Monday, October 01, 2018

El macrocosmos y microcosmos del dolor en la poesía y narrativa de Caraza


El macrocosmos y microcosmos del dolor en la poesía y narrativa de Caraza
Bloguera invitada, María Esther Quintana Millamoto, Ph.D.



María Esther Quintana Millamoto is an associate professor of Hispanic studies at Texas A&M University. A native of Chihuahua, Mexico, she came to the United States to pursue a Master’s and PhD at the University of California, Berkeley. Her book Los pícaros, bufones y cronistas de Maluco: La novela de los descubridores was published by Linardi y Risso in Montevideo, Uruguay, in 2008. Quintana’s second book, entitled Madres e hijas melancólicas en seis novelas étnicas de crecimiento de autoras latinas, was published in 2014 by Instituto Benjamin Franklin and University of Alcalá, in Madrid, Spain. She has also published critical essays in refereed journals in Mexico, Cuba, Spain, and the United States. Her teaching fields are Hispanic literatures, U.S. Latino literature/culture, women’s studies, Latin American culture, and the Spanish language. She is currently working on her third book focusing on the interconnections among familism, marianismo and relational autonomy in contemporary novels by Latina Authors. 



Recientemente tuve la fortuna de visitar el Departamento de Estudios Hispanos de la Universidad de Tejas A&M.  Hoy, queridos lectores de La Bloga, les comparto una parte del texto que la Doctora María Esther Quintana preparó para mi presentación de poesía y lo acompaño de algunas fotografías que el Doctor José P. Villalobos hizo durante la lectura.


“Dentro de la diversidad de temas de los poemas y cuentos de Xánath Caraza—la naturaleza, la poesía, el amor—subyace un impulso en común: la solidaridad con el sufrimiento humano, así como la denuncia de la violencia y la injusticia hacia aquellos cuyo estatus inmigratorio, de género, de clase social, o de ideología política los convierte en blanco de persecución.  Por ejemplo, en el poemario Lágrima Roja, los poemas se convierten en cruces clavadas en la memoria colectiva para conmemorar a las cientos de mujeres desaparecidas en Veracruz desde finales de los setenta, así como de los miles de cuerpos femeninos sacrificados en todo el mundo. Por tanto los poemas, en oposición a lo que propone Julia Kristeva como estrategia para la resolución del duelo, es decir, el reemplazo de la madre muerta mediante el lenguaje poético; los poemas dan testimonio de la pervivencia del recuerdo de estas mujeres en la psique de la autora y por extensión en la del lector. Si Xánath se refiere al macrocosmos del dolor de grupos sociales como los indocumentados, o los disidentes políticos torturados en Latinoamérica, también enfoca el microcosmos del sufrimiento en cuentos como “Corta la piel” donde la protagonista, distraída con la noticia de la cancelación del “Temporary Protected Status” para los centroamericanos, y de sus propios recuerdos en El Salvador, se corta los dedos con las aspas de la licuadora. 


Pero si la poesía es para Caraza un medio de denuncia, lo es también de placer estético, como se expresa en el poemario bilingüe Tinta Negra/Blanck Ink  donde el yo lírico invoca cada día la poesía como si se tratara de un amante elusivo al que hay que conquistar todos los días, como ha observado Octavio Quintanilla;  la poesía, entonces, no es, para Caraza, producto de la inspiración, aun cuando confiese que invoca en ocasiones el duende de García Lorca, sino de la perseverancia y disciplina del ejercicio diario.


En breve, la poesía de Caraza es el producto de su compromiso estético y social, síntesis que ha dado poetas gigantes en la lengua española como Pablo Neruda, César Vallejo, Manuel Machado y Miguel Hernández, para nombrar a unos pocos.”



Fotografías por José Pablo Villalobos.

Saturday, September 29, 2018

Centro de Ninos and the Comisíon Femenil Mexicana Nacional by Antonio SolisGomez

Father Luce and others lead protesters during the National Chicano Moratorium in Laguna Park 

 The disappointment with the Movimiento at the start of the 70’s led me to disentangle myself as much as possible from all the barullo taking place in East Los Angeles. It was not a total withdrawal, as I still had to support my wife and two small children. Coincidently, at that time, Father Luce at The Church of the Epiphany wanted to open a community based bilingual preschool and the possibility of working in such an environment really appealed to me.

I had worked a couple of years with Head Start as a social worker and had spent a lot of time in the Montessori based classrooms, learning from Lucia Pearce our Educational Director and by helping teachers with the children. I also had been involved for a few years with an alternative children’s
program at the International Institute called Operation Adventure started by Maxine Junge. I was therefore full of ideas for implementing a classroom experience for Chicanitos. I applied for the job and was hired.

I was fortunate in having as an assistant Chela Hernandez, a woman who had been schooled in Mexico and knew a lot of children’s songs in Spanish that she taught the kids. Many of those songs were by the Francisco G Soler. We also required parents to volunteer and the great majority of them were from Mexico, so it was truly a bilingual program.
Francisco Gabilondo Soler y Cri Cri

I worked four years with La Escuelita until funding necessitated cutting my employment to half time. I was in a pickle. I loved working with children but I had to support my family. Fortunately during my time with La Escuelita, I had gone back to my Alma Mater, Cal State LA, and taken 18 units in Early Childhood Ed in order to receive State certification as a Director. I was thus officially qualified as a daycare teacher/director and hoped to find afternoon employment, leaving my mornings free to be at La Escuelita.

One day I went to see about an advertised position with a daycare center near Echo Park called Centro de Niños. I walked into the building, down a central corridor with closed doors on either side. I guessed that it had been a medical facility, the closed doors, examining rooms, from whence were emerging the voices of children screaming and yelling. I opened one and the stench of urine greeted me along with the startled look of a woman who had been trying to quiet the children. I don’t recall how many children were in there, but it was packed.

I closed the door but there didn’t seem to be anyone in charge that I could speak with and I had an uneasy feeling. Soon the doors opened and many children rushed down the corridor and through a side door to their play area, an adjacent driveway. The children proceeded to play with a couple of old automobile tires and a few milk crates in which they took turns climbing in to be pushed up and down the asphalt driveway. There were no balls, no toys, just milk crates and tires. I was aghast.

I finally talked to one of the teachers who told me that they had around fifty kids and a handful of teachers, all of them Latinas. I spent an hour there and got in my car and left. While I drove home I knew that daycare center was a threat to children. It had to be shut down. I called the California State Licensing Department and explained the dire need to shut down that facility. A woman calmly explained that she knew that there were problems but there wasn’t anything else in that area for working parents and it would not be closed. I took it as a sign from God that I had to work at Centro de Niños and began going there every afternoon.

I learned that the Centro de Niños was operated by the Comisíon Femenil Mexicana Nacional when they asked me to be the director. It was 1974 and among the board members at that time were Francisca Flores, Yolanda Nava, Gloria Molina, Sandra Sewell and Irene Mendez. I said that I would only accept the job if I could find a better facility. They not only agreed, they also charged me with finding a second facility in East Los Angeles. They told me that they had State funds for two facilities, each one caring for seventy children, including infants.

One afternoon while driving in the neighborhood, on the lookout for a new facility, just below the old Belmont High School, I drove past an interesting old two story mansion that sat on a knoll far away from the street. I parked my car and got out, my only intent, to take a closer look at that beautiful house. It looked vacant and I strolled around the very large yard, to make sure there was nobody living there before I climbed the knoll to take a closer look. A man working in the adjacent property saw me and came over to ask me why I was there. I explained that I was just curious and asked if I could get a closer look. He gave me permission and I began exploring to satisfy my curiosity. The house had a long driveway that ended under a covered portico, a large roofed porch, several heavy French doors leading to the outside. As I looked through the windows admiring the beautiful workmanship, I suddenly began to think that this house would make a beautiful childcare center.

I went to the adjacent property to speak with the man who had given me permission to look and asked him for information about the property. He answered that it belonged to the Cancer Prevention Society and pointed to the adjacent building. I explained my interest in finding a childcare facility and he laughed, telling me that a school had already tried and could not pass the various inspections for a school. I thanked him and decided that I would go next door and speak to whoever was in charge.

I will say here that my newly found spiritual life was playing a big part in my effort to find a new facility. Before starting off on that afternoon quest I had asked for guidance from Spirit and now at this point I was not easily going to be deterred, especially by the Director of The Cancer Prevention Society who was to tell me that under no conditions would she ever allow a bunch of welfare children next door. 

I told the Director, an older unsmiling woman, that not withstanding her objections I still wanted to speak to her board and to place me on the agenda for the next board meeting. Therefore the following week I went before the board and got provisional approval for the Centro de Niños, if the building could pass the fire and health inspections. The Chairman of the Board said that they would charge one dollar for rent for the house whose address was 379 Loma Drive.

The fire Department requirements were the most rigorous. They wanted panic bars on all doors that led outside, fire sprinklers installed on the first floor, a fire resistant door from the basement and children could not occupy the second floor. The State Licensing people wanted the entire two acres fenced and a telephone installed. It was a daunting list of changes but I was now certain that this property was destined for the intended purpose and nothing would deter me.
My brother in law John Diaz on the right with me at Sabiño Canyon in Tucson 1975

Clearly I would need help but the State funds had no allowances for remodeling. I did have Mr. Angelo, the janitor, a genial wiry man from the Philippines and I could hire another janitor for the second site that was yet to be secured. My brother in-law John, a jack of all trades, agreed to hire on to help me with the project.

Getting the sprinkler system was the first step and it meant digging a hundred foot long trench four feet deep to install a two inch water line. We had to dig it by hand “a pico y pala”. 

Mr. Angelo, who it turned out was also a skilled carpenter took charge of replacing the three French doors by building new four foot wide doors and installing them with a panic bar. John and I next worked on building a five foot high wood fence around the property. It was five hundred linear feet.

We also had to install new lighting in the rooms designated for classrooms, build changing tables for infants and low classroom tables. Long story short we obtained all the permits necessary within two months and opened the center with seventy children. The kids went crazy in their new play yard. Around a very large Morton Fig Tree, Mr. Angelo had built a platform with a ramp that children could use with their trikes or run around the large yard until they tired. It was great.
The old MaravillaHousing Projects showing David Lopez' mural of La Virgen de Guadalupe -foto by Oscar Castillo

But we were only half way there. We needed another site. I don’t remember how I found out about the Maravilla Housing Projects being torn down and new ones being built across the street. The local gang had been given free rein to salvage and dispose of everything in the old site and I went and met with them, proposing that they give us one of the old buildings for a childcare center. They said ok, pick one. I chose a one story building that had four apartments near the street and with John and Mr. Angelo, began tearing walls between the four dwellings, installing lights, painting, building a fence etc. We opened with seventy more children.

We had two centers open from six in the morning to six at night, a staff of thirty five to handle one hundred and forty children including infants, preschoolers and latchkey kids. I was working long hours and I felt strong and positive, as if I was riding on a wave. But unbeknownst to me, my time there was coming to a close.

It came suddenly, the announcement that Sandra Sewell, one of the board members, had been given the position of Executive Director and therefore in charge of the entire operation. I was to remain as Director of the educational component. It was disheartening to create something and have it snatched away. And it didn’t take place until after I had obtained and remodeled two childcare centers with the proper permits to operate. At the time I didn't see the bigger picture, that life placed me there to do what I had done and to move on. There organization didn't need a man in that position.

I stayed on for a few months before quitting and I began subbing with daycare programs at LA Unified. One day, a month or two after leaving the Centro de Niños, while checking out teaching opportunities at the Cal State LA Early Childhood Education Office, I happened to see a posting about a Masters in Library Science program for Spanish Speakers at the University of Arizona, I applied and very soon after, life whisked me out of Los Angeles.

Post Script:

I did some research for this article and learned that the Comisíon Femenil Mexicana Nacional spun off a women’s economic development organization called New Economics for Women (NEW) in 1984. In 1986 NEW bought the 379 Loma Drive property from the Cancer Prevention Society and in the early 90’s constructed a four story building (Casa Loma) to house single women and their families. They continued providing childcare and have become quite a large and innovative organization, building housing and providing a diverse array of services focused on women. I’m happy I played a small role when Spirit led me to the original property.

Centro de Niños in Maravilla is still functioning with Sandra Sewell as the Executive Director. She apparently has no role with NEW or Casa Loma but she seems to have done a marvelous job of maintaining and expanding what was in place when i left. I think they even have a new building.

Friday, September 28, 2018

YA Books You Might Have Missed


Presenting a short list of YA books from 2018 that you might have overlooked, or should look for in the next month.  Holiday gifts?






Forgiving Moses                              
Gloria L. Velásquez
Piñata - May, 2018

Gloria Velásquez
is one of the pioneers of Latinx Lit.  She's been at it for a while -- the first Latina to create a YA series, her excellent Roosevelt High School Series that debuted in 1994 -- and she's produced a great list of essential books. Here's the review of Forgiving Moses from the School Library Journal.


"Gr 9 Up –The latest installment of the long-running series that explores social injustices in Latinx and Black communities in short novel format is a narrated by two newcomers to the school: Chicano teenager Moses, angry at his incarcerated father, and a counselor, Ray, who is Native American and Chicano and innovative in his use of circle practices to build community. The inclusion of each narrator’s inner thoughts makes this novel readable, culturally responsive, and compassionate, and the central role of weekend prison visits makes it timely. The pitfalls and anxieties around those visits are not widely discussed in YA lit, yet Velásquez covers them all, including the extreme predicament of relocation for families of the incarcerated when spouses are moved to another facility, precipitating a new migration pattern. Despite the hard work and devotion given by his mother, Moses feels that she always put his father first by moving the family and sacrificing herself for a “lifer.” Luckily, another classmate, Dalana, also visits her father every weekend and, after Moses overcomes his initial resistance, offers her perspective. Ray has troubles of his own with his son, but once the voluntary, all-male circles begin, trust and healing emerge as they face the fears of repeating their fathers’ mistakes. VERDICT Buy this and the entire series."
–Sara Lissa Paulson, City-As-School High School, New York City




Elizabeth Acevedo
Harper Teen - March, 2018

This much-anticipated debut novel has received impressive recognition, but maybe you passed on reading it because you're not a fan of poetry or novels-in-verse or maybe you don't appreciate YA Lit.  This book will change your mind about all that, maybe change your life.

From the publisher:

Xiomara Batista feels unheard and unable to hide in her Harlem neighborhood. Ever since her body grew into curves, she has learned to let her fists and her fierceness do the talking.

But Xiomara has plenty she wants to say, and she pours all her frustration and passion onto the pages of a leather notebook, reciting the words to herself like prayers—especially after she catches feelings for a boy in her bio class named Aman, who her family can never know about. 

With Mami’s determination to force her daughter to obey the laws of the church, Xiomara understands that her thoughts are best kept to herself. So when she is invited to join her school’s slam poetry club, she doesn’t know how she could ever attend without her mami finding out. But she still can’t stop thinking about performing her poems.

Because in the face of a world that may not want to hear her, Xiomara refuses to be silent.



Guadalupe Garcia McCall
Lee & Low Books - October, 2018


From the publisher:

In the heart of the Great Depression, Rancho Las Moras, like everywhere else in Texas, is gripped by the drought of the Dust Bowl, and resentment is building among white farmers against Mexican Americans. All around town, signs go up proclaiming "No Dogs or Mexicans" and "No Mexicans Allowed."

When Estrella organizes a protest against the treatment of tejanos in their town of Monteseco, Texas, her whole family becomes a target of "repatriation" efforts to send Mexicans "back to Mexico" --whether they were ever Mexican citizens or not. Dumped across the border and separated from half her family, Estrella must figure out a way to survive and care for her mother and baby brother. How can she reunite with her father and grandparents and convince her country of birth that she deserves to return home?


There are no easy answers in the first YA book to tackle this hidden history.


In a companion novel to her critically acclaimed Shame the Stars, Guadalupe Garcia McCall tackles the hidden history of the United States and its first mass deportation event that swept up hundreds of thousands of Mexican American citizens during the Great Depression.
Zoraida Cordóva
Sourcebooks Fire - June, 2018

The second book in the highly regarded Brooklyn Bruja series; number three due next year.

From the publisher:

Three sisters. One spell. Countless dead.


Lula Mortiz feels like an outsider. Her sister's newfound Encantrix powers have wounded her in ways that Lula's bruja healing powers can't fix, and she longs for the comfort her family once brought her. Thank the Deos for Maks, her sweet, steady boyfriend who sees the beauty within her and brings light to her life.

Then a bus crash turns Lula's world upside down. Her classmates are all dead, including Maks. But Lula was born to heal, to fix. She can bring Maks back, even if it means seeking help from her sisters and defying Death herself. But magic that defies the laws of the deos is dangerous. Unpredictable. And when the dust settles, Maks isn't the only one who's been brought back...

________________________________


Later.


Manuel Ramos writes crime fiction.  His newest book is The Golden Havana Night.  Launch party:  Tattered Cover (Colfax), October 22 at 7:00 p.m.  





Thursday, September 27, 2018

Chicanonautica: The Steampunk Banditos Are Coming! The Steampunk Banditos Are Coming!



I thought that Mario Acevedo had taken his Chicano vampire detective hero Felix Gomez to the outer limits with his last novel, Rescue From Planet Pleasure. It went from paranormal noir into sex-crazed space opera the likes of which I had never seen, and I’ve been reading kinky sff since the Nixon administration. Little did I know that Mario has more, wilder things in the works.

Steampunk Banditos: Sex Slaves of Shark Island, the seventh novel in the series takes things into a whole other dimension, literally. We’re talking Coyote time travel--that’s right, Coyote as the great trickster spirit of the continent that in these particular timespace coordinates is known as North America. This isn’t just a trip back in our history, but into an alternate universe, one where the Southwest is known as Aztlan (I like to put the accent mark on the “a,” Mario doesn’t, so I’m leaving it out here, for the sake of consistency--doncha love how Latino culture is full of disagreements about spelling, pronunciation and what the chingada language are we arguing in anyway?). Also, Chinese gangsters are everywhere; Felix Gomez ends up working for one.

There also don’t seem to be many Anglos around.

In other words, it's a volatile, rasquache mash-up that blasts apart all the walls between the genres (which, let’s face it, are nothing but marketing strategies), and sends astounding fragments soaring through the reader’s mind. There’s the detective angle, because the investigator/narrator helps when thrusting us into a weird new world. The ever-popular vampire theme, along with werewolves, finds a new home in the Wild West. And its paranormality dovetails into sci-fi with a mad scientist and some monsters.

Oh yeah, there’s also these amazing women. The sex slaves of the title don’t just sit around signing and whimpering until they are rescued--they pick up weapons and . . .

It’s probably better if I don’t reveal too much.

As you can tell from the drive-in movie/pulp fiction (if you are too young to know what either of those are, do some research, your education is seriously lacking) titles, this isn’t highbrow literature with a grim agenda here. Steampunk Banditos, and the rest of Mario Acevedo’s Felix Gomez novels, are pop culture. They are full of colorful images, ideas, and thrills. 

In other words, it's fun.

They are also from a Chicano viewpoint. I once heard Mario say that it would be weird for him not to write that way.

The Latino Lit crowd needs to look into Steampunk Banditos, and Mario’s other works. They could learn a few things from his page-turner style that made him a national best-selling author.

And the ending indicates that there’s more to come, which should be mind-blowing.

Ernest Hogan’s High Aztech will be taught as part of a course at San Diego State University, and he will be flying out to meet the students.