A Tribute to Marina Tristán- Part 2

Congratulations, Marina Tristán, on your retirement! This Friday, July 11th, marks the end of your work journey at Arte Público Press. I hope you’re ready to embrace this exciting new chapter of your life. After the first tribute, more authors and friends joined in, showering you with words of gratitude. Enjoy this second tribute. ¡Muchas felicidades, Marina Tristán!

 

 

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Marina Tristan, un ser humano extraordinario.

 

I met Marina in Puerto Rico approximately 20 years ago.  We were introduced by Patricia Kelly, who is a dear friend to both of us.  

 

My story about Marina has absolutely nothing to do with books.  It has to do with who Marina is as a human being.  

 

Years ago, my cousin was diagnosed with a rare form of cancer and was to be treated at M.D. Anderson Cancer Center in Houston, Texas. She and her mother were flying to Houston, a place they’d never been to and where they knew no one.  I called Marina in a desperate attempt to help my family. 

 

The very next day Marina went to the airport to pick them up and never let them go.  Marina’s actions towards my family are a testament to her character and her love for people. My cousin is healthy now, thankfully.  Brenda, Carmen Rosa and Marina love one another very much.

 

Marina holds a special place in my family and has met most of them at ALA and TLA  conferences, in Puerto Rico, and most recently in Michigan, my home state.  

 

Marina is without question one of the most generous and loving people I know.  I am blessed to have her in my life and to call her amiga.  ¡Te amo, Marina!

 

Con cariño,

~Ruth Tobar

 

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After Piñata Books published, The Runaway Piggy/ El cochinito fugitivo, I was invited to Houston to do a school reading and present at the Houston Children's Museum. While there, Marina took me to lunch and asked me the question every writer wants to hear from a publisher, "Do you have any other stories for us?"

 

Piggy was my first book, and I knew my chances of publishing another were not guaranteed. Though I had a few picture book manuscripts, I knew they didn't fit with Arte's mission. I don't know why, but an audacity sprung inside me, and I said, "I have a story about a mummy from the museum in Guanajuato."

 

"Tell me more," Marina said.

 

I gave her the synopsis of Flor finding the mummy Rafa in her backpack, of how Rafa wanted to see the United States. When Rafa finds out El día de los muertos is coming, he wants to go back and celebrate.

 

Marina nodded, listening carefully, then said, "Send it to us."

 

I broke all the "rules" of first time authors with my impudence by saying, "I already did. You rejected it."

 

She frowned, but let me continue. "The story is part of a series I have planned called The Custodian's Diary. The custodian writes down the school events and tells the story—."

 

"Stop," she said, holding up her hand. I stopped speaking. She held up her hand. "That's the problem." Then she explained, "You have an adult telling a kid's story. Rewrite it from the child's point of view and send it to me again."

 

Her words turned on a light in the dark room of my brash, ignorant mind. I was so stunned with her response because it was both helpful and inviting that I don't remember how I responded. I do recall that on the flight home, I began my revisions. It took three months to revise. With help and guidance from Marina and Gabi, A Mummy in Her Backpack/Una momia en su mochila was published a year later.

 

I retell this story when I explain revision to elementary school students, and it always grabs their attention. Marina helps them understand that our good writing can get better the same way she helps me.

 

Marina's words and support are with me every time I write. Her voice is the kind editor in my mind encouraging me to continue, to improve, to tell stories to, for and about our Latino kids.

 

Mil gracias y abrazos cada día, Marina.

 

-James Luna, author of Growing Up on the Playground / Nuestro patio de recreo.

 

 

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Marina's friendliness and positive energy were the very first things I noticed when we spoke on the phone, long before we ever met in person. When we finally met, she radiated the same warmth and enthusiasm. 

Through her dedication and belief in my book, it went on to receive two awards, gain placement in library journals, and led to memorable panel presentations. This couldn't happen without Marina.

She has a rare gift for making authors feel seen and valued. She guided me with care and patience as my book made its debut, always answering questions and taking the time to get to know me. I’m so grateful for her support and kindness every step of the way.

I hope her retirement is filled with all the joy, adventure, and fulfillment she has so generously shared with others throughout her career.

-Mona Alvarado Frazier, author of A Bridge Home

 

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Marina is a feisty, no-nonsense woman who cares deeply for and seeks the best for Art Público’s authors. I’m one of those authors. I became a published author almost two years ago. Since day one, she has guided and supported me. She answers my silly questions and leads me in the right direction. She’s totally reliable, and her super-sharp focus gets things done, and done the correct way. I had the fortunate opportunity to hang out with her at the American Library Association author and exhibition event, held at the Pennsylvania Convention Center. Her knowledge and dedication to Arte and its cause are admirable. I will miss her, and I am sure Arte will too, so with a bittersweet farewell, I bid Marina a joyful, healthy retirement. 

Adriana Camacho-Church, bilingual children's book author of Grandma, Where Will Your Love Go? and Grandma's Hair is Ankle Length.

 

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I've known Marina for several years. I've been the recipient of her hard work and commitment to publishing strong, meaningful literature. She supported me when I doubted my writing. She encouraged me to write; she said positive things about my writing; and she never faltered in her duties to me as one of her writers. 

 

She was the face of Arte Público Press -- a face I consistently encountered at book fairs and festivals, at publishing meetings, at academic conferences. Marina was everywhere and I didn't question how it was so; and now, after June 20, she will be gone from the Press. Arte Público will carry on, of course. But for a few minutes today I choose to remember, fondly and with deep gratitude, Marina Tristán, Assistant Director, Arte Público Press.  Perhaps I imagine her explaining Arte Público Press to a visitor to the publisher's booth at a book conference a thousand miles from her home.   And she may have a copy of The Ballad of Rocky Ruiz in her hands.

 

Manuel Ramos, author of Blues for the Buffalo: A Luis Montez Mystery.

 

 

 

To read the first tribute to Marina Tristán click here, https://labloga.blogspot.com/2025/06/a-tribute-to-marina-tristan.html

 

 

 

 

Día de muertos en el Writers Place de Kansas City

 Día de muertos en el Writers Place de Kansas City

 

Altar por Xanath Caraza 2021

Las celebraciones para honrar y recordar a los que ya no están con nosotros no son únicas de México aunque no se puede negar la grandeza de las nuestras para Día de muertos.  En México nos preparamos meses antes con la colección de materiales naturales necesarios que conformaran el altar; la planeación de la comida que también se comparte en Día de muertos con los invitados, la música, el papel picado hecho a mano y otros detalles que reflejan las costumbres locales de las comunidades donde se llevan a cabo cada una de las celebraciones para Día de muertos.  Por ejemplo, como es común, en las ciudades tendemos a usar más el papel picado que en las zonas rurales donde los materiales naturales son protagonistas.

 

Estas tradiciones ancestrales, la mayoría de los mexicanos, las llevamos incrustadas y las reproducimos dondequiera que nos encontremos. Las celebraciones para Día de muertos se han expandido y mezclado otras de otras partes del mundo; por ejemplo, la lectura de poesía, la inclusión de comida tradicional de los países donde se celebra.

 

Donde haya mexicanos, ya sea Venecia, Italia o Kansas City, habrá celebraciones para Día de muertos. La celebración de Día de muertos en Kansas City, que he curado por doce años, se llevará a cabo el 29 de octubre a las 7 p.m. CST Vía zoom.  Tendremos el apoyo de The Writers Place a través de la Poeta Laureada del estado, Maryfrances Wagner. 

 

Dentro del programa de la noche contamos con el novelista Manuel Ramos, la flautista Flor Lizbeth Cruz, el grupo Calpulli Iskali y la que escribe.  Habrá un momento para preguntas y respuestas con el público.  Ojalá y nos puedan acompañar.  Para registrarse por adelantado, aquí: https://us02web.zoom.us/meeting/register/tZUrcuygrT8vE927gHH6HiMr6AIo7nvllOs8

 

¡Que la poesía nos salve!

 

 

 

 

 

 

 

Comentario al libro ‘Balamkú’ por Manuel Ramos

Comentario al libro Balamkú por Manuel Ramos

Xánath Caraza

Traducido por Sandra Kingery

Fotos por Stephen Holland-Wempe

Prólogo por Elizabeth Coonrod Martínez

Pandora Lobo Estepario Production Press—abril de 2019

La sinopsis editorial del más reciente poemario de Xánath Caraza incluye lo siguiente:

“Hay más de mil sitios mayas antiguos registrados sólo en el estado mexicano de Campeche (el lado oeste de la Península de Yucatán), incluyendo la docena visitada por la poeta Xánath Caraza donde compuso los poemas en este texto. Balamkú es uno de esos sitios, el más conmovedor de todos para ver y experimentar. Las ciudades antiguas de nuestro hemisferio, Calakmul, Balamkú, otras bajo el término amplio “maya” y muchas en el México central son importantes para ser vistas y para ser estudiadas.  Los versos de Xánath Caraza nos proveerán de un mapa de ruta espiritual acompañado de hojarasca, piedras mayas, viento y serpientes líquidas de jade grabadas en cada una de estas páginas.”

La noción de poesía como “mapa de ruta espiritual” quizá no sea una idea nueva mas es perfectamente apta cuando se aplica a las palabras, imágenes, sonidos y esencias encontradas en este libro.  Xánath (una de las contribuidoras regulares para La Bloga) es merecidamente conocida por su uso intricado e imaginativo del lenguaje para expresar el espectro de la emoción humana completo.  Balamkú reafirma y agrega a esta reputación.

La poesía de Xánath es un bello ejemplo de la poeta atrapada en el éxtasis de su arte.  A lo largo de las páginas, el lector es llevado a mundos de sueños fantásticos, humeantes junglas de deseo e historia, recordatorios eternos de una civilización desaparecida que de alguna manera persiste y nos impacta hoy en día.  Así como un cirujano preserva la vida con un fino y filoso bisturí, Xánath conjura visiones de un paraíso perdido con unas cuantas palabras perfectas.

Consideren, por ejemplo, el poema “Las flores se desbordan”

Habla los secretos de antaño, piedra maya. /Blanca eternidad labrada en intrínsecos diseños. /Las serpientes se entrelazan en los muros. / Frente a ellas la palabra sagrada se enuncia. / Se convoca a los sabios y poetas, sacerdotes y emperadores. / La catarsis inicia con la noche. / Las antorchas se encienden, el copal humea. / Es tiempo de hablar con los primeros dioses. / La poesía se entona y las caracolas suenan, guían la voz junto con el fuego de la hoguera. / Son las flores las que ahora se desbordan, frágiles pétalos de nube. / Los aromas nocturnos se intensifican. / El perfume sagrado se esparce, atrae las bestias. / La música sigue su curso con el agua y la lluvia

cae, respuesta divina.

Xánath dice en sus palabras previas que reconocer y darse cuenta que fue “parte de la gran familia maya” ha despertado un “fuego abrasante” en su interior.  Respondió al llamado de sus raíces indígenas e incursionó en junglas, insectos, aromas y la belleza oscura de la tierra original ancestral.  Como apunta, honra a aquellos que vinieron antes que ella con su poesía.  Su viaje la llevó a Balamkú, donde ofreció poesía dentro de una pirámide.  Aprecia que tal vez haya sido la única persona en leer poesía en Balamkú en cientos de años.

Ahora los lectores pueden compartir esta misma poesía y viajar con la poeta al corazón de los recuerdos.  El poemario está dividido en trece secciones, varias de éstas son observaciones de un sitio en particular.  Cada poema ha sido presentado en español e inglés.

Escuchamos con respeto la belleza y la pasión de las palabras de la poeta.  Y aceptamos la verdad que la poeta encontró en su búsqueda y que ella ha entregado en su mensaje poético a nuestro mundo extraño y olvidadizo.

Hasta luego.

Manuel Ramos escribe novela negra. Su más reciente libro es The Golden Havana Night (Arte Público Press)

Interview of Manuel Ramos by Xánath Caraza

Interview of Manuel Ramos by Xánath Caraza

 

Manuel Ramos

Manuel Ramos is the author of ten novels and a short story collection. He has received the Colorado Book Award (twice), the Chicano/Latino Literary Award, the Top Hand Award from the Colorado Authors League, and Honorable Mentions from the International Latino Book Awards. His first novel, The Ballad of Rocky Ruiz, was a finalist for the Edgar® award. My Bad: A Mile High Noir was a Shamus finalist. He is a co-founder of and regular contributor to the award-winning Internet magazine La Bloga (www.labloga.blogspot.com), which deals with Latino literature, culture, news and opinion.  His latest crime fiction novel is The Golden Havana Night:  A Sherlock Homie Mystery.

1Who is Manuel Ramos?  How do you define yourself as a writer?

I’m a Chicano -- Mexican by heritage, American by birth.  I’m a retired lawyer, a writer of dark stories, usually crime fiction, a weary survivor of the cultural wars of the 1950s, 1960s, 1970s … well, they never stopped. I hope to write stories that people will read.  My self-definition is that I am a writer of fiction that may contain the truth. 

2As a child, who first introduced you to reading?

I don’t remember a time when I wasn’t reading.  My grandparents gave me magazines and newspapers to read.  My parents spent hard-earned and scarce money on the so-called Book of Knowledge so I would have something meaningful to read.  The librarians in the small library of my small home town suggested books for me to read and eventually let me read any book I wanted, such as the crime classics of Chandler, Hammett and Cain.  I read everything as a kid, including canned food labels and Sunday morning newspaper comics.  That’s probably one of the main reasons I wanted to be a writer.

3How did you first become a writer?

Influenced by all the reading I did, I wrote as a kid, mostly descriptions of my relatives.  In high school I was encouraged by a teacher and because of that encouragement I wrote short stories and character sketches for a high school literary journal. These were my first publications. This happened at Harrison High School in Colorado Springs, Colorado.  My professional publishing career started with the publication of my short story “White Devils and Cockroaches,” which was published as part of a fiction writing contest sponsored by the weekly Westword, in 1986.  That year I also published “His Mother’s Image” in the short story collection entitled Southwest Tales:  A Contemporary Collection.  “His Mother’s Image” is about La Llorona, a character that consistently reappears in Chicano fiction.

Seeing my first published story, and then getting the news that my first novel would be published, were intense moments of joy and celebration.  I had tremendous respect for people who could string together words and sentences into a story that transported me into imaginative situations filled with drama, adventure, pain and happiness.  I thought that the title “author” or “writer” was a prestigious term of accomplishment and success.  When I realized that I had joined the club, I was a bit overwhelmed and insecure, but I also relished the challenge. 

4Do you have any favorite novel by other authors?  Could you share some lines along with your reflection of what drew you toward that novel?

One of my favorite authors is Alfredo Véa, a writer who lives in Oakland, California.  Alfredo has written four amazing novels that are superb examples of brilliant literature.  La Maravilla (1993), The Silver Cloud Café (1996), Gods Go Begging (1999), and The Mexican Flyboy (2016) should be on everyone’s reading list.  I believe my writing improved because I read these books – Alfredo is truly a writer’s writer.  His latest, The Mexican Flyboy, won a 2017 American Book Award.  My descriptions of these books can’t do them justice.  Instead, here are a few lines from Gods Go Begging.  The narrator is describing the children of an urban housing complex.

“Here, where Biscuit Boy was born and raised, was a free fire zone, open season on any moment of calm.  Like the Middle Ages, this was a place of basic oral communication only.  An oligarchy of sports and movie celebrities ruled over a new consumer peasantry.  Like poor soldier serfs, these children built their lives around the imaginary castles of athletes and actors.  In this land of functional illiteracy, there were icons everywhere, sports icons, icons of status, icons on the computer screen.  There were icons on every television urging children to buy denim icons for their legs and canvas icons for their feet.  As a new medieval age dawned, iconography, cryptography, and a feudal impotence merged and now held sway.”

5What is a day of creative writing like for you?

When I am fully into a project, I write every day, usually in-between my other obligations such as my exercise classes (a necessity because of my Parkinson’s Disease).  I start by going over the last few pages I’ve written, edit those, and strive to write a few more new pages.  I do this in the morning, evening, anytime that is open.  But I make sure to do it every day (as I said, when I’m fully into a project – I don’t write every day of my life – only when I’m committed to a new piece.)  My writing usually takes place in my home office on my laptop, although I keep a notebook that I carry all the time and which I use for preserving lines, dialog, ideas, etc. 

6When do you know when a text is ready to be read?

I don’t share my writing with anyone until I think it is ready for my wife, Flo, to read it.  She is always my first editor.  She makes comments, corrects mistakes and typos, and asks questions about the narrative.  When the draft passes the “Flo test” I am ready for the world to read it.

 

7Could you comment on your life as a cultural activist?

Not sure I’m much of an activist, but I have believed for most of my life that I have an obligation to speak for people who could not speak for themselves, to resist injustice, fear, and racism, and to work for peace in everything I do.  I’ve tried to uphold that belief in my professional career as an attorney, in my work as a writer, and in my interactions with friends and family.

8What project/s are you working on at the moment that you would like to share?

I am in the very beginning stages of working on my next Gus Corral novel. At least, I think it’s a Gus story – it may morph into something else.  If it works out, I intend to tell a story that picks up where The Golden Havana Night ended.  But as I said, this is only the beginning and a lot can, and will, happen to the story before I get to the end.

9What advice do you have for other writers?

Read, read, and read again.  Then write, write, and read some more.

1 What else would you like to share?

Read La Bloga – there is nothing like it anywhere else.