La Bloga: Guest Reviewer Diosa Xochiquetzalcóatl: Once Upon A Time in Occupied Aztlán

Tuesday, May 26, 2026

Guest Reviewer Diosa Xochiquetzalcóatl: Once Upon A Time in Occupied Aztlán

Once Upon a Time in Occupied Aztlán

A Book Review by Diosa Xochiquetzalcóatl

In this epic hero’s journey, Once Upon a Time in Occupied Aztlán, the narrator appears to be one of the older male sons in this familial story. Beginning with chapter ce, uno, one, the narrator chronicles his parents' migration to the “migrant border crossing/that crossed us… en el otro lado.”

From working hard to make ends meet to acclimating to a new kind of life, the narrator
soon invites us to his sister’s quinceañera, donde hay “puro pari” until the night ends
with him being taken away to “la pinta.” And while “the prodigal son” is facing his dark
soul of the night in prison, his younger siblings are discovering who they are at their
institution of higher education.

In the final chapter, chicome, siete, seven, all of the family’s heroes and heroines make their return on the most iconic and symbolic of days—Dia de los Muertos, a night when the ancestors return as well.

At the very beginning of each chapter, elindiocopyright1985 poses a very simple, yet poignant question, “what they know about us?” This is a question that, in the current political climate, still elicits the same old hauntingly historical response, which is exactly why Once Upon a Time in Occupied
Aztlán comes to us at the perfect time.

Once Upon a Time in Occupied Aztlán grants new generations the opportunity to see Raza not just through this particular family’s lens; the author takes us on a trip through the conundrum of the Chicana/Chicano experience just a few years after the Chicano Movement in the 1970’s.

The inclusion of specific songs will take you back to a time when Latin Freestyle and Quebraditas were all the rage. Yet even amidst this era, oldies and cumbias have always been a time-honored tradition in our culture. In chapter nawi, kuatro, four—the quinceañera scene, elindiocopyright1985 does a spectacular job of mixing and scratching these musical pieces together like a literary DJ, making you want to dance in your seat.

Besides the musical enthrallments and what seems like the never-ending house
parties from back in the day, elindiocopyright1985’s inclusion of significant historical
tidbits in chapter chicuace, seis, six, are pivotal in understanding how and when many
of us Chicanas and Chicanos actually learned our real history through MEChA,
Chicano/a, and Native American studies at colleges and universities. In chapter chicuace, seis, six, he encourages our younger generations to pursue higher education while reminding us all

of the importance of ethnic studies for “without the brightness of/wisdom/we all fall to the
dimming fate of/ignorance.”

In chapter macuilli, sinko, five, elindiocopyright1985’s use of repetition draws a
dagger through the heart as the narrator recalls the travesty of being locked up in “the
prison industrial ungodly complex.” As he makes a collect call home, he flashes back,
remembering all of the gruesome physical, mental, and emotional details of prison as
the phone operator continuously interrupts with, “this call and your telephone number
will be monitored and recorded.”

There is a distinct characteristic worth noting and clarifying in this book: the
author’s use of unconventional vernacular and spelling. This is all done purposefully!

elindiocopyright1985 does an exceptional job of demonstrating cultural resilience and
resistance through his use of a combined Chicana/o Caló, a unique form of
communication that combines English, Spanish, and Nahuatl, with a mix of
post-Chicano/a Movement bilingual vernacular.

Yet the detail isn’t found in the simple use of this combined style of communication (which is not so simple in any way), but in its contemporary, non-traditional, phonetic spelling. Be forewarned, you may need the help of a dictionary or, better yet, an elder.

So, “what they know about us?” is a question I don’t think anyone can ever truly
answer, as Raza is forever evolving and morphing while still managing to preserve and
persevere—forever resistant, forever resilient! And Once Upon a Time in Occupied
Aztlán encapsulates this ebb and flow perfectly.

Once Upon a Time in Occupied Aztlán is elindiocopyright1985’s debut book. This
book was published on April 1, 2026, by the newly established Maiz Poppin’ Press (link).

Diosa Xochiquetzacóatl is a multilingual and multidimensional poetiza with a Bachelor’s in English and a Master's in Cross-Cultural Teaching. She has spent a lifetime as an educator working with English Learners and immigrants from all walks of life. Diosa X not only defends women’s rights, but all human beings, particularly those historically excluded, and places a strong emphasis on people’s linguistic rights. She currently works as an ESL teacher, serves as a board member for Circulo de poetas and Writers, forms part of Inlandia’s Cultura Without Borders committee, teaches as a CalPoet for California Poets in Schools, and is a member of Women Who Submit and the International Poetry Troupe, Tesoro. This slam winner and Pushcart nominee is the author of seven full-length poetry collections and one chapbook, with several more books on the horizon. Feel free to visit www.diosax.net to learn more.

SPARC Poetry Reading Fotos, Ése: Features and Open Mic

Nearly every month--holidays excluded--Aaron Hernandez and the South Pasadena Arts Council holds a poetry reading in the city's dedicated arts building, The SPARC Centre Gallery located at 1000 Fremont Avenue, South Pasadena, CA 91030. Ample parking behind the building, free.

May 2026 sees a pair of distinctive voices, Beth Paulson and Sean Hill. Joining Beth and Sean are a number of poets sharing during Open Mic. The day's readers share a rich variety of work, from Paulson's lyrical lines to Hill's hip-hop beats, and open mic'rs belly-crunching humor, mystical chants, and topical verse.