Showing posts with label Sheryl Luna. Show all posts
Showing posts with label Sheryl Luna. Show all posts

Friday, May 23, 2014

Sheryl Luna Does Not Shy Away from Tough Questions

Guest Post by Sheryl Luna, winner of the inaugural Andrés Montoya Prize for her 2005 Pity the Drowned Horses. Her latest poetry collection is Seven (2013 3: A Taos Press).


Students from around the country wrote me after two of my poems came out in the April edition of Poetry Magazine.Chinyere, Shannon and Gene wrote me with specific questions about my motivations for writing. A few other high school students around the country wrote me as well. The initial poem “Shock and Awe” deals with sexual trauma, and the second poem “Lowering Your Standards for Food Stamps” deals with the speaker working at 7-11 and observing violence in the parking lot. The poem deals with the shame of being on public assistance in this country. Most of their questions seemed to circle around the poem about food stamps. One young single mother wrote because she had recently had her food stamps slashed. She wrote an emotional email thanking me for exploring such a difficult topic.

The students from the Illinois Math and Science Academy also asked challenging and intriguing questions. They have given me permission to use their questions and my answers for La Bloga.

Here are a couple of email exchanges we had.

Hello Ms. Luna,
Our names are Chinyere, Shannon, and Gene. We attend the Illinois Math and
Science Academy. We are emailing you to inform you that we have picked you
as a candidate for our Poet Laureate Project. In this project we research
American poets who we believe will be worthy of the title Poet Laureate.
As a part of this project, we would like to ask some questions. We were
wondering where you got your inspiration for your poems? We also wanted to
know whether or not you feel that your poems represent American ideas and
values. We feel that your poems and background are very strong
representatives of recent America, making you a candidate for this
project. We hope you contact us back.

Thank you for your time, and our most sincere compliments to your work!
-Chinyere, Shannon and Gene


Here is my response to their initial email questions:

Hi Chinyere, Shannon and Gene,

Thank you so much for reading my poems!

I suppose I get my inspiration from living. I also learn about life from others, and it is through learning that I hope to grow as a person. It is that life journey, and our humanity towards one another, and even or our inhumanity towards one another that leads me to write I believe. It is my hope that we learn to treat ourselves well, and treat one another well.

The poems in POETRY magazine deal with public assistance and trauma and recovery, and yes, I see this as being representative of a large chunk of America and American ideas of fairness, equity and freedom.

I’ve heard 1 in 3 women are assaulted in this country. PTSD is prevalent as well after Afghanistan and Iraq. Many in society maneuver through a difficult bureaucracy, such as single working mothers, disabled people and the unemployed.  So yes, in terms of recovery, resiliency, and overcoming adversity, I think they represent American ideas.  My first collection and parts of my second collection deal with cultural diversity, which I think is central to American ideas and values. We are learning to value the various cultures which make America America.

I hope these answers suffice. Feel free to ask any questions that may arise.

Best Wishes,

Sheryl


Another group of questions they asked a few days later address community work and what one would do as Poet Laureate.I thought the students asked thought provoking questions, and their interest in what the poems were doing got me interested writing an essay on Post Traumatic Stress. Also, I found many of the questions by other students to be centered around the sexual trauma described in the poem “Shock and Awe.”

Ms. Luna,

Thank you for your timely response! We do have some follow up questions
for you, and we hope you can give us as many answers as possible (its a
bit extensive).

Besides your website and publications what do you do to help share poetry
with your community? And how would you do this for the country if you were
nominated as poet laureate?

Also, can you tell us a little about your past; how you came to writing
poetry and more about what writing poetry means to you?

And as a final question (it's a broad one); what would motivate you to
serve as our national poet laureate?

Thank you for your time and effort once again. I'll be awaiting your
response.



Here are my responses to those questions.

One thing I do to help share poetry with community is that I volunteer at a local mental health center where I help teach a creative writing class. I think tying the creative arts, including poetry, to mental health centers is a great thing because it allows people to express themselves and their observations of the world and validates those experiences.

I came to poetry through a creative writing class I took as an undergraduate at Texas Tech University. I wanted to be a novelist, but the professor told me I was more of a poet.

What would motivate me to serve as national poet laureate? Wow. Well, I think I would like to share the joy of poetry with people of all ages. Encouraging others to read and experience the joy of writing would be a goal. Poetry writing is a means of sharing, surviving and thriving, so I would like to help implement community oriented venues where people can discover the healing power of art. I think this goes for young people as well as incarcerated people, the elderly, the disabled, middle aged individuals and families. I think oftentimes we are overly materialistic, and poetry can help us see the intrinsic value of creativity and art. So promoting poetry is promoting health and healing.

Thursday, July 25, 2013

Guest Columnist: Sheryl Luna




In the introduction of Brazos, Carry Me (Kórima Press, 2013) by Pablo Miguel Martinez, Alicia Gaspar de Alba writes, “Pain is a constant in these poems, but so is wonder, rendered in sharp lines and simple images that startle in their clarity.” These poems indeed are largely about loss, persistence, place and culture.

Interestingly Martinez quotes Plato as the book opens, “You have shown me a strange image,” and here one cannot help but think of Plato’s allegory of the cave where one can see only shadows their whole lives without leaving the cave. Only those who leave the cave can return with stories which are often disbelieved by those who have never left. For Martinez, seeing clearly is of high importance, and these lovely poems find beauty despite hardship and peace despite turmoil. Martinez captures the Chicano experience in Texas that often goes unseen and unheard by Anglos. These poems also elicit sexual hunger and tension and celebrate the perseverance and brotherhood of Gay Latinos.

The first section of the collection is titled aptly after Plato, “The Wild Caves.” In “Departure” the speaker comments on his father’s death with elegant imagistic language:

                  My father is already hurtling toward infinity—
                  Going home, the priest said.
                  I am on a runway, the lights
                  Flashing: red, blue—
                  loud and lewd.

The poems in this collection often present stark images of poverty: a Mexican woman sobbing with gnarled hands, a thin Puertorriqueña whose name is stitched on a uniform. She has just returned from a sweatshop. In “Song,” Martinez writes,

                  The lines of the psalm follow
                  a starving mother across
                  the Sahel and another
                  and another…

And later,

                  No one will hear the lines
                  rumble in her belly.
                  No one will rescue the song
                  clinging to her brittle lips.

The poem which follows is where the title of the collection stems, and it is like many of the poems in this stellar collection as it  pays tribute to the speaker’s many ancestors and his people. It is titled “Baile de La Gloria/ Elegy for Manny.”

                  Brazos, carry me there,
                    To that place where every squeeze
                       of the accordion

                  is an urgent hymn to mi raza,
                    and la orquestra keeps time
                       to the beat of angel wings.

La Gloria was a building on San Antonio’s west side, and many of these poems celebrate San Antonio, Texas, nature, history and love. There are a number of poems that celebrate the beauty of nature with lush lovely language.
                  Martinez’s skill with metaphor, linguistic play and musicality is evident throughout the collection. He writes of an

                  Abluelo’s biceps—veiny, watery,
                  angled by a pack of Camels—
                  ripple: a cool river working

                  at the peel of an apple.

Overall, the collection expresses an elegance which is wild yet simultaneously controlled. Martinez writes,

                  Here I am dutiful, sure—as if the things that sting
                  had not yet set foot on this thorny, hard-plated earth,
                 
                  as if we’ve traveled back to a time before music was tamed,
                  before storms were measured, before ache had its name.

Brazos, Carry Me is a stellar debut with everything from a full moon rising over Juárez, to “people dancing mambo/to the music of Pérez Prado,” but always the poor and the nameless are unforgotten in these poems.
                  Gay men, ancestors, abuelos and abuelas, the poor and downtrodden all receive a welcome enunciation here. For example, in “Protocol” Martinez pens,

                  Down on Hudson Street two men scrub
                    Graffiti off a wall: “Die Fags,” it reads.
                  A constellation of swastikas swirls
                    Around the imperative.
                  Crazy, ain’t they, the fucks who did this,
                    One of the men says as I walk past.

                  Yeah, crazy.

The terse language and surprising turns in the collection show Martinez has studied his craft long and carefully. His word choice, imagery, musicality, rhythms and narratives make for a fulfilling read. They are a call to pay attention and to have empathy for the poor and marginalized, and they show what it means to leave home, in this case San Antonio and to return with new insights. Martinez is an avid storyteller and lyricist. Brazos, Carry Me is Pablo Miguel Martinez’s mark on the Chicano literary canon, and it is the mark of excellence.


Sheryl Luna’s first collection, Pity the Drowned Horses, received the Andrés Montoya Poetry Prize and was published by the University of Notre Dame Press. It was a finalist for the National Poetry Series and the Colorado Book Award. Her second collection, Seven, was  just published by 3: A Taos Press. She is a Canto Mundo fellow.


Friday, January 25, 2008

Pedacitos

Bits and pieces of cultural news, and one more march for peace.

SHERYL LUNA, GABE GOMEZ, ERIKA T. WURTH AT KGB BAR IN NYC
Saturday, January 26 7:00 PM to Sunday, January 27 12:00 AM
85 E. 4th Street, NYC

Lisa Alvarado mentioned on La Bloga earlier this week that Sheryl Luna was in New York City on Friday night. Here's info about a Saturday event with more poets.

"Erika T Wurth (Indian Trains), Sheryl Luna (Pity the Drowned Horses),
and Gabe Gomez (The Outer Bands) represent a fresh perspective not only in ethnic writing, but in poetry. Rather than attach themselves to a particular school of writing, their work is about people, and landscapes and works on more than a purely intellectual level. Although none of them would do well in a hallmark, all of them express themselves in ways that are new and unique but that still speak to people not just below the waist, but more importantly, below the neck."

The KGB's website says this about itself: "In the years since it opened in 1993, KGB has become something of a New York literary institution. Writers hooked up in the publishing world read here with pleasure and without pay to an adoring public over drinks almost every Sunday evening (fiction), Monday evening (poetry), and most Tuesdays, Wednesdays and Thursdays. The crowd loves it. Admission is free, drinks are cheap and strong, and the level of excellence is such that KGB has been named best literary venue in New York City by New York Magazine, the Village Voice, and everyone else who bestows these awards of recognition."
Read more here.

Sounds like a great place to listen to some great poetry.

OLLIN

El Centro Su Teatro will proudly present the regional premiere of world-renowned composer Daniel Valdez’s stunning original play, Ollin, February 21 – March 29, 2007 at El Centro Su Teatro, 4725 High Street, Denver.


Ollin is a spectacular recreation of one of the most profound cultural collisions in human history—the conquest of Mexico by Spain. The poetic interpretation of the meeting of these two great empires was something Valdez felt drawn to create as a symbol of both his cultural and personal identity, as the Conquest marks the birth of the Mestizo—the mixed blood race to whom most Mexicans and Mexican Americans trace their heritage.


Valdez has included elements from multiple disciplines to tell this dramatic tale, including theater, dance, music, and visual art. Distinguished painter Carlos Frésquez, local musician Tony Silva, and Boulder choreographer Concetta Troskie are working with Su Teatro actors to augment the artistic layering of the play. Add in Valdez’s original music and the result should be, as Valdez describes it, a sort of modern codices—a stunning visual and musical tablet.


Originally developed by Valdez as a radio play, Ollin was given a workshop production in San Diego and a full student production at Stanford University. Valdez is excited to work with Su Teatro in bringing the final evolution of this remarkable piece to Denver.


Valdez was an instrumental figure in the birth of Chicano Theater—working alongside his brother, the famed writer/director Luis Valdez, in the agitprop California theater group Teatro Campesino. Valdez went on to make a name for himself as a brilliant songwriter with the release of his solo album Mestizo. Valdez also worked alongside Linda Ronstadt on her album Canciones de mi Padre.


Su Teatro has enjoyed a longstanding relationship with Valdez, beginning in 1975 when he and El Centro Su Teatro Artistic Director Tony Garcia met and exchanged ideas at a theater workshop in Denver. More recently, the two teamed up to create the original Su Teatro productions The Westside Oratorio and El Sol Que Tu Eres. Ollin marks their third collaboration.


Ollin, written and directed by Daniel Valdez, February 21 – March 29 at El Centro Su Teatro, 4725 High Street. Thursdays, Fridays, and Saturdays, curtain at 8:05 PM. Tickets are $18, $15 students/seniors, with special group discounts available. Call (303) 296-0219 for tickets and information.

NATIONAL LATINO WRITERS CONFERENCE
Albuquerque, New Mexico
May 21–24, 2008

Nationally known authors, agents, and editors will present in workshops and panel discussions. All attendees will have the opportunity to have three one-on-one appointments with an agent, author, and editor. Accepting a total of 50 fiction and nonfiction writers. If submitted early authors will read a sample of your work. Workshops will include hands-on exercises.

2008 Literary Genres
Novel • Short story (fiction/non-fiction)
Screenwriting • Playwriting • Poetry
Mystery/Detective • Comics • Special features

2008 Faculty
Martín Espada - Helena María Viramontes - Javier Grillo-Marxuach - Frank Zuñiga - Benjamin Alire Sáenz - Alfredo Corchado - Kathleen de Azevedo - Rolando Hinojosa-Smith

For information and to register contact Katie Trujillo 505.246.2261, x148 • katie.trujillo@state.nm.us
nhccnm.org • NHCC 1701 4th Street SW • Albuquerque, NM 87102

MILAGROS DEL CORAZON
Chicano Humanities & Arts Council’s (CHAC) 9th annual silent auction and fundraiser - Friday, Feb 8, 2008 6-10 PM - Space Gallery
765 Santa Fe Drive, Denver

Celebrate Valentines and help support CHAC's cultural art and community outreach programs with an evening of live music and hors d'oeuvres. Place bids on a wide variety of unique hearts, gift baskets, services and original artwork, created and donated by members and guest artists, local schools, business and community supporters.

Music provided by Latin Fusion Band Debajo Del Aqua
Cocktail attire optional.
CHAC Gallery (see below) will be open during the event.

Tickets are available for $7.00 each or $12.00 per couple at the event or in advance by calling CHAC at 303-571-0440.

WINTER SOLDIER: IRAQ AND AFGHANISTAN
From the Vietnam Veterans Against the War website:

From March 13-16th 2008, Iraq Veterans Against the War will gather in Washington D.C. to "break the silence and hold our leaders accountable for the Iraq and Afghanistan wars."

This spring, the largest gathering of veterans who served in Iraq and Afghanistan will share their experiences in a public investigation called Winter Soldier: Iraq and Afghanistan. Providing testimonies to war crimes the United States perpetuates with the ongoing wars and occupations as well as the increasingly poor treatment of returning veterans by US government agencies here at home. Vietnam Veterans Against the War are seeking members and friends to host fundraisers, provide monetary donations, personal support and spread the word about Winter Soldier Investigation.


Later.

Wednesday, January 23, 2008

Sheryl Luna reads in NYC, Friday 1/25!



Sheryl Luna, author of Pity the Drowned Horses, an award-winning book of poetry, will grace the NY poetry scene this Friday, January 25:


Here's the info....Bluestockings

Finding Us

Bluestockings is located in the Lower East Side of Manhattan at 172 Allen Street between Stanton and Rivington - which means that we are 1 block south of Houston and 1st Avenue.

By train: We are 1 block south of the F train's 2nd Avenue stop and just 5 blocks from the JMZ-line's Essex / Delancey Street stop.

By car: If you take the Houston exit off of the FDR, then turn left onto Essex (aka Avenue A), then right on Rivington, and finally right on Allen, you will be very, very close.....