Showing posts with label c/s. Show all posts
Showing posts with label c/s. Show all posts

Tuesday, February 01, 2022

In Memoriam: Esteban Torres QEPD. Memories of C/S Veteranas Veteranos

 

Becoming C/S: Veteranos/Veteranas Remember

Chicano Literature is one United States literature with an actual known start date, 1969, when Berkeley California's  Quinto Sol Press edited El Espejo The Mirror Selected Mexican American Literature and re-titled it Chicano. 

A bit more ambiguous is the start date of Chicano Studies. It was around the time El Espejo was being revised from a "mexican american" anthology when scholarly ferment brewed in California, and Colorado, and Texas,  and other places. Graduate students were multiplying in numbers across higher education. They were originating an intellectual critical mass mirroring, in education, el movimiento in social justice. Both would eventuate in departments and degrees, jobs, hasta PhDs and ABDs, in C/S.

Some of the O.Gs.--Originator Graduate students--now gowned and academically ensconced, took time in early December 2021 to gather, reminisce, study, do a full-out Mental Menudo-like tertullia. 

In a series of video documentaries available at Latinopia.com, these raza scholars reflect on C/S, in the academy and on the streets, over the past fifty years of the discipline. The Reunion de Colegas scholars also felt it important to highlight the role of spirituality in the Chicano civil rights movement, and to reflect on lives and contributions of colleagues who have passed on in recent years.

Today, as La Bloga acknowledges the passing of Esteban Torres, it's appropriate to share remembrances of other Chicana and Chicano heroes and stories of the Elders of C/S.

 

Latinopia's Visual History of Reunion de Colegas C/S: Chicana Chicano Scholars
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 http://latinopia.com/latino-history/latinopia-showcase-reunion-de-colegas-remembrances/



QEPD Esteban Torres
Michael Sedano

Until the GOPlague shut us down, Esteban Torres and Michael Sedano met weekly for the better part of two years. The two-part project would tell a YA audience about Torres' youth and young adulthood, leading up to the Chicano Moratorium in 1970. Part two, for a general audience, would focus on Torres' political career from U.S. Ambassador and the Carter White House, and then his career as an environmental congressman.

The day Sedano and Torres first met to see if they could work together, Torres introduced himself via a pivotal incident from fifth grade. This introduction became the natural opening chapter for his story.

EXCERPT from Chapter One, “The Worst Day of My Life.” Autobiography of Esteban Torres As Told to Michael Sedano.

 

The day that changed my life forever started like every other school day. Mama heading for work and Grandma in the kitchen. Across the street, earliest daylight reflects off the white walls of my elementary school, making my mother a silhouette as she heads to the bus that takes her to work. 

 

I can smell Gramma’s avena. She makes avena with canela sticks, canned milk, raisins, and chunks of piloncillo. She probably has buttered toast to dunk. Rise and shine! What a perfect way to begin another day of Fifth Grade.

 

Jaime, la Licha, Fudu, and I take turns at tetherball until the bell rings and we race into Mrs. Osborne’s classroom and take our seats. I’m in Row 2 behind Licha.

 

“EDWARD,” Mrs. Osborne announces. 

 

The teacher has my attention just in how Mrs. Osborne says my name. Someone whispers, “uu.” Her teacher voice has an edge in it.

 

“Come to the front of the room, Edward.”

 

How would I know the teacher means to assassinate my character in front of my fellow fifth graders? What could I do if I knew?

 

This is one of those times that you live through once, then for the rest of your life, in school, at work, at social events, every time someone announces your name for no reason at all, you’re that little kid again, standing up in front of the room helpless, being wrongfully accused, everything a whirlwind.

 

Mrs. Osborne calls me a traitor, a traitor to the school, to my classmates, to myself. Over the weekend, Mrs. Osborne tells the class, someone destroyed the school’s Victory Garden, stole the fruit. The teacher tells the class “Edward was part of it.”

 

What can a fifth grader do? I stand there humiliated, tears running down my face. Mrs. Osborne is the teacher, she has absolute authority in her classroom, and anywhere on school grounds. 

 

So she’s right. 

 

In the eyes of my classmates staring at me standing there, on display alone at the front of the room, I am a traitor to the Victory Garden. I am worthless.

 

My friends look away when I look to them for support. Jenny Amador sticks her tongue out at me. Even Akiko frowns, looks away. Louie is laughing silently, pointing at me. For once, he’s not the one in trouble.  

 

Look at those eyes looking back at me. Friends, que no? We played together this morning before the bell. I thought they know me better than to be looking at me with disgust. No one’s jumping up and saying “No, he’s not! Eddie’s not a traitor!” 

 

I am on my own. What can I do but cry out of absolute powerlessness? I cry in front of the whole room standing there. A traitor.

 

You can imagine, after being called a Victory Garden destroyer, that was a crummy day of school. You can disappear in a crowd and I did.

 

As soon as the last bell rang, I ran across the street. Usually, I get a quesadilla and a glass of water so when I just head for my room my mom asks what’s wrong? 

 

My mom taught me not to interrupt others because it’s rude, and besides, “get all the facts.” She reminds me not to open my mouth unless I have all the information and a plan. So I know how upset mom is when I no sooner say Mrs. Osborne called me a vandal and a traitor in front of the whole class, than mom interrupts.

 

“She said what?”

 

I didn’t have to start again because I know Mom heard me, so I kept going. How Mrs. Osborne called me up to the front of the room. Pointed at me. Told the class what I did. That I destroyed the school Victory Garden and stole all the food intended for the community. 

 

My tears tell my mother how helpless I still feel. Powerlessness has to be the worst emotion in the world, but my mother has a stronger power.

 

"You tell Mrs. Osborne that I work hard for this family. I put food on the table. You have all the food that you need to eat, and you don't have to go steal food from school to eat.” 

 

“You know that we don't allow you to do that, and you wouldn't do it. You tell her to apologize to you.”

 

Both of us took a breath. I was thinking hard and my mother had already thought it through.

 

“And if she doesn't apologize to you, you tell her that I'm going to come over to school and I'm going to beat the hell out of her." 

 

It’s funny looking back on it because my mother would have done it. I didn’t want to be the fifth grader whose mother beat the hell out of the teacher.

 

Here is my life’s most crucial moment and I don’t realize what’s going on because I’m a scared eleven-year-old boy who doesn’t want his mom charging into the classroom and shaking Mrs. Osborne around like a Cantinflas puppet. 

 

What’s happening is I’m taking a giant step into manhood, guided by my wise Latina mother. My mother says to take responsibility for the outcome by speaking for myself. 

 

Speaking up for yourself is the main part of what I learned to do. There’s more to it, I learned.

 

Ask for help when you need help, give help when you can. Don’t expect thanks. Mom didn’t tell me that last part, it’s what I learned as an adult, in organizing and politics. Do a thing because it’s right. You don’t equivocate, go maybe yes, maybe no.

 

Above all, stand up for yourself.

 

Today I look back on my life and career in community service filled with Firsts and unique jobs: the First Chicano with a White House position; the First Chicano to organize South American auto workers; the First Chicano UNESCO Ambassador. I was one of only three California Mexican Americans in Congress, Ed Roybal, Marty Martinez, Esteban Torres. I was the only Chicano.

 

A reporter asked me one day, “Congressman, did you ever feel amazed to be this Chicano from East Los Angeles sitting in Paris as the United States representative to UNESCO?” 

 

And the answer is "No". Not amazed. I think you’d be “amazed” if your results surprised you. I wasn’t surprised to be the First, or Only, Chicano in so many places in my life. 


We belong. Punto. I happened to be the one. 

 

It doesn’t matter that you’re The Only or The First, your foremost responsibility is to yourself. People will draw their own conclusions about you, about your raza, about your familia. Be effective and their opinions don’t matter.

 

 

Chapter Two: The Best Day of My Life: Same Day

 

The day after Mrs. Osborne assassinated my character in front of the whole world, I lay awake reliving my humiliation. Mom kissed me goodbye and didn’t say anything even though she knew I was awake. Gramma made avena but I just picked at the raisins.

 

I waited for the second bell then walked across the street to Rowan Avenue School. Mrs. Blanco in the office gave me a dirty look when I crossed the patio. 

 

I walked down the hall past the third grade rooms. They had a new teacher, a man, in Mrs. McCartney’s room. The fourth grade wall had a map with little flags and strings leading to the countries kids came from. Everyone here came from somewhere else.

 

You know that song, “we’re all in our places with bright shiny faces?” Well, my classmates were already seated, including Mrs. Osborne. Except they weren’t being all shiny. Everyone was giving me dirty looks, including Mrs. Osborne. 

 

But la Licha was looking away. She told Gilbert Manzano she likes me, now she doesn’t look at me. I am alone. As Mama says, no one else is going to do it, so it is time to stand up for myself.

 

When you’re scared, I learned much later giving speeches, no one knows your stomach is jumping and your knees are wobbling. Butterflies are flying into my throat as I walk up to Mrs. Osborne’s desk. I hope I will get through what I planned, lying there in the dark.

 

Teacher desks at Rowan Avenue Elementary School have a white line on the floor you’re not supposed to cross. I crossed it and my stomach touched the hard wooden edge of the desk. I don’t want the other kids to hear, but I don’t want to whisper. I aim to do as my mother says.

 

Licha and them have stopped messing around and the whole front row is watching me. Mrs. Osborne watches me, starts to say something when I step past the line, but she waits for me to speak first. I think of what my mother told me.

 

“Just walk right up to her and tell her,” Mama says, “speak up.” 

 

I take a breath, hold it, let air run slowly out my nostrils so all I feel is the warm soft. All eyes are on me.

 

The only difficult part of speaking up comes just before you talk. Then you do it. Your muscles force the air up your dry throat as your lips begin to form a string of sounds you’ve already thought through. You open your mouth, the first words come out, and you’re committed.

 

“Mrs. Osborne, I have something to say.” 

 

I had mentally rehearsed the opening words walking down the hall. They came out like practice. 

 

I made the sentence come out like a statement, word for word, a little emphasis on “say.” Inside I was wary at how Mrs. Osborne would respond. I couldn’t read her face when she said to go on, what did I have to say?

 

I heard my mother’s voice telling me what to tell Mrs. Osborne and I used Mama's words, almost just like Mama expressed.

 

“I told my mother what you did yesterday. How you made me stand in front of everyone. How you said I stole the Victory Garden and was a traitor.”

 

I struggled not to cry again. I loved the Victory Garden. I was American, I supported the war effort, I wouldn’t do anything to hurt my country.

 

Mrs. Osborne looked at me over her glasses, she was biting her upper lip. I continued.

 

“My mother got mad that you would say that. She says to tell you she works to put food on the table and she makes sure I get fed. I don’t need to steal food.” 


I would never do that, I added personally. I was mad and that just came out.

 

I am almost out of breath. No one talks to white people like this, especially a teacher. I inhale and finish saying what I planned to say.

 

“My mother says you need to apologize to me. She says if you don’t apologize she’s going to come here to school.”

 

I didn’t elaborate on what would happen after Mama got here. Mrs. Osborne didn’t ask. 

 

“Wait a minute,” she told me.

 

“Class,” Mrs. Osborne called. 

 

It wasn’t like yesterday when she called my name, but it was out of the blue. The kids who weren’t entremetidos already eavesdropping me and the teacher, looked up.

 

“Edward's here. You know what I told you about him yesterday? Well, I want to apologize to him. He didn't do that.” 

 

“He really wasn't responsible, and he didn't do that." 

 

That was my first First, in a life of them. I was the First Chicano at Rowan Avenue School to be wrongfully accused and vindicated in a public apology. For all anyone knows, that was the First Time in United States history. 

 

That doesn’t matter. I was innocent, one of the good kids again. 

 

Ever since that day, I've never been afraid to stand up for my rights. When you stand up for yourself, you’re standing up for somebody else's rights, too, because even if you’re the first, you will not be the only one who needs to confront injustice.

 

I learned to be eager to speak up, ready to talk matters out, whether negotiate in a conversation at a fancy restaurant or argue across the bargaining table. 

 

Talk changes situations. Talk produces mutual understanding. Big stakes or local, having vocal advocates who speak up for equity and justice is a key to winning.

 

I have no idea how long my playground fame lasted at Rowan Avenue. When you’re in fifth grade so many new things are happening to your body and your mind that last week’s highlights flow away into good feelings and you concentrate on the moment.

 




Tuesday, July 25, 2017

40 Years. Gluten-free Summer Soup. On-line Floricanto

Movimiento Couple in 40 Year Retrospective
Michael Sedano


Now that headline’s a fancy way of saying what Oscar Castillo’s portrait gives away nonverbally: Diane and Sergio Hernandez celebrated their 40th wedding anniversary on Saturday evening, surrounded by immediate and extended familia at San Fernando’s American Legion hall.

Courtesy Oscar Castillo

Artists of diverse media--writers, painters, performance, musicians—arrived to a taco cart in the Legion's front patio. Rude boor whom I am, I lined up for a plato before going inside to abrazar the hosts and sundry compañeras compañeros.

Margaret Garcia and Rhett Beavers were in the taco line ahead of us, so we got our chow together and went inside. Physicist Manuel Urrutia had already arrived, seated with his wife, Maria, and my compadres Mercedes and Hugo Garcia. Mario Trillo stepped to the table, decked out in a light tan sportjacket and vintage bow tie. Carlos Callejo came in, wow, I hadn’t seen Carlos in ages. In-between mural commissions, Carlos is doing small projects while holding art workshops for middle school kids. “They make good paintings,” Carlos relates.

Serge, cartoonist for the seminal movimiento magazine Con Safos: Life in the Barrio, (link) introduced Art Flores, founding editor of C/S magazine. “This is Michael Sedano from La Bloga” Serge noted. Art made me, and all blogueras blogueros happy when he advised me, “La Bloga! Keep up the good work.” Órale, you know it.

I had been feeling the damned fool earlier. I forgot my camera, one of the consequences of CPT-fueled age. I sat framing imaginary crowd fotos when photographer extraordinaire Oscar Castillo caught my eye. I nodded back and Oscar walked over. We chatted a bit then he shared with me, and now youse, the wedding party print he’d brought for La Bloga.

Tempus not only fugits, it brings good stuff. In this case, 40 years ago, youngsters Velarde and Hernandez have their wedding photographed by equally young friend Oscar Castillo. All of them worked together on C/S. Now, los Hernandez’ spacious estate in the desert echoes with the music of three beautiful daughters, two adorable granddaughters, and a lifetime of good memories for the retired from the world-of-work couple. El picket sign in their hands, as needed.

As for Oscar, his work today resides in the Smithsonian American Art Museum. Obviously, the wedding photographer and the couple in that foto have made every second count in these 40 years. Carpe diem, gente.

One of the major highlights of the highlight-packed event came from a horny swain in the bar. As I took a seat at their table, Angel, Mercy, and an unidentified woman—I will call her Judy--were all a-titter, repeating his lines with glee. There was an amused flush to Judy’s complexion and electric energy flowed between the three laughing women. A forty-something youngster in the bar had made a move on Judy. She ignored him twice until he lay his head on her shoulder and called her “beautiful.” Judy split to go find her husband. Although the swain’s piropos went unrewarded, he was undeterred. He crashed the party and danced alone near Judy’s table not catching her attention. Hours later, as Judy left with her loquacious husband, he found friends at the exit and stopped to platicar. Rumor has it Judy hung back near the door, where curious eyes might have glanced into the darkened bar.

Happiest anniversary to Diane and Serge!


The Gluten-free Chicano Cooks
Gazpacho: Fast, No-Cook, No-Gluten Summer Soup

Without warning the overhead fluorescent tubes went dark. The muscular circular fan moaned to a stop. We knew what came next.

Across Camp Page and the lower parts of Chuncheon, Korea, a  P.A. crackled the announcement, “This is a wet bulb alert. The wet bulb temperature is twenty-three degrees celsius. Cease all physical activity and wait for the all-clear.”

Happened every time the generators went down. Dead fan, alert. Summer too hot and too humid for the U.S. Army to work. We endured the frequent half hours in silence, staring at walls in the one-windowed room, typewriter silent, the 32” fan inert in its corner, the Quonset hut an oven. Heat wraps itself around every muscle, humidity rubs against skin, the air seems to move when we stir. In the dark, no cooling breath of air no respite from the oppressive heat, the mind rambles.

It would be good to be back on top of the mountain. A constant breeze keeps a man comfortable and motivated to explore, take in the view from a mile above this battalion office and the dark and the heat and the assigned indolence of wet bulb alerts.

It would be better to be back home at UCSB. In the library, the air-conditioned library so spacious so cool. Or lounging in the shade at the Enchanted Forest at Isla Vista beach, waves crashing unseen.

On second thought, forget Isla Vista. What wouldn’t that G.I. give to fast forward in time to a summer afternoon in 2017? The Army a remote past, the day's oppressive heat and penetrating humidity still enervating the old man. He stares down into a chilled bowl of freshly-made, naturally gluten-free, Gazpacho.

Call me a time traveler because that’s exactly what took place in The Gluten-free Chicano’s chante the other day. Summer’s heat had me listless two days in a row. Totally unmotivated to cook. But my daughter’s farm had produced beautiful burpless Persian cucumbers. My own cosecha included tarragon and basil, chile huero, and chile piquin in abundance. Thanks to cursed squirrels, I’m between tomato crops right now, so the grocery store provided tomatoes and bell peppers. The larder supplied the rest of the ingredients.

not shown: fresh basil leaves

Fresh Ingredients for a zesty Gazpacho
Tomatoes
Green and red bell peppers, de-stemmed and seeded
Cucumber, peeled
Chile huero
Chile piquín
Garlic
Onion
Tarragon
Basil
Celery
Tomato juice
Salt

Cuisineart/Food Processor Method
Rough chop all the vegetables and put them into the processor bowl: tarragon, basil, garlic, onions, chiles, peppers, cucumbers, tomatoes. For a blender, fine-chop the vegetables and blend them one at a time.

Food Process for thirty seconds or several pulses. Taste. Adjust chile and salt.

The size of the rough chop makes a difference. Know your machine. If your cuisineart's motor and blade usually perform unsatisfactorily, pulse each vegetable one at a time.

In a few seconds, the veggies all reduce into a bubbly pulverized liqud that expands to fill the bowl nearly to the top. If there's too generous a result, ladle off a quantity and store it in the serving bowl.

Add a half cup or more tomato juice and pulse to thin. A big pinch of sea salt now will bring up flavors.

Stirring in chopped vegetables to the processed vegetable mélange adds texture and flavor explosion
If you like it hot
Empty the processor bowl into a large vessel. Return a quantity of the soup to the Cuisineart, chop several chiles more, and whiz them into this “special” batch of soup.

Nearly ready to ring the dinner bell.

A cook’s head might be spinning just about now, thinking of all sorts of modifications and additions. "Why don't I just chop some vegetables into tomato juice and save this work?" Maybe add Bay shrimp; crisped gallego ham; aguacate; a curl of toasted carrot…forget it. The pure simplicity of this Gazpacho sings its flavor medley unimpeded by unnecessarily complex flavors. Let it be. It’s time for the finishing touch.

Chop or mince a tomato, half an onion, half a bell pepper, a third of a cucumber. Stir these into the Gazpacho to add texture and tiny explosions of individual flavor when that spoon hits the mouth.

Serve a generous ladle to each diner, and bring the tureen to the table for seconds. You can eat straight from the food processor, or chill it and dig in at your convenience.

A bowl or two makes an elegant lunch. For dinner, I served antipasto salad loaded with olives, mushrooms, salami, and cheeses for protein and contrast. My wheat-eating wife had a fresh bolillo.

A cold soup lunch or dinner, tasty and naturally gluten-free

Calculations, mouths and take-home.
How many mouths will eat and how much do you want left over? What volume can my processor hold? These issues define the quantities of vegetables to use.

For one dinner for two and generous left-overs, 4 medium-size tomatoes, 2 cucumbers, 3 bell peppers, 1 large brown onion, 4 cloves garlic, 2 chile huero, 1 chile piquin, and a stalk of celery were just right. I amended a second batch with 3 piquín and another huero.

I suspect many people enjoy a hint of bite to their Gazpacho, but not killer hot. I like a lot of picoso, that’s why I pour off a generous bowl of the semi-finished soup and put it back in the Cuisineart to whiz in all the chiles at hand.

Gazpacho that sits for several hours builds marvelous flavors. You can eat it immediately, room temperature, and it's wonderful. If you can make it then let it chill for a day, you'll find your Gazpacho world-quality.

Provecho!


Wrapping July With Floricanto
James Downs, Joe Navarro, Txai Frye, Ralph Haskins, Pharr Texas Barrio Writers

“Haiku: massive military might.” By James Downs
“Revolutionary Love” By Joe Navarro
METAMORPHOSIS By Txai Frye
“Mitochondrial Memories” By Ralph Haskins
“Nuestra Historia / Our Story” A Collective Poem – Pharr Texas Barrio Writers


Haiku: massive military might.
By James Downs

huddled in tiny
....places...arms around arms...faces...
hope bombs miss spaces


Revolutionary Love
By Joe Navarro

Here I am
Bleeding again
A bleeding heart
And sweating
Profusely
Through the point
Of a pen
First I capture suffering
Then resentment
And rebellion
Leading up to Revolution
But it's all Romantic, you see
Es puro amor
Yo amo a mi esposa
Y a mi familia,
Pero tambien
Quiero a mi gente
La Raza
My revolution is love
Of all people, all ethnic groups
Who suffer at the whim
Of violence, greed
Class, race and gender
Love of freedom
Love of democracy
Love of justice
Love of self-determination
Love for human dignity
And self-respect
Mi revolución es por
El amor de la dignidad
De toda la humanidad
Yes my blood and sweat
Flow freely onto paper
En declaraciones
Por la justicia
Paz e igualdad
Palabras libres
Pintando el cielo
Con esperanzas de
Liberación, sin opresión
You see, my weapon in
The revolution is
Word murals, armed
With allusions, similes,
Metaphors, and hope
Poems that explode
With pride and promise
For a bright new day


METAMORPHOSIS
By Txai Frye

Like a moth to a flame
She was drawn to her calling
And they watched her
Transformation
From an interested onlooker
To a full-fledged participant
Her message was birthed
Like a silkworm…who is destined…
To spin words like fine silk
Metamorphosing from a plain caterpillar
Into a beautiful silk moth
While nibbling on metaphors
And similes that floated listlessly
From the amped-up microphone
…that beckoned to her…
As if they were white mulberry leaves
And the famine became a feast
As her whispers turned into a roar
And she steps forward from the sidelines
To unfurl her still evolving wings
Like a brightly colored silk taffeta gown
So that her voice can rise up and take flight


Txai Frye - is a poet/open mic artist, whose passion is to write and read his poetry at various open forum venues. He is unpublished but currently working on a collection of poetry entitled, “Funk Epiphanosis.” Some of his poems have been featured on online poetry sites, and he was included in an anthology, “The Bronx Files, Contemporary Poetry from the Bronx,” with other poets whose lives were affected by growing up in the Bronx.

He has been involved with Green Earth Poets Café, a Brooklyn, NYC based nonprofit poetry organization promoting literacy, self-confidence, communication, community, and educational development among young people since its inception in 2013. h. Txai Frye has also participated in panel discussions involving unjust incarceration of our youth and other minorities. He is currently counseling a small group of aspiring poets on performance techniques in association with the NYC Queens Library – Lefrak City branch.


Mitochondrial Memories
By Ralph Haskins Elizondo

Reaching down my long maternal line,
my mother and grandmother,
and hers as well,
within the scents of tomate y cebolla,
chile y cilantro, the burning smell
of tortillas toasting en el comal,
memories of long kitchens
connecting us
for thirty-five thousand years
across the sea,
thank you ancestral mother.


Ralph Haskins Elizondo was born and raised in Monterrey, Mexico. His family moved to South Texas during the social turmoil of the 60’s. The new cultural challenges he experienced led him to express himself through poetry. Many of his poems touch the cultural and political issues of our times. His works have appeared in Puhnk And Miscellany Magazine, The Best Unrequired Reading In American Literature 2011 (Harcourt), Poesía En Vuelo, La Bloga (Poets Responding To SB 1070), and Poetry Of Resistance Anthology. Today, Ralph lives in McAllen, Texas where he supplements his poet’s income by moonlighting as a science teacher at a local high school.


Nuestra Historia / Our Story
By Pharr Texas Barrio Writers

A Collective Poem – Student Writing Workshop ~12 June 2017 – Pharr, Texas

Mí tío
una buena influencia
Christmas
Honduras
Travel
No water
Oldest
Baby boy
From Mexico
She came here at three
Worked very hard
Su hijo
Cambio su Vida
Daughter
Helped change him
High school
a struggle
Writing
A baby
Drogas aleja uno de la familia
Primo falleció
Por estar en malos pasos
Madre fallece
Had to depend on the streets
Separates families
Distant from mother
Did drugs at ten years old
But recovered
Addicted
Mother of a baby girl
Life changed
Becoming a mother
Father at an early age
Changed his life
From Reynosa to here
Un choque cultural
Sotomayor
Ayuda hijas
Con muchos planes
Y perdió
El miedo
Un club de Español
¿Me Entiendes?



Our summer creative writing workshop for youth is taking place at Sonia Sotomayor High School in Pharr, TX June 12-June 16, 2017. The workshop is co-sponsored by Red Earth Productions & Cultural Work, The Center for Mexican American Studies at UTRGV, and the Creative Writing Program at UTRGV, in collaboration with Sonia Sotomayor High School, Buell Central High School, and Ballew High School in the PSJA school district. The workshop is an affiliate program of Barrio Writers.




Tuesday, April 18, 2017

Review: C/S Magazine, History In Their Own Voices. New Books.


Review: Maxine Borowsky Junge and Con Safos (staff). Voices From The Barrio, “Con Safos: Reflections of Life in the Barrio”. San Bernardino, California: [publisher not identified], 2016. Available via print on demand.
ISBN 153463200X

Michael Sedano

“El movimiento” is the foundation myth that satisfies a hungry need for inclusion and identity. Say the words “el movimiento,” or one of myriad terms for that period in the late 1960s and beginnings of the seventies, and evoke rich tapestries of ideas, events, and personal recollection. These memories are punctuated here and there with honored luminaries and passing personalities, triumphs and desmadres, a sense of one’s own place as part of something major.

There’s a sense of doneness about the movement, as in it is over. But the notion of the movement is an idea that especially today, can motivate people to come together in a deliberate search for new knowledge and shared experience. Movimiento is the idea that coalesces publics and holds communities together.

That perception of movimiento as finite, and ended, is one of the reasons Maxine Borowsky Junge and Con Safos’, Voices From The Barrio, “Con Safos: Reflections of Life in the Barrio, belongs on every researcher’s reading list, every library history shelf, in the hands of anyone who wants to remember the movement because they were in it, woulda liked to be pero, tu sabes, or a reader of cultural history who enjoys compelling narratives of history-making events told by the makers.

Distribution being a bugaboo of independent publishers, World Cat lists two west coast libraries with copies, Cal State Channel Islands and Portland State. Amazon publishes the book on demand and ships upon payment, about thirty-two bucks.

Recounting the history of a legendary magazine during its existence between 1968 and 1970, Voices From the Barrio presents itself in a hybrid of academic analysis heavily interspersed with intimate looks and the personal voices of the magazine’s various staff configurations. It is a book on paper, not an ephemeral web presence. It’s an artifact that people can pass from hand to hand, store in physical permanence, incapable of erasure without unimaginable horror. Then again, it would probably be banned in Arizona.

Today’s information economy can create social and literary channels with a few keystrokes, a few dollars for a website, and messages become accessible by a potentially global audience. Facile experience and fragile knowledge could come of scrolling glances at hundreds of webpages a day. A book creates a different form of knowing.

The history of “old-fashioned” print media offers instructive examples for modern publishers, print or web. For raza, this history of Con Safos Magazine offers particularly useful and interesting insights into the times, the gente, the ganas, the writing, that makes C/S an important resource, a template for resistance and resisters today. Do it the right way.

Building the product, the magazine itself, models a microcosm of how movimientos come together. Structurally, the editorial hierarchy of WWII-generation editors kept a firm and flexible hold on policy. They have clear goals and standards, they hold a steady course toward goal. Both core and changing staff share a talented drive to produce worthwhile messages. Content reflected current events, indelible opposition to the war in Vietnam, multilingualism. Literature included consciousness-raising poetry and fiction, writing grew out of a rhetoric of identification. Style aimed for the sublime, for exactitude in language and a writer's sense of cultural inclusion. The C/S family figured it out as they went along but always motivated for quality. The combination of good illustration, good writing, clear logic, funny when it’s supposed to be, made Con Safos Magazine a sought-after buy in a restricted distribution network. Complete sets of the magazine are rare, and the FBI seized the final issue.

There was leadership by example—“I’m not an alcoholic, I’m a drunk” realism sealed the deal for the new literary editor; leadership by dint of qualification—the final art director, Magu, was an MFA candidate at UC Irvine; leadership by qualification—Ralph Lopez can write the pants off an essay or a memoir. C/S quoted Camus. The originators share a clear sense of vision even as the vision created itself from the raw materials of everyday life and politics. Being-in-becoming is one definition of movimiento sensibility.

Frank Sifuentes, Alurista, Oscar Acosta in 1973
C/S published rrsalinas, Oscar Zeta Acosta, and of 131 prose pieces, 8 by women. Other studies will address such gender disparities which weren’t unique to the magazine but typical of movimiento institutions that kept women in the background. Que gacho that at least one C/S staff woman's foto is identified only by first name. None of the interviewed remembered the woman’s last name.

Borowsky Junge doesn’t pull punches to guard against remembered hurts and newly injured pride.  She calls out that gender imbalance. She relates how Frank Sifuentes’ folky story-telling couldn’t get past the editor and Pancho didn't get published in C/S. He found an audience with technology; a short time before he died, Frank began podcasting his stories. He beamed with pride when the organizers of the 2010 reunion floricanto at USC included him to read on the first, Veteranas Veteranos day of readings.

There’s a profundity about this history and what Con Safos Magazine stands for and comes out of. Some of the writers and editors crossed over, qepd, but there’s a healthy lot of them still breathing. Borowsky Junge’s interviews bring their voices before today's audience.

Voices From the Barrio includes a generous set of excerpts from Lopez’ memoir, “Running With The Brown Buffalo. Roaming The Heights Of Lincoln Heights With Oscar Acosta, AKA ‘Zeta’ Circa 1968-1975.” On other pages, readers find sterling exemplars of Chicana Chicano arte, fiction and essays, poetry from rrsalinas’ “A Trip Through the Mind Jail,” some gems from Sergio Hernandez’Arnie and Porfi cartoon.

The set of oral histories that form the heart of the volume inform a conclusion that C/S Magazine owed its popularity not simply to C/S being the first independent Chicano literary magazine—anyone can publish a magazine--but more because the persona of the magazine and the distinctiveness of its voices resonated with readers. Its creators were, as the book title says, from the barrio.

The people who put together the magazine weren’t in publishing for the money but their mutually created and nurtured message. In McLuhanesque language popular during the era, C/S was cool media, C/S involved multiple senses simultaneously engaged—touch, vision, graphics, and identification. This characterizes physical media. But for Con Safos Magazine there is an enhanced dimension: raza sought out and remember C/S because it pierced deep into the corazones of their cultural being.

Voices From The Barrio, “Con Safos: Reflections of Life in the Barrio” is a magnum opus. Three hundred eighty-seven pages accompanied with vii pages of Forward by Jesus Treviño, five pages of useful Preface by Borowski Junge, some footnotes, no indexing. Sadly the printed copy I received from Sergio Hernandez reflects compromises between heft and paper quality. Illustrations work fine as line art but photographaphs, fine work by Oscar Castillo for example, remain flat on the coarse grain looking like box camera snapshots without snap. Voices From The Barrio, “Con Safos: Reflections of Life in the Barrio”is available via print on demand. Maybe a buyer can upgrade to coated stock and hope the image files are equal to the images.

I know several of the people interviewed here and they are cool people. I would love to have been part of the phenomenon of writing and publishing Con Safos Magazine when I was growing up. But I was in Isla Vista or the Army then. Ni modo. Fans of the sixties will get a kick out this insider's view of the popular magazine.

I know for sure I would have been overjoyed to get copies of Con Safos Magazine while I was on duty on a Korean mountaintop at the heyday of the magazine. It is the stuff dreams are made on. Come to think on it, there are lots of gente around who need some of those dreams right now. If you can’t go home again to re-assemble a Con Safos Magazine renaissance, reading its history is satisfying and edifying. “We” did this once and we can do it again.




Visit Jesus Treviño's Latinopia for video of various C/S tipos and Hernandez' revivified Arnie & Porfi cartoons. Jimmy Velarde, Diane Hernandez' brother, nears completion of his film of this vital history. La Bloga will share details when available.

MVS
C/S


Related Reading: Notable New Books

Mestizos Come Home! Making and Claiming Mexican American Identity. By Robert Con Davis-Undiano. Norman: U of Oklahoma Press, 2017.


Independent presses and academic presses are becoming the last, and first, refuge of razacentric books. Case in point is the Chicana & Chicano Visions of the Américas series published by the University of Okahoma Press.

The newest title in the series is Mestizos Come Home! Making and Claiming Mexican American Identity by Robert Con Davis-Undiano.

California born and schooled, Davis is a graduate of Cal State East Bay (Hayward State) and UC Davis.

Per the publisher, the book "focuses on defining, confronting, and contesting [the terms] 'Mexican American and mestizo.'"

Examining six areas of cultural and social change since the 1960s, including the rise of chicanismo in literature and academic fields of study, Mestizos Come Home! sounds like an ideal companion to a reading of the history of Con Safos Magazine.



Aztlán : essays on the Chicano homeland. Eds. Rudolfo A Anaya; Francisco A Lomelí; Enrique R Lamadrid.

This is a newly revised and expanded  edition of the classic 1989 collection of essays about Aztlán. Another academic accompaniment to understanding movimiento and useful adjunct to a reading of Voices From the Barrio.

The publisher, University of New Mexico Press, shares a book blurb from La Bloga friend, Roberto Cantu, who observes, "As a symbol for political action, a place of spiritual plentitude, or as a challenge to transcend ethnic borders, Aztlán emerges throughout these essays as one of the Chicano Movement's fundamental ideological constructs. This volume will be of interest to students and critics concerned with the understanding and comprehensive reconstruction of one of the Chicano cultural emblems of the late 1960s. Given the present emphasis in Chicano studies on discourse analysis and critique of ideologies, this volume is a contribution to Chicano cultural criticism."

Tuesday, January 17, 2017

H6: New Huizache. C/S Reunion. Kid's Opera

H6: Huizache Flowers Again
Michael Sedano


Dagoberto Gilb fondly recalls the motivation for naming his magazine after the palo verde tree that shitkickers irritably call the "Wee-satch." The Huizache tree is tough to eradicate; cut it down and where one once stood, five new trees spring from the attempt to wipe it out. Resistance!

The tree is a metaphor for raza. The Huizache, like raza, insists on its right to grow, in its own space, in your face, cowboy. ¡Aqui estamos y no nos vamos, cabrones!

Dagoberto Gilb holds H6


Gilb’s project out of Centro Victoria in Victoria TX is exactly like its namesake. Publishers want nothing to do with raza authors not named Junot, so they cut them off at the knees content to let them resurface at some other house. But Huizache keeps coming and coming. 

Now in its sixth issue since 2011, Huizache, the Magazine of Latino Literature, celebrated H6 in a festive gathering dubbed “Pachanga Huizache” at the Los Angeles home of Virginia Espino and Héctor Tobar on Martin Luther King, Jr. holiday weekend.

Hosts Héctor Tobar and Virginia Espino react to Gilb's introduction

Joining the hosts in their art- and book-filled living room and outdoor patios were four readers from H6, musicians from El-Haru Kuroi, and deliciously spicy, aromatic catering from Vegan Moni. Except for some empanadas, Moni’s food was gluten-free and beautifully presented.

Masterfully emceed by Abel Salas, publisher of the eastside’s Brooklyn & Boyle literary newspaper, Pachanga Huizache brought together friends and colleagues in a dynamic assortment of literary, art, and political personalities,

Claude Fiddler and Vegan Moni

Claude Fiddler, one of Gilb’s long-time Los Angeles friends, recounted how he and the author went door to door,  to coffee houses and independent booksellers, selling Gilb’s first book, a self-published collection of stories.

Maria Cabildo, Candidate for House of Representatives 34th Congressional District

La comadre of the hosts, Maria Cabildo, took the floor to speak movingly about her run for Congress in the local district vacated by California’s new Attorney General. Cabildo drew laughs and knowing head nods when she disclosed that local politicos discouraged her entry, crying, “It’s Jimmy's turn!” Whoever Jimmy is, Jimmy doesn’t stand a chance faced with Cabildo’s fervor and record of providing housing for disadvantaged gente.

Nikolai Garcia  
Josephine Nericcio
Emerging writers Nikolai Garcia and Josephine Nericcio kicked off the readings with powerful work.  Nericcio gives voice to raza who've died along the border. It's fascinating work.

You can read Garcia’s powerful “The Sound of an American Flag Burning” here.  Garcia is also published in The Coiled Serpent, published by Luis J. Rodriguez’ Tia Chucha Press. 



Dagoberto Gilb provided the entracte, relating the “wee-satch” legend and regañando those people who speak Texan instead of Chicano. He shared that Junot Diaz had planned to join the festivities that evening but circumstances pulled him away. Diaz' work is not in H6.

Veteran writers Lisa Alvarez and Jesus Treviño capped off the reading part of the program. Alvarez read from H6 along with a new piece. Treviño, who filmed the readings for Latinopia, read from his story published in H6.


Lisa Alvarez

Jesus Treviño in camera monitor

Ordering Huizache is fast and easy via the magazine’swebsite. Single copies and back issues are only $15.00. Two-year subscriptions run $25 and ensure getting each issue hot off the press.

When Dago handed me the first Huizache—in Tucson during the Librotraficante book smuggling tour—I knew it had greatness written all over it. 

Librotraficantes, Dagoberto Gilb, Tony Diaz

Time has proven that absochingaolutely accurate. Every issue has engaging poetry, arresting fiction, artwork, and amazing covers by artists such as Patssi Valdez, Linda Gamboa, and for the current issue, John Valadez. 

Huizache makes a great Valentine’s Day present for everyone who loves Chicana Chicano Literature. You can prove your love, of literature and the recipient, by giving a complete set of Huizache, while supplies last.

A long time ago there was a magazine named Con Safos. A brilliant collective of writers, artists, and visionaries brought it out. But C/S went by the wayside. Raza, don’t allow Huizache to fade. Buy, subscribe, give it to friends, tell your librarian to stock Huizache. 

Stand in a grocery store line, visit the library, it's easily seen that the market is flooded with popular consumer magazines. There is only one magazine of Chicana Chicano, Latina Latino literature: Huizache.



Con Safos Is Semi-Back


At my fifth birthday party, an older kid named Johnny Roque scratched something on the stucco wall of the garage. I could read the letters but didn’t know what they meant. Johnny explained that c/s meant “you don’t mess with this.” I took a rock and scratched across the letters, at which point the little pachuco picked up an empty nickel deposit bottle and clunked me on the head with it. I tearfully realized he was serious about not messing with placas protected by C/S.

That lesson lurked at the back of my mind when I returned to the United States from Korea in 1970. That was when I learned that in my absence a magazine called Con Safos had gained popularity. I was delighted to learn C/S was a sterling exemplar of community-based media featuring raza arts and letters. C/S had stories, essays, drawings, photographs, and cartoons. Amidst all the good stuff—and there was a montón of good stuff--one cartoon stood out, Arnie and Porfi.

Drawn and scripted by Sergio Hernandez, the strip unraveled the continuing misadventures of street-wise Porfi and a Chicanerd named Arnie. It was the fabulous furry freak brothers but without the drugs and movidas, and puro Chicano. A few years back, Hernandez revived the strip at Latinopia, about the same time the surviving C/S editorial staff began stirring the waters looking to bring back the seminal magazine.


Although C/S hasn’t yet made it all the way back, there is a book about its history, penned with the cooperation of the C/S veteranos, by Maxine Borowsky Junge, Voices From the Barrio. The $32 book from internet publisher Amazon, launches at Los Angeles’ LA Plaza de Arte y Cultura on Thursday, January 19th.

Arnie and Porfi will make a live appearance, along with original members of the production team. Serge tells me he's still writing the dialog. I'm guessing Serge will carry el papel de Porfi and Michael Sedano will be Arnie. Or vice versa. Come Thursday and see.



Kid’s Opera In Limited Run

La Bloga friend Teresa Marquez turned us on to the opera-in-progress of Bless Me, Ultima that was featured in last week’s La Bloga-Tuesday. Teresa commends to your attention Opera Cultura’s March 2017 children’s opera, The Coyotes and The Rabbits, A bilingual Children's Opera.

Only two performances mean it’s time to hop to it, getting tickets for the Mexican Heritage Theater - School of Arts & Culture auditorium in San Jose , CA 95116.

From Opera Cultura's website:

Hector Armienta has adapted one of the oldest Mexican folk tales known, The Coyote and the Rabbit, and turned into a lesson about the value of an education. It is told by two mischievous but well intentioned rabbits known as Chiquita and Banana. The story begins when a young Coyote, named Scrawny, is visited by his cousin, Loco. When Loco finds out that Scrawny is learning how to read, something no decent Coyote would ever do, Loco has made it his mission to set his cousin on the “right path”. What follows are a series of misadventures, due to Loco’s inability to read and his ignorance. In the end, Scrawny realizes that an education is the key to long and fruitful life.

Buy your affordable tickets on-line via Opera Cultura’s website: http://www.operacultura.org

Watch excerpts from The Coyotes and The Rabbits here: