Friday, August 19, 2016

New Books - Poetry Workshop - Gronk/Norte Talk

For the dog days, two new books from Akashic, a Denver invite to workshop your poem-in-progress, and you can eavesdrop while the artist Gronk riffs with East L.A. poet/artist Marisela Norte at L.A.'s Craft and Folk Art Museum.


New Books



San Juan Noir
Edited by Mayra Santos-Febres
Translated by Will Vanderhyden
Akashic Books - October

[from the publisher]
Akashic Books continues its groundbreaking series of original noir anthologies, launched in 2004 with Brooklyn Noir. Each story is set in a distinct neighborhood or location within the city of the book.

Brand-new stories by: Wilfredo J. Burgos Matos, Ernesto Quiñonez, Mayra Santos-Febres, José Rabelo, Luis Negrón, Yolanda Arroyo Pizarro, Ana María Fuster Lavín, Janette Becerra, Manolo Núñez Negrón, Tere Dávila, Edmaris Carazo, Alejandro Álvarez Nieves, Charlie Vázquez, and Manuel A. Meléndez.
From the introduction by Mayra Santos-Febres:
“Puerto Rico is often portrayed as sandy beaches, casinos, luxury hotels, relaxation, and never-ending pleasure—a place that satisfies all senses and appetites.
Yet the city of San Juan is much more than that. The capital of the Commonwealth of Puerto Rico is the oldest Spanish settlement in all the territories and colonies of the United States. Since Puerto Rico is economically dependent on the US, the financial downturn of 2008 hit us hard. Many Puerto Ricans have left the island, looking for a better life. Crime has risen and the black market has thrived. As in many crises, art, music, and literature have also flourished. Never before has there been so much literary production. We have responded to our crisis with many stories to tell. And, especially in these times, many of those stories are noir . . .

I hope these stories spark your imagination, and reveal a side of Puerto Rico otherwise obscured by the tourist trade and preconceptions. Maybe it will also pique your curiosity, and you will come visit our ‘pearl of the Caribbean.'”



Discretion
Elizabeth Nunez
Akashic Books - October 
(reissue from Akashic along with other Nunez books)

[from the publisher]
Set amongst the struggles of American, Caribbean, and African diplomacy in the late 1980s, Discretion follows the harrowing journey of Oufoula Sindede, a diplomat of rough beginnings, who discovers his desires may be out of his control.

Dutifully married to lovely Nerida, Oufoula goes through the motions of marriage, formally keeping his distance from the woman with whom he shares his bed. And yet there is a deeper, buried passion within him that will lead him to question which values he holds sacred and which can be sacrificed.

Despite his quiet marriage, the memory of a fiery love affair triggers Oufoula to entangle himself in the life of another woman, a Jamaican-born painter named Marguerite. Soon he discovers that Marguerite is nothing like any of his quick old flames or his gentle wife, Nerida—Marguerite is much more.

And so begins a whirlwind affair, spanning over twenty years, between a young woman who wants order and love and a man who is torn between the honors of his profession and his dishonorable love life; the old African customs of polygamy and the American dream; and the passion for a mistress and the duty to his wife.

Nunez’s heartbreaking fourth novel questions the customs we think we know with the truth that comes from passion and love. Wrought with tragedy and uncontrollable infatuation, Discretion will make you wonder if affection is worth affliction.

Elizabeth Nunez is the award-winning author of nine novels—including Boundaries, Anna In-Between, Even in Paradise, Grace, Discretion, and Prospero’s Daughter—and a memoir, Not for Everyday Use. Both Boundaries and Anna In-Between were New York Times Editors’ Choices. Anna In-Between won the 2010 PEN Oakland/Josephine Miles Award and was long-listed for the International IMPAC Dublin Literary Award. Nunez also received the American Book Award for Bruised Hibiscus, the 2011 Writers for Writers Award from Poets & Writers and Barnes & Noble, and a NALIS Lifetime Literary Award from the Trinidad & Tobago National Library. She is a Distinguished Professor at Hunter College, CUNY, where she teaches fiction writing. She divides her time between Amityville and Brooklyn, New York.




 




Later.

Manuel Ramos is the author of several novels, short stories, poems, and non-fiction books and articles.  His collection of short stories, The Skull of Pancho Villa and Other Stories, was a finalist for the 2016 Colorado Book Award.  My Bad: A Mile High Noir is scheduled for publication by Arte Público Press in September, 2016.


Thursday, August 18, 2016

Chicanonautica: Flashes of the Latinoid Continuum

by Ernest Hogan
A cover by Jaime Hernandez. Wow! I was impressed.

But then, does the book live up to being compared to the classic comic book Love and Rockets? That's setting the bar pretty high . . .

I'm happy to report that, yes, Frederick Luis Aldama's Long Stories Cut Short: Fictions from the Borderlands, does live up to Jamie's eye-catching cover with characters springing forth from all over Las Américas

It also has impressive, comics-style interior art by the Mapache Studios that packages the book a little closer to pop culture than most non-genre story collections. Usually, we get impenetrable examples of modernism in an attempt to set a highbrow, “literary” tone. Aldama's story are powerful works of contemporary literature, but they have an appeal a wide range of readers will enjoy.

Aldama has written a lot of books, some about comics. His approach to culture is from different angle that the elitists who think they're too good for pop culture.

Born in Mexico City to a Guatemala-Irish American mother and a Mexican father, Aldama means it when he talks about Borderlands in the plural. Long Stories Cut Short is wide in its scope of the Latinoid continuum – not just one barrio, but views from many. And we don't get arguments over whose barrio is doing things right.

These are what they used to call “short shorts” way back when I was just learning how to be a writer. “Flash fiction” is the catchier term that's used these days. They get you to know complex characters (Latino is always complicated, and carries controversial histories), and puts you in their heads, and worlds (again plural), in just a few pages a crack. They are all masterworks of style, structure, and storytelling.

They used to call these, “slice of life” stories.

And they're not just cases for ethnic studies classes. They are a pleasure to read.

No spec fic, or magic realism, but fans of comics and genre fiction attracted by the Jaime Hernandez cover will not be disappointed.

Ernest Hogan tries to write slices of life, but people keep mistaking it for science fiction.

Wednesday, August 17, 2016

MAMÁ THE ALIEN/MAMÁ LA EXTRATERRESTRE BLOG TOUR



To celebrate the release of Mamá the Alien/Mamá la extraterrestre, author René Colato Laínez will be stopping by the following blogs from August 15th to the 24th! Follow along as René Colato Laínez discusses his writing process, his thoughts on diversity in kidlit, and the recent debate over the term “illegal alien.”

Below is the schedule of the Mamá the Alien/Mamá la extraterrestre Blog Tour:

August 17: Mommy Maestra
August 19: Latinaish
August 22: Pragmatic Mom
August 23: Reading Authors
August 24: The Logonauts

And in case you missed it, here’s René Colato Laínez’s post about his experience being called an “illegal alien” when he was young.

To find out more about René Colato Laínez and Mamá the Alien/Mamá la extraterrestre, check out his blog and follow him on Twitter. And if you are a blogger interested in being included on this or future blog tours, please reach out to us at publicity [at] leeandlow [dot] com.

Author René Colato Laínez and Illustrator Laura Lacámara






Tuesday, August 16, 2016

Review and Interview: Hutton, The Apache Wars. American Book Awards Announced.

Review: Paul Andrew Hutton. The Apache Wars. The Apache Wars. The Hunt For Geronimo, The Apache Kid, And The Captive Boy Who Started The Longest War In American History.
NY: Crown, 2016.  ISBN: 9780770435813

Michael Sedano

Paul Andrew Hutton in his backyard

Watching the seven and half minute video  (click here) of Standing Rock Sioux versus the mega pipeline you’ve never heard of, sets off a strong sense of historic reocurrence. Cast as protestors when they defend their land, the caravan drives up to a checkpoint. They are armed only with their volition and indignation. They deliver themselves willingly into the maw of the lumbering beast. Inevitably to be arrested, they’ll view from jail cells as earth-moving machines gouge a pipeline’s path scross Indian land.

It’s a modern-day view of what those final years of the Apacheria looked like at the end of the longest war fought on US soil. The video sent my thoughts to comparable history accounted in Paul Andrew Hutton’s The Apache Wars, such as when Geronimo agrees to a meeting with the pursuing cavalry.

Arizona rural big cities bespeak the standards of the robustly acquisitive English-speaking culture. A prolonged war with the Apacheria is winding down in favor of the United States. Northern Mexico remains vastly unpopulated. In Arizona and New Mexico, people are laying claims and parceling government land into ranches and farms. Indian reservations, into a second generation, have emerged as internal colonies, administered by Indian Agents and the U.S. Army, with meetings and commerce between the occupying government and the Indians normalized.

When Geronimo, who has gone AWOL from his reservation, agrees to meeting the leader of an opposing force, he’s used to collaborative exchanges with US forces. The forces meet the Animas Valley of New Mexico. Saying “Geronimo meets” is wild synecdoche. He’s not alone.

Eight warriors, twenty-two women and children travel with their leader. The band has captured a hundred horses and more cattle on the other side of the US-Mexico border. A reader’s visual cortex goes into high gear, imagining the scene of orderly rows of tents and armed men in company formation. La palomilla of mounted warriors accompanied by wives and children and several hundred head of livestock filter into the terrain. Following a river, drawn to the campfire smoke, guided by indian scouts who are U.S. soldiers, Geronimo and his families wend their way to the meeting point, thirty souls stepping willingly into the dragon’s mouth and all those soldiers.

From there, the Army leader, one Lt. Britton Davis, wants Geronimo to speed the march back to the San Carlos reserve by shedding the livestock. Davis warns the indian that the Mexican rancheros would come looking for their ganado, and the Army and Geronimo would have a bloody time of it. Davis’ orders were to protect Geronimo from any attack or threat.

Geronimo laughs off the fear appeal. It’s a colorful exchange that underlines the political dynamic and cultural flux coming into being in the region, and is a hallmark of an arrestingly captivating book.

“Mexican! My squaws can whip all the Mexicans in Chihuahua,” he exclaimed. “We don’t fight Mexicans with cartridges,” he noted with contempt. “Cartridges cost too much. We keep them to fight your white soldiers. We fight Mexicans with rocks.”    336

The moment of swashbuckling should give a reader pause, in a history. Such is the stuff of fiction, or highly creative non-fiction. Interesting as the moment appears, it's fact. Hutton cites three sources for the quotation. An article by Lt. Davis from the Army and Navy Journal published in 1885, and two third party resources, a memoir from the period, and a 1976 biography.

Hutton doesn’t make a point of it, but in an interview, the author declares the Apaches spoke Spanish, and many spoke bilingual in native Apache language and Spanish. Lt. Davis is a fluent Spanish-speaker. Some readers will be disappointed Hutton couldn’t share more details on the linguistic situation. The key anglo character in the history is a kidnaped white boy adopted into his captor tribe. He becomes a native Apache language speaker whose rudimentary English and good Spanish make him an interpreter and a Sergeant Major—the highest enlisted rank, a patriarch in an Army unit.

Geronimo and the pantheon of Apache leaders make up the book's most interesting characters. That captured-at-eleven half-Irish half-Mexican Apache joins with the US Army. He becomes an indian scout, the government's indian police force, skilled in hunting down and fighting  Indians unhappy enough to leave the confines of reservation land.

The role of indian scouts make interesting speculation as to their motives. In fact, some readers would welcome investigations on the psychology of the indian scouts, vendidos with a vengeance. But then, such an investigation might be a new research project, or might better be told in a novel.

Extensive documentation makes The Apache Wars a useful resource beyond the book. As an academic historian, Hutton puts himself through the paces to maximize authenticity and reliability of his eye-opening, often colorful, stories and conversations. The author derives his detail from four classes of written information: manuscript collections, journal articles, memoirs, and a host of books, most from University presses.

Non-academic readers will be pleased the extensive notes don’t intrude upon the flow of the narrative. No superscript numbers dot the page demanding attention across the 424 pages. Instead, there’s a page-sequenced list at the end providing over 50 pages of documentation linking the narrative to primary and key secondary sources.

Click here to view the video at Standing Rock Sioux reservation, blockading pipeline equipment.

The Dakotas. Now that Congress and government land speculators have given away land rights in the Standing Rock Sioux reservation, Indian people announced their willingness to die for their land. It's a classic "American" value, and the fate of so many indios who fought in their time.

Dying may be Standing Rock's fate one day. For now, unlike the heavily armed Army and money-grubbing indian agents of Geronimo’s era, uniformed police work like automatons when they take a prisoner defending her sovereignty. A view is overjoyed that the scene doesn't play out like so many cop-murders of people in custody.

The cops separate her from the protest scene on the blacktop and take her out of sight behind an SUV. Several large uniforms surround her; one keeps his hand on her all the while.

Physical and vocal intimidation doesn’t silence her, the prisoner continues to call out to her fellows. While a giant woman officer pats-down the handcuffed woman, the prisoner calls to her fellows, “Don’t let them cross our land. This is our land!” As the officer slides open the SUV the prisoner uulates with a defiance and fervor that echoes back to the 1880s and Geronimo's band of dying Apache people, making a show of it as they migrate--surrender--into the Army camp.

Jesus Treviño and Paul Andrew Hutton
In an interview, Hutton observes on the inevitability of the defeat and the ongoing extinction of Apache gente and cultura. When the US moved West, it was a steamroller. Today, when US private interests want to pipeline across indian land, and major rivers, indian rights and the idea of a reservation disappear. When something as precious as ones homeland is ripped out of your grasp, it will never come back. Realizing it is a lethal blow.

“But not every visitor was smitten with Geronimo. One observed the famous Apache was ‘about as mild mannered a man as ever scuttled a ship or cut a throat and for that matter butchered defenseless women and children.’
. . . .
The army had put the Apaches to work building cabins and laying out roads. A school was built so that the children could be educated at Mount Vernon and not have to be sent away to Carlisle . . . Many ended up adjusting quite well to their new home, including Geronimo, but one holdout refused to be reconstructed.

Old Nana encouraged the people to believe that it was only a matter of time until they would be returned to their homeland. One day a lady philanthropist visited . . . to write a report on the conditions there. Nana told her that the people did not want to stay there but wished instead to go back to their homeland. The lady had brought a small globe with her and handed it to Nana. She told him that people were coming from all over the globe to America, that the country was becoming crowded. The Apaches could no longer roam over the vast territory that once was their land.

Nana stared at the globe, shaken to the core. . . After that visit, Nana slipped into a deep depression from which he never recovered. He now understood that he and his people would never go home.” 418-19



Latinopia Publishes Interview with Apache Wars Author Hutton

Latinopia and La Bloga share a history and purposes of supporting, reporting, analyzing, celebrating Chicana Chicano, Latina Latino arts, literatures, music, cultura, and history. Y más.

Recently Michael Sedano and Jesús Treviño trekked to Albuquerque to interview Rudolfo Anaya. During our stay, Paul Andrew Hutton kindly invited us to his home to talk about a book Treviño discovered in his ever-continuing research for material to populate the already extensive latinopia archives.

In this interview video, Hutton sets the backgrounds of the Apache war, the relatively peaceful first contact, the factors that changed everything. And the story of that Anglo kid who, some say, is the reason for the war.

http://latinopia.com/latino-history/latinopia-event-the-apache-wars-1/






Jesus Treviño, Paul Andrew Hutton, Michael Sedano


Before Columbus Foundation announces
Winners of the Thirty-Seventh Annual
AMERICAN BOOK AWARDS
•
La Bloga Congratulates Jesús Salvador Treviño
Jesús Treviño addresses UCR "A Day of Latino Science Fiction”
From Press Release:
The American Book Awards were created to provide recognition for outstanding literary achievement from the entire spectrum of America’s diverse literary community. The purpose of the awards is to recognize literary excellence without limitations or restrictions. There are no categories, no nominees, and therefore no losers. The award winners range from well-known and established writers to under-recognized authors and first works. 

There are no quotas for diversity, the winners list simply reflects it as a natural process. 

The Before Columbus Foundation views American culture as inclusive and has always considered the term “multicultural” to be not a description of various categories, groups, or “special interests,” but rather as the definition of all of American literature. The Awards are not bestowed by an industry organization, but rather are a writers’ award given by other writers.

The 2016 American Book Award Winners are:

Laura Da'
Tributaries (University of Arizona)
Susan Muaddi Darraj
Curious Land: Stories from Home (University of Massachusetts)
Deepa Iyer
We Too Sing America: South Asian, Arab, Muslim, and Sikh Immigrants Shape Our Multiracial Future (The New Press)
Mat Johnson
Loving Day (Spiegel & Grau)
John Keene
Counternarratives (New Directions)
William J. Maxwell
F.B. Eyes: How J. Edgar Hoover’s Ghostreaders Framed African American Literature
(Princeton University)
Lauret Savoy
Trace: Memory, History, Race, and the American Landscape (Counterpoint)
Ned Sublette and Constance Sublette
The American Slave Coast: A History of the Slave-Breeding Industry (Lawrence Hill Books)
Jesús Salvador Treviño
Return to Arroyo Grande (Arte Público)
Nick Turse
Tomorrow’s Battlefield: U.S. Proxy Wars and Secret Ops in Africa (Haymarket Books)
Ray Young Bear
Manifestation Wolverine: The Collected Poetry of Ray Young Bear (Open Road Integrated Media)
Lifetime Achievement:
Louise Meriwether
Walter & Lillian Lowenfels Criticism Award:
Lyra Monteiro and Nancy Isenberg
Andrew Hope Award:
Chiitaanibah Johnson

The 2016 American Book Award winners will be formally recognized on Sunday, October 30th from 2:00-5:00 p.m. at the SF Jazz Center, Joe Henderson Lab, 201 Franklin Street (at Fell), San Francisco, CA. This event is open to the public. 

Monday, August 15, 2016

¡Tía Chucha's Quinceañera!



Tía Chucha’s Centro Cultural invites you to celebrate at its Quinceañera Gala! It is a time to honor and celebrate 15 years of community building, literature, art, music, and healing by coming together in one place to mark this important milestone. It will be a night you will remember.

Live art auction featuring artwork by: 

Carlos Almaraz, Margaret Garcia, Ofelia Esparza, Rick Ortega, María Isabel Ramos, Gilbert “Magu” Luján, José Montoya, Chaz Bojórquez, Sandy Rodriguez, Jaime “Germs” Zacarias, David Botello, Wayne Alaniz Healy, George Rodriguez, Sonia Romero and Eloy Torrez.

WHEN:
October 8, 2016, at 6 pm – 9 pm

WHERE:
LA Plaza de Cultura y Artes, 501 North Main Street, Los Angeles, CA 90012

CONTACT:
Alegna Gomez · alegna@tiachucha.org · (818) 939-3433

For more information including how to purchase tickets, visit here.

***


A little personal, literary news: My newest short story “@chicanowriter” was recently published by Fourth & Sycamore. It’s about a very unpleasant writer. The story is part of my new collection that is currently going through “peer review” at a wonderful university press. I hope to have more (good) news soon on that project. Feel free to visit my website for more news and upcoming events.

Friday, August 12, 2016

Interview with an Editor: Toni Kirkpatrick

Melinda Palacio
Toni Kirkpatrick


You may have met Toni Margarita Plummer at the National Latino Writers Conference in New Mexico and wondered what happened to that nice New York editor? Her last name may be different and she may have a different title, but she is still ready to assist you with your books. Since moving on from a position as an acquisitions editor at St. Martin's Press, Toni Kirkpatrick is still focused on helping writers with their book projects, but in a slightly different form. She has gone into business for herself as a freelance editor. Toni took time out of her busy schedule to answer five questions for La Bloga.

1. How is your new editing role different from what you were doing at St. Martin's Press?

I worked at Thomas Dunne Books/St. Martin's Press for over ten years, considering submissions, acquiring fiction and nonfiction, and editing my authors' manuscripts line by line to prepare them for publication. My job involved much more than just editing though. Now I am working for the writer and am focused solely on helping him or her to make their manuscript as strong as it can be. I am not an editor checking for commas and the like. My background is in reading for characters, plot, style, and setting. I still read and edit with the mind of an acquiring editor; I ask if this is something an editor would want to acquire, and something a reader would want to read. And if I see any issues there, I think about how those can be resolved.

2. Who are your clients?

They are writers of many different genres. Some are looking for agents and publishers, some plan to self-publish. Some are referred to me by agents who are interested in their work but don't have the time to help them revise. All my clients have written something they feel strongly about and want to put their best work out into the world by having a professional editor critique and edit it.

3. Who is your ideal client?

My ideal client is a talented writer who has worked very hard on a manuscript and is committed to making it better. They are open to my comments and expertise, and I in turn enjoy what they've written and am engaged by it. Hopefully something I say or question sparks their imagination and gives them a new way of looking at a character or a scene. I would love to get more Latino clients--I've a special interest in these stories and I want to see more Latino authors publish their work and find large audiences for it. 

4. In addition to being an editor you are also an author. How does one role affect the other? 

As an author I understand a writers' attachment to their work and their hopes and dreams for it. On the other hand being an editor has definitely helped me to see my own writing more objectively and I am very grateful for that.

5. What is your take on the current publishing landscape for Latino writers?

Getting published (and staying published) is a challenge for anyone. But what’s being discussed a lot now is the lack of Latinos working in publishing and how this affects the number of books by Latinos that are being bought and effectively promoted. I'm part of a fairly new group called Latinos in Publishing, which meets in Manhattan every month and whose goal, among others, is to increase the number of Latinos working in the industry. It's a group of extremely talented and passionate folks--keep an eye out for more from them soon. Sisters in Crime also just put out their Publishing Report about diversity in crime fiction which you can read here: http://www.sistersincrime.org/page/ReportforChange.
So there is increasing awareness about this and lots of authors and publishing professionals working to get more books by Latinos published. Keep writing. Do your homework. There are so many venues and opportunities to publish, even now, and I am very excited to be working with writers at this earlier stage in the process.




More about Toni: Toni Kirkpatrick was an Editor at Thomas Dunne Books/St. Martin's Press for over ten years. She acquired mostly crime, historical, multicultural, and women's fiction. Some of her authors included Michael Jaime-Becerra, Dahlma Llanos-Figueroa, M. Padilla, Irete Lazo, A.E. Roman, and Caridad Ferrer. A native Californian, she published The Bolero of Andi Rowe, a story collection set in the San Gabriel Valley of Los Angeles, under her maiden name Toni Margarita Plummer. She graduated from the Master of Professional Writing Program at USC and is a member of Macondo, the group of socially-engaged writers founded by Sandra Cisneros. Toni lives in the Hudson Valley with her husband and son. Check out her website www.ToniKirkpatrick.com for more information on her background and editorial services.

Thursday, August 11, 2016

Submit, Submit!


Kweli Journal was selected by PEN America, among other notable literary journals such as Tin House, The New Yorker and The Paris Review, to serve as a contributing publisher for the inaugural PEN / Robert J. Dau Short Story Prize for Emerging Writers. Kweli is proud to be in partnership with PEN; and, more still, proud to provide access to writers of color who otherwise wouldn't have the opportunity to be considered for the prize. 

Kweli has an open call for submissions from July 15 to August 15. If you are an emerging writer of color who has yet to publish a short story, please submit your work to Kweli for consideration for the inaugural PEN / Robert J. Dau Short Story Prize.

Acentos Review
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The Acentos Review publishes poetry, fiction, memoir, interviews, translations, and artwork by emerging and established Latino/a writers and artists four times a year.
seeks works that challenge ethnic, gender, or social stereotypes. Though the magazine’s focus is Latino, it is not limited to it.

Huizache accepts submissions in PDF or Word formats. Include a brief bio with your submission. Simultaneous submissions are fine, but please notify us immediately if work is accepted elsewhere. Reading period is generally between September 1 and April 30. E‑mail any queries about fiction or nonfiction to prose@huizachemag.org and about poetry to poetry@huizachemag.org.