Sunday, November 09, 2014

Celebrating the 20th Anniversary of _Massacre of the Dreamers_: Interview with Ana Castillo


Ana Castillo, a Midwest born and raised Xicana (from Chicago, Illinois), has been writing novels, poetry, and prose since the 1970s.  Her accomplishments are many (click here!).  This year she has two publications recently released:  the novel, Give It To Me, (which our own La Bloga writer, Michael Sedano reviewed--click here for review) and this month, a new edition of Massacre of the Dreamers.  

Let me take you back to 1994:  With Massacre of the Dreamers, Ana Castillo creates a linguistic visual link between our Mexican and Indigenous antepasados when she takes the capital “C” from Chicana and replaces it with a strong, decisive “X”:  Xicana.  The "X" is the prominent letter in  Nahuatl, the Uto-Aztecan languages representing various dialects and variants of indigenous peoples that populated and migrated in what is now the United States as well as Mexico.  By using the "X," then, the indigenous becomes privileged. This new concept of Xicana becomes a pivotal point in cultural and literary history and theory.  For example, while working on my dissertation two years after Massacre of the Dreamers is first published, (at the University of California, Santa Barbara), I notice a number of Xicanas changing their names to indigenous names: Xochitl, Xandra (for  Alexandra), Ximena.  Their reading of Castillo's work marked a transformation.  Castillo’s book provided Xicanas the necessary historical and cultural background to broaden and deepen their understanding of identity, and to encourage their participation in the world as a politically active and socially conscious mujer. 

2014:  University of New Mexico (UNMP) publishes a 20th Anniversary Edition of Massacre of the Dreamers and we are again reminded not to forget our antepasados, our complex background that brings to bear the indigenous and the colonizer.  Ana Castillo's interview today on La Bloga takes a renewed look at the concientización of the Xicana.  

Amelia Montes: Felicidades, Ana, on this important 20th anniversary edition of Massacre of the Dreamers. How did this anniversary edition come about with University of New Mexico Press?

Ana Castillo in San Francisco, 2012
Photo by Lisa Paul Streitfeld
Ana Castillo: Gracias.  UNMP published the original edition.  I had asked if they were interested in a new edition.  (I felt the impulse to update for some time.) As it turned out, the book came out exactly twenty years after the first publication.  Therefore, it is updated and a 20th anniversary edition.

Amelia Montes:  There are so many reasons why Massacre of the Dreamers was an important read twenty years ago.  I also see how it is important today. What is it about this historical moment that brings us back to your book?  

Ana Castillo:  I began to work on the project, Massacre of the Dreamers, in the mid-80s.  Latinas, specifically Chicanas, weren’t embracing the term feminism then.  Therefore, I came up with a relevant term:  Xicanisma.  By this example, you may see how the work and challenge was there for such a study.  So much material, theses around the world, have flourished as a result of  such works.  I thought the task of updating would be tremendous.  The good news was that it wasn’t.  (To some degree because of the Internet.)  The bad news was that there wasn’t all that much to update and the premise of the book still held up.

Amelia Montes:  ClarissaPinkola Estés writes the introduction to this new edition.  Tell us about Clarissa and her relationship to this book. 

Ana Castillo:  La Dra. Pinkola Estes is a brilliant Jungian feminist.  She has been very affirming of my writing since my early poetry in My Father Was a Toltec.  I’m touched and privileged to have her friendship and endorsement.

Amelia Montes:  The first part of this book is about feminism, activism, and the roots of machismo.  What has changed in twenty years regarding these three areas in our culture.

Ana Castillo:  As for the “Roots of Machismo,” they are much what they were in the first edition.  The updates I made in the new edition were mostly related to some new laws to protect women around the world.  Do they truly protect women?  It’s difficult to say. 

Ana Castillo, 2013 "in the Valley"
Feminism over all has morphed in various directions.  But, (and not just in “Western” society), capitalism has usurped much of it.  We have new generations, (they go by five year increments in my estimation now), that enjoy the benefits of earlier women’s struggles to full advantage as they engulf lives that perpetuate the notorious feminist arch-enemy:  patriarchy.  Do I consider Beyoncé a feminist because she calls herself that?  Not so much.  But it was due to feminist struggles that she is where she is and has what she has.

There is still great need in the world for selfless activism on many fronts.  Communication has advanced so that we can and do a lot of it on computers but that in and of itself is not the thrust of the work.  Information is now made available so that hopefully many of us with conscientización see the social and political connections that affect the lives of the majority in suppressive ways.  Anyone with conscientización can decide which of the many areas that negatively affect communities s/he may support.  It is crucial to know how you best can do that so that you don’t get frustrated or burnt out. 

Amelia Montes: In the sixth chapter, you use C.G. Jung's idea of the “animus” to have readers think of the feminine and masculine as one.  How are these descriptions important for us today? 

Ana Castillo:  Without formal study in the field, I nevertheless have been partial to Jung’s ideas.  One reason is that I come to my scholarly investigations from the perspective as a poet.  A poet, a brown woman from a modest background who has lived her life that way, a brown woman proud and intent on demonstrating the worthiness of her indigenous ancestry.  The studies of Jung and Joseph Campbell, both white men who approached their curiosity about humanity through mythology, connect with me through my own fascination with my rich ancestry.  We can apply Campbell’s hero’s journey to a girl’s journey into womanhood.  We can apply Jung’s studies about archetypes to those of our Mexican antepasados. 
Ana Castillo in Silver Springs, New Mexico.  2013 photo by Robert A. Molina
A long, long time ago as any feminist worth her salt knows, woman’s power in society began to be taken away.  Maybe not everywhere in the globe but it is fair to say, in most places where civilization was ‘advancing.’  This incessant pattern of splitting the consciousness seems, at least, on an emotional level.  I’d like to think we can work on unifying the feminine/masculine split. 

I do believe there are physiological differences between men and women, and I do believe that they do affect our behaviors and emotions.  I think that more understanding of this is coming about with sex re-assignment. 

Amelia Montes: The Brujas and Curanderas chapter is updated to include twenty-first century discussions.  Today, such as UC Berkeley, there are curandera course offerings for students, when in the 1980s, this was not possible.  Comments?

Ana Castillo:  I was in the Bay Area in the 1980s (when I began work on this book) and spoke several times at UC Berkeley.  The groundwork was being laid then by the Chicanas.   We must never lose track of how these things are a continuum.  They don’t naturally evolve.  For that continuum to have ‘legs,’ those who do “the work matters” must be tenacious.  Apparently, it has been.

Amelia Montes: In your last chapter, “Resurrection of the Dreamers,” you write:  “When we profess a vision of a world where a woman is not raped somewhere in the United States every three minutes, where one of every three female children do not experience sexual molestation, where the Mexican female is not the lowest paid worker in the United States—we are not hating, but trying to change the facts of our conditions.” So true.  What are some strategies twenty-first century Xicanas have done to “change the facts of our conditions.”

Ana Castillo:  “Conscientización,’ a term brought to us primarily today through the strength of Paulo Freire’s book, Pedagogy of the Oppressed (by the way, the foremost book that has provoked the notorious case of the Tucson school book ban) is everything.  Because of conscientización we have the courage to act.  Because of it, we communicate.  We have entered fields where we were rarely, if at all, seen—medicine, law and of course, letters.  With this courage to act, we make change.  We are going against not just a thousand-year-old grind, but one that is in full swing now so it isn’t as evident or at the speed of what some of us would wish to see in our lifetimes.

Amelia Montes:  What is most interesting to you about the process in re-publishing a twenty-first century edition of Massacre of the Dreamers?
Ana Castillo in Silver Springs, NM, 2013
Photo by Robert A. Molina

Ana Castillo:  Interesting is a word I like to use when suggesting some reservation.  Today, twenty years later, it is interesting how little has changed for the majority of the women of color in the world.  It is interesting that today, like then, the book comes out and is welcomed first by women like yourself, a Chicana with concientización.  I’m grateful and am deeply touched to know of the women the book has affected, but it is interesting how in 2014, the second decade of the twenty-first century, the majority of Chicanas, Mexicanas, and Latinas are living the lives they might have led not just twenty years ago, but two hundred years ago.

Amelia Montes:  Is there anything you would like to add?

Ana Castillo:  Today, thankfully, we do have many more women studying and pursuing degrees.  They know they must publish.  I’m sure your readers know these studies don’t make anyone rich or (necessarily) famous as it was once thought about publishing a book. The motivation is to get the word out, to hopefully give others encouragement to move forward. Thank you for the opportunity to let your readers know of my humble efforts.  I hope it speaks to the new generation of Dreamers.  Gracias Amelia, and to La Bloga.


Saturday, November 08, 2014

A taste of 3 Chicano spec stories

I'm sapped. By election results, doctors' ignorance about strange pains that I might go half-Stephen-Hawking about, and from not having gotten really drunk in over a month.

To meet a mental-lull that hit this week, below I include short, opening passages from three manuscripts. First I'll describe them so you can check whichever might interest you. Thet're teasers, intended to lure your into reading the entire tales, whenever they're published.

Previews of what's below:
#1: Sleeping Love - is set in Mexico's ancient times, when the people of Aztlan searched for the prophecy of the eagle, nopal and serpent. It begins with an elder proto-Azteca and some kids.
#2: Fatherly, Dragonly - is a cross-genre SF/F of so many elements, I can't list them. But it starts with a Diné water monster, then a Chicano shaman, then alien lizards, then….
#3: 5-Gashes Tumbling - is set in Aztlán. A castaway mexicano mestizo and Aztec indio find a First Peoples tribe who take them in, for a time. I call it an "experimental" roller-coaster of prose. If you read SW historical novels, try it.  [3/15 Update: to be published by WolfSinger Publications in a "weird western anthology!"]

What the children would create in Anahuac
#1: Sleeping Love
 In the ancient times on the Central Continent, the day seemed to be ending as usual. But this time, dozens of boys and girls suddenly sprinted far ahead of their tribe. They stopped at the mountaintop and shaded their eyes against the late afternoon sun. Their clothes made of animal skins let some of the cold through, but their run had warmed them. What they saw steamed them. Their faces lit up and they hopped around, screaming, "Grand Ta, Grand Ta, come look at it all!"
Grand Ta's chest felt like it glowed. It did that whenever young ones wanted to share their discoveries with Ancient Him. He touched his wrinkled cheeks and smiled to smooth them out, but they could never be smooth again. Removing his rabbit-hair cloak, he dropped it by his nagual. Though only he could see it, the mountain lion-spirit had always been with him.
As he reached the children, Grand Ta wondered, Have we finally found it? They let him through so they could show him. Gigantic ahuehuetl cypress trees held up the sky over an endless, deep-green valley filled with wonders. He was so amazed, he didn't hear every child.
"See, Ta, see?" He saw armadillos fleeing into the jungle. The children saw the hunter, a spotted ozelotl jaguar, and heard its grunt-coughs. Imitating those gave them the giggles.
"Look at them!" He saw red-green-blue-feathered parrots and quetzals splotching the rainforest. Youngsters instead saw dancing pieces of rainbow, which they playfully copied.
"Just listen to those!" Scores of ozomatli monkeys swung from branch to branch and chattered in funny tongues, making the children giggle louder. Grand Ta too caught the giggles.
He thought, This place is so bewitching, they could forget their heritage and the Ancestors. I will be remembered as a good teacher only if I use this moment to strengthen their minds and hearts. When they were almost out of wind, he signaled for them to gather where he was starting a sacred circle. Adults moved aside for the children and stayed back.
The young people sat and squeezed one another's hands. They hoped there would be time to play before night fell, but they could wait a bit longer. The tribe had traveled thousands of miles and years. Searching for a prophet's vision.
Grand Ta clapped once and everyone crossed arms. Quieting, they focused on him. "We reached here because our souls are strong. But where did we come from?" He perked his eyebrows and hoped they kept all the answers close to their hearts. We'll see how close.
A plump little girl rose and moved black bangs off her face. "Lost is our land, its name was--uh--is Aztlán."
It's good she corrected herself. He asked, "And did we change?"
"Yes, but we sing that we are still Aztecas!" Her friends grinned that she had done well.
Ta clasped his hands. "Why did we survive?"
An older girl stood up. "We hold our tribe tight to us." She grasped her shoulders, then the sides of her head. "We think our own thoughts!" Her face showed, Please ask me more.
Ta's knees shook from the hard climb. But resting must wait. "How do we treat others?"
"We harm no form of life or other tribe, except if we must," the girl said firmly.
Some black-haired monkeys howled and children fidgeted, yearning to go see. Remembering the Elder's teachings, they calmed themselves. [you also will have to fidget until this is in print]

Non-Diné image of Diné entity
#2: Fatherly, Dragonly
Tieholtsodi didn't always enjoy awakening in subterranean darkness; his grotto reminded him of the solitary eons during the First World, when only creatures walked the Earth.
"What, no children? They're always up and out earlier than their old dad." He imagined himself fossil-like, since his body required inspection for ageing decrepitude. Opening his three-foot-wide mouth, he flexed to limber up muscles anchored about his ovate head.
Drawing on spirit-power, he appealed to the super ascendants. "Blessed Holies, grant me more light." No answer. "As usual, they're as responsive as a sacred mountain." He shot out one of his five tentacles and nabbed a blue catfish busy chasing trout. Crunch, crunch!
Old as a mountain himself, Tieholtsodi was wise enough to know the Blessed Holies rarely responded. "What's the point of having goddesses who won't lift a finger to help?" And the next best idea for relieving the darkness--a shaman? "Like people on the reservation say, there's never a good one around when--"
Stretching tentacles made him feel younger. He'd been a great-looking, water dragon, at the onset of the Third World when humans appeared. "Now I'm like a fat octopus with squashed head and fewer tentacles. Oh, and how the amber skin fades." He scraped tiny pill clams latched to his hide, seeking a nest. "So much of me fades. If my Diné worshippers saw me now, they'd laugh their little red nalgas off."
Feeling into the dimness, he traced cavern walls. Not much had really changed in the millennia since he'd claimed the haven for his family. "They better return soon. Can't venture far and risk detection by men. Or alien beasts." .... [Soon coming to a mag or anthology in your area?]

#3: 5-Gashes Tumbling
What Chaneco tumbled down
Your Lordship, I attest that in Anno Domini 1599, Tomás Chaneco--unjustly conscripted out of the capitol of Méjico to become the expedition's cook--and I, as cook's helper, found ourselves lost and abandoned in the northern deserts of Nueva España. Since our skills were limited to shamanism and journalism, respectively, our leader, the Conquistador Don Juan de Oñate, promoted us to Lead Scouts the year in which we reached what that Oñate christened, Santa Fe de Nuevo México, which we peones quickly shortened to, Santa Fe.

The pendejo Oñate enjoyed naming things more than he relished charging windmills, unto the hinterlands, providing his men ample opportunities to, among other pastimes, infect native women with the pox, much as the otherwise useless priests also spread Catholicism.
Shaman that he was, Chaneco excelled at turning water into wine, and I, at turning wine into news, but our scouting skills lacked mucho, causing us to become separated from Oñate's rabble. "But, good riddance to bad basura," Chaneco said, to which I concurred, especially after menso Oñate had the feet cut off of every adult male in the Acoma Pueblo and enslaved its women for indecencies, which your Lordship knows of. At the last, from what we heard, Oñate galloped off in search of the Quivira city of gold the indios had made up to rid themselves of him. I admit I prayed he'd encounter los Apaches en Téjas....

# # #
In the last year and a half, I completed a YA alternate-world fantasy with two teen Chicano protagonists (boy and girl); a children's indigenous mexicano fantasy retell; one lengthy, SF/F mexicano-indigene-Chicano short story; a SF time-travel story into Denver's past; a short, mexicano-indigene fantasy; and a YA fantasy novella. They're all in agents' and editors' slush piles, their fates, to be determined. From this peak you've gotten, of course, let me know your opinions, suggestions or criticisms about any of them. Y gracias por eso.
Es todo, hoy,
RudyG, a.k.a. the Chicano spec author, Rudy Ch. Garcia, on his way to vote again, in case this week was simply a mirage

Friday, November 07, 2014

Anti-Gravity Drills and Halloween in New Orleans

Melinda Palacio
Month 4 of my broken leg. Not quite healed, but getting better (this is an old X-ray).

            For the past couple of weeks, I've been receiving treatment for my broken leg at the Southern Orthopedic Specialists in New Orleans. Although a friend recommended Tulane for physical therapy, the place where team members of the Saints are treated, the same institution that operated on my leg suggested that I stay within their network. Since my insurance covered the physical therapy treatment, I was happy to oblige.
 
Physical Therapist, Marsh, manipulates my foot.



            When I tell most people that I am undergoing physical therapy, they look at me with extreme pity, as if the doctors were water boarding me for days on end. I actually enjoy physical therapy, probably because I enjoy exercising in general. I spend most of my day in front of a computer and often feel the need to engage in some sort of exercise, preferably yoga. In fact, although I couldn't walk for the first three months of my accident, I was able to keep up my yoga practice in bed. Special thanks to my teacher, Julie Nail who emailed me non-weight bearing poses. She helped me remain, positive, strong, and flexible during those early months of infirmity and not being able to walk .

Julie Nail from Divinitree Yoga in Santa Barbara (photo by Lerina Winters)
            At the Southern Orthopedic Specialists (S.O.S.), I experienced a very fun type of weightless therapy, the Alter G, Anti-Gravity Treadmill. This doesn't mean I have the training to go for a spacewalk. However, walking in the bubble of air, allowed me to feel a type of weightlessness and I was able to improve my gait. With a neoprene pair of shorts, I zipped myself into the Alter G machine, while air filled the bottom of the cage with air, allowing me to eliminate much of my body weight. I felt like a baby being hoisted by the armpits as my legs re-learned how to walk. And then the fun part began, walking backwards in the Alter G treadmill.
The Alter G Anti-Gravity Treadmill

Clicking my heels for a speedier recovery
            I must admit, there are two things I highly dislike about physical therapy. After the stretches and exercises are done, the therapist manipulates your foot and uses a hands on approach to get a feel for how much your range of motion has improved. I could do without the pulling and twisting of my foot in ways that a broken ankle should not be moved. Each therapy session ended with an arctic blast of an ice cold pack wrapped around both of my feet for fifteen minutes. I don't even like ice in a glass of water, let alone, wrapped around my foot for what seems like hours. The therapists laughed at my pained facial expressions each time they applied the ice packs.

There's No Place Like Home

            One of the perks of physical therapy in New Orleans, during the month of October, meant I had the opportunity to participate in the city's Halloween Festivities. New Orleans is a spooky and haunted place on any given night, but the place to be on is Molly's bar in the French Quarter. The bar hosts a parade with a brass band, carriage riders, and marchers. The best part is anyone can join the parade.  Since I wanted to be in that number, I made sure to wear comfortable shoes. I glittered a pair of comfortable leather and transformed them into Ruby Slippers for my Dorothy costume. Thanks to the therapists at S.O.S. and my yoga teachers, I was ready to march, walk, and strut. 
In front of Molly's
Catching Throws from the Carriage Riders
Glittering Shoes is Fun

Thursday, November 06, 2014

Luis Cruz Azaceta in New Orleans (and in print)



PAINTING OUT LOUD
is Luis Cruz Azaceta’s 8th exhibition with the Arthur Roger gallery in New Orleans.

Exhibition Dates: November 1 – December 20, 2014 
Gallery Location: 434 Julia Street, New Orleans, LA 70130 
Hours: Tuesday–Saturday, 10 am–5 pm

The featured recent medium- and large-scale paintings and works on paper reflect the artist’s distinctive bright-colored abstraction and figuration and continue to encourage a dialogue regarding the current political climate, social injustices, war and ecocide. 

Janet Batet describes Azaceta’s dystopian landscapes as revealing, “the imminent disintegrating character of our current surroundings.” In a recent catalogue essay, she states, “There is a sense of apprehension that underlies the landscapes of chilling beauty that form the Falling Sky series, marked by the abstract sensibility where the delicate trace from the drawing and weighed down handling of colored areas are contrasting with the sense of disaster that animates them.”

 Cuban-American Painter Luis Cruz Azaceta

Luis Cruz Azaceta left Cuba as a teenager in 1960 and has now been exiled from his homeland for over fifty years. After immigrating to the United States, Azaceta lived in New York and studied at The School of Visual Arts. He relocated to New Orleans in 1992. He has exhibited extensively nationally and internationally and has been awarded grants from The Pollock-Krasner Foundation, The Joan Mitchell Foundation, The Guggenheim Memorial Foundation, The National Endowment of the Arts and the New York Foundation for the Arts.  His work is in the permanent collection of The Houston Museum of Fine Arts, Houston; The Metropolitan Museum of Art, New York; The Miami Art Museum, Miami; The Museum of Fine Arts in Boston; The Museum of Modern Art and The Whitney Museum of Art in New York.

 
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Luis Cruz Azaceta
By: Alejandro Anreus
Foreword by: Chon A. Noriega

A Ver: Revisioning Art History, Volume 10
University of Minnesota Press
August 2014 
Cuban American artist Luis Cruz Azaceta addresses what author Alejandro Anreus calls the “wounds and screams” of the human condition. Although Cruz Azaceta’s work is widely shown and widely collected, this is the first book-length monograph on the artist’s life and work.

Anreus traces Cruz Azaceta’s career and explores the themes that are the focus of his singular art. Anreus assesses how the Cuban diaspora, above all, has shaped the artist and how the experience of exile has found expression through starkly forceful self-portraiture in many of his works. Anreus also discusses the artist’s ongoing concern with current events. Cruz Azaceta has responded to national crises, such as the AIDS epidemic, the Oklahoma City bombing, and the devastation of New Orleans by Hurricane Katrina, with graphically powerful paintings, mixed-media pieces, and installations.

Over the past four decades Cruz Azaceta has experimented with his visual vocabulary, moving from the flat, pop style of his early canvases, through neo-expressionism, and into the abstraction of current work. His commentary on humanity, however, has not changed. His art continues to remind us that there are no easy solutions to the presence of violence and cruelty, exile and dislocation, and solitude and isolation. 


Wednesday, November 05, 2014

The LA Latino Book & Family Festival – Great Books, Humble Souls

By Gladys Elizabeth Barbieri

          
Victor Villaseñor getting read to sign his books.


The Los Angeles Latino Book and Family Festival took place last Saturday, 11-01-14, at East Los Angeles College. Even though the weather was chilly by LA standards, many came to check out this fantastic cultural and family event.  I was excited to partake in a Q&A session with noteworthy children’s authors, René Colato Laínez and James Luna, as well as other indie authors like myself.
René Colato Laínez shared he was celebrating ten successful years as a published children’s author. I’ve read many of his picture books and I use them often in my classroom. I even bought a copy of his latest, Señor Pancho Had a Rancho, a fun twist on Old McDonald Had A Farm with a Latino flair.


               Books Written by René Colato Laínez

James Luna has written two picture books and both have been well received.  The Runaway Piggy also received the Tejas Star Book Award – Wow!  The coolest thing about meeting these two successful children’s authors is that they are both teachers and have over 20 years of teaching experience. Imagine how amazing it must be to be a student in their classrooms. I would love to be a fly on the wall to see how they motivate their students during Writer’s Workshop.



After the Q & A I got to sell and sign alongside these two gentlemen.  The author sitting to the left of me, Juan Villegas, shared that he couldn’t believe he was sitting next to the Victor Villaseñor, a Mexican-American writer, best known for the New York Times bestseller novel Rain of Gold. I giggled because I understood what he meant. Juan and I looked at the super long line of fans waiting to meet and have their book signed by Victor Villaseñor because we were more than happy to sell a few books.  And in just one hour Victor Villaseñor sold out boxes and boxes of books. I then discreetly pointed to René and James who were sitting to the right of me and said, “I hear you. Those two are the real deal in Latino Children’s Publishing.”


            Malín Alegría, James Luna, René Colato Laínez

I also had the pleasure of meeting Malín Alegría, an established Latina YA author who’s written a bunch of books as well – like the Border Town series.  And while we newbies sat amidst these established and recognized authors, I noticed how humble and unassuming they all were. They didn’t once mention any of the accolades their books had received. They didn’t bring an entourage or display a lavish signing area. It was just them, their books and a pen for signing. But what they did bring to the book festival was an ernest desire to encourage others about the power of telling one’s own story, of writing it and sharing it.