Sunday, December 07, 2008

O Christmas Tree


When I was little, my father would supervise while my brothers, sister and I decorated the family Christmas tree. Though plastic or aluminum trees were all the rage in the 60s, we always had a real tree, the intoxicating smell of pine filling the downstairs of our New Jersey home. He would sit back in his leather butterfly chair, a gin & tonic in one hand, his omnipresent pipe in the other, and direct us in tinsel application as if he were conducting a symphony, the cherry wood pipe floating through the air like a baton. We had to put the lead tinsel on the branches one strand at a time. Whenever his attention would wander we would fling fistfuls up at the branches in front of us, and then when he looked back, resume our single strand application. He always noticed though. Despite the tight restrictions, it was a festive time, the turntable spilling out carols into the evening air, my mother baking in the kitchen, and my siblings actually being nice to me.

Despite the promises we make ourselves that we will not recreate the irritating habits our parents inflicted on us, they sometimes pop up like weeds. When I got my first apartment, I was so excited about creating my own Christmas tree without the restrictions of my family traditions. My Brooklyn apartment was decorated almost entirely in mauve and cream (give me a break, it was the 80s) and I spent that November carefully choosing and purchasing tasteful Victorian-style ornaments that matched my home. By mid-December I had the perfect tree; it looked as if I walked out of Gimbel’s seasonal department, hauling it over my shoulder in its entirety, lace trailing behind. I moved the ornaments with me to Vermont, and continued to collect pieces appropriate to the theme.

When I had my son, I considered how I would adapt the handmade ornaments he would undoubtedly come home with from day care to my carefully maintained tree design. For his second Christmas I installed a small tree in his room, complete with his own child- friendly ornaments (a transportation theme…scary, huh?) and twinkling primary colored lights. My son showed no interest in his little tree, gravitating towards the larger one in the living room with its monochromatic white lights. He would sit on the rug and joyfully rearrange the carefully placed ornaments. After he went to bed I would return the tree to its pristine state.

In between seasons we would store our Christmas tree decorations in a large plastic box in a loft in our garage. That year I had been given a large glass snowglobe that I carefully wrapped and placed in with the decorations. Well, during the change of seasons the water froze, then expanded and the globe shattered. In the summer the icy guts of the globe melted all over the tasteful ornaments, eventually molding them beyond recognition over the long hot summer. That December when I opened the box and discovered the green furry remnants of my decorations, a full range of feelings rushed through me: grief, repulsion, amusement but the loudest and most surprising was relief. I was free. That weekend I took my young son with me and we ran around Ames, purchasing relatively inexpensive, brightly colored ornaments with no thought to theme. Over the years the white lights have been replaced with colored ones, and the tree is every color of the rainbow, with his handmade ornaments looking right at home.

The Christmas tree is just one example of the many things in life that I have learned to let go of, to have fun with through my role as parent. That year I was reminded that Christmas is indeed a child’s holiday, and that, thankfully, it comes in colors other than mauve and cream, and though my son has grown and toys have been replaced with electronics, I remember that particular holiday with nostalgia. That was the greatest Christmas gift I’ve ever received…one that will not be forgotten.

Happy Holidays, gentle readers!

Friday, December 05, 2008

From Literary Salon to Best Books to New Books to Crime Poetry

THE AMATL PROJECT
John-Michael Rivera, Creative Director of the Amatl Project, sends our readers the following message encouraging contributions to a literary project scheduled for April, 2009. This sounds unique and full of possibilities - give it some serious thought. You should contact John-Michael for details about submitting your contribution.

Dear Folks,

For those of you who do not know me, I am John-Michael Rivera, an Associate Professor of English at CU Boulder and Creative Director of The Amatl Project, a center for the cultivation of Latina/o Arts and Literacy.

The Amatl Project grew out of EL Laboratorio, which was an award winning Latino Literary arts space that held innovative Literary Salons in 2007-2008 and worked closely with The LAB at Belmar, Arte Público Press, and the University of Colorado at Boulder's Creative Writing Program. We are continuing our programs with Latina/o artists and facilitating Literary Salons, but now we are adding important dimensions: we are working with El Centro Su Teatro in Denver and will add Latina/o literacy to our programming elements. I am currently working with El Centro Su Teatro and this year's NEA sponsored Big Read.

Making sure that Latina/o literature and culture are highlighted nationwide, we plan this year to create programs and honor the work of Rudolfo Anaya.

We are writing you all to ask that you contribute to a creative project that will take place during the 11th Annual Pablo Neruda Literary and Poetry Festival in Denver, Colorado on April 16th, 17th and 18th. At this festival, we will have a digital and live-action literary salon made up of writers, scholars and artists who have engaged or been influenced by Rudolfo Anaya's work in the broadest sense. We are looking for essays, poems, short stories, graphic novels, documentaries, and other creative work that responds to Anaya's long career as a writer.

Your contribution will, in part, serve as the basis for a literacy project with high school students in the Rocky Mountain area who have historically been left behind in literacy projects or have not had a chance to engage Latina/o artists and scholars at their own schools. The Amatl Project will work closely with teachers and students, and your contributions will serve as models for their own writing. Through your creative or critical work, we will help students find their own voices and begin their life long passion for writing.

The deadline is March 15th, on The Ides of March, and selected works will be posted on La Bloga and will be highlighted at our live performances held at El Centro Su Teatro in April, the weeks leading up to and during the Neruda Festival. If you are in the area, you will also be invited to read or perform at this event. I am also currently in conversation with three publishers who are interested in publishing a book length manuscript that may emerge from this project. This is the first of many literary salons and live blogs we will be sponsoring. Please stay tuned. Thanks for your time and if you have any questions please contact me at anayaproject@suteatro.org.

Con Respeto,
John-Michael Rivera
Creative Director, The Amatl Project

NOTABLE BOOKS
The New York Times recently released its annual list of 100 Notable Books and we take note that Half of the World in Light: New and Selected Poems by Juan Felipe Herrera (University of Arizona) and 2666 by Roberto Bolaño, translated by Natasha Wimmer (Farrar, Straus & Giroux) are on the list. The Times says that "Herrera, known for portrayals of Chicano life, is unpredictable and wildly inventive." About 2666, the Times summarizes: "The five autonomous sections of this posthumously published novel interlock to form an astonishing whole, a supreme capstone to Bolaño’s vaulting ambition." Bolaño's novel also made the Times' Best 10 Books of the Year.

NEW BOOKS
This past week I received two catalogs from university presses - here are a few upcoming titles in 2009, with the catalog blurbs.

University of New Mexico Press

Sweet Nata: Growing Up in Rural New Mexico
Gloria Zamora
February


Grandparents are our teachers, our allies, and a great source of love. They supply endless stories that connect us to a past way of life and to people long gone - people who led ordinary lives, but were full of extraordinary teachings. This is the subject of Sweet Nata, a memoir about familial traditions and the joys and hardships the author experienced in her youth. Set during the 1950s and 1960s in Mora and Corrales, New Mexico, Zamora reveals her interaction with her parents, grandparents, and other extended family members who had the greatest influence on her life. She paints a picture of native New Mexican culture and history for younger generations that will also be nostalgic for older generations. "Zamora offers a unique and authentic perspective on the Hispanic experience in New Mexico. As a memoir, it's a rare glimpse into the daily living of a family and a community." Ana Baca, author of
(UNM Press)

Gloria Zamora is a retired orthodontic assistant who lives in Corrales, New Mexico. Her short stories about family, culture, and heritage have appeared in La Herencia Magazine.


The Naked Rainbow and Other Stories: El arco iris desnudo y Otros Cuentos
Nasario García
February
Author, poet, linguist, and oral historian Nasario García turns to his childhood home, the Río Puerco Valley southeast of Chaco Canyon in northern New Mexico, for the setting of this collection of fictional short stories. These tales are based on García's personal experiences or stories he heard about people or events while growing up in his valley. They illustrate the vibrant culture of rural northern New Mexico and its inhabitants with a cast of common characters, above all women, whose compassion, willfulness, humor, observation, and spirit reflect the rich heritage of the environment that inspired their creation. Some of García's characters proclaim their own goodness and live on to enjoy that righteousness; others fall victim to the shortcomings of human nature. Regardless, laughter, empathy, and introspection are the common threads that connect these wonderful stories to one another. García originally wrote these tales in his native tongue, Spanish, and later translated them into English. Both versions appear here with a bilingual glossary that places regional terms and local idioms side-by-side for those unfamiliar with northern New Mexico Spanish. Master folklorist and native New Mexican Nasario García has published numerous books dealing with Hispanic folklore and the oral history of northern New Mexico and for three decades has dedicated his time to the preservation of Hispanic culture and language of the region whose primary roots rest in Spain and Mexico.

Northwestern University Press

Souvenirs of A Shrunken World
Holly Iglesias
April (Kore Press First Book Award winner for 2008)
Souvenirs of A Shrunken World is a collage of startling, unsentimental prose poems written by the Spanish-speaking midwesterner Holly Iglesias. Contemporary and vertiginously terrifying, this important collection about the 1904 World’s Fair, also known as the Louisiana Purchase Exposition, was written after 9/11 when there was a lot of rhetoric flying about savages and barbarians. The poems are a textual analog for the snapshots taken at the fair, which took four years to build and three months to raze to the ground, thus creating a sort of "instant nostalgia". It was the largest fair ever held, and the largest collection of "uncivilized peoples" ever put on display—Pygmy, Ainu, Patagonian, Bontoc, Igorot, and Native American. A wonderland and a nightmare, full of opportunities for uplift and cheap amusement, a showcase of consumer goods and of a nation’s prowess, it held the dreams and sins of (unconscious) white America.

Spoken through the voices of figures as diverse as Geronimo (who was there as a prisoner of war), Helen Keller, and African pygmies, this work reveals the dangers of accepting the stories we are handed. Astonishingly timely in a moment such as ours, when all manner of simulacra are offered up in place of the real world and real experience, Souvenirs of a Shrunken World reminds us that, though what is false ultimately fails, failure exacts its price, and, even when it all comes crashing down, "admission will be charged to view the wreckage."

"In this collage of startling, unsentimental images and tense fictions, Iglesias has stuffed the box of each small "souvenir" with the dreams and sins of (unconscious) white America at the beginning of the twentieth century, which would soon blast the world wide open. This is an important work, contemporary and vertiginously terrifying." —Maureen Seaton, Venus Examines Her Breast

Heart's Migration
Linda Rodriguez
April (Tia Chucha Press)
Simultaneously clear yet mythically transcendent, the poems in Heart's Migration speak power in a woman's voice. Rodriguez unmasks the human heart in its many beguiling and compelling forms: passion, oppression, and liberation. She evokes and re-imagines classical, biblical, Cherokee, Latino, and other American themes in strikingly personal and sometimes humorous ways as she lovingly renders the heart's eternal encounter with joy and loss.

Rodriguez has published poetry and fiction numerous journals and anthologies, including Primera Pagina: Poetry From the Latino Heartland (Scapegoat Press, 2008). She also has published a cookbook, The "I Don't Know How To Cook Mexican" Book (Adams Media, 2008). Rodriguez is vice-president of the Latino Writers Collective, founder/coordinator of the annual Kansas City Women Writers Reading Series, and founding board member of The Writers Place.

THE LINEUP - POEMS ON CRIME



Here's something aimed at those of us who like poetry and crime fiction, not always an easy mix. Gerald So, with help from Patrick Shawn Bagley, R. Narvaez, and Anthony Rainone, has created The Lineup, intended as an annual anthology of crime-themed poems. The first edition came out in 2008 and the editors are putting together the 2009 issue.

Gerald So writes in the Introduction to Issue 01: Before I ever thought to write poetry, I was a fan, editor and writer of crime fiction. I especially enjoy how every paragraph, every sentence, every word has a purpose: to plant clues, reveal character, move toward resolution. I've come to appreciate the same purpose in poetry and have learned there are some moments, some images poetry captures much better than prose.

I've had the pleasure of reading Issue 01, and it's great. The lineup of writers for The Lineup is impressive and, although it may be a reviewer's cliché, there isn't a weak piece in the book. For the readers of La Bloga, I'll point out the chilling, and surprising, poems of R. Narvaez, especially Metro; the gritty, urban, cop-influenced stories from Sarah Cortez (who also happens to be a co-editor of the upcoming Hit List: The Best of Latino Mystery, due from Arte Público Press in March, 2009); and the contribution of A.E. Roman, the author of Chinatown Angel, the first book in the Chico Santana series, (Thomas Dunne/St. Martin's Minotaur, 2009). The collection also includes, in addition to the editors, Ken Bruen, Graham Everett, Daniel Hatadi, Daniel Thomas Moran, Robert Plath, Misti Rainwater-Lites, Stephen D. Rogers, Sandra Seamans, and KC Trommer.

I suggest you pick up a copy from your favorite book store - you can also check out the latest on The Lineup's blog, click here.

That's it for this week.

Later.

Thursday, December 04, 2008

A Morbid Taste for Bones


Gente, with your indulgence, I offer an excerpt from a yet-to-be-published work, Nine Days Dead. It's a new novel of mine, set  in Chicago, with a cast of characters that include: Natalia Ruiz-Rendon, an anthropologist, Naftali Gonzalez, a Jewish/PuertoRican detective, and Iyaloya, a guardian between the worlds.

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The fever had her now, rolling waves of heat cascaded through her body, fueling this work. The herbs she'd taken were for courage and she burned white hot with it. She asked for fear to be burned away like slag from steel and there was no turning back. No conscience now, no soft hearted little lamb. There was only this minute, this choice.
She placed nine pennies at the entrance to the cemetery, asked permission with head bowed. The round moon, an unblinking eye, lit the path to the newest section of the cemetery.

But she could have found her way without it, as she'd come here, it was muscle memory.
Here the monuments were of thick, polished granite, sculpted and set flush with the ground. There were no ornate pillars with cloth-draped urns, no 19th century statues of winged angels asking blessings from God, no columned mausoleums inscribed with Latin, just headstones with the names of the dear dead. She left the main road and headed down the 15th row, only the slight swish of grass against the soles of her shoes audible.

When she arrived at his grave, she set down the small leather bag and withdrew a change of clothing. Preparing for the ceremony had taken most of the past two weeks. A ritual bath every day for nine days. Meditation before bedtime. Buying nine tiny bottles, filling three with white rum, Holy Water, and Florida Water, one with black coffee, the rest with spring water. Nine votive candles smelling of jasmine, and nine blood red carnations, plus a purple, fringed silk scarf to lay it all out on.

She thought of Florinda, the woman brought from Cuba by her parents as a caretaker while they jetted back and forth from Chicago and Miami, supervising their galleries, opening exhibits, and protecting the family wealth. Natalia Ruiz-Rendon was a good daughter, whose lonely life was made bearable by the daily blandishments of Florinda Cienfuegos. Natalia knew that Flori would do anything in her power to stop her tonight. When Natalia was about fifteen, she found out that Florinda was a priestess of her own House, strong with Oya. She'd eavesdropped on a conversation between her beloved Flori and a visitor who'd come and left tribute for an intercession.
When she'd asked about it, Florinda bluntly told her that this was not for her to know and that to ever speak of it would enrage her parents.

But Natalia prodded until Flori told her about the House, her pledge to Oya, even her true name, Iyaloya. Then with tears welling in her eyes, she begged the young girl to be accept her own path, the life her parents had made for her, and to trust that Flori was doing what she was meant to do as well.
Fifteen years had come and gone since that conversation. Natalia Ruiz-Rendon, never disappointed, never displeased, and shouldered the expectations of her parents and became the youngest PH.D. in anthropology at the University of Miami, and a star at the University of Chicago. But there were dark, liquid secrets that kept pulling her to look where she shouldn't, and when David was killed, her resolve and her promise dissolved. Blood required blood.

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JARRED (A Hoodoo Comedy) closes in just TWO WEEKS - only 8 shows left and they are filling up fast! Purchase your ticket today!

Audiences and critics agree: you've never seen anything like this on stage! Hailed as "deliciously funny" (NewCity) and a "gripping production" that "rings with truth and authenticity. (Chicago Examiner)," JARRED offers an inside peek at what happens when jealously meets witchcraft. Tickets at www.teatroluna.org
Email -- boxoffice@teatroluna.org for more information

You can now donate to Teatro Luna Online! Thanks to paypal, you can help support our mission to Showcase Latina Talent and Honor Latina lives by choosing to donate using any major credit card, your debit card, or paypal account. Your donation will be tax deductible up to the fullest extent of the law.

Make sure you include your address and contact information so we can send you a thank-you letter!

GOT AN OPINION? A STORY? SOMETHING TO SAY?

Then you're just the person we're looking for!

Join Teatro Luna for a FREE PERFORMANCE WORKSHOP at our Logan Square space on Sunday, December 7th from 12-3.

We're starting work on our next show, Restaurant Spanish, and this is your chance to experience our unique ensemble process first hand! You don't have to be Latina, an actor, or a writer to participate - we're looking for people who are willing to jump in and have fun. SPACE IS LIMITED, so please reserve your slot by e-mailing coyapaz@teatroluna.org.



LOOKING FOR A CUTE HOLIDAY GIFT?

Check out these limited edition prayer candles featuring the kinds of saints we all really need: Saint Procrastina, Nuestra Senora Del Cuchi Cuchi, Nuestra Senora of Retail Therapy, Gloriosa Senora de la Mentirita Piadosa, and Santa Escandalosa!

There are five different candles, each featuring one of the cast members of JARRED as one of these amazing Saints! These candles will be on sale at the Box Office through the run of JARRED (A HOODOO COMEDY). The final performance will be December 14, 2008 at 6:00 pm.

After the 14th, you will be able to purchase on our website!

Pricing: $8.00 One Candle, 2 for $15.00, and all five for $35.00

Email boxoffice@teatroluna.org for more information!



Lisa Alvarado

Wednesday, December 03, 2008

An Evening of Spoken Word & Cello



Join Marisela Norte and María Elena Gaitán

L.A Central Public Library - ALOUD Series
Mark Taper Auditorium
524 S. Flower Street
Los Angeles, CA

Monday, December 8, 2008
7:00pm - 9:00pm

Contact InfoPhone:
2132287025

Email:
programs@lapl.org





"Spoken Word and Cello" performance at the L.A. Central Library in Los Angeles. It is part of the Aloud Series and features Marisela's new book: "Peeping Tom Tom Girl."

This event is free to the public. To make reservations visit http://www.lfla.org/aloud/registration/



A note from illustrator Jose Ramirez



Greetings everyone!
Just a quick note, this weekend I'll be
having an open studio /holiday sale

Sat Dec 6, 2008 10-5
Sun Dec 7, 2008 10-8pm
(featuring Ilaments Jewelry and Imix Bookstore)

also:
Sun Dec 21, 2008 10-8pm

ramirez studio:
1136 Stone St.
LA, Ca. 90063

for more info:
323.377.4967
joseram@aol.com
www.ramirezart.com
(now accepting credit cards)

Dec 13/14 Self Help Graphics
holiday craft and print sale!!

ramirezart.com

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funky votives

Tuesday, December 02, 2008

1973 Festival de Flor Y Canto Update: Digitizing U-matic Tape

Michael Sedano


They Exist!


When I return to California from overseas in 1970, a friend tells me about a tiny bookstore over the hill in Monterey Park that sells "Chicano Literature." Well, obviously I knew "Chicano," a word taught me by my Dad from my earliest years. But when I'd left civilization for the US Army in 1969, I had no sense that we produced published literature. So I drive down from Temple City,  over Atlantic and down to the little nook where, after a fascinating conversation with the old guy who owned the place, I laid down $1.25, I think, for a copy of Abelardo's "25 Pieces of a Chicano Mind." With that, the abstraction of "Chicano Literature" began to take on substance for me. (I lent that small pamphlet to a person who kept it. Damn you, I hope you know who you are and gut-wrenching guilt drives you return it to me, along with my El Espejo.)

By 1973, after a couple years working for a living, I am in Grad School at the University of Southern California on the G.I. Bill. Having selected a dissertation topic centering around Chicano poetry, I am tickled brown to see that El Centro Chicano will host a half-week long Festival de Flor Y Canto. I am the Chief Photographer for The Daily Trojan, so I assign myself the joyful task of shooting the event. The DT doesn't send a reporter to cover the event.

As I've described earlier, when Oscar Zeta Acosta gets up to read, he pillories the video company for being a tool of the LAPD, and demands "turn the fucking cameras off". They apparently do so, as the camera operators leave the room. Too bad mine will provide the only record of Zeta's moving reading. That week, I happily fill roll after roll of 35mm film, and the next week I publish a double truck of images and poems in the DT.

Fast forward to Spring 2007. Someone Emails me a link to Acosta reading from Revolt of the Cockroach People. Click. I'm stunned to discover it's Acosta reading at USC! That sneaky Tom Reddin has had the last laugh after all. My appetite whetted, I want to see and hear the other poets and writers I have on Tri-X negatives and a few Ektachromes. Search USC library. Nothing; how surprising. Search UC's Melvyl. Better; the University of California Riverside has 41 videos of individual readers. My plan hatches: to unite my still photographs with the videos as a way to introduce visually, today's students to the history and growth of Chicano Literature. There is already a published anthology of El Festival, now out of print (ISBN: 978-0-88474-031-5 ISBN-10: 0-88474-031-5), and my plan expands to include this as a revised and expanded multimedia publication.

When February 2008 finally arrives, and it's my first month of retirement from the world of work, I call Billy Vela, who heads USC's El Centro Chicano, thinking Billy can help me locate the original tapes. No such luck. Billy has an inkling there was a festival but the institution has not kept records from that period. In fact, El Centro doesn't have a photograph of the original El Centro. Eventually I contact the University Archivist at Doheny Memorial Library and, after a protracted conversation with a variety of gente, in early November, the University grants me permission to digitize UCR's videos into DVDs and use these for my own noncommercial purposes. USC--Doheny Memorial Library and El Centro Chicano, of course, will get a complete set of the DVDs as well as streaming videos to deploy through the university's modern mutlimedia channels. 


Technology Issues


Sony's U-matic videocassette format was once a popular standard for recording and distributing professional video. A 3/4" wide length of metal oxide coated mylar film, U-matic was the cat's meow of television production in the 1960s and 70s. Now, it's all but disappeared.

Juan Felipe Herrera, poet and UCR profe, helps find UCR's only functioning U-matic cassette player. Jim Glenn, Director of the Media Center, dusts off the tapes and sets up a viewing room for me. Fabulous hospitality. Mejor, Jim has already adapted the BNC terminal to an RCA plug. That had loomed as a minor headache. A preliminary visit to UCR verifies everything works, and it's now full speed ahead. 

To make the dub I connect a three-way RCA-to-mini cable to the BNC/RCA adapter and the Left and Right audio outputs. The mini plug goes into a digital video camera's AV port. Now it's a simple matter of starting the camera, starting the U-matic, and letting the cassette play to the finish. Unfortunately, only the right audio channel excites the VU meters.

Most of the Festival de Flor Y Canto performances run ten to twenty minutes, so I can get three or more readers onto a one hour DV tape. Sony U-matic, meet Sony DV. There are glitches, sadly, in several tapes, but overall the video and audio quality are more than satisfying.

I do a little work in Final Cut Pro, but use iMovieHD for the majority of my work. There are a few finer edits, and the creation of full quality and streaming QuickTime media. I use DVD Studio Pro to lay the files onto DVD.


Curiouser and Curiouser Issues


UCR's U-matic cassettes are at least two generations removed from the original programs. This is obvious when I observe some cassettes feature lead-in music, titles, and voice over introductions for two speakers, but only one speaker is on the cassette. Other performances begin with faint lead-in music and VO, a title slide, then the performer.

I remember the big semi-trailer production vans outside Town & Gown where the Festival was held (but didn't shoot them). Tom Reddin Productions would have recorded on 2" Ampex machines, in all likelihood. Where'd the originals disappear to? The gavel-to-gavel original tape is a national treasure. Is it sitting in some archive in New York City? Hollywood or the Valley? Or did Reddin burn off his 3/4" copies then erase the 2" tape--a standard practice of the day.

I contacted Silas Abrego, who headed El Centro Chicano back in 1973. Sy, recently retired from Cal State Fullerton, has no idea. I've had several Email conversations with Frank "Pancho del Rancho" Sifuentes, who stage managed the festival performers (and drove Zeta and Raúlrsalinas through the streets of greater El Lay in a guided tour of western Aztlán), and Frank has no idea (but he had a grand time).

Who sold what to whom? UCR and Texas A&M hold 3/4" videos. Sonoma State, Fullerton, Cal State Bakersfield, Arizona State and University of Arizona hold audiocassettes of the 1973 Festival de Flor Y Canto. The producers of "Fear and Loathing in Las Vegas," who did the DVD of Zeta, acknowledge UCR's help in making their copy. Did USC/El Centro Chicano get royalties? According to Sifuentes, he signed a release, and, Benny Luna, Frank says, remembers getting a check one time.


Status Report


UCR's collection includes 41 titles. Sadly, two artist cassettes are lost; José Montoya and Roberto Vargas. Texas A&M Kingsville has Montoya but not Vargas. Barbara Robinson at USC will inter-library loan the Montoya. Interestingly, Barbara was the librarian then employed at UCR who purchased the Festival de Flor Y Canto materials for the library, named after then-Chancellor Tomás Rivera. Barbara has searched the USC campus from top to bottom seeking the original tapes.

I have recorded and created DVD-ready files of 33 performances, leaving six to complete at my next session. I've done the dubbing in catalog number sequence, so I have numbers 36 through 41 remaining. These include three teatro crews and writers Ricardo Sanchez, Estevan Arellano, and Oscar Acosta.

I've made only a few streaming QuickTime files. I'm pretty sure I'll have to edit the performances to individual snippets, to save on file space and "bandwidth," so the only way for you to view a writer's complete performance, or the complete Festival, will be to get the DVDs from USC.

USC has not decided on a distribution or marketing strategy for the DVDs. My motive when I began the process was to package the DVDs with a revised and expanded anthology, to afford the reader text to follow along with the reading. Just as some gente love to listen to symphonies while following the score, I love to hear a reading while following text. Such media would be beautiful for literacy and speech training, as well as the puro enjoyment of hearing an artist read her or his own work. My next project will be to pursue that out-of-print anthology, update it with work produced after 1973, and augment the collection with work from today's poets and writers. And to hold the 2010 Festival de Flor Y Canto at USC, videotape it, and add this to the record of Chicanarte. ¿Que no?


In Their Own Voice


Here, as promised last week, in appreciation for Karen (Harlow) McClintock's eulogy for her friend Omar Salinas, is Omar Salinas--¡Presente!-- reading Ass. In addition, rrsalinas--¡Presente!--reading a beautiful piece, Songs of Love.

These videos are copyright 1974 and 2008 by the University of Southern California. Please do not make copies of these.

 Omar Salinas




Raúlrsalinas





La Bloga welcomes your comments on this, and every column. Click on the Comments counter, below, to share your observations. When you have a more than a brief response, or a book or arts review, or an extended report on a cultural event, or a writer's own ruminations, remember, La Bloga welcomes guest columnists. Click here to begin the invitation process.

Monday, December 01, 2008

¡A new issue of PALABRA!

A magazine of Chicano and Latino literary art

Issue 4 of PALABRA features the work of almost two dozen writers and artists including Javier O. Huerta, Li Yun Alvarado, Harry Gamboa, Jr., Nydia Rojas, Aaron Michael Morales, and many others.

The editor, elena minor, explains PALABRA:

PALABRA is about exploration, risk and ganas—the myriad intersections of thought, language, story and art—el más allá of letters, symbols and spaces into meaning. It’s about writing that cares as much about language and its structure as about content and storytelling—and that shows awareness of and attention to the possibilities of both. Mostly it's about work with the emotional fiber that threads all honest art.

Its purpose is to provide a portal for new threads of pensamiento, language and story, to reach from the past and present and dive headlong into the future of Chicano & Latino writing—to push it, stretch it, keep it fresh, vibrant, honest and at the thumping edge of literary creativity and innovation. Its intent is to present an eclectic and adventurous array of thought and construct, alma y corazón, and a few carcajadas woven in for good measure.

PALABRA seeks to serve writing that sizzles, leaps, spits and spins—that runs backwards and forwards and sideways and inside out—that wears holey shoes and no socks and plunges fearlessly around blind corners just to see what’s there. PALABRA invites work that doesn’t neatly fit the paradigm—or that fits the paradigm and makes it scream (or at least breathe heavily).


To learn where to purchase PALABRA, visit here.

◙ PARK UNIVERSITY PRESENTS THE ETHNIC VOICES POETRY SERIES FEATURING:

Francisco Aragón with an introduction by The Latino Writers Collective

Park University, Parkville, MO, Thursday, December 4 at 6:30 p.m., McCoy Meetin’ House

Aragón has authored Puerta Del Sol (Bilingual Press), served as editor for The Wind Shifts: New Latino Poetry (University of Arizona Press), and published poetry in many anthologies and journals. He serves as the director of Letras Latinas, the literary program of the Institute for Latino Studies (ILS) at the University of Notre Dame where he oversees, among other projects, Momotombo Press, the Andrés Montoya Poetry Prize and Latino Poetry Review. More...

The Latino Writers Collective, based in the Kansas City metropolitan area, organizes and coordinates projects for the larger community. It showcases national and local Latino writers and provides role models and instruction to Latino youth. Its mission is to foster an environment where the voices of Latino students, blue collar workers, professionals and homemakers can finally be heard, sharing their experience and vision with a broad audience. More...

◙ Yvonne Villarreal, staff writer for the Los Angeles Times, reports on a wonderful exhibit that we’ve noted recently: Bold Caballeros y Noble Bandidas currently at the Autry National Center of the American West, 4700 Western Heritage Way, Los Angeles. The exhibit ends on May 10. For ticketing and other information, visit here. Villarreal says, in part:

A framed poster of Leo Carrillo starring as Mexican caballero Francisco "Pancho" Villa in the 1950 film "Pancho Villa Returns" rests, in all its pristine splendor, on a cobalt wall. Tag lines such as "The man who made history with cyclonic fury!" and "The Robin Hood of Mexico" are splashed across the bill, luring potential viewers to witness Villa as a paragon of virtue. But this is not a theater revisiting the golden age of Mexican cinema. The poster is part of the exhibition "Bold Caballeros y Noble Bandidas" at the Autry National Center of the America West.

The show, on view through May 10 and co-presented by Arizona State University's Hispanic Research Center, explores relations between the U.S. and its neighbor to the south after the Mexican Revolution of 1910 and the evolution of Mexican pop culture that resulted.

***

Although the show focuses on testosterone-fueled caballeros, it also delves into a shift in female cultural norms, making the case that the revolution served as a catalyst in the emancipation of subservient Mexican women, said Gary D. Keller, director of the Hispanic Research Center and co-curator of the exhibit. Women took on new roles as colonels, outlaws and revolutionaries, even on the big screen. After the revolution's end in 1920, heroines often complemented the heroic male outlaws with aggressive roles, such as those of siren María Félix and Barbara Britton, famous for her role as the fictional Bandit Queen.


To read all of Villarreal’s piece, go here. [Pictured: In the 1991 serigraph “Adelita,” George Yepes depicts an ivory-skinned woman, her hands crossed, gripping two pistols pointing upward.]

◙ In yesterday’s El Paso Times, I reviewed Ray Gonzalez's Renaming the Earth: Personal Essays (University of Arizona Press, hardcover $34.95; paperback $17.95), where I note, in part, that “we are treated to the award-winning poet's exploration of his development as a writer. The essays are as lyrical as they are hard-headed.” I continue (I love quoting myself):

The eight essays that make up "Renaming the Earth" ebb and flow, touching on topics as diverse as childhood embarrassments, El Paso history, discrimination, desert heat, Minnesota winters, war and the immigration debate.

In all, Gonzalez brilliantly and with great passion renames the Earth not only for his benefit, but for ours, as well.


You may read the entire review here.

◙ That’s all for this week. So, in the meantime, enjoy the intervening posts from mis compadres y comadres here on La Bloga. And remember: ¡Lea un libro!