Wednesday, December 14, 2022

Interview with author Marta Arroyo




Thank you, Marta for this interview. How would you present your picture book Polvorones to the audience? Tell us about it. 

 

When I present the book to an audience, I always ask, what do you think the story is about? Then, I talk about the cover and get comments from the audience. Finally, I ask if they have ever had a problem getting someone to listen to them. 

 

In Polvorones, you will meet Rosita. She has a strong desire to do a special dessert for mamá. She wants the help of her siblings very much. They, however, are doing something else. They hardly listen when she tells them about these special cookies, Polvorones. In English, they are Mexican Wedding Cookies. En español son polvorones. 

 

 

How did you come with the idea for Polvorones?

 

I never knew the meaning of the word polvorones until I was a grownup. I wanted to know more about this delicious dessert and share it with children of all ages. I wanted to write a story about Rosita who was excited to get her siblings to help her prepare polvorones and to surprise mamá with this special recipe. My mamá never made polvorones but she baked plain breads like semitas and gordas de horno.  Tía Regina taught mamá how to cook. She was an expert baker and businesswoman. I also wanted to use the theme of Little Red Hen in Rosita’s story. The Little Red Hen is always asking for help just like Rosita.

 


 


Is this story based on a real-life experience?

I do not have childhood memories of Polvorones. My mamá made many foods both sweet and savory. She daily made delicious flour tortillas for our dinner. When we visited our Mexican hometown San Luis del Cordero, Durango, we got much culture, especially related to food. Tía Regina had outdoor earthen ovens. She baked and sold bread in the town. Delicious!

Mamá helped her a little, but she mostly took care of my sisters and me.

 

How was the process from manuscript to publication for Polvorones?

 

I wrote a message and request to BABIDIBUlibros.com last October 2021. They responded a few weeks later. The process grew smoothly after I signed the contract. The publisher is in Sevilla, Spain. I had the pleasure of selecting from several potential illustrators after they agreed to publish my story. This was very exciting for me. I decided to go with Isa Medina. I really liked her beautiful art samples. 

 

How are your readers reacting with the book?

My readers are reacting positively and with understanding. They can relate to Rosita’s problem. The children with older brothers and sisters have commented about times they didn’t listen to their older siblings. Some kids asked, “where is the father?” I told them that he’s not home yet. On the other drafts, I was going to put a papá in the story. And on another draft, I was putting abuela as Rosita’s next door neighbor. I finally went with the burning cookies to get the little siblings to come help Rosita. I look forward to seeing reviews by readers who buy the book. Just to know! I value readers’ support and opinions.

 

 

What are your final words for our readers at La Bloga?

 

I am grateful to have this opportunity to share this children’s story, Polvorones, with La Bloga.  I want to tell all blogueros to continue encouraging your children to read and love reading. A single trip to the library can become many trips to the library. My daughters keep books on the bedroom shelf for their kiddies, our grandkids. Reading is a mighty power that can help your child love life! 

 

Thanks for this great support, René! You are a strong role model for literacy and community unity. 

 

 


Marta Arroyo graduated from the University of California, Santa Barbara, majoring in Spanish Literature. She taught elementary education for thirty years, primarily in the Carlsbad Unified School District. Since her retirement, Marta has written two bilingual children's books, La Fiesta y el Mariachi, (2007), and The Story of Señora Tamales (2010). She published Jorge and the Lost Cookie Jar with Dayton Publishing (2017) and Jorge y el Jarro de Galletas Perdido, (2018).

 

Marta lives in the city of Oceanside, California, with her husband Juan, the love of her life. Her passion is playing with her grandchildren. She also cooks with great contentment for her family. She enjoys making flour tortillas and Mexican Wedding cookies. Sometimes her young grandkids help. 

 

In addition to her writing, Marta finds joy in simple activities like taking photos of her family and the flowers in the garden. Most important she promotes the importance of reading for children of all ages.

 

 




 

Tuesday, December 13, 2022

Lupe in Happy Valley: 2022: 2019:1971

Michael Sedano


I owe myself a visit to Lupe of Happy Valley. I did not grow up in Los Angeles, so when my first job after the U.S. Army sent me driving around LA County, I took every opportunity to explore, get to know the big city, and take photographs. 

The first puro LA experience I had was the time i was photographing a set of murals in an out-of-the-way corner of Los Angeles when the residents of the home came to check out the guy with the camera. I'd sure love to give these kids a copy of the fotos. I heard via the Face that one or both of the young men have died. qepd.

Today's column re-runs one from March 2019. It's been that long that I saw Lupe in Happy Valley. Ahi voy!



Lupe of Happy Valley 2019 Update

I’ve been watching Happy Valley Lupe since serendipity led me to her wall marking the border where Lincoln Heights meets El Sereno and Montecito Heights. She’s hanging in there in 2019.

Back in 1971, just out of the Army, I found a job going around Southern California to low-SES schools doing reading and math testing for a national study. 

Lincoln High School was on my assignment list and I was excited to see for myself. Only four years before, kids walking out of Lincoln helped launch the movimiento. I planned to get there early enough to cruise the area.



Finding the school was easy from the Santa Ana Freeway. Exit Broadway, head away from downtown, pass Las Cuatro Milpas, El Tepeyac, a couple of markets, and there’s the school on the left. 

I cruised past and pointed my wheels toward the streets behind the school.




At first, I didn’t see Lupe, struck by the mourning Ixta and Popo painted across a retaining wall. Above them next door, a couple of kids played against a rickety wooden fence keeping them from falling ten feet to the sidewalk. Below them on the wall guarding their home against sliding into the street, the Virgin of Happy Valley. A cobra to Lupe's left marked her barrio.



I parked and took out my camera. While I looked for angles--Ektachrome rationed the exposures--a couple of kids walked down the steps and took positions at the street sign to watch me.

I walked over and we had a great conversation, I took their foto but never shared it with them. Now they're all gone.

That moment stayed like that for thirty years.




Thirty years later, in 2014, I drove from Our Lady of Guadalupe church on Mercury and Huntington Drive toward Happy Valley. Cresting the hill, Happy Valley remains a cozy hamlet up against the now-tony Montecito Heights. 

Coming down the steep grade, there's a modern elementary school but still lots of open land on the heights.

Popo and Ixta disappeared into a white expanse. Lupe stands but the house where the kids played is now a vine-covered lot. The hillside is moving, iron straps hold the retaining wall together where it splits at the seam.
Alfredo Lascano stands where those kids were

Last weekend, expecting to see a new apartment building where Lupe held back the moving hillside, I crested Mercury Avenue and came downhill toward the school. There is Lupe, still holding her wall.



Lupe's face has been repainted, along with bright new colors. The Cobra was Christianized, but that's been overcome with healing vibes. 

Someone--an art critic, quien sabe?--gave Lupe a scar across her nose. Lastima, but now there's a reason to visit sooner rather than later, see who's guarding the spirit of this place, giving her a face?

Friday, December 09, 2022

Christmas in Hawaii via Santa Barbara

Melinda Palacio


At La Arcada, downtown Santa Barbara


This year, I've added a new Christmas tradition. Covid lockdown and the threat of new viruses and respiratory illnesses still loom, but I've had the chance to enjoy the Christmas in Hawaii show by Jake Shimabukuro. If you've never heard of Jake, you probably don't hang around ukulele players or guitarists. He's considered the Jimi Hendrix of ukulele because of his virtuosity on the ukulele. Over the lockdown years, I've had a chance to pick up the little instrument that means jumping flea in Hawaiian. While I don't play as good as Jake, I understand how his trajectory has led to his worldwide fame. 

He learned his first chords from his mother at age four, with two chords under his belt, he could play "Love Me Do," by the Beatles. He then went on to learn from Hawaiian masters, honing his craft, writing songs, producing albums and touring. He's now 46 and loves performing and connecting with his audience, has dozens of albums under his belt and is a true master of his craft. What's fun about watching Jake is how humble he appears while producing mind blowing sounds out of a little instrument with four strings. His musical set showed how he well versed he is in a variety of genres. He's not playing songs you'd expect to hear such as Tiny Bubbles or Melekamikimaka. He's playing Schubert's "Ave Maria," Queen's "Bohemaian Rhapsody," Harrison's "While My Guitar Gently Weeps," to name a few. Christmas songs included "What Child Is This" and the more contemporary, "This Christmas." There was the obligatory homage to Iz and the Hawaiian version of "Over the Rainbow." Jake played flamenco songs and rock songs. He said he even found inspiration from Bruce Lee films. His original composition, "Dragon," is a tribute to Bruce Lee. 

His latest album, Jake & Friends, is a collaborative work with his musical heroes including Willie Nelson, Bette Midler, and Sonny Landreth to name a few of the collaborators. While he couldn't bring all of the collaborators on tour with him, he brought three friends from Hawaii to play some of the songs from the new album, Herb Ohta, Jr., longtime touring pal and bass player Jackson Waldhoff, and guitarist Justin Kawika Young, who also shared some of his original songs. The show ended with Jake playing "Get Together" by The Youngbloods, also the last song on his new album feat Jesse Colin Young. Not exactly a Christmas song, but the theme was just right and after the show there was a meet and great, a chance to connect in person with the humble and good-natured virtuoso. 

For anyone feeling depressed or experiencing low energy during the holiday, I can recommend learning how to play the ukulele. In my experience, compared to learning guitar or piano, the ukulele is accessible, especially if you've tried to learn an instrument in the past. Learning music lights up the pleasure zone in your brain and it's almost impossible to be unhappy while playing the ukulele. I can't say enough positive things about my experience learning the instrument. Meeting Jake, a ukulele master, was thrilling to see his infectious joy. If you're looking for a last minute Christmas gift, I would recommend a ukulele. 

with Jake Shimabukuro 

 

Thursday, December 08, 2022

Pulling for the Underdog

                                                                                     

An old man in Jalos

      I’m partial to “labor.” I always have been. Oh, I don’t mean I enjoy picking up a pick and shovel and digging up the hard earth, but if I had to, I would, and I have, many times. What I mean is I am partial to “labor,” as in labor - management, of which I’ve worked on both sides.

     I come from “working” people, hard workers, nearly all my relatives -- laborers. They taught me to work. I don’t fear work, not like many people I’ve met throughout my various careers, from blue to white-collar jobs. That’s why I was always confused, as a kid, when I heard the term, coined by Hollywood’s Anglo cowboys, “Lazy Mexicans.

     I remember listening to my parents rise, five days a week, all year long, sometimes as early as 5:30 A.M., depending on what part of the city my dad had to drive to the construction site. My mom rose each morning with him to make his breakfast, pack his lunch and get us all off to school before starting her own day’s work. On Saturdays, by the time I was eight or nine, I’d be out front with my dad, raking leaves from the lawn, cutting it, turning over the dirt in the flower garden, pulling weeds, and watering, according to the way my dad wanted it, the “right way. If you can’t do it right,” he'd bark, “don’t’ do it at all,” as if I had a choice. Our house was one of the nicest on our suburban block. Lazy Mexicans?

     By the time I was twelve, summertime, my uncles and cousins would pick me up to help them with their gardening routes up in Westwood, Beverly Hills, and Bel-Air. In those days, only rich people had gardeners. If my dad had “side jobs,” he might take me along. His work was a “heavy lift,” mixing cement, carrying it on his back up, who knows how many flights of stairs, to plaster it onto the walls. His famous lines to me, “Stay in school. I never want to see you do this kind of work.” All his friends and relatives, mostly in the skilled trades, put their noses to the grindstone, so to speak. Lazy Mexicans, nothing!

     In my teens, he taught me about the labor union, even took me to the hall not far from our house, where he’d go if he needed work, which wasn’t often since he had contractors calling the house, asking if he was free to work. I can’t forget him telling me how if it wasn’t for the union, he wouldn’t have a five-day work week, health insurance, decent working conditions, and a retirement plan. On the other side of it, he had no patience for laborers who didn’t pull their weight.

     My dad was a reader, not just newspapers but novels, his favorite writer, Steinbeck, another proponent of “labor.” My dad was a sports fanatic, mostly college football and basketball. Sometimes I’d catch him watching a game on television where he had no favorite team on the field or court. “Who are you rooting for,” I’d ask? “He’d answer, “The underdog. I always pull for the underdog.”

     So, sure, I have a special place in my heart for people who work hard, whom we now call, “essential workers,” which in California, and in many states across the country, are immigrants. It's true. There are plenty of jobs Americans just won't do. Somebody's got to do them.

     No one will ever tell us the truth about how many thousands died during the worst of the pandemic, like those locked in corporate meatpacking and production plants, without protective equipment, while the rest of us were under quarantine, or those who worked in the fields, picking our food, or in homes caring for the elderly. It is they, unfortunately, who crossed the border, with and without papers, to work here, who have been demonized by the U.S. political machine.

     Scholars, as well as those few who enlighten themselves, understand the real politics of migratory labor. Partially, it’s a scam cloaked in government policies. The U.S. passes international policies that enrich corporations but hurt laborers and small businesses in Mexico and Latin America, for example. U.S. companies open up abroad, like in Aguascalientes, MX, and lift some Mexican workers into something resembling a middle-class. It isn’t long before the workers realize they are producing much, working more, and earning peanuts, forgive my use of the vernacular.

     Silently, and without much media attention in the States, Mexican agriculture, both large and small, can’t compete with U.S. industries. Mexican companies, from manufacturing to agriculture, and offshoot industries, shut down, and hundreds of thousands of people lose their only source of income. What do they do? They head north to face antiquated U.S. immigration policies, and suffer, who knows what indignities, character assassination, and worse, are separated from their children.

     And agriculture is just one industry and one policy. There are many more, like the so-called U.S. financed drug wars, fueled by Americans need to get “high,” the worst offenders, those in high-powered jobs, like Wall Street and the entertainment industry. Yet, who goes to jail? Those who live in the poorest communities and can't afford hotshot attorneys. Sure, I'm generalizing, but plenty of research has been done, like Michelle Alexander's book the New Jim Crow, documenting the issues.

     We know the vast quantity of illegal drugs come into the States in commercial ships, cruise liners, airliners, and sixteen wheelers, but the drug czars and media focus on the border, the most difficult locations to smuggle large caches of drugs. The faux war has turned hundreds of thousands hardworking Mexicans and Central Americans into migrants, fleeing for their lives. Our politicians take advantage of the situation, blame it on the countries, their policies, and their people. It plays on average American sensibility, infuses, anger and resentment, and it gets opportunistic politicians elected.

     What we often don’t see is American industry, the real benefactors, from agriculture to hospitality, opening its arms to welcome the desperate, low-wage workers. It is a system between Mexico and the U.S. whose roots go back to the late 1800s, in various manifestations, a system that has even transcended border walls, literally, and nearly all states benefit. 

     Underneath, in the real world, little has changed. Mexico and the U.S., especially the border region, share much more than what separates them. Maybe that's why HR 1603, the Farm Work Force and Modernization Act of 2021, a bipartisan effort to ease legal immigration and citizenship status for farmworkers and their families, revise their status, address employer concerns, and improve employment verification is making its way through the legislature. It can definitely help the American farmer who depends on migrant labor to bring in each year's crop.

                                                                                  

The new, cross-cultural generation, visiting Tepatitlan

     The reality, Pedro, an old man I met as I walked the streets of Canadas de Obregon, a small town in Jalisco's highlands, between Jalostotitlan and el Valle de Guadalupe. He was short, light skin, and hobbling up a steep cobble stone street, pushing his walker. I greeted him, as I greeted everyone I passed, a gesture expected in rural Mexico. Pedro knew I was a stranger in town. He reached out to shake my hand. He wouldn’t let go, hungry to talk, I guess.

     He said he was 86 and had lived in Canadas since the early 60s. He was originally from Tepatitlan. He pointed to his bum leg and said he was tired of everyone telling him how to cure it, and any of his illnesses, “Curanderos and home remedies, blah,” he said and told me he was going to see a doctor. “Isn’t that what you do when you have a problem? You go to experts? Soon, I’ll be using just a cane.”

     Pedro told me he worked in North, years ago, Oregon for a few years, and in Chicago for fifteen years. He said it was at the beginning of the war in Vietnam. He worked in a factory making barrels for 105 howitzers, though he used the word “canons.”

     He listened patiently as I told him about my time in Vietnam. I trained on those howitzers.

     He said that about 1980, he was ready to return to Mexico. As he prepared to leave Chicago, someone from the main office where he worked said he needed to sign his termination papers. He said it was a very kind black woman. “Morena” was the word he used. She told him he hadn’t worked there long enough to receive social security, even though he’d paid into it since he started working there. Then, she asked if he had worked any place else. “Yes,” he answered, three years in Oregon. He said she made some clicks on the typewriter, and she told him, happily, “Good! I added that to your years of service here.”

     So, Pedro receives his monthly social security check from the U.S. If he weren’t for that woman, and his work in the states, he said, his life would be very difficult. He said he also fixed his immigration papers. Since his children were born in the U.S., where they were raised and now work, they can travel back and forth to Mexico whenever they want. One of his daughters even got a job in a Mexican bank. He said that nearly everyone he knows from the entire region of Los Altos has been to the U.S. to work. Many stayed and many returned.

     I could see he was tiring. He’d stood a long time. We shook hands, and he continued his way up the street, taking it very slowly.

     I ran into Pedro again a few days later. He greeted me with a big smile. He said he had an appointment with a doctor in Tepa, and he commenced to lecturing me on Mexican history, going back to Plutarco Calles, the Cristero War, Mexico’s nationalization of oil, today’s politics, and education.

     “There is the problem,” he said, “the lack of education. The government puts nothing into educating children in the countryside. You know the 43 students who were killed? Their parents should have taken better care of them.”

     I wasn’t sure what he meant. I knew about the 43 students who had disappeared on buses as they made their way to a demonstration to protest for better education. I hadn’t heard they’d been killed. “Is that what you mean,” I asked, “the students from Iguala, the ones who disappeared?”

     “Yes,” he answered, “they should have been studying.”

     As we spoke, I couldn’t help but feel a close connection to the man, not only as a Mexican but as an American, and a fellow laborer.

Wednesday, December 07, 2022

VAALA Presents: Yellow Submarine Rising Family Day

  

More information at https://vaala.org/art-exhibitions/yellow-submarine-rising/

 

 

Come for Family Day during Yellow Submarine Rising: Currents within Asian American Art at OCCCA with LibroMobile + Saigon Art Academy

 

About this Event

 

A VAALA + LibroMobile + Saigon Art Academy Collaboration

 

Join us at the Orange Counter Center for Contemporary Art for a family-friendly event on Saturday, December 10, 1pm - 3pm that includes book readings, conversations with the children's book authors, and fun arts and crafts for all ages. This is an event organized in conjunction with the art exhibition Yellow Submarine Rising: Currents within Asian American Art (Saturday, December 3, 2022 to December 17, 2022).

 

Authors Muon Thi Van, Van Hoang and Rene Colato Lainez will share their inspirations and insights for this special genre of storytelling. While the author panel is geared for adults, younger audiences are invited to create arts and crafts with art instructors from the Saigon Art Academy.

 

All are welcome to arrive early at 12pm noon or to stay afterward until 5pm to enjoy the art exhibition Yellow Submarine Rises, in which select illustrations by Victo Ngai from Muong Thi Van's newest book Wishes are featured.

 

This event and the exhibition are free and open to the public. 

If you have any questions, please contact Christine Tran at christinetran@vaala.org.

Arts & crafts activities are sponsored by Saigon Art Academy.

YELLOW SUBMARINE RISING: Currents within Asian American Art

Saturday, December 3, 2022 to December 17, 2022

Orange County Center for Contemporary Art

117 N Sycamore St, Santa Ana, CA 92701

 

The exhibition is presented in partnership with the Orange County Asian Pacific Islander Community Alliance (OCAPICA) and supported in part by the California Department of Social Service Stop The Hate - Transformative funding.

 


You can get Tickets for VAALA Presents: Yellow Submarine Rising Family Day by clicking the link below. 

 

https://allevents.in/santa%20ana/vaala-presents-yellow-submarine-rising-family-day/10000473125881247

 

 

Tuesday, December 06, 2022

Pachanga For Christmases Past

Memory / The Gluten-free Chicano Cooks

Holiday Singsong in Plague-time: Memories of Christmases Past

Michael Sedano and The Gluten-free Chicano

In her time, my wife, Barbara, earned her reputation in our house as the Perle Mesta of  Pasadena. Barbara threw a party at the slightest hint of a big occasion. 

The Christmas caroling party was Barbara at her peak. After Thanksgiving people would begin asking about this year’s Christmas party. Barbara's party became the annual highlight of our friends’ holiday season such that her invitation list grew longer by the year.

It came to pass that 100 people thronged to CasaSedano. Just the best time of year for such a journey, people filled every room of this large house, smokers and hangers-on outside. 

The dining table sparkled with decorative platters and bowls, and never paper nor plastic, Lennox china. Weekends up the coast or out to Palm Springs required a stop at the factory seconds outlets at the discount mall. She never did find that china cornucopia. 

The final dish ready for the oven

I perfected my scalloped potatoes the first year. They’re incredibly simple and ravishingly attractive on a buffet table. The papas are more attractive in steaming scoops piling onto plates by chilled singers just returned from roaming the neighborhood singing their three-song repertoire and avoiding the cranky tipos who greeted us with boiling oil last year. The centerpiece of the desserts, of the entire buffet spread, was the Croquembouche. At first, she ordered a six-layer Croquembouche. The list lengthened and people brought more kids, and she ordered an 8-layer Croquembouche for a few years.

8-layer Croquembouche line Sarkis Bakery showcase

Before it all stopped, that last party Barbara dispatched me to Sarkis’ pastries where Barbara’s gigantic 12-layer Croquembouche towers above the 8- layer crème-puff trees awaiting someone else’s parties. 

Tradition teeters in the back of the van, susceptible to gravity, kinetics, potential energy, and dust. The croquembouche tree sits upon cardboard taped around the quivering confection. I drive slowly along Washington Boulevard easing my way around the corner, holding my breath ascending my sloping driveway. 

I carry my load safely inside where Barbara’s Croquembouche center-piece dazzles the eyes of guests seeing such a marvel for the first time, and delighting others who look forward to seeing what Barbara’s Croquembouche looks like this year.

As visitors arrive, eager smiles mirror years of unsupervised joy, small fingers taking plastic reindeer to inhabit treasure boxes, then spending the evening returning to the buffet table to pull endless profiteroles off the shrinking tree. 

The finished product.
The topping mixes ⅛ cup rice panko with ¼ cup grated cheddar, in a blender

That last party of Barbara’s, in a corner of the dining room, a PhD Grad Student licks her fingers after devouring the last crème puff she’ll share here, after a succession of parties she’s attended since she was a little girl. Her parents didn’t attend this year. She's invited on her own. 

The woman wraps a plastic reindeer in a napkin and takes it with her. I smile at her departure to another event, grateful she shares her time and love here at Barbara’s party. A fitting end to a tradition.

Barbara doesn’t have energy in 2017. She opens some computer files, prints some lists, but  something has dissolved and we abandoned the idea. The house remains silent that dark December month. Her friends know not to ask, we're in trouble and they recognize it. 

Five months after the party we never had, we are diagnosed with “dementia of the Alzheimer’s type.”

In the years since, I’ve been writing about Memory here at La Bloga-Tuesday. A lot of gente have been through cognitive diseases and impairments. Their words and support comfort me. I hear, too, that what I’ve shared in these columns comforts others experiencing their own pain. No, you are not alone in this freakish existence.

It’s a hard truth that others will have cognitive impairments strike their family. These La Bloga columns, they suggest what it’s going to be like, pero sabes que? It’s going to be worse because it happens to you in person.

One consejo I offer is decide not to suffer. Get yourself active, get help, get respite time for yourself, have parties, sing songs, eat Croquembouche and scalloped potatoes. 

Assembling the scalloped potatoes takes organization.
milk in the bottom of the caserole dish, then cheese, potatoes, cheese, potatoes

"Órale, these papas are firme."

"Glad you like them. Have some more."

"Man, I keep eating cream puffs."

I need not end 2022 in the dumps. To remedy the dumps, I decided to have a GOPlague-time Christmas Caroling Party in honor of Barbara’s tradition of major league joyousness. 

After a few moments fighting off regret at the old days, I put together a menu that I changed three times, eventually kept it simple: papas, apple salad, crisped potato skins, make your own ham sandwiches, and other stuff.

We ate, we drank, we sang, we got loud, we got louder, we had fabulous fun. A tiny gathering of people with vulnerabilities and vaccinations.

Instead of heading into the neighborhood to carol, we had a living room floricanto. Vibiana Aparicio-Chamberlin and I read a dialogue from Vibiana’s recent collection, Chicana On Fire. Margaret Garcia and Rhett Beavers read from Margaret Elysia Garcia’s, Burn Scars, a narrative poem from the Dixie fire, embodying the power seen in Margaret’s fire paintings. 

Then we sang. Vibi and I did a demi-duet of Cielito Lindo, then we segued into Rudolph and a whole book of kid's carols and songs. We ended with boisterous operatic Granada with lots of tremolo that had cars stopping in the street and dogs fleeing the din.

I didn’t order a Croquembouche, and I laugh maniacally at thoughts of making a croquembouche myself--I’m not that down in the dumps even to think of it. 

But hand me some papas and ahi vamos. This year I used gluten-free panko and gave the potatoes that cheesy crust that people rave over.

Layers of spuds and cheese are fork tender after absorbing the
milk that filled less than ⅓ of the vessel, ~2 cups whole milk


One more layer of potato slices then the crumb crust layer.


The Gluten-free Chicano's Scalloped Potatoes

9" x 13" dish, non-stick sprayed
six or more Russett potatoes, peeled & sliced
brick sharp cheddar cheese slices & grates
whole milk
fresh ground pepper
salt
rice panko crumbs

Get oven up to 375º

Fill the casserole vessel with 2 cups or milk or ⅓ deep. 
Milk alone is fine, but you can use Half&Half or Crema Mexicana thinned with Milk, for a rich flavor. 
Using a cheese roux béchamel sauce like you do for macaroni, is overkill.

Add the first layer of cheese slices. 
Grated cheese works but it's a lot of work to grate.

Sprinkle generous pinch of coarsely ground black pepper and a smidgen of salt. Chile powder would be nice for some people.

Use a bristle brush and scrub the potatoes clean. 
Rinse the papas and all utensils and cutting boards before using the surfaces to slice.

Slice the potatoes less than ¼" thick. 

Put them into the dish. Overlap the slices to avoid large gaps. Layer two or more thicknesses of papa then layer some cheese slices.

Repeat until you have no more potatoes. Add milk to less than half the volume of potato.

Take an ⅛ cup of the rice panko meal and ¼ cup of grated cheese. Blender or Cuisinarte them into a crumbly consistency. It should fluff up to a thick layer completely covering the top of the casserole dish, edge to edge.

Bake at 375º 40 minutes or until a fork / knife blade easily penetrates the center of the potatoes. 
Never serve under-done scalloped potatoes--people will talk about you. If 40 minutes isn't enough in your oven, add 20 more minutes (cover them with foil when you add heat) (if disaster strikes, use the micro to finish off underdone dishes).

Provecho!


Margaret Garcia Studios Hosts Vincent Van Gogh Play

Margaret Garcia's studio welcomes this production of Vincent, starring David-Edward Reyes.

The setting alone makes attendance must-see teatro. Garcia's studio is staged with a monumental mural the artist will be finishing during the run (not while the acting is on stage).



Monday, December 05, 2022

December 8, 2018, el 8 de diciembre de 2018 por Xánath Caraza

December 8, 2018, el 8 de diciembre de 2018 por Xánath Caraza

 


Jackeline’s Butterfly honors and commemorates the life of Jackeline Caal, the seven-year-old Guatemalan girl who died while in the custody of US Customs and Border Protection (CBP) on December 8, 2018.

 

~Sandra Kingery

 

La Mariposa de Jackeline celebra y conmemora la vida de Jackeline Caal, la niña de siete años que murió cuando estaba bajo la custodia de US Customs and Border Protection (CBP) el 8 de diciembre de 2018.

 

45.

 

Soñaste con campos abiertos

y el calor de un hogar

en las montañas de niebla.

 

Brazos tejidos te esperan

para envolverte de felicidad.

 

Vas llena de poesía, niña maya.

Tu huipil bordado de mariposas azules.

Tus manitas quietas cargadas de dorados recuerdos.

Tus ojitos cerrados todavía tienen frío.

 

Flor y canto eres, niña hermosa.

 

En estas páginas

una mariposa

con alas de seda

no deja de revolotear.

 

45.

 

You dreamt of open fields

and the warmth of a home

in the mountains of fog.

 

Woven arms await

to envelop you in happiness.

 

You depart full of poetry, Mayan girl.

Your huipil embroidered with blue butterflies.

Your motionless hands loaded with golden memories.

Your closed eyes still cold.

 

You are flower and song, beautiful girl.

 

In these pages,

a butterfly

with silk wings

continues to flutter about.         

 

 

La mariposa de Jackeline/Jackeline’s Butterfly is a book-length poem. Caraza illuminates the tragedy of a seven-year-old Guatemalan girl who died in custody of the United States border officials. The sequence of poems, a tour-de-force, follows Jackeline Caal on her fictionalized journey from the tropics to New Mexico. Caraza’s lush language describes interplay of sky, sun, seas, and earth, as the girl journeys through beauty. At death, the poet writes, “You depart full of poetry, Mayan girl./Your huipil embroidered with blue butterflies./Your motionless hands loaded with golden memories.” Her soul, freed like a butterfly, finds immortality in her store of memories. This book is essential reading. It celebrates how each individual carries within the fire of eternity.

                       

~Denise Low, Kansas Poet Laureate, Red Mountain Press prize winner

 

La mariposa de Jackeline / Jackline’s Butterfly es un poema de la extensión de un libro. Caraza ilumina la tragedia de una niña guatemalteca de siete años en custodia de los oficiales fronterizos de los Estados Unidos.  La secuencia de los poemas, un tour-de-force, sigue a Jackeline Caal en un viaje ficcional desde los trópicos hasta Nuevo México.  El lenguaje exuberante de Caraza describe la interacción del cielo, el sol, los mares y la tierra, mientras la niña se desplaza entre la belleza.  Al morir, la poeta escribe, “Vas llena de poesía, niña maya / Tu huipil bordado de mariposas azules. / Tus manitas quietas cargadas de dorados recuerdos.” Su alma, liberada como una mariposa, encuentra inmortalidad en su baúl de recuerdos.  Este poemario es una lectura esencial. Celebra cómo cada individuo lleva consigo el fuego de la eternidad.

 

 


La mariposa de Jackeline / Jackeline’s Butterfly (2022)

de Xánath Caraza

Traducido por Sandra Kingery, Aaron Willsea y Hanna Cherres

Imagen de portada por Mariana Ramírez Cano

Casa editorial: FlowerSong Press

ISBN: 978-1-953447-11-1