Wednesday, April 12, 2023

DO I BELONG HERE? / ¿ES ESTE MI LUGAR?

Written by René Colato Laínez

Illustrations by Fabricio Vanden Broeck


ISBN:  978-1-55885-968-5

Publication Date:  May 31, 2023

Format:  Hardcover

Pages:  32

Imprint: Piñata Books

Ages: 6-9


I am excited to present my new children's bilingual book Do I Belong?/ ¿Es este mi lugar?

This book is based on my personal experience during the first days of school in the United States. 


I was so confused with the new language. In Spanish, I felt smart but in English I felt that I did not belong here. I asked myself many times, do I belong here? 

I had many dreams to accomplish and I wondered if I would be able to accomplish my  dreams in this new country. 


I want to tell all children, especially recent immigrant children that yes, they belong here. It must be dark and confusing now but there is always new light at the end of the tunnel. 

The experiences of newcomer students in schools are portrayed in this winning, bilingual picture book. 

Award-winning children’s book author René Colato Laínez teams up again with illustrator Fabricio Vanden Broeck to explore the experiences of newcomers in schools and affirm that yes! They do belong. With beautiful acrylic-on-wood illustrations depicting children at school, this bilingual kids’ book by a Salvadoran immigrant tells an important story that will resonate with all kids who want nothing more than to belong.  


Tuesday, April 11, 2023

State of the Art: Altadena & Beyond

Memory
Going It Alone Again

Michael Sedano

Sameth and unnamed valued tech guy. Livestreaming brings readings to you.

I go by myself to the poetry reading the evening of April 4 at the Altadena Library. This is my first solo venturing into the open world again, after what feels like countless years isolation caregiving my wife with Alzheimer's Dementia. Barbara died on February 4, the day has its auspicious elements I ignore.

The Library does the Land Acknowledgement, "we are on stolen land..."

Getting out among 'em has been a cherished goal of mine for years. When I first stepped back into the world, good friends had my back. Thelma Reyna took me to Home Girl Cafe for Rick Ortega's show and the powerful array of poets reading for Rick's arte. Jean Hooper took me to a previous Altadena Laureates' reading. I got to take fotos again of poets reading their stuff aloud. I felt almost like I was nearly all the way back.

Back when I was not a caregiver I had a goal: photograph every raza poet on the Eastside, or wherever, reading their stuff aloud to an audience. It was around 2017 I attended my previous reading. 2023 rolls around and I get to step back into what I'd been doing.

Excuse the interruption, que no?

Altadena, California occupies the piedmont of the San Gabriel Mountains above the other "denas", Pasa- and South. Sitting at the pinnacle of the San Gabriel Valley, the unincorporated region is so remote, racism ignored the community and the homes remained safe from redlining. Even before people realized it or used the term, Altadena was POC tierra. That also implies Altadena is a hip community. Órale, hasta they have two Poets Laureate!

Carla R. Sameth co-hosts Poetry & Cookies April 29

Poets Laureate Carla R. Sameth and Peter J. Harris mark their halfway tenure with Poetry & Cookies on April 29. A half-day event, readings start at 11:00 a.m. and continue until 1:00. The reading celebrates poetry on the main floor of the big library at the top of Christmas Tree Lane.

Carla serves as "named" host for my coming-out reading, but Peter attends as well. The two Laureates created an active program of beautiful evenings in the lower-level community room. Altadena, and the greater San Gabriel Valley, nurtures poets meaning good attendance of "regulars" and new tipos like me. I get a warm welcome as a stranger among us. Luckily, people read La Bloga and I'm not entirely a stranger.

Peter J. Harris shares Poetry & Cookies flyer

Tonight's reading features Vickie Vértiz and Angela Peñaredondo. The poets elect to read round-robin. Angela starts, Vickie follows, then Angela. The poetry begins with the "set" but bounces off the ambience with the poets choosing to develop a theme elicited earlier in the round-robin.


The artists tonight have been reading in tandem for a few other events, their narratives disclose. Their comfort with one another's work emerges as they mention changes tonight from earlier performances of a title, and when they choose just the right title to follow up and lead into other work. 

Synergy makes this reading sizzle. 


The reading is provocative as well, given the poets and their experiences. Vértiz is first-generation U.S. from Mexican immigrants. Her poetry comes in the code-switching Mezcla of chicanarte. Vértiz' performance moves fluidly and naturally English into Spanish into mezcla. Peñaredondo is queer, nonbinary Filipinx. Both are writing teachers, Vickie at UCSB, Angela at CSUSB.

Readers will find vickievertiz.com and angelapenarendo.com the authoritative source for the artists' work. You need to buy their work, gente.



Peñaredondo writes in English, offering a delighting story of a poem she wanted to publish bilingually, English and her mother's Visayan language. 

Like so many children of a cultural diaspora, Angela's linguistic competence in her mother's language outweighs her performance. She needs her mother to help translating. Peñaredondo grows increasingly animated recalling the process, "mom, what does this say?" then mom asking for help from other speakers. Inevitably linguistic controversy arises and soon a community evolves around Peñaredondo's poem and the results are her mom, friends, everyone has a great experience with poetry and the end result gets into the book. (click here to buy)

The story offers a wonderful contrast to Vértiz' performance as a writer not separated from her mother's tongue, and also the beneficiary of a seven sisters degree. Chicana poetry finds expressive maestría in Vértiz' work.



The Q&A part of the reading offers interesting insights into the poets' biographies and writing process and influence. As well, during their performances, the artists include readings from their books' footnotes, adding insightful dimensions that truly enhanced this poetry reading and made my first night out by myself a memorable one for all the right reasons.

Important note: Poets&Writers (link) sponsors the readings, along with host Altadena Libraries and Friends of the Altadena Library.



By Vickie Vértiz

Excerpted.

“Only We Make Beautiful Things Just to Destroy Them” from Auto/ Body, University of Notre Dame press, Sandeen Poetry Prize winner from the University of Notre Dame Press, 2022, pub date, February 1, 2023 (click here to buy copies)



The Mexicans and the Russians were always in on it

This is collaboration in zero gravity democracy

—blurry violet lights and no clear answer

This is a nuclear glow in the dark so we can start over


We board planes to Mars and six engines fire

You spin away. It’s candy guts out here— our voting machines are breaking

You tumble and can’t stop

Grab a harness—an adult pigtail


Six motors click on and your homie has to escape

Push you so you can swing at the exploding star

A way of thinking, una estructura doblada


Alguien cortó oropel azul en cuadritos

And stuffed it into the piñata. A yellow paleta

Big as a chicken, floats to the right hand corner and balances

Tipping into the comrade’s hands


What’s a layer of confetti and candy compared to DDT

The kind you sprayed over our naked bodies


We’re diamonds: hard, shiny, and we can go through some shit

We don’t infest, pendejo. We invest

There goes your friend again, diving toward

The paleta, which has to be pineapple


We were always in on it together

Me and my honey watching a video on loop

We gently hold each other like the beach balls we are

The light dims and that constellation swings


Only one Russian cosmonaut will smile at a time

They watch a homie swim away


Reach out

Don’t make someone else do your work for you

Some of us were grounded

The whole time



Update

Peñaredondo and Vértiz read together again in May at Pasadena's cozy, intimate answer to the the Los Angeles' Times' massive and wondrous book fair. Pasadena's main event comes the weekend of Cinco de Mayo.

Saturday, May 6, 12:30pm-1:30pm, Pasadena LitFest, “Queer Writers Tracing Literary Ancestries,” with Vickie Vértiz, Angela Peñaredondo, Heidi Restrepo Rhodes, and Cynthia Dewi Oka

Poetry & Cookies
38 poets read 52 ekphrastic poems responding to 14 artworks. The reading comes in lieu of a printed book this year.

There is little likelihood of gluten-free cookies, but all the poetry is gluten-free and hypoallergenic to good people. There is high likelihood La Bloga will donate a small supply of gluten-free macaroons--not macarons--from The House of Cookies on Washington Blvd in Pasadena. World's best macaroons by Armenian bakers.



Monday, April 10, 2023

Huayna Picchu por Xánath Caraza

 

Huayna Picchu

por Xánath Caraza

 


Esa mañana, hace ya diez años, tenía planeado llegar hasta Machu Picchu y así lo hice. Salí de Cusco, la bella, como yo le puse, aunque en realidad significa el ombligo del mundo en quechua.  De Cusco recuerdo claramente el color de la tierra. Un rojo ocre que cuando llovía parecía que se convertía en sangre. Pues, salí de Cusco en tren rumbo a Aguas Calientes. Para mi sorpresa, en lugar de seguir subiendo íbamos en descenso hacia la zona montañosa donde se encontraba Machu Picchu. Aguas Calientes era simplemente un pueblo de paso. Como muchos de los pueblos de paso que se forman por necesidad. Busqué el albergue de mochileros en el que tenía una reservación y, al otro día, muy temprano por la mañana salí con un grupo de extranjeros rumbo a Machu Picchu.

 

Quería comérmelo entero. Era literalmente como estar en una postal de viaje. Buscaba con entusiasmo el punto clásico donde la mayor parte de las fotografías son tomadas y que, al fondo de éstas, se ve una montaña. Por fin lo encontré y tomé una de mis fotografías favoritas de todos mis viajes, abajo la ciudad de Machu Picchu resguardada por el Huayna Picchu y yo delante.  Luego la puerta de entrada a tan mágica ciudad. Mi cuerpo empezó a temblar cuando mis manos se posaron por primera vez sobre las piedras perfectamente cortadas que formaban paredes que aún se mantienen en pie después de más de cinco siglos.

 

Pasé horas recorriendo Machu Picchu. Era como estar en un sueño, recorrer semejante monumento incaico. Caminé tan lentamente como pude en ese exquisito lugar. Quería grabar en mi mente cada uno de los espacios de esa ciudad Inca en medio de las montañas. Me senté al lado de la piedra sagrada, intihuatana, tratando de ser lo más respetuosa que pude. Traté de imaginar la vida cotidiana, el ir y venir de la gente, sus palabras, su ropa, sus plegarias.

 

El corazón me palpitaba con grande emoción. Estaba en una de esas ciudades perdidas, casi mitológicas de una cultura indígena americana. No me cabía el corazón de alegría, sonreía para mis adentros mi logro. La vista frente a mí era inmensa, montaña tras montaña, verde sobre verde, infinitas nubes y, a lo lejos, el fragor del río Urubamba. Con ingenuidad deseaba que un cóndor apareciera de la nada y volara frente a mí. No sucedió pero la pura evocación de la imagen de esa ave majestuosa me hacía soñar aún más.

 

Ya avanzado el día, decidí que subiría el Huayna Picchu. Fue un plan de última hora que no tenía contemplado.  La ascensión fue relativamente fácil, un camino ancestral perfectamente delineado para otros viajeros como yo. El premio fue la cima y su superficie de rocas que en algún momento, en algún siglo, fueron lava volcánica. Un mar de nubes me rodeaba y la temperatura del viento cortaba la piel. Era como estar en un sueño más profundo con el rugir de las aguas turbulentas del Urubamba. Me aventuré hasta donde pude y disfruté de la vista del vacío. Belleza en blanco y negro, en roca y en nube, en fría niebla. 

 

Regresé a Machu Picchu renovada y con un doble respeto. Qué manos tan fuertes y estrategas, tan precisas pudieron diseñar tan importante ciudad en medio de una falla volcánica que nunca ha causado reparos en ésta. Perfectamente diseñada, perfectamente cortadas y acomodadas cada una de sus piedras. Sueño en rocas, sueño en verde, sueño de nubes, susurro de agua.

Estuve hasta que cerraron el lugar. Regresé caminando a Aguas Calientes, camino en zig-zag de bajada. Ya por la noche fui a las aguas termales, me relajé en ellas, y una tras otra de las imágenes del día me asaltaron la memoria como una proyección cinematográfica. Sin darme cuenta me quedé dormida y desperté porque ya entrada la noche sentí frío en los brazos. Como pude regresé a mi cuarto en el albergue de mochileros. Dormí hasta muy entrada la mañana. 

 

Un día después regresé a Machu Picchu con más calma, volví a recorrer toda la ciudad y regresé a la intihuatana. Con respeto me acomodé a un lado y saqué mi cuaderno de notas. Empecé a escribir lo que pude, nada me distraía, era mi tributo a ese lugar, mi palabra sagrada. Solo el aletear de un ave, que no quise voltear a ver, me detuvo en seco, no quise alzar la vista para no espantarlo. Sabía que era el aleteo de un cóndor, nunca había experimentado un aleteo y sombra tan extraordinaria. No me moví, solo dejé de escribir para que su vuelo se hiciera uno conmigo. El ave voló en círculos sobre mí, sentía su aleteo y veía su sombra, por un momento pensé que me pudiera atacar. No lo hizo. Se alejó sin darme cuenta, simplemente ya no estaba. Retomé la última línea con renovada fuerza y seguí escribiendo mi canto sagrado. La vista de las montañas frente a mí era interminable, verde sobre inmenso verde, nube sobre inagotable nube, montaña tras infinita montaña, furiosa agua del Urubamba.

 


 

 

 

Huayna Picchu

By Xánath Caraza

Translated by Sandra Kingery

 

That morning, ten years ago now, I was planning on reaching Machu Picchu, and I did just that. I left Cuzco, the beautiful, as I call it, even though it actually means the belly-button of the world in Quechua. What I remember clearly about Cuzco is the color of the earth. A red ochre that seemed to turn to blood when it rained. So, I left Cuzco on a train headed for the village of Aguas Calientes. To my surprise, instead of going further up, we descended toward the mountainous zone where Machu Picchu was found. Aguas Calientes was simply a crossroads, similar to other crossroads that spring up out of necessity. I looked for the backpackers’ hostel where I had my reservation, and very early the next morning, I set out with a group of foreigners headed for Machu Picchu.

 

I wanted to devour it in its entirety. It was literally like being in a postcard. I searched excitedly for the classic spot where most of the photos are taken, photos where you can see a mountain in the background. I finally found it and took a photo that’s one of my favorites from any of my travels: down below, the city of Machu Picchu sheltered by Huayna Picchu, and me in front. Then the entrance to that magical city. My body began to tremble when my hands first rested on the perfectly cut rocks that formed walls which are still standing after more than five centuries.

 

I spent hours exploring Machu Picchu. It was like being in a dream, crisscrossing that amazing Incan monument. I walked as slowly as I could in that exquisite place. I wanted to engrave in my mind every corner of that Incan city surrounded by mountains. I sat next to the sacred stone, the Intihuatana, trying to be as respectful as possible. I tried to imagine daily life, the comings and goings of the people, their words, their clothing, their prayers.

 

My heart was beating with great excitement. I was in one of those lost, almost mythological cities from an indigenous American culture. My heart was bursting with joy, fulfilling that goal made me smile inside. The view in front of me was immense, mountain after mountain, green on top of green, infinite clouds and, in the distance, the roar of the Urubamba River. Naively, I wished that a condor would appear out of nowhere and fly in front of me. It didn’t happen, but merely evoking the image of that majestic bird made me dream even more.

 

When I decided to climb Huayna Picchu, it was already late in the day. It was a last-minute plan which I hadn’t thought about earlier. The ascent was relatively easy, an ancestral path that was perfectly designed for other travelers like me. The payoff was the peak and its surface of rocks that at some point, in some century, were volcanic lava. A sea of clouds encircled me, and the temperature of the wind bit my skin. It felt like a deeper dream with the roar of the Urubamba’s turbulent waters. I ventured as far out as I could and enjoyed the view of the void. Beauty in black and white, in rock and cloud, in cold fog.

 

I returned to Machu Picchu renewed, my respect multiplied. Such strong, strategic hands, such precision, to design such an important city within volcanic fault lines that have never caused it any damage. Perfectly designed, each one of its rocks perfectly cut and placed. A dream in rocks, dream in green, dream of clouds, whisper of water.

 

I was there until they closed. I walked back to Aguas Calientes, the path zig-zagging down. After nightfall, I went and relaxed in the hot springs, and the images from the day stormed my memory one after another like the projection of a movie. I fell asleep without meaning to and woke up halfway through the night because my arms had gotten cold. I returned as best I could to my room in the backpackers’ hostel. I slept until very late in the morning.

 

I returned to Machu Picchu with more time a day later. I explored the entire city again and went back to the Intihuatana. I settled down to one side of it with respect and pulled out my notebook. I began to write whatever I could, nothing distracted me, it was my tribute to that place, my sacred word. The flapping of the wings of a bird, which I didn’t turn to see, was the only thing that stopped me; I didn’t want to look up and startle it. I knew it was the sound of a condor, I had never experienced such an extraordinary shadow or wingbeat. I didn’t move, I simply stopped writing to allow its flight to merge with me. The bird flew in circles above me, I could feel its flapping and see its shadow, it crossed my mind that it might attack me. It didn’t. It flew away before I realized, it simply wasn’t there any longer. I returned to my last line with renewed strength and continued writing my sacred song. The view of the mountains before me was endless, green over immense green, cloud over boundless cloud, mountain upon infinite mountain, furious water of the Urubamba.

 

“Huayna Picchu” is included in Metztli (Editorial Capítulo Siete, 2018)

Friday, April 07, 2023

Chicano Soul, Brother


In 1965 I was seventeen, about to enter my senior year at Harrison High in Colorado Springs while I chased good times in the city of Pueblo with pals from my hometown Florence.  Good times meant parties, dances, and admission to clubs with live music, even if we were underage. I’ve written before about how I was into soul music -- Motown or otherwise, including Chicano bands and singers from Pueblo who did their best to emulate the style and sophistication of groups such as the Temptations, Four Tops, Supremes. We partied and danced to local groups whose names I’ve largely forgotten, maybe a reader can help refresh my memory. I recall one group name – Burnt Mill Road, can’t say why I remember that name other than those words are on a sign I’ve seen numerous times on the side of I-25 near Pueblo’s southern city limits.

The Chicano Soul I danced to as a teenager owed a lot to 1960s R&B, but of course there were other influences:  Richie Valens and 1950s rock n’ roll; from Texas, Little Joe and the Latinaires, Sunny Ozuna and the Sunglows/Sunliners, Baldemar Huerta (Freddie Fender), Sam the Sham and the Pharaohs; from California we heard Chris Montez, Cannibal and the Headhunters, Thee Midnighters, the Premiers; and many, many more.

I own a CD labelled Pueblo’s Own that features songs by long gone Pueblo groups such as the Stingrays, Ernie Watta and the Steel City Band, Patti Jo and the Teardrops, Richy C and the Casanovas, and several more.  It’s an entertaining collection of music, although the recording quality is not the best. I assume that most of the groups were active around the time that I started to travel to Pueblo, and the homemade CD stirs up a bit of nostalgia. There isn’t any information on the CD about the groups.  In fact, there’s nothing about who produced the CD or why it was produced.  Most likely, the concept of the CD originated with someone about my age who wanted to preserve pieces of his or her youth, and who owned or collected recorded music of the groups from back in the day.  Maybe it came from one of the musicians, or a dancer who bumped into me on the crowded dance floor of one of Pueblo’s packed clubs, so many years ago. There is a note that says proceeds from the sale of the disc would be donated to scholarship funds.

To help pay for my good times I found a summer job at Fort Carson, the Army base in Colorado Springs, just a couple of miles from our house.  I was hired to be a fry cook in one of the base’s PXs (Post Exchanges), although cook might be a stretch for what I did.  I grilled burgers, hot dogs, ham and cheese, and served an occasional salad or cup of soup. I had the lunch shift, and I never cracked an egg or fried a hash brown. The hardest part of the job was cleaning the grill.

My customers were basic grunts, no officers or VIPS.  It must have been a PX for enlisted men (I don’t recall any women, but that’s not definitive.)  The guys ordering a hamburger, or the ham and cheese (my specialty,) were primarily soldiers of color, usually Blacks from the South or the East Coast.  Against a background of sizzling grease and greasy smoke, I heard southern accents and country drawls, urban slang and military jargon. I listened as men complained about women, worthless lieutenants, and bad nights in bad bars. 

But the lingering, strongest memory from my summer of sweating over a hot grill was the undeniable popularity of the song My Girl by the Temptations. The song was released for Christmas of 1964, and it eventually appeared on the classic album The Temptations Sing Smokey.  The album was a collection of Smokey Robinson songs sung by the Temptations, and it was a major hit.  I searched for that album and secured a copy that accompanied me when I left Colorado Springs to continue my education.   



I must have heard that song a dozen times each PX shift on the jukebox, but for me it never got old.  Between bites of my overcooked government ground beef, PX customers would mouth the words.  Sometimes they’d outright sing, doing their best to imitate David Ruffin.  Everyone liked that song.  It hit deep in the hearts of the young men waiting for their orders to move on.  Sometimes it evoked a smoldering loneliness, sometimes a jubilant sense of joy.  No matter the emotion, My Girl spoke truth, and the men listened.

In that same year of 1965, the U.S. rapidly increased military forces in South Vietnam as it became obvious that South Vietnam was losing the war to North Vietnam.  Conscription into the armed forces in 1965 was 230,991 men, compared to 112,386 in 1964.  Protests against the war were larger and more frequent.  In March, President Johnson ordered the bombing of North Vietnam.  That year, the U.S. military suffered 1928 casualties in Vietnam, up from 216 in 1964, increasing to 6350 in 1966.

My Girl made international stars of the Temptations, and the current edition of the group continues to tour and attract new fans to the classic Temptations soul sound.  When I left the PX for college I joined anti-war protests and participated in the Chicano Movement.  I still have my copy of The Temptations Sing Smokey.

For more about Chicano Soul music, check out these books:

Barrio Rhythm:  Mexican American Music in Los Angeles, Steven Loza

Chicano Soul:  Recordings and History of an American Culture, 10th Anniversary Edition, Ruben Molina

Land of a Thousand Dances:  Chicano Rock 'n Roll from Southern California, David Reyes and Tom Waldman

The Old Barrio Guide to Low Rider Music, 1950 - 1975, 2nd Edition, Ruben Molina

Later.

_________________________


Manuel Ramos writes crime fiction. Read his latest story, Northside Nocturne, in Denver Noir, edited by Cynthia Swanson, published by Akashic Books.


Thursday, April 06, 2023

Chicanonautica: Joaquín Murrieta in the Streamosphere

by Ernest Hogan

Joaquín Murrieta refuses to die. First Captain Harry Love cuts his head off and puts it on display, then his legend gets whitewashed into the character Zorro, strange Hollywood versions show up over the years, then Rudolfo “Corky” Gonzales (with some help of others, I’ve heard) make him central to Chicano iconography in the poem I Am Joaquín. Books still come out. I keep having to write about him. And then there’s the recent The Head of Joaquín Murrieta on Amazon.

I’m not sure how to categorize it. Is an Amazon production “Hollywood?”


What is Hollywood these days? A place? A concept? How “international” and “independent” can it be with the prerequisite corporate connections?


Welcome to the Global Barrio. It needs heroes and mythologies as well as profits.


Details about the production are surprisingly hard to find, even with Google. Where was it filmed? Who put up the money? How did it come to be?


 I keep getting a whole lotta nada. As for what I could find . . .


The “creator,”’as they like to say these days, is Mauricio Leiva-Cock, born in Bogata, Colombia, and a graduate of Columbia University.

 

Joaquín is played by green-eyed Mexican actor Juan Manuel Bernal, who is dressed like Clint Eastwood’s Man with No Name, only he wears a sarape instead of a poncho.


At first, I wanted to say it was made in Mexico (sure wasn’t the USA), but it didn’t quite look like Mexico. There were also some interesting pronunciations “cabrón” and “chinga.” Think we may have a spaghetti western situation here, this being another global streaming multilingual release. 


Amazon is becoming its own country. 


There’s also a knife-wielding Chinese girl sidekick who seems to have escaped from a Hong Kong martial arts film, an Irish Obi-Wan Kenobiesqe alcoholic renegade priest, Indians, Mexicans, Chinese, and blacks. Captain Harry Love takes the Darth Vader role, while the California Rangers wear blue uniforms like the U.S. Calvary and are his stormtroopers while looking like the guys who come to the rescue at the end of a helluvalotta Hollywood westerns. 


Then there’s a Tarahumara/Rarámuri psychedelic trip. And this Joaquín is an artist.


This is beyond spaghetti western, or even tortilla western. Maybe it’s a rasquache western, trying to wrench the genre out of the clutches of the white supremacists. 


It’s entertaining enough. Lots of dazzling visuals, action, sex, and blood. 


And the surrealistic ending suggests more to come.


It’s not historically authentic, but who really knows the true story? Was Joaquín an avenging hero, or a racist serial killer? Could he have been both? Questions that can’t be answered without a time machine.

But then, this isn’t history, it’s myth, and it’s evolving into a new technological and geopolitical environment. I’ve called it mythoteching. 


It’s alive and well in the Global Barrio–not a place, more an entity without a location or body . . .


Or a decapitated legend.


Or as Ishmael Reed has said, a new loa.


Ernest Hogan will be teaching Papí Sci-Fi’s Ancient Chicano Sci-Fi Wisdom at Palabras Del Pueblo Writing Workshop, online May 20-21 and May 27-28. May 1st is the deadline to apply. Let’s take over imaginative literature, raza writers!

Wednesday, April 05, 2023

VINCENT VENTURA AND THE CURSE OF THE DANCING DEVIL / VINCENT VENTURA Y LA MALDICIÓN DEL DIABLO BAILARÍN


Written by Xavier Garza

 


ISBN:  978-1-55885-965-4

Publication Date:  May 31, 2023

Format:  Trade Paperback

Pages: 160

Imprint: Piñata Books

Ages: 8-12

 

This thrilling bilingual short novel introduces young readers to a spooky Latino legend about a handsome stranger who is more than he seems!

 

Loud music wakes Vincent up in the middle of the night, and he sees a red pickup truck pull in at the house across the street. A red-headed girl and a man decked out in a sparkly western shirt and cowboy hat get out, and he proceeds to two-step up and down the driveway before they go inside. Through the windows, Vincent can see them dancing in unison, the man downstairs and the girl upstairs. Their movements are virtually identical and they begin spinning faster and faster. Suddenly, he sees what looks like horns begin to sprout from the man’s head! It seems there’s another monster mystery begging to be solved!  

 

The next day at the library, Vincent reads about a border urban legend involving a handsome stranger who is really a dancing devil! He also meets a new student, Lilith del Diablo, who he saw the night before! Soon Vincent and his friends have gained Lily’s trust and she tells them her biological father, Luciano del Diablo, is intent on forcing her to become his partner in crime terrorizing girls at dance halls along the US-Mexico border. Meanwhile, Vincent finds his mother’s trunk in the garage and is shocked to find it’s full of monster-fighting tools—silver coins, a slingshot, wooden stakes—and a journal with information on the various beasts. Why would she have this information? Does he come from a long line of ancestors who fight unnatural demons? Is that why evil creatures are constantly moving in across the street?!   

 

With help from his mother’s diary, Vincent concocts a plan to save Lily from the dancing devil, but it’s going to take all his friends’ and cousins’ wits to make it work. This bilingual book for intermediate readers, the fifth installment in Garza’s Monster Fighter Mystery series, follows the dangerous battle between a seasoned devil and one unsure of her powers, a witch owl and several very determined kids!

 

 

XAVIER GARZA is the author of numerous books for kids, including four previous volumes in the Monster Fighter Mystery series: Vincent Ventura and the Curse of the Weeping Woman / Vincent Ventura y la maldición de La Llorona (Piñata Books, 2021), Vincent Ventura and the Diabolical Duendes / Vincent Ventura y los duendes diabólicos (Piñata Books, 2020), Vincent Ventura and the Mystery of the Witch Owl / Vincent Ventura y el misterio de la bruja lechuza (Piñata Books, 2019) and Vincent Ventura and the Mystery of the Chupacabras / Vincent Ventura y el misterio del chupacabras (Piñata Books, 2018). He lives with his family in San Antonio, Texas.




Tuesday, April 04, 2023

Bees&Colibrís&Butterfly: Ahi Viene Spring

Michael Sedano

Southern California weather has been newsworthy for a series of atmospheric rivers that dumped every smidgen of moisture that had been hanging around above the Pacific Ocean. Desperately as the rain was needed, the sunshine finds equal welcome. 

Here is a gallery of early-Spring photographs captured by Michael Sedano in recent days at either the Los Angeles County Arboretum, in Arcadia, or the Huntington Library, Art Museum and Botanical Gardens in San Marino.

Bees





Colibrís


Marine Blue Butterfly