Below you'll find my Chicano's
note to publishers, editors and agents, as well as details on my Paolo Bacigalupi questions I
presented on the panels: 1. Magic Realism, 2. Chicano Science Fiction, or 3. SF/F as Covert Commentary on Current
Social Issues. If you already read the first installment, you can scroll down to the section El
Nuevo, for new material.
I'll complete coverage begun last week of the
LoneStarCon3 (WorldCon 2013 in San Anto)
I attended--one of three largest science-fiction/fantasy (SF/F) conventions (cons) in the world.
These words are intended for Anglos who want to know more about latinos who get so
"sensitive and uppity" about publishing. From knowledge can come
affinity.
They also provides
non-SF/F latino readers and writers with material for advancing the art. Esas y eses, we need mucho más of it, to educate others.
Links and information
verify points I raised, or books and authors mentioned at the Con. They come
from notes and my collecting the work of others. Sections begin with panel
descriptions, taken from the Con program.
The previous installment featured latino novelists explaining difficulties they met in getting published;
Black novelist Samuel Delany's famous essay Racism and Science Fiction; Sherman Alexie--“I know a
lot more about being white than [whites] know about being Indian;” and his frackin' funny message: "White folks, that's applicable to Chicanos; and
latino Junot Diaz: "The problem isn't in labeling writers by their
color or their ethnic group; the problem is that one group organizes things so
that everyone else gets these labels but not it. No, not it."
El Nuevo
Update on latino exclusion from SF/F: The impressive booklet, One
Hundred Years Hence: science fiction and fantasy at Texas A&M (a school
three hours from the Con location), was distributed at the Con. It "highlights the treasures of [A&M's] Sci-Fi and
Fantasy Research Collection and touches on authors, history, themes, and the unexpected connections that exist in the
science fiction world." [my emphasis]
Their library contains one of the "top
ten collections of science fiction and fantasy in the United States."
Note that the "Diversity
in SciFi" section (p. 40) features, yes, black authors, but no latinos, assumedly a reflection of their
collection. [Boys and girls, how 'bout diversifying your collection?] In their
"Star Trek" section (p.70), there's no mention of
Jesus Treviño (more on him below).
Update, Not
all Con females happy, either: Check here
for some of the hullabaloo--as
they say in Tex.-- on the panel Yellow Roses: Texas Female Authors and the Issues They Face.
Wish I hadn't missed that!
 |
| Manuel Ramos |
Update, anything goes: Manuel Ramos proposes that a new article "adds another dimension to
the cultural appropriation discussion, an Asian American writing about the
American South and critics questioning the authenticity. The article makes
a good point--judge fiction on the basis of what constitutes good fiction, not
on what race or ethnicity the writer happens to be." While Ramos and I
haven't hashed this out, you can consider decide for yourself.
Panel – Magic
Realism, Science Fiction, Fantasy. "How can you use these terms to describe the varied work of Angélica
Gorodischer, Gabriel Garcia Marquez, and Laura Esquivel?" Moderated by Darlene Marshall.
I possibly startled the audience by proposing that at
times Anglos seem to believe magic realism is something inherent to Chicanos or
latinos, like the old stereotype that black people have natural rhythm. And I
presented this as a definition of magic realism, attributed to Gabriel Garcia
Marquez: "I aimed to destroy the line of demarcation that separates what seems real from what seems fantastic." [my emphasis]
Appropriate for the panel's opening blessing, I read
the opening to G.G. Marquez's 100 Years
of Solitude:
"Many years later, as he faced the firing squad,
General Aureliano Buendia was to remember that distant afternoon when his
father took him to discover ice.
At that time Macondo was a village of twenty adobe houses, built on the
bank of a river of clear water that ran along a bed of polished stones, which
were white and enormous, like prehistoric eggs. The world was so recent that
many things lacked names, and in order to indicate them it was necessary to
point."
There was
not time to read the original:
"Muchos años después, frente al pelotón de fusilamiento, el coronel
Aureliano Buendía había de recordar aquella tarde remota en que su padre lo
llevó a conocer el hielo. Macondo era entonces una aldea de veinte casas de
barro y cañabrava construidas a la orilla de un río de aguas diáfanas que se precipitaban
por un lecho de piedras pulidas, blancas y enormes como huevos prehistóricos.
El mundo era tan reciente, que muchas cosas carecían de nombre, y para
mencionarlas había que señalarlas con el dedo."
I shared this from NPR critic Marcela Valdesm:
"I don't think magical realism is a major reference for writers in Latin
America anymore. I think people continue to use it as a frame of reference
because we still haven't seen a novel in
the U.S. that has had the same impact as Gabriel García Márquez's One Hundred
Years of Solitude." [My emphasis. Okay, Chicanos--you want a
challenge?] The article included: "Magic realism has become kitschy, a
commodity," from the scholar Ilan Stavans.
My one contribution that some others seemed pleased
with was an observation that, using Marquez's description, we might realize
that much of the time, we are surrounded
by the thriving, true Magic Realists. Creatures who live in a world where
sometimes no line of demarcation exists between reality and fantasy. Children, mostly under the age of six. Hey, think about it.
Other works mentioned included Alejandro Morales' The Brick People (1988) and his
combo-SF-magic realism work Rag Doll
Plagues (1991). We certainly missed the participation of John Phillip Santos (Places left unfinished at the
time of creation) wasn't able to attend.
Panel – Chicano Science
Fiction. "Is there a subgenre of
Chicano-authored SF literature? Why or why not? How has the Chicano protagonist
been portrayed in mainstream SF--archetypes or stereotypes? Will there come a
Golden Age of Chicano SF? Our panelists discuss the evolution and current
landscape of Chicano SF authors." Moderator Ben Olguin.
I proposed
we should not think that Chicano sci-fi is latino sci-fi, such as from Junot
Diaz et al; cultural differences can be significant. How different? Here's Ernest
Hogan's goes as far as to say this about what it means to be a Chicano: "Chicanismo is a sci-fi state of being."
And here's the link to my three-part series, "Spic vs spec - Chicanos/latinos & sci-fi lit"
from last summer.
For the Chicano sci-fi
subgenre question, the week before the Con I did a Wikipedia search for "Chicano sci-fi" and turned up zero. Googling
gave me my novel and those of fellow Bloguista Ernest Hogan. The New Yorker Sci-fi issue this year
featured Junot Diaz, but no Chicanos. At least in novels, this subgenre is thin
and our Golden Age is not evident.
I believe
some Chicano spec authors have avoided Chicano protagonists, for fear of the
"not marketable" rejection from U.S. publishers and agents. My
response was to parody a Chicano novel that had no meaningful characters in its
Texas story, by injecting Chicano characters into that scenario. You can read
that in the chapter Guillermo's in The Closet of Discarded Dreams.
My
tentative list of the Chicano SciFi subgenre (traditionally
published books):
1922 Campos de Fuego, breve narración de una expedición a la región volcánia de
"El Pinacate" by Sonora Gumersindo Esquer. "A Mexican Jules
Verne." This came out after the Border got put up, but this bloguista still claims Esquer as a
precursor.
1975
Los Pachucos Y La
Flying Saucer, a short story by Reyes Cárdenas,
first published in Caracol magazine. "A wild
romp of the kind of joyous mayhem that happens when you plug sci-fi into a
different culture."
1976
Victuum by Isabella Rios,
where psychic development epitomizes with the encounter
of an outer-planetary being. O.O.P., expensive if you can find it.
1984
Afro-6 by Hank Lopez. According to his NYTimes obit, Lopez was "born in
Denver of parents who had emigrated from Mexico." A futuristic thriller
about a Black, armed take-over of Manhattan. [I don't know why the copyright
also includes Harry Baron, though he's not listed as co-author.]
1990
Cortez on Jupiter by Ernest Hogan (of mexicano parentage), which was a Ben Bova Presents publication from Tor Books. "Protagonist
Pablo Cortez uses freefall grafitti art--splatterpainting--to communicate with
Jupiter's gaseous forms of life."
1992
High AzteCH, also by Ernest Hogan. Renegade Chicano
cartoonist Zapata creates a virus capable of infecting
human minds with religion.
1995
The Fabulous Sinkhole by Jesus Treviño, Film/TV Director/Writer
(Prison Break, Resurrection Blvd. Star
Trek Voyager, Babylon Five, Deep Space Nine). "Stories into magic
realism: spunky teen Yoli Mendez performs quadratic equations in
her head."
2000 Places left unfinished at the
time of creation by John Phillip
Santos. "A girl sees a dying soul leave
its body; dream fragments, family remembrances and Chicano mythology reach back
into time and place; a rich, magical view of Mexican-American culture."
2001
Smoking Mirror Blues also by Ernest Hogan. Tezcatlipoca (the Mirror that Smokes), warrior/wizard god of the
Aztecs. Western Civilization thought it wiped him out centuries ago. He's back.
 |
| Writer/Director Jesus Treviño |
2005
The Skyscraper that Flew, also by Jesus
Treviño (Arte Público Press). An enormous crystal skyscraper
mysteriously appears in the Arroyo Grande's baseball field. Then the stories
begin.
2006
Gil's All Fright Diner, A. Lee
Martinez, born in El Paso. He has other books, but from my understanding,
considers neither his books nor himself latino. [Disqualified from list?]
2009 Lunar
Braceros by Rosaura Sanchez, Beatrice Pita and Mario A. Chacon. Not yet on
this author's "recommended list."
2012 The Closet of Discarded Dreams by Rudy Ch. Garcia. A
Chicano alternate-world fantasy. With a Chicano protagonist. Honorable Mention,
SF/F category, 2012-13 International Latino Book Awards.
Disqualified from this list: The Outlander (1991) novels,
called “the smartest historical sci-fi adventure-romance story written by a
science Ph.D. Author Diana Gabaldon calls herself "an American." She
says her name is not pronounced Spanish; instead go with: “GAA-bull-dohn”—rhymes
with “stone.” Don't label her Hispanic, Chicana, Latina, etc. 19 million copies
sold, so maybe it doesn't matter.
Correction about The
Daedalus Incident (2013). Author Michael J. Martinez doesn't consider
himself Chicano/Latino; he was Texas-born by a father from Spain
(and mother of Lithuanian descent). I spoke with Martinez, who doesn't want any
misunderstandings, which means don't label his book latino.
Addendum:
If the list was extended to YA and children's, other authors, like Matt de la Peña, would be added, for
http://mattdelapena.com/books/ Infinity Ring: Curse of the Ancients (2013). "Sera sees the terrifying future, but can’t prevent the Cataclysm
while stranded thousands of years in the past. The only hope lies with the
ancient Maya, a mysterious people who claim to know a great deal about the
future."
Panel – Should SF/F be Covert
Commentary on Current Social Issues? "The science fiction genre has long provided a useful vehicle for
discussing controversial contemporary issues and has frequently offered
insightful social commentary on potential unanticipated future issues. The
presentation of issues that are troubling for an audience can be made more
palatable when they are explored in a future setting. Does current science
fiction continue to explore social and political issues? Should it?" Bradford Lyau, moderator.
The other two panelists were Liz Gorinsky of Tor
Books and Chris N. Brown, editor of Three
Messages and a Warning: Contemporary
Mexican Short Stories of the Fantastic.
Considering books like 1984
or Ernst Callenbach's Ecotopia. I believe the panel agreed that the question is rhetorical, if the writing/commentary is done well.
At the panel, I
mentioned MGM Studios' Samuel Goldwyn who told his producers, "If you want
to send a message, use Western Union." That American mentality and
sentiment carries over into American where some believe politics has no place
in Star Wars stories. But as one panelist noted:
"Of course SF is a vehicle for commentary--covert or otherwise--and among
the best works, is pretty overt! In light of the accelerating globalization of
our planet, there is so much to discuss."
 |
| Paolo Bacigalupi |
I quoted SF/YA author Paolo Bacigalupi, on his YA spec lit: "Right
now all of our myths are focused on how to become rich and successful—we tell
stories about ourselves as explorers, as adventurers, as extractors. So I’m
wondering about the creation of another
set of myths and models [my emphasis] where we start to get excited about
the possibility of being a sustainable species rather than a rapacious species.
"I think about writing for kids who can be inspired to develop in
different ways than their parents. One of the exciting things about science
fiction is that it’s been an inspirational literature for young people. When I
grew up it was all about rocket ships, and boy, you sure wanted to be a NASA
scientist when you’d read about rocket ships enough. And I wonder if there
isn’t some way to write science fiction that says, 'Boy, isn’t it cool to be a
wind engineer and develop wind turbines,' or 'Boy, isn’t it cool to really
study species and figure out ways for us to live inside of our niches.' ”
In the panel, I stated I admired his ideas, but had yet to see this development
through his first two YA novels. Liz Gorinsky explained that Paolo is working
on that. But to deepen the question for all those writing YA spec, new types of engineers aren't enough.
The legacy of early sci-fi in this country was also that technology could solve everything. Alien invasions or
asteroid impacts were manageable and the species could always come out of top,
if authors added a little individual heroism.
Our reality is that
technology is responsible for much of our horrors, up to termination of the
species. Global warming, fracking pollution of groundwater and soil, oil and
chemical spills, FrankenMonsanto seeds--and we could add much more to the
list--they're technology. Technology as THE savior is worse than mythic; it's
dystopic.
I believe Paolo's other
proposal is more powerful: "the creation
of another [different] set of myths and models where we start to get excited
about the possibility of being a sustainable species rather than a rapacious
species." It's here that his call to, "Give up on the adults! Give up
on the adults!" makes significant sense. When I put his two sentences
together, it results in this in my new YA MS: "She had learned that innocents suffered wherever
adults controlled the dreams. That too much power in mature hands doomed her kind and only the young might save it. By
taking it in their own hands."
The question I now wrestle
with through fiction is, how to equip, enable and encourage such in all youth
in spec lit. Without telling, showing, lecturing or instructing. And what
exactly are those myths and models? Can authors create a protagonist who is not The Leader/Savior, but still appeals to kids? How would such a story be plotted--as crowd-sourced, Occupy group-dynamics? But that's another discussion for another
time.
A Chicano's
note to publishers, editors and agents:
Before the Con I had been advised, "Anglos don't
like hearing about white privilege; they get defensive." Added to that, the words sales
and marketing came up so frequently in workshops, they felt like the
invisible, reeking elephant in the room. Or the absent, not-so-benign gods.
More seriously, in her YouTube, Why We Need More Latino Acquisition Editors, former Simon & Schuster editor Marcela Landres states, "We don't need more Latino authors. We
need more Latino acquisition editors." In the interview, she explains this
is the reason so many Latino books have flopped, and how you can become an
acquisition editor." Her words are also intended for the publishing
establishment.
What's my unsolicited, ignorable advice for publishers,
editors and agents (PE&As)? What might make unruly, maligned Chicano
authors happy? Let me clear the air first. Some form of affirmative action
wouldn't do it, although certain latinos might disagree. And PE&A who are
content with lily-white issues, journals, anthologies, imprints and series can
skip this section. Those who think that including Black or Asian authors in
their publications somehow accurately reflects today's America must've missed
the last decades of U.S. Census reports. Also, if you haven't noticed, Blacks
and Asian-Americans aren't stand-ins for Chicanos, mexicanos and latinos in
general. We are not all the same, just because we're all "colored."
That's a little colonial, so two
centuries ago.
Having a hard time getting submissions from Latinos, you say? Putting the historical reasons for this to the side,
if you're interested in latino submissions, send your Calls for Submissions to
us, to Latinopia.com, to NBCLatino.com, to SciFiLatino.com, to any number of
latino websites that are reaching aspiring authors. Whatever we get we
publicize and pass along to others.
 |
| Marcela Landres |
Marcela Landres
suggests diversify your staff. I say, diversify your circles of friends,
Facebooks, Twitters, etc. If we are the
Other to you, make that not so. Have your staff ignore an author's Spanish
surname and read or consider publishing the writing on its own merits. [I won't
go as far as to expect literary worth, not marketability, be the standard.] The
elephant still sits amongst us. [How many latino books or imprints (Rayo) have
failed because of grossly inadequate
publisher support and promotion is a question for later.]
Everyone expects
for today's PE&A establishment to mostly cease to exist in the new Internet
world of self-publishing. But the
untapped, ignored latino audience could give the print industry a few more
years of profits. If it seeks us and our authors out.
As I said last week, I
believe this dialogue can be conducted at a higher level, but not by "respecting"
wrong opinions, like prejudice, but by grounding ourselves in history, facts,
logic and persuasion.
Also consider Black authoress N.K Jemison--an insightful, intelligent voice for
progress and diversity--who advocates "blind submissions,"
i.e., submissions where publishing company readers wouldn't be able to tell the
ethnicity of authors; so prejudice wouldn't cloud the process. Read her entire Continuum GoH Speech.
 |
| David Brin |
Lastly,
here's extracts from a Comment to my post last week:
"I
well understand that your struggles and endeavors can be frustrating and I
admire your steady perseverance! I do not say this to minimize but to
encourage! Science fiction has always been at the edge, exploring and tweaking
assumptions. It is a source of solace to know that you WILL win. In some
fields, quality overcomes preconceptions. Alas, you never can predict how
efficiently it will happen and sometimes bad luck or fashion can be harsh
friction. But SF means well and it is one of those fields. Good luck and
persevere!
At the risk of burning a potential bridge that just
appeared across the spec-lit chasm, I'd disagree that I'm frustrated; writing
these posts and attending Cons invigorates me. But it's great to be noticed by
the great. I did note his words, "understand your struggles and endeavors . .
. admire your steady perseverance . . . not to minimize but to encourage . . .
a source of solace to know that you WILL win . . . SF means well and . . . and
persevere."
Some might take that as condescending; I read it as,
concerned and well-meaning. For that reason, I'd encourage David Brin and
others to continue making sure that "SF means well," such as by not
pulling back, but in fact advancing against certain 1950s thinking, attitudes
and prejudice in the SF world, like those of Theodore Beale, this summer. Right
on! More of that might diversify SFWA and Cons' attendance.
It's also good that he understands our struggles. I think I understand his. He's a successful, famous full-time author--yeah, gringo--who
entered spec lit's upper echelons that are plagued by backward-thinking GOBs.
Since he can't wait for all the old fogies to die, I wish him well with ridding
the anachronistic mendacities from his industry. I also fully expect him to
ally with us so we "WILL win." It's called diversity, and a healthy
body of literature. Gracias, David, por su solidaridad.
Last week's
Comments alone are worth a read, lesliesmith's, among others. As always, we
welcome opposing, or simply other, views and input; us Chicanos enjoy the mi-casa-es- paradigm.
Es todo, hoy,
RudyG, aka Rudy Ch. Garcia, author of the Chicano
fantasy The Closet of Discarded Dreams--honorable
mention, SF/F category, 2013 International Latino Book Awards. Unabashed self-promo: A LoneStarCon3
participant shopping around for an agent/editor for his YA fantasy, Bruised Hearts, Mended Dreams.
Maybe I should be excited,
but I'm not as much as I could be. I noted that last year, U.S. scientist, sci-fi guru David Brin--winner
of maybe every sci-fi lit award there is--commented on one of my 2014 La Bloga
articles. 
As always, La Bloga
would provide Mr. Brin, and others, space here to respond or comment. I'll forward this
post in hopes that he uses it in one of his future articles, not only to
clarify whatever he thinks I might have misrepresented, but to use his
platforms to advance the "cleansing and interrogation" he agrees
should be done. Who better to do that than a famous influential author who
doesn't feel he's part of the "dominating old white guys?"
