor que compartieron con ella. Y ahora, un nieto cuidará de Popo.

Hermosamente narrado por la autora debutante Paloma Angelina Lopez y con una impresionante mezcla de arte colorido por el ilustrador mexicano Abraham Matias, Popo el Xolo ayuda a los niños a comprender cómo los seres queridos viven en nuestros recuerdos. Un libro ilustrado inolvidable basado en los 9 niveles de Mictlān y el rol que desempeñan los perros Xolo (sho-lo) en las creencias culturales indígenas del México actual.


REVIEW

Lopez deftly lands on a bittersweet note, a message of love that transcends life and death. Gently magnificent. —Kirkus Reviews, starred review

Matias’ captivating illustrations, executed in cut paper and digital media, illuminate the story with rich jewel-toned colors and texture. Details such as Nana’s and Popo’s bony reflections in water offer interesting visual cues, while Spanish words throughout the text add cultural authenticity and warmth. This is a triumphant, moving reflection on death that pays meaningful homage to Indigenous Mexican culture. An author’s note about Mictlān, xoloitzcuintle dogs, and grief and a Spanish glossary conclude. Also available in a Spanish edition, Popo el Xolo. —Booklist, starred review

Matias’s jewel-toned cut-paper and wash-style digital illustrations leap off the page with a vivid light-and-shadow dimensionality suggestive of puppetry, making for a luminous tale of comfort. Back matter discusses the Nine Levels of Mictlān and more. —Publishers Weekly, starred review

This picture book focusing on the passing of a loved one and their journey through Mictlān is an excellent addition to children’s picture book collections, and a solid choice to discuss loss and to share on Day of the Dead. —School Library Journal


Paloma Angelina Lopez is a mother, student, and creative living in Tahlequah, Oklahoma. She is a dual citizen of the United States and Mexico. Her maternal grandmother’s family comes from Jalisco and Guanajuato and her father’s family is from Zacatecas and Sinaloa. Paloma married into a Cherokee family that is heavily involved in language and culture, and she works as a full-time Cherokee language learner. She hopes to become an educator and author in the Cherokee language. This is her debut children’s book. She hopes to publish more children’s literature inspired by her culture and upbringing.

Abraham Matias is an illustrator, designer, and filmmaker based in Los Angeles. He spent his childhood in Mexico making his own toys and miniature sets and drawing stories. Abraham works with paper-cut puppets staged and photographed inside a toy theater to create 3D, handcrafted, dreamlike scenes. https://abrahammatias.com






Tuesday, March 17, 2026

Huizache Movin' On

The many lives of Huizache

Michael Sedano

I’d just graduated from working for a living when Abel Salas asked if I knew Huizache? I did not. I learn from Abel Huizache grew as the brainchild of author Dagoberto Gilb. Him I knew, been following his writing since stumbling across a collection of stories, Winners On the Pass Line. Abel invites me to a kick-ass party celebrating the launch of the current issue.


There was pedo in Victoria, Tejas. As a result, Huizache moves to northern California where the Huizache tree doesn’t grow. Ni modo. Davis becomes the new centro for Huizache with a new editorial team. How impressive, I think, that UC Davis’ Office for DEI, C/S Depto, and other University organizations, support the literary arts magazine founded in 2011 by Dagoberto Gilb

Ya, quíen sabe porque, maybe DEI got axed at UCDavis, maybe “budget constraints”, maybe Texas wanted Huizache back? At any rate, Huizache has a new home at UTEP, El Paso Texas and a new editorial board.

There’s no geographical limit to excellence. Huizache established itself as the definitive monitor of contemporary Chicano writing, no matter where it’s housed. 

Huizache 12, Fall 2025, is on the market now, with an engaging array of graphics, essays, stories, and poetry. Plus, there’s a bonus volume, A Central American Folio: Part 1 and Part 2.

That bonus volume offers a bilingual treat. It’s one of those dual books, turn it over and it’s a different book with its own contents. Part 1 is Curated by Francisco Aragón, translations by León Salvatierra. Salvatierra curates and translates Part 2. It’s a collection of work by writers from America Central who live in the San Francisco Bay region.

H12 arrives as the swansong of Huizache’s UC tenure. The issue publishes people you know from extensive publication, like Lorraine M. López, Yxta Maya Murray ,Rigoberto Gonzáles, and Sesshu Foster, and writers who’ve published in journals with limited circulation whom readers are “discovering” in H12. 

There are six “special portfolio” sections that feature drawings and some hybrid text-drawing collections. One portfolio, “Dacaments” by Fidencio Fifield-Perez, is printed in color on polished paper. Authors obviously enjoy seeing their work in a prestige journal, I wonder if artists can be as pleased, seeing their continuous tone quality reduced to 120 lines per inch and puro b&w?

Readers will appreciate some gems in the overall high-quality work. Rigoberto Gonzáles’ “Dead You.” Dead you thinks about, remembers, your father. The story revolves around a child’s love for a father who enjoys eating like its his last meal, a father who had to retire from the fields owing to Parkinson’s Disease. There’s a gulf between father and this son, the one in his grave. Distance means little, when you’re dead and you realize “the greatest gift your father ever gave you was you.”

David Dominguez tugs at my heartstrings with a poem titled after a sweet childhood memory around a wood-burning stove, a voice singing that title, “Amorcito Corazón.” The poem is an ode to middle-class domesticity, turned completely inward. I like to compare the feeling of the piece to memories of early Chicano poetry, chest-thumping insistence that we exist, or the quiet calm of a Jefita making early-morning tortillas. Como hemos cambiados, and that’s a good thing.

Eric Alan Ponce’s Mc Nífica relates a companionship between primos separated by language and cultura. The primo from Chile is challenged by English, the storyteller challenged by Spanish. Out of their confluences over a comida chatarra hamburger—in Chile the fancy McDonald’s burger is the title—a star-crossed lovers tale emerges, quondam lovers electrocuted by a defective machine. It doesn’t have to be this way, but it is.

Huizache comes from a rich history of Chicana Chicano publishing. El Grito from Quinto Sol set the standard, the Chicana Chicano, or, today, might be called Chicanx Canon. That standard got zapped by Revista Chicana-Riqueña that emerged to challenge the canon, pointing out that Latina Latino--“Latinx” per Huizache’s masthead—literature extends beyond the borders of Berkeley hasta to Central Ameríca and Puerto Rico. Huizache XII proves the point. Así somos.

There’s now an open question. Will Huizache 13 be like Huizaches one through twelve, or does the western edge of Texas produce a different eye? A ver.

Order the full set or subscribe to the biannual publication at this link: https://huizachemag.org/


Sunday, March 15, 2026

“El viejo guerrero” by Xánath Caraza

“El viejo guerrero” by Xánath Caraza

 

Xanath Caraza

Hoy comparto “El viejo guerrero” de mi poemario Labios de piedra / Lips of Stone. La traducción al inglés es de Sandra Kingery. Las fotos son de mi autoría.  Ojalá lo disfruten. 

 

El viejo guerrero

 

Para la cabeza colosal número 4 de La Venta, Tabasco, México

 

Leo poesía junto a ti.

Para ti es esta voz.

 

Líquido encuentro a través del tiempo.

Viejo guerrero, escucha mi ofrenda.

 

La jungla nos rodea y las aves

anuncian mi lectura.

 

Tu casco grabado con el águila.

La que ve todo en la jungla olmeca.

 

Alma de piedra.

Jade por corazón.

 

Tus labios entreabiertos

dejan ir la divinidad.

 

Tu mirada: nobleza olmeca,

posa los ojos en mis letras.

 

Leo para ti, en este ambiente

húmedo, sin interrupción.

 

Xanath Caraza

The Old Warrior

 

For Colossal Head Number 4 from la Venta, Tabasco, Mexico

 

I read poetry beside you.

This voice, it is for you.

 

Liquid encounter through time.

Old Warrior, hear my offering.

 

The jungle surrounds us and the birds

announce my reading.

 

Your helmet engraved with the eagle

which sees it all in the Olmec jungle.

 

Soul of stone.

Heart of jade.

 

Your half-open lips

let divinity depart.

 

Your gaze: Olmec nobility,

rest your eyes upon my words.

 

I read for you, in this damp

environment, without interruption.

 

Xanath Caraza

 “El viejo guerrero / The Old Warrior” están incluidos en el poemario Labios de piedra / Lips of Stone (2021). Traducido al inglés por Sandra Kingery.

 

Xanath Caraza

In 2023 Labios de Piedra / Lips of Stone won Honorable Mention for Best Children's & Youth Poetry Book for the International Latino Book Awards.

 

 

 

Friday, March 13, 2026

A Week of Civic Engagement in Santa Barbara

 

 Melinda Palacio  

Kristen Sneddon 

 

When my neighbor, Kristen Sneddon, invited me to read poetry at her Mayoral Campaign Kick-off, I did not hesitate to say Yes. I remember when she was canvassing the neighborhood during her campaign for City Council in 2017. At the time, I didn’t know that she lived next door to my dog’s favorite persimmon tree. Since then, I’ve been impressed by her compassion and leadership. As a geophysicist and city council member, Kristen is a profound listener who cares about our city and the global environment. When she realized she needed a bigger venue for all who had rsvp’d for her kick-off party, she was happy Laura Capps offered her beautiful home.


Two weeks ago, one of my biggest concerns was the continued bombardment of ICE raids on our town and country. Today, thoughts of war occupy my waking hours, as well as ICE and how this is impacting our community and country. As a friend and representative of our city, Kristen has expressed how much she appreciates my poems on immigration and ICE. I brought four poems, but read three. ICE Detention Tornillo, Texas was a poem I wrote in 2017 during Trump’s first term. Friday Morning Before Work in Carpinteria is from last year and Canopy over Milpas and Alphonse is a poem written this year in response to the Fair Trade Exhibit and Patricia Clarke’s photograph of La Super Rica. Even in this ekphrastic poem, I had ICE on my mind. You can read the poem in last month’s column. As I waited to read my poems and took in the diverse crowd in support of Sneddon for Mayor of Santa Barbara, I was impressed by the strong feeling of community. Another highlight of the event was hearing Kristen’s family band entertain the crowd before the speakers. Although they are not usually a band, her daughter, Elsie Sneddon on drums, and son, Harry Sneddon on bass, joined their friend Lucien Dempsey on keys, and formed a very impressive and impromptu house band.


Hannah-Beth Jackson offered the closing remarks and reminded everyone of Santa Barbara’s strong history of electing female mayors. It’s always an honor for me to contribute poetry at important community events. Last Sunday, I read some poems honoring my mother and grandmother at Carpinteria’s International Women’s Day Festival, held at the Carpinteria Children’s Project. Geri Ann Carty who was recognized as Carpinterian of the Year in 2022 was one of the festival’s organizers. The day included a variety of women-owned and women-centered organizations, as well as performances by local singers and dancers, a fun start to Women’s History Month. 

 

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

Thursday, March 12, 2026

Many Colors on the American Palette

                                                                                     
My Mexican grandmother's immigration photo, circa 1918

     I was fifteen years old, visiting my grandmother, when “they” killed President John F. Kennedy in Dallas, Texas. Like most Americans, I grieved, not only because he was president but also because he was an Irish Catholic, and the Irish nuns and brothers who educated me talked about him in damn-near saintly language, same as my Catholic Mexican-Democrat working-class family who revered Kennedy. My dad was a “union man,” who told me he’d have no healthcare, pension, or vacation days without the AFL-CIO and support of the Democrats. 
     The son of Mexican immigrants, my dad was one of the first natural born U.S. citizen in his family. My guess is none of us really understood the politics of the day; although, not much has changed, but one thing, when JFK died, the entire country grieved—as one. Then we went back to the old political game. The Republicans cut taxes for the rich, while Democrats spent them on social programs for the poor, and the working-class got the shaft, or so that's how it was framed. Sound familiar? And that was sixty-two years ago. Talk about “same tired old playbook.” 
     What do you expect when there's only a two-party system, or the semblance of a “two” party system? The progressive party has morphed into a “big-tent” party straddling the “middle,” while, according to pundits, the conservative party has been hijacked by a “cult-like” figure who refuses to go along with the “program” because he didn’t win the last election, and his party, or those remaining, follow him to the fringes, his main gripe: immigrants without legal documentation are murderers and rapists and running rampant, destroying our country. He said he heard it was so bad that in Springfield, Ohio, immigrants “are eating the dogs and cats.” 
     I, and many Americans, can deal with an immigrant-bashing political campaign strategy. It’s been going on for years, and there is an argument to be made, but objective scholarly studies show immigrants, illegal or otherwise, work hard, pay taxes, and commit fewer crimes than most citizens, and nobody can prove they're eating cats and dogs. 
     I entered the military in 1966, and I realized America, culturally, was, much broader than I was led to believe in my sheltered corner of Los Angeles, an ethnically integrated neighborhood sandwiched between Santa Monica and Westwood. It really hit me when I arrived in Vietnam and saw how many different types of soldiers saw themselves as Americans, regardless of their ethnicity or language. 
     I made friends with guys from everywhere, places I’d never heard of, like the Virgin Islands, home to my buddy Ronny La Beet, a black Virgin Islander who spoke with a French accent. Jerry Lugo was a Puerto Rican New Yorker with a Bronx accent. There was Jack Brun, a homespun Arkansan, a kind-hearted kid who played the Gomer Pyle role but was smarter than a whip. Thomas Simmons, a bible-reading black kid from Alabama, was quiet and always respectful, sometimes embarrassed by the urban Black guys who called him, "Country." One of my closest friends was Joe Bel-Air, a handsome blonde hair, blued eyed kid from Sante Fe Springs, east of Downtown L.A. Jonathan Bolan, a high-I.Q. hippie, always with a book in hand, hailed from Indio, California, and Robert Elliot who scolded us Southern Californians for calling his hometown “Frisco” instead of San Francisco. 
     There was Alex Mayo, a reservation Indian from Wyoming, and Montana cowboy, Big Tom Waylon, and West Virginia and Pennsylvania coal miners’-kids, Wayne Podlesnik and Nick Samuels. Of course, there were many Mexicans, a bunch from all over L.A. and small-town boys from the San Joaquin Valley. The guys from Texas, especially the Rio Grande Valley, spoke Spanish much better than English. Talk about a multi-cultural America. 
     Nobody questioned the legal status of kids from Mexico who came across the border to volunteer. Hell, Puerto Rico wasn’t even a state, and the government lowered the language requirement to draft them. Filipinos filled the ranks, mainly among the NCO’s who’d fought in WWII. Guys who came from Guam and the Dominican Republic shed their blood when many Mainland Americans refused to go. 
     It's annoying when I hear people say the U.S. is a “White,” Christian country. Though they wouldn't admit it, a few founding fathers, like Thomas Jefferson and Ben Franklin saw themselves more as agnostics than believers in Christ. Muslims, Jews, Hindus, Confusions, agnostics, and atheists made their home here and served in the military going back to the Revolutionary War. In the 1700's, ships entering Boston and New York Harbors brought in traders from around the world, including Russians, Syrians, Africans, and Chinese. In Herman Melville’s 1851 novel Moby Dick, the “Pequod” carried sailors from around the world, some who could barely communicate in English but worked as a team on board the whaling vessel. 
     This multi-ethnic, multi-religious representation of the real America isn’t an anomaly. When I talked to my dad about the different guys I met in the army, kind of jokingly, he said it was the same during his time in the service. He said he met guys from everywhere, and of all colors and ethnicities, a polyglot of languages. Today, I assume, its ditto for the men and women serving around the world. 
     It’s no secret the CIA has always recruited from university foreign language, literature, psychology, and anthropology departments, men and women who studied folklore and culture. The spy agency sought naturalized citizens who came from other countries and understood the customs of others. How can we spy on foreign countries if our agents can’t blend in and speak the languages or understand cultures abroad? John Steinbeck wrote of those who came here from other lands, "...not the best but the worst. The hungry are ambitious...the hurt and hunted carry the dream of justice, the driven most likely to make a stand...This was our strength and our foundation." (America and Americans
     This is the real America, but you’d never know it listening to politicians who rail about the “browning of American” and the poisoning of our culture, but what culture is that? We've never had one culture, and we’re not browning as a nation. We’ve always been multi-colored, from the time Dutch and English pilgrims meandered about the shores of Plymouth, trading with the native people, who numbered in the hundreds of thousands, if not millions. Germans, seen as dirty and crude, started their own settlement German Town, Pennsylvania in 1683. There were French, Spanish, Africans, mulattos, blacks, and Seminoles in Louisiana and La Florida.
     If not for the Iroquois Confederacy, the White strangers from different shores would not have lasted a winter here. In a 1784 essay titled, “Savages, We Call Them,” Benjamin Franklin, "Clearly [did] not regard Native Americans as savages. The 'savages' are, in fact, as civilized or more civilized than Whites; it is the Whites who must rely on force, punishment, and prisons to enforce good behavior." Native people had none of these. They adhered to their customs and cultural practices of their people to survive.
     If you’ve never left your home or travelled the country, you wouldn’t really understand what Woody Guthrie meant when he sang, “This land is Your Land/ This land is my land/ From California to the New York Island.” The "your" is plural, and it intends to include the many and not the few.
     I’m not sure many homogenous locations remain in the country, “all one color,” or if they ever did. Africans and Indians have been part of the ethnic color pattern since the start. Even in Ohio Amish country, the locals mix with immigrants who have moved in to neighboring towns to do the work the locals won’t do, especially in agriculture. Drive down through the Rio Grande Valley and, though it's dominated by Mexicans, there are plenty of Irish, Germans, Poles, Syrians, and Chinese who have been there for generations. 
     Maybe on reservations, like Pine Ridge, South Dakota, you might find only Lakota, but they aren't isolated. Rapid City is close by and comes with residents of all colors and mixed cultures. In Alabama, Mississippi, and Tennessee, states whose towns were once nearly all black and white, times change, just like in parts of California’s Orange County, all Vietnamese, and L.A.’s Monterrey Park, Chinese, Koreans, and Latinos. Put them all together, that’s a lot of colors on the American palette. American culture, composed of so many ethnic styles and tastes, is the most copied by other cultures. I even heard kids bumping to the Texas Tornados in a small Peruvian town. Bad Bunny has already sold out shows in London. 
     That's why it's so distressing and disappointing to see ICE agents chasing down an old man with a leaf blower in his hand or waiting at construction sites or outside kids' schools. I see my Mexican grandparents and relatives in those folks, or, again, as Steinbeck, who wrote the screenplay to the movie Zapata, said, it's "What we in America found early and have apparently forgotten."
     The best artists take advantage of all colors on the palette, or as the Mexican folksong goes, "Y por eso los grandes amores de muchos colores me gustan a mi."

Wednesday, March 11, 2026

Tay naja nitajtaketzki achtu tik Nawat / ‌Mis primeras palabras en nahuat / My First Words in Nahuat‌


Written by Jorge Argueta

Illustrated by El Aleph Sánchez 

Nawat translation by Juan Valentín Ramírez García 

English Translation by Elizabeth Bell



*ASIN: B0FF1LG2RW

*Publisher: Groundwood Books

*Publication date: April 7, 2026

*Print length: 60 pages

*ISBN-10: 1773067818

*ISBN-13: 978-1773067810

*Reading age: 9 years and up


A collection of powerful poems, in Nahuat, Spanish and English, that celebrate Indigenous life and language despite efforts to eradicate them.

These poems are a moving and eloquent description of how great poet Jorge Argueta came to know the almost extinct language of his ancestors. The poems tell stories of Jorge’s life growing up in the Salvadoran village of Witzapan, where his own grandmother taught him his first words in Nahuat.

There are poems about the clay used to construct the village, the trees that grow in the countryside, the corn used to make tortillas and pupusas, and the Tepechapa River. Beautiful illustrations painted by Salvadoran artist El Aleph accompany each poem.

In the early 1930s, the government of El Salvador massacred many Nahuat people and banned them from speaking the language, attempting to eradicate their Indigenous identity. Despite the ban, village elders continued to keep the language and culture alive.

Today there are many efforts to reintroduce the Nahuat language in El Salvador. Nahuat readers can share in Jorge’s childhood world of Witzapan. So can we, whether in the original or through the Spanish and English translations of his poems.


Review

“A poet’s Nahua childhood engenders a halcyon homage through concise verses and inviting visuals.” ― Kirkus Reviews

“A must-purchase..., offering aspects of under-represented ­languages and cultures.” ― School Library Journal


JORGE ARGUETA, a Nahua from El Salvador and Poet Laureate Emeritus of San Mateo County, is a prize-winning author of more than twenty children’s books. His book Somos como las nubes / We Are Like the Clouds won the Lee Bennett Hopkins Poetry Award and was named to USBBY’s Outstanding International Books List, ALA Notable Children’s Books and the Cooperative Children’s Book Center Choices. Jorge is the founder of the International Children's Poetry Festival Manyula and the Library of Dreams, a non-profit organization that promotes literacy in El Salvador. Jorge divides his time between San Francisco, California, and El Salvador.

EL ALEPH SÁNCHEZ is a Salvadoran fine artist, a member of the Wixnamickcin artistic group (the ancestral Nahuat word for “companions”). His art has been exhibited around the world, often specifically to represent El Salvador. He illustrated the book Olita y Manyula: El gran cumpleaños / Olita and Manyula: The Big Birthday, written by Jorge Argueta, which was an International Latino Book Award honor book. El Aleph is a member of the Festival Internacional de Poesía Infantil Manyula.

JUAN VALENTÍN RAMÍREZ GARCÍA was born in Santo Domingo de Guzmán, El Salvador. He is a teacher who has taught Nahuat to middle school students and other teachers. He translated The Little Prince by Antoine Saint Exupéry into Nahuat in 2019. He is passionate about promoting the Nahuat language and hopes to see its importance recognized on a large scale.

ELIZABETH BELL lives in the Mission District of San Francisco, California. Her translations have appeared in the City Lights anthologies Light from a Nearby Window (Mexican poetry) and Island of My Hunger (Cuban poetry), among other publications. She translated the middle-grade novel in verse Caravan to the North by Jorge Argueta.





Tuesday, March 10, 2026

Here Are Women and Angel Wings

Weep And Adelante, Mujeres

Review: Thelma T. Reyna. The Heavens Weep for Us and other stories. Golden Foothills Press, 2009(link)

Michael Sedano

La Bloga-Tuesday is happy to observe Women’s History Month 2026 with this review of Thelma T. Reyna’s The Heavens Weep for Us and other stories. Twelve stories focus on women’s lives, what they see and think when a woman faces whatever situation time has placed her.

Reyna’s stories come rich with ironies, tragedy, horror, love, and genuine people. The author is a master of structure and coherence, seeming divagations pull right back into the heart of the matter, flashbacks enrich many narratives. Weeping doesn’t fix nor build anything, weeping is a condition that’s better left to heaven. Here on earth, women face, fix, and endure.

In “White Van,” a woman without a name imagines a shared moment of grace with an elderly neighbor and builds an imaginary relationship based on her expectation of seeing him in passing.

In the title story—only three pages--a pair of small caskets lie in an open grave. An unnamed mother, fleeing abuse, abandons her children to the abusive man to be beaten and burned to death.

“Little Box” a mother’s fanciful imagination leaves a residue of disappointed expectations and demoralized suspicion. It’s as if an imagined woman has come out of that box and into being, fulfilling one woman’s fantasy and ruining another woman’s happiness like a perverse Pandora’s box.

One of the collection’s memory stories is “Marry Me,” featuring two women.  Marta is a middle-age woman reinventing herself. Kika is an 80 year old widow who recognizes her husband of 54 years in young Diego and asks him to marry her. For Diego, it’s harassment. For Kika the resemblance is ongoing pain of losing him every time she asks. And she keeps asking.

“Comatose” features a woman in a coma. Reyna posits the deeply comforting theory that patients hear and comprehend their surroundings. A couple have a fight over his infidelity. Paula leaves in distress, has the accident. Robert fills with remorse, stays at his wife’s bedside, begging doctors for hope only to be told to pull the plug.

Santa Fe Santana is the collection’s most perplexing woman. At 23 she prowls places indiscriminately picking up men for sex. Her bedmate mocks her for being married and named Santa. Faith, her English name, acts out of disappointed expectations. She expected “the one,” a lifelong companion and instead her military husband volunteers for overseas assignment. She fills his two-year absence with strange men’s beds and revenge sex. Disappointment feeds resentment leading to Faith’s unfaithfulness.

“KeiKei & Ollie” introduces a thirty-something solitary woman and a lonely immigrant bachelor with unspoken yearnings for one another. Joe sees Amy as serious, serene, alert, and kind. Amy sees exotic and outside the sameness of her lifestyle. The title characters are Amy’s dog and cat. When the dog is dying, Joe and Amy make a connection. Out of weeping, Amy will allow herself to love Joe.

“Fooled” is a second memory story, this one of cruelty. Maggie lives in early stages of a dementia. She depends on family members for news of  her three children especially her favorite child, Cora. Family decides the woman doesn’t have the right to know Cora died, making tiresome excuses why Cora doesn’t call. As the woman crosses to the Other Side, three souls await Maggie’s transition.

 “Victim” recounts how a lie explodes into more lies with substantial harm to others. Maria is having a crummy day. Her academic future is shaky, she’s broken a nail and there’s blood, and a cop stops her. Maria is scared shitless of her low-achieving husband, Al. Thinking to avoid confrontation with the jerk, Maria lies about a shadowy man in the parking lot and by the end of the story her husband, surprisingly tender, comforts Maria and the relieved Maria magnifies the lie.

Two old friends reunion in a dusty Texas bar. Manuel looks for his friend, Juana Macho, the story’s title character, as he travels around dusty Texas towns. Manuel is guilty that he looked with obvious revulsion at Juana’s fire-scarred body. Juana doesn’t like to see her body, breastless, stiff scar tissue. She flees Manuel’s approaches and he’s determined to make amends. Reyna offers these characters the possibility of a happy end.

Thelma Reyna displays masterful control of point of view in “Illusions,” following thoughts of cosmeticians Millie, Beth, Tina, and customers the blonde, and Johnnie.

The final story of the collection, “Saving Up,” is the book’s final memory story. The title refers to an unnamed woman’s memories of a lifetime’s crucial moments, good things dampened by painful ones for this character. She counts them: Intense sexual episodes. The birth of the boy who burned. Building their house by hand. The fire, her husband’s near death, the boy’s death. Memory is this woman’s way of compartmentalizing joy and neutralizing pain.

Readers will enjoy Thelma T. Reyna’s descriptive elegance, mot juste vocabulary, and story development. These thumbnail sketches only scratch the surface of Reyna’s developed situations, keenly felt moments, and insight into her characters.

The omniscient narrator doesn’t take sides nor pick at a character’s choices and motives. They just are and do. Reyna leaves it to her readers to decipher the exigencies moving her women. For example, is Faith unfaithful simply out of revenge, or is she hedonistic-- or nihilistic-- in her sexual pursuit of a substitute for “the one”? Are her expectations fair and reasonable? Does imagination call a spirit out of a small box, give it substance to linger and insinuate itself into other lives? 

I personally endorse Reyna’s proposition in “Comatose.” My Barbara was always present in the deepest days of living with Alzheimer’s Dementia when aphasia robbed her of comprehensible communication, then she stopped talking at all. Barbara was always there.

What those people do to Maggie in her early dementia is wrong and selfish, and a little bit evil and I wish they hadn't intruded into my space. 

Maggie’s transition rings true, they await us pa’lla.


On the Snow White Wings of A Colibrí

Last week's La Bloga-Tuesday (link) shared my ongoing photographic project I call Things With Wings. I photograph birds and insects, concentrating on hummingbirds and butterflies. This photographic project ordinarily engages miles of stalking things with wings, especially in the air. When I moved into a new home, ending my Eaton Fire refugee status, it came with a wondrous hedge colibríes frequent.

I seek the perfect photograph of a bird in the air, wings rampant, eyes and beak and feathers sharply focused. Recently I experimented with movement. That is, hummingbirds with wings rampant but instead of wings frozen in mid-motion, the foto shows the wings in luxurious blur, moving, with the body of the birds más o menos stationary and in good detailed focus.

You probably can get these fotos with your camera phone, but I have no idea how. I use a Canon EOS 6D Mark II with a Canon 300mm lens. Usually I handhold the lens but for these exposures of moving light I mount the camera and lens on a tripod and pan and tilt with a steady base. Setting the lens to f32, even at ISO5000, slows down the shutter to 1/100, 1/125, and 1/160. With the camera set on aperture, the device adjusts the shutter speed based on the ambient light.

Click an image and your browser should treat you to a larger size image.

Sadly, camera shake plays havoc with feather focus but those wings, mira nomás!