Wednesday, November 20, 2019

X Festival Internacional de Poesía Infantil Manyula



Del 18 al 24 de noviembre, 2019
El Salvador 



LEER ES MARAVILLOSO

10 años creando lectores entre las niñas y los niños de El Salvador.


Lugares donde tomará lugar el festival

-Biblioteca Nacional de El Salvador.

-Centro Supérate ADOC

-Museo de la Palabra y la Imagen, MUPI

-Librería SOHO, Las Cascadas:
Conversatorio: Influencia del festival en el boom de literatura infantil salvadoreño, participan escritores de literatura infantil, trabajadores culturales, ilustradores, editores.
Moderadores: Manlio Argueta, Santiago Consalvi, Jorge Argueta

-Biblioteca de los Sueños, Mercado Municipal de San Jacinto

-Hogar del Niño, San Jacinto 

-Biblioteca de los Sueños, sede Santo Domingo de Guzmán, Sonsonate. 




Dibujo de volcán con flores, cortesía de Elizabeth Gómez, diseño poster: Holly Ayala.

Manyula con pastel, dibujo El Aleph Sánchez, Diseño poster: MUPI


***



Pueden leer un articulo que yo escribí sobre el decimo festival de poseía infantil en hispanicla.com. 


Esto es solo una probadita del articulo:

En el verano del 2010 el escritor salvadoreño de libros infantiles Jorge Argueta me contó de su maravillosa idea de fundar un festival internacional de poesía infantil en El Salvador.

Como escritor, él quería fomentar el amor por la lectura en todos los niños del país. Días después, me invitó a participar en el festival. Jorge me dijo que ya estaban confirmados el escritor mexicoamericano Francisco X Alarcón y la escritora mexicana Margarita Robleda. También otros escritores salvadoreños se unirían al festival, incluyendo el escritor Manlio Argueta.

El sueño de Jorge era que los dos escritores salvadoreños que escribimos y publicamos libros infantiles en Estados Unidos fueran parte del festival. Uno era claramente Jorge, el fundador del festival; el otro era yo.



Tuesday, November 19, 2019

Memory: Starting Over.

Michael Sedano

Starting Over

Just so everyone knows, dementia-related residential care is not a one-way proposition colored by Finality. That’s what I sensed when I had to find care for my Alzheimer’s dementia-afflicted wife. I’d lost use of both shoulders and she no longer walked with control. One time she fell and I could not assist. She crawled to the bedframe and pulled herself up. It was 2 in the morning. She wasn’t sleeping. Nor was I. Then she stumbled but didn’t fall. I watched helplessly again.

I sought assisted living for her. After surveying a number of institutions, I settled on the one closest to the house. “Alzheimer’s” on her neurologist’s diagnosis closed the door to assisted living. Instead of her own apartment in a senior community, she was offered “memory care.” A space behind a locked door where severely disabled souls wander the halls or lie in the dark until roused for organized socializing.

Barbara entered that world far more able-bodied than those poor women and a few men. Alzheimer’s is a “progressive disease,” these people are our future, ten twelve years from now when we have progressed beyond reason. She was unhappy in that place. I was perpetually unnerved. "P'alla va la sombra" my Dad used to say.

One morning she phoned. “I can’t walk. It hurts too much.” She lived five minutes away and I drove her to the hospital where an orthopedic surgeon fixed her infected hip and for a week the hospital cared for her.

Skilled Nursing Care had to be her next step, after surgery. Wound care and P.T. consumed the caregivers. Barbara received individualized care and attention despite the chaotic hubbub of the 50-bed nursing home. Mission Care in Rosemead is amazing for its people and responsiveness.

Five weeks at Mission Care, Barbara’s health rebounded. Energy and alertness returned to my wife’s everyday self. The Social Worker phoned, she’s ready to be discharged.

I laid a deposit at another place for Barbara. She wouldn’t have to return to that near-by place where she was unhappy. By the way, these senior living places create a false urgency, "I have only one unit that might be available in a few weeks" when Jill dies. There are lots of places and each has lots of rooms to rent.

All the while I’ve been working to regain my shoulders and they’re back. I can lift and lever considerable weight on an exercise machine and I can suspend my weight on my shoulders for several seconds’ duration. It’s called The Plank, like a push-up without the groaning.

UTI. That’s the name of the enemy of older women and of dementia-afflicted women. Urinary Tract Infection. When that crap gets into the patient’s bloodstream and feeds into the struggling brain, Alzheimer’s symptoms not only exacerbate, the infection introduces new behaviors, hallucinations particularly, that break a husband’s or daughter’s heart. For a while there, Barbara no longer knew who I am, and we’ve been married 51 years.

Experimental Attitude Without Fotos

“I didn’t know any other Vibianas, and then I found another Vibiana, and I love her book.” In the world of Chicano Literature and Chicana writers, there aren’t that many Vibianas, so I knew the book Vibiana enthused about. I’m even thanked in that book, Mi Amor, by Vibiana Aparicio-Chamberlin. I read an early draft.



Let’s have brunch, las dos Vibianas at Casa Sedano, I suggested. They can talk about the book and meet another Vibiana, with "V" not "B" Vibiana.

So we planned it, calendared it. When the nursing home told me I could have Barbara back so come get her, I went and got her. She came home in time for the brunch. I converted our literary chat into an impromptu welcome home brunch for the long-absent Barbara. 

It was cool. She came home to a normal day and stepped right in without missing a step. Chatted, ate all her food, lived in the moment like the others.

Champagne and Eggs Benedict are de rigueur for literary chats as well as impromptu welcome home brunches, so I was ready. The Gluten-free Chicano provided muffins for the two Vibianas and Barbara. 

The real treat was the unveiling of the Gluten-free Chicano’s microwave hollandaise sauce. Here’s a quick description for cooks with an experimental attitude. Few foods say “the holidays” better than tamales or hollandaise sauce, so El G-f Chicas patas will document the hollandaise process in a foto essay soon.

Barbara, Vibiana, Michael, Vibiana

The Gluten-free Chicano’s Mi Casa es Su Casa but Mi Microondas Is not Your Microondas Hollandaise Sauce

¾ stick butter
8 egg yolks
2 limes or 1 lemon, juiced.
Tabasco sauce
Black pepper
salt
Boiling water
Large glass measuring cup

Have everything at room temperature. You can separate the eggs the night before. Take them out of the refrigerator an hour early.

Melt the butter in a saucepan on lowest flame then put it aside. Add the citrus juice and tabasco, a pinch of salt and coarsely ground black pepper. Taste the butter, make sure it’s showing off that lemon.

Boil 2 cups water and pour into the large glass measuring cup to get the glass hot. Reserve the water and dry the measuring cup.

Put the yolks in the hot glass measuring cup and stir the yolks into a homogeneous colored soup. Stir in a tablespoon of hot water.

Rapidly stir the hot butter-lime mix into the yolks.
This is the complicated step for classic Hollandaise sauce. Using a double-boiler, whip that butter slowly into the yolks and observe it thicken to a mayonnaise-like paste. Too much heat and you scramble the eggs, not enough and it doesn't thicken.

The microondas cooks the eggs lickety-split so cook in 5 to 8 second increments. Remember, the heat builds after coming out of the radiation chamber. Keep stirring and the sauce thickens. After two or three batches you’ll know your microwave and the right duration.

Cover the vessel with a plate or stretch wrap. Run the micro for 8 seconds and stir. Give it another 8 seconds and stir.

If your sauce got too thick on the second heating, stir in a teaspoon of hot water and the sauce will smoothen. If worst comes to worst, you have lemony scrambled eggs. Use more hot water next time, and shorter increments.

Microwave ovens vary wildly in power and performance. Experiment with half-batches of 4 yolks and 1/3 stick of butter. Always add lots of lemon or lime. The Gluten-free Chicano likes a hollandaise that bites lightly from tabasco and sparkles with the bright acidity of fresh citrus.

Monday, November 18, 2019

Three Questions for Erlina Ortiz


Erlina Ortiz is a Dominican-American playwright, performer, and theatre maker from Reading, Pennsylvania, and now based in Philadelphia. She graduated with a BA in Theatre from Temple University. Ortiz’s plays address gentrification, domestic violence, and rape culture and have been produced with Power Street Theatre where she is a resident playwright. She is a member of New Pages, a professional writer’s group with Azuka Theatre Company, and an alumna of The Foundry at Playpenn. Ortiz is the recipient of the Amtrak Writer’s residency and the Signal Fire Outpost Residency. Her play She Wore Those Shoes had a developmental reading at Theatre Exile’s Studio X-hibition Series.

In 2018, Ortiz’s play, Las Mujeres, premiered with Power Street Theatre to sold out houses and rave reviews picking up a Bonaly Award for Creation of Community Joy. This spring, her play, Morir Sonyando, was nominated for six Barrymore Awards. She teaches with University of the Arts, Power Street Theatre, and Blue Stoop. Despite a very busy schedule, Ortiz kindly agreed to answer a few questions for La Bloga.

DANIEL OLIVAS: On your website, you proclaim: “I believe that everyone has a voice no matter age, race, religion, sex, or sexual orientation. I believe being an artist is a super power. I believe in using my powers for good.” Can you talk a little about this artistic statement of purpose and how you define “good”?

ERLINA ORTIZ: Doing good to me in this moment means leaving this world better than how I found it. We can get overwhelmed with all the problems of the world and it's easy to feel like doing art is the least important thing we should be focusing our energies on. But in my statement, I make it clear that being an artist is a super power. Making people feel things, making people think things they haven't before, encouraging people to take action based off a painting or piece of writing is incredibly powerful.

And if you believe that all people, whether you have anything in common with them or not, deserve to have art in their lives either as consumers or creators or both from the moment they are born until the moment they die, if you believe this would make our world an infinitely better place, then you believe what I believe.

DO: Your play MinorityLand that was produced this fall at the Power Street Theatre Company explores gentrification and how people come together to preserve their community. Gentrification is a serious, existential crisis for many communities across this country, and your play would resonate as much in my home of Los Angeles as it does in your city. How did you develop this play and what do you want audiences to “get” from it?

EO: This play was created with my resident collective Power Street. It was our first show and much of what solidified the mission for Power Street. I had been asked to join by its founder and now my very good friend Gabriela Sanchez. We had paid to be in the Philly Fringe, and rented space, but we had no show. We did a casting call basically letting people know we had no money, but if they wanted to come create something amazing with us, if they had ever felt like a “minority” and wanted to share their story to come to a meeting. A good number of people showed up. From that group we created the show. I took on the role of playwright and director. I guided the actors into creating their characters and shaped the story. It was thrilling. I had just graduated from Temple University so I was putting all my skills to the test. I also did the lights for that show actually.

Power Street has hosted nine community conversations through our outreach program Communidades Conectadas, so I know that what people “get” out of the show is a wide range. The overarching message is that all these very different people come together to support each other against injustice. But for our predominantly Latinx participants gentrification was just the backdrop to bigger issues of privilege, sexuality, identity, forgiveness, and what defines a community.

DO: You are a playwright, director, actor, and educator. How do you integrate these different roles into your life, and do you identify more strongly with one role over any other?

EO: I've always been a multidisciplinary artist. Growing up I always entertained myself by writing stories, I directed my brothers and friends in skits and sketches, I starred in the high school musical. So I always knew that I didn't want to just do ONE thing. I like Temple for that reason, because I felt I could learn a lot about theatre in general beyond acting which was my original concentration. Playwright has been where I have gained the most traction, I think because it is the thing I have the most control over, and because I've had my resident collective behind me presenting and helping me develop my work.

But I think I'll be happiest if I can cycle through doing all the things I like to do. If I'm in a show I have a great time and then I'm over it and I can't wait to direct something then I can't wait to teach, but underneath it all I'm always writing. And I think doing all these other things makes me a better writer as well. I learn a lot from my students, I learn a lot being on stage. I won't write a role I wouldn't be excited to play, and I won't write a play I wouldn't be excited to direct.

Friday, November 15, 2019

Raza in the Ozarks: The C.D. Wright Women's Conference

Melinda Palacio







Camille T. Dungy presented her keynote speech Friday evening




Last week, I brought my code-switching poetry to the C.D.Wright Women Writers Conference at the University of Central Arkansas in Conway. Before Bill Clinton's presidency, I admit I gave Arkansas very little thought. My poetry pal, Gina Ferrara, whom I've shared many a poetry stage with, asked if I would agree to read my poetry with her and Julie Kane, Poet Laureate Emerita of Louisiana. All of the conference presenters and most of the attendees with a handful of exceptions were women. I enjoyed the strong sense of female camaraderie, and visiting a state I had never been to was an added bonus.

Our panel and moderator

Early attendees grab a good seat.


Arkansas experiences autumn in its full bloom. I had only heard stories about the vibrant colors of autumn leaves and how one friend had to rake up all the leaves in their backyard and would jump into the pile before bagging them, a ritual repeated until winter. I felt like a kid as I stopped to photograph the leaves and gave my camera to Gina so that I could scoop up and handful of red, gold, and yellow confetti that I threw up in the air. I was in awe of the simple pleasure that I didn't have growing up in the inner city of South-Central Los Angeles.




Autumn wonderland at the University of Central Arkansa

The conference honors a poet of the Ozarks, C.D. Wright, who died in 2016 at age sixty-seven. She was the daughter of a judge and a court reporter and published over a dozen books. Her work has been labeled experimental, socially conscious, and elliptical. I find her poetry fascinating. She was married to the poet Forrest Gander and together they ran Lost Roads Press for over 20 years. The conference featured two keynote speakers: poet Camille T. Dungy and novelist Jami Attenberg who now lives in New Orleans. Readings, workshops, and a book fair were crammed into the two-day conference. I was surprised so many attended our panel and even more impressed by the large turnout of diverse women. The format is one to emulate: small, focused, and inclusive. The exciting thing about this conference is that the content always changes, unlike some conferences that keep the same workshop leaders year after year. The food was good, the goody bags packed with pen, paper, candy, a schedule, an eyeglass cloth, and a coaster.

The handful of leaves I packed in my folder are as vibrant as those fallen in the photo. 

One of the most useful sessions was Caitlin Hamilton Summie's 75-minute workshop: Shout about It: Promotion Basics for Writers. She emphasized knowing your market and being prepared to start promoting your book well in advance of its publication. The big take-away was if you have an idea for a book, start thinking of how you want to market it. Most writers don't want to think about the business side of writing. I've made the mistake of relying too much on my publisher to get the word out about my books. Thanks to this workshop, I will be better prepared to market my next book. I also had the chance to do some further research for my next novel as the road back involved stops along Route 66, the setting for the novel I am currently seeking representation for, fodder for what I hope will be a future La Bloga post.


NEXT STOP:

The 36th Annual San Luis Obispo Poetry Festival
I will be reading, along with Luke Johnson, Jeanie Greensfelder, and Toni Wynn at the SLO Library, 996 Palm Street, San Luis Obispo
Sunday, November 17 at 1:30 pm



Thursday, November 14, 2019

Three Days After Veterans Day

                                                                         
All American boys, Aurelio Villa, lower left, unaware of what the future holds. (circa 1940)
by Daniel Cano

From personal journal (and subsequent notes)
Saturday, July 28, 2007
10:36 AM, Brussels, Belgium

It was a last-minute decision to take the train from Brussels to Bastogne. The round-trip ticket is 19 Euros. Cold today. I didn’t bring a jacket, thinking the summer weather would clear. Oh, well.

It took awhile getting the correct information from the ticket agent, her English heavily accented, and she spoke fast. I barely understood her. As I looked at the itinerary, I didn’t understand any of it.
I returned to the ticket counter. A man explained the itinerary. The last leg of my trip will be by bus.
There is no time designated for my return, so I guess I can hop on any bus back to the train station.

Brussels is an international city, people of all ethnicities and nationalities, a large Muslim population, surprising, not like Munich or Salzburg, white Europeans, where I’ve already spent a week.
                                                                                 
Fort Bragg, N. Carolina, fully loaded, ready to board plane (1967

I’ve always dreamed of visiting Bastogne because I served with the 101st Airborne, in Vietnam, a proud legacy--they drove it into us, and because of my interest in WWII, where the battle of Bastogne helped change the tide of the war in Europe.

 Kids who go to college hail their alma mater, Stanford, Cal, UCLA, Villanova, Harvard, SC, Yale, etc. In the military, we hail our units, the 1st or 25th Infantry, 101st Airborne, the First Cav, the 173rd Airborne, the 82nd Airborne, Navy Seals, 7th Special Forces Group, and the Marines (all units).
                                                                               
What it took for Mexicans to become Mexican Americans (circa 1944)
I look out the train window as we enter Namur. Must be an important city. It’s fairly large. My itinerary reads Namur-Luxemburg. 11:42

I am scheduled to arrive in Bastogne at 1:30.

The train heads into the Belgium countryside. As I traveled through Europe, moving from one city to another, I’ve put the ghosts of my father’s generation behind me. Now, they are here outside the window. I see American G.I.’s trudging through these farmlands, killing and dying, hoping to topple Hitler and his war machine, hoping to make it home again.

Why America? What if Hitler had defeated Europe, what then? Would he have become the supreme commander of all European forces, fighting until he ultimately defeated the Russians? Can one even consider a Germany composed of other European countries, different languages, customs, and cultures? Greece, Italy and Spain would have driven the Germans nuts. Would he have continued his genocide, killing all Europeans who were not Anglo Saxon? It seems impossible. Germany is smaller than Montana.

The U.S. sent its best to fight Hitler and Mussolini, its native people, from reservations across the country, Chicanos/Latinos, who earned more medals of honor than any other American ethnic group. There were African-Americans, Italian, Polish, and Irish Americans, German and Japanese Americans, who earned more medals than any other ethnic group, ironically, while their families were in American relocation campus.

WWII was an equal opportunity war. What would the U.S. forces have been without ethnic Americans?

Outside my window, Belgium's villages and towns whip past, looking much like they must have in 1945. I envision the Yanks out there marching across the roads and slipping through the dense forests, patrolling the hedgerows, coming under fire, some dying and some fighting on.

I recall the books I’ve read and the movies I’ve seen, G.I.’s slogging through winter snows, their boots held together with strips of rags, fighting off the freezing cold. Young kids from all over the U.S. joined or were drafted to support the war effort, trusting their government to tell them, even if they died and their families suffered for years after, their sacrifice was right, just, and worthy. Yet, many Mexicans, African-Americans, and blacks returned home still unable to find jobs or buy a beer in a white man's bar.
                                                                             
Representing Califas
It was a different time. Not only did the military men suffer and sacrifice during the war, but the entire country sacrificed. There were food shortages, as well as shortages in medicine, electricity, gasoline, and everyday commodities. Families proudly grew fruit and vegetables in Victory Gardens.

In today’s wars, from Korea forward, no one suffers or sacrifices except the men and women in uniform and their families. The rest of the country enjoys itself and continues living normal lives.

I remember when I came home from Vietnam for a 30-day leave. My dad got us tickets to a football game at the Rose Bowl. 90,000 people were going nuts, cheering, drinking, and celebrating. All I could think about were my friends still in Vietnam, out in the jungle, hoping that this day wasn’t the day they’d die. At that moment, I felt our country had betrayed us. Nobody cared.

12:45: Arrival at Libermont.
Waiting outside terminal for the bus to Bastogne. It must be only about a 45-minute ride. An old bus pulls up. Not many folks going to Bastogne. I expected some older Americans, tourists visiting the famous battle site, maybe some veterans.

Each time I we pass a sign that says “Bastogne,” my excitement is replaced by sadness, a lot of confused feelings.

2:00: Bastogne

I just finished walking through the main section of town. It is Saturday, a mad house, mostly Europeans from all countries crowd the sidewalks and streets. This is a party town, restaurants, bars, discount clothing stores, and vendors along the sidewalk, another Venice Beach.

People park their cars in the town’s main square, around a large welcome center made of glass and wood. The only Americans I have seen so far are six muscular young men. Their haircuts tell me they are G.I.s They have a confident demeanor and walk with a slow, cowboy swagger, like they just dismounted from their horses. Their English is a giveaway.

Here indigenous Ecuadorians pass for American Indians. From their sidewalk stalls, they sell Navajo dreamcatchers, cheap wood sculptures, Indian beads, decorative bows and arrows, and every sort of inexpensive, plastic toy for kids. I ask one of them, a ponytail hanging from a wrinkles Stetson hat, if he speaks Spanish. He answers yes, kind of embarrassed. I ask if he imported what he sells or if he just works for someone. He becomes nervous and nods affirmatively, as if the wrong answer will get him in trouble. He moves on to another customer.

I have often told friends who visit Las Vegas and tour European-themed hotels, like the Venetian, how artificial. Why not just go to Europe? I am reconsidering.

Bastogne looks like a European Vegas, the Santa Monica Promenade on a weekend, but then, to be fair, I’ve only seen the town’s center, where bikers fill the streets, their motorcycles parked outside the different bars advertising discount beer. The coffee shops are full. So, this is freedom!

I don’t know how much of Bastogne was destroyed during the war, but what they built around the main square looks like a Hollywood movie set, fake facades and all. It could just be the advertisers' signs splashed everywhere, disguising the real town. I guess this is what tourism has wrought.

Strange how all the other Belgian towns I passed on the way here looked as if time had not touched them, quaint and unspoiled, as if tanks would come rolling down the streets at any time. In some ways, it looks as if Bastogne's leaders tried to make this look the way they thought an American town might look.

It is difficult to imagine this as the place I saw in photos, where, in December, 1944, American paratroopers, weak and exhausted, short on men and supplies, stopped advancing German forces. So many of Americans sacrificed their lives here. I look hard to see signs of that sacrifice. 76,890 Americans died, were wounded, or reported missing after the final battle.

I’m told there is an American memorial about two kilometers outside of town. I button-up my shirt and walk along a footpath, the highway on one side, the woods on the other. I'm on patrol. I pass small farms. In the distance, there are valleys and clumps of forest.

It’s a beautiful monument, the site where the weary paratroopers of the 101st Airborne waited for the Germans to overrun them. The name of each state is etched on the concrete columns. Upstairs, visitors can see the 360-degree vista. Maps show the woods, villages, and valleys where the Germans assaulted the Americans.

I think about my uncle Aurelio Villa, who jumped with the 101st on D-Day, and suffered serious wounds. His brother Nick Villa entered Europe from North Africa at Anzio, Italy with the 82nd Airborne, where he was killed by a sniper taking a drink of water from a fountain.
                                                                           
Eisenhower and paratroopers in war paint and mohawks, D-Day
Because paratroopers received "jump pay," an added stipend to their regular pay and combat pay, many Chicanos and working-class white kids chose to go airborne. I remember the picture of Eisenhower, surrounded by paratroopers, mostly kids, their faces smeared in war paint, Mohawk haircuts. He talked to them before they boarded the planes to jump in Normandy on D-Day. Some say he had tears afterward. He knew many of them would not return.

American servicemen, avid movie-going kids during peace time, loved Hollywood westerns. For courage, as they leaped from the B-14s into Europe's night skies, the paratroopers invoked the name of their native American hero, “Geronimo!”

On that day. the 22nd of December, the German commander offered the beleaguered Americans a way out—surrender. When 101st Airborne's commander, General McAuliffe, received the message, he answered, one word, “Nuts!”

The German commandant did not understand. Another man translated. “It means go to hell.” The Germans began their onslaught to kill all the Americans and level Bastogne, as punishment for their refusal to surrender. It was reported another American commander had said, "They've got us surrounded, the poor bastards."

The American paratroopers held the Germans at bay until Patton’s army, fresh from the Battle of the Bulge, could come in with reinforcements. Nearly 80,000 killed, including British and Canadian forces, and some citizens of Bastogne, who, during the siege, provided shelter, food, and medical aid to the allied soldiers.

Some historians say, had Bastogne fallen, it would have changed the trajectory of the war. The battle brought prestige to Bastogne, and tourism for many years to come. It’s no wonder the people of Bastogne named the town square “McAuliffe Place.”

As I leave, I take a closer look and see the old, mostly two and three-story buildings behind the advertisements. It's still there, the original town, beautiful and strong, 19th century structures, survivors for future generations, a place to celebrate life and people from the surrounding countries come to join in the festivities.

5:50 PM, on the bus back to Brussels I take a seat at the back of the bus. The driver turns up the radio, loudly. REM sings “Losing My Religion.”
                                                                               
They made it home
An Afterthought

As I transcribe these lines from my journal, and add a few notes for clarification, there is a newspaper clipping at the corner of my desk, the story of army private Felix Longoria, a Texas native and WWII veteran.

According to the article, by Carlos Sanchez, "Longoria was killed on June 15, 1945, after volunteering to flush out retreating Japanese in the Philippines.”

Longoria’s body finally arrived home in 1949. His family requested that a local funeral home conduct the services for the fallen soldier. The funeral director refused. He claimed it would upset the Anglo citizens if he buried a Mexican.

When no amount of persuasion would change the funeral director’s mind, Dr. Hector Garcia, another WWII veteran, stepped in wrote letters to newspapers and Texas legislators. Still, the funeral director was unmoved. He did not want to upset the locals.

A young Senator, Lyndon Johnson, who heard about the racial slight, apologized to the family. He told them he was angry and humiliated, but he could not force the funeral home to bury a Mexican. He arranged to have Private Longoria buried at Arlington National Cemetery where he still rests today.

Sadly, some places in this country never change, not even for those who offer the ultimate sacrifice. What is even more unfortunate is that many of us don't know our own history.

Wednesday, November 13, 2019

Opportunities: Grants and Postdoc Fellowship




From Recovering the US Hispanic Literary Heritage,

Check out the opportunities we are offering for US Latino research made possible by financial support from The Andrew W. Mellon Foundation, including: 

7 grants-in-aid (up to $7,500 each) for research and development of digital scholarship in the form of a digital publication and/or a digital project, and 1 Postdoctoral Fellowship in US Latino DIgital Humanities.

Deadline: Dec. 20th.

The Mellon-funded Grants-in-Aid program is designed to provide a stipend to scholars for research and development of digital scholarship in the form of a digital publication and/or a digital project. The grant covers any expense connected with research that will advance a project to the next stage or to a successful conclusion.
Scholars at different stages of their careers (Academics, librarians, advanced graduate students, independent scholars, etc.) are encouraged to apply for a stipend of up to $7,500 for investigative work. Grantees are expected to budget for a 2-day trip to Houston for in-person training at Recovery. 
For more information visit, 

Tuesday, November 12, 2019

Veterans Day 2019: If they listened.

Michael Sedano

Don’t cry when you look at the intensity in the eyes of that young true believer Chicano G.I. He knows better; he's just pretending. I cry anyhow, but I'm a softie. I knew him.

It’s his squad’s turn for QRF, Quick Reaction Force duty. If there’s a riot at the main gate, or if the North Koreans are attacking from the river, we seven clerks will be first on the scene. Not that there's a chance anything’s going to happen. We bear arms, fix bayonets, act fierce. Pretending fights boredom until we get the call near midnight.

This guy's no kid, a 25 year-old among teenagers. He has rank, a Specialist Fourth Class. Life is easy, he considers himself the most powerful Spec 4 in the U.S. Army. With good reason.

Propinquity.

He works in the Colonel’s office and is good friends with Sergeant Major. Officers and NCOs know who he is, gatekeeper, with friends in high places. When the Specialist growls, the Major barks. 

He works independently, coming and going, summoning the Colonel’s jeep and driver to tour the outlying missile sites to take pictures, gather material for hometown newspapers. The troops love that. The Army loves that. 

My driver is a vato from Berdoo, a downer freak hiding out from the Army behind shades as the BC's driver. I'm the XO's driver, so when the Major goes out to inspect the batteries, the Specialist is there in the background, a presence during the ordeal of a CMMI.

Life is, más o menos, good. The occasional QRF, or random armed encounter, go with the life. That hard guy face again.

Appleton and Grant need to be court-martialed and rousted dishonorably out of the service. That was the word that came down from Camp Red Cloud. There’d been a race riot at the Infantry post where we had Alfa Battery. Appleton and Grant had burned down the library.

The Major handed me the reports to read, and opine. Appleton and Grant hadn’t done shit. Maybe they’d started a fire that burned a wall of the library, maybe someone else lit the trashcan. For sure Appleton and Grant were two of numerous Soul Brother GIs, Infantry and Air Defense, pissed off at racist crap in the Ville that spilled over to the Post. The wall was repainted and everything was copacetic at Camp Red Cloud. A lot of that wasn't in the report.

The Colonel and the Major were reasonable men. The Commander was a “light bird” or Lieutenant Colonel, and a math professor at West Point, doing an active duty turn. The XO was a CPA reservist, doing his active duty turn. They heard me out and agreed, Appleton and Grant would pay a price but not the full extent of military umbrage. We would give them an Article 32 discharge. That was a big win for the Specialist from Isla Vista.

The Military Police brought Appleton and Grant in handcuffs, released them to me. I placed a holstered pistol on my desk where it sat loudly next to the wall and the crossed flags of the United States and the United States Army. 

The two afro’d GIs looked exhausted and dirty after the hour ride from confinement at CRC. Their wrinkled green fatigues gave them a disreputable look and they knew it. They sat hangdog at my deskside. I gave them confidentially the news the Major would officially relate.

You’re not getting court-martialed. Their eyes widened. I’m sure they’d expected the worst, 20 years in Leavenworth busting rocks eating bread and water. I explained to dull eyes and probable incomprehension, the shiny black leather holster on my desk making a lot of noise. 

“You’re getting an Article 32."

Blank stare.

"Go to the VA when you get back.” 

They were from LA and Compton, and would be on the block next week. 

“You can get GI Bill benefits if you follow the program.”

GI Bill benefits. That had been the clincher with the Major. It convinced the Colonel, too. The two black guys from L.A. had been convenient, not guilty, certainly not Dishonorable. 

Fact is, the mercy shown to Appleton and Grant made the Colonel look bad to higher-ups. The Lieutenant Colonel went back to West Point a LTC, probably never making Full Bird--a Colonel--because he was soft on discipline. But that’s speculation. The Colonel and Major were good guys and they did the right thing while screwing those two soldiers.

So every Veterans Day, among myriad thoughts and emotions that course through me, I wonder if Appleton and Grant heard that guy with the pistol? 

Is it "happy Veterans Day" for Appleton and Grant? Did they go through the process, petition the VA for help, get that discharge softened up? 

It was an automatic change if you applied, just know the system, work the system. 

What if Appleton, or Grant, or Appleton and Grant, got the GI Bill of Rights they’d earned, found magic in school, got certificates and Union jobs, or sheepskins like AA, BA, went on to comfortable satisfying lives? 





Meanwhile, West of Korea...


Read! Raza. Chicana Chicano Literature-Vietnam & Movimiento Novels 

Michael Sedano

*Written in 2012, this bibliographic essay needs to be updated with Alfredo Véa's Mexican Flyboy.

There's a unique affinity between military recruiters and teachers. The new school year brings fresh prospects and unlimited potential. In a few months, both will have their targets. The eager reader, the easy mark, the scholarship winner, Officer material. Some students will make the choice. "No." Other students will say, "Sign me up." Others will waver. Reading a novel-- who knows?-- could inform a student's decision-making process, a recruiter's drive for a promotion and a bonus.

Every good teacher reads widely, files away impressions of authors and titles, to be ready to recommend the right title for a particular student. Book groups, too, seek that little-known novelist, the quondam gem none of the reader's acquaintances had known. To be ready for just that occasion, or a book group's find of the year, add Stella Pope Duarte's Let Their Spirits Dance, to your "to-be-read" list . The novel introduces a new author whose entertaining style and intensely moving emotional experience offers a reward in itself. But here is an important novel for teachers with Chicana and Chicano students because Duarte's novel informs these kids' oft-neglected and mistold history through an historically accurate portrait of anti-war organizing in the Chicana Chicano movement. Readers with a personal commitment to peace and justice will find this a work to urge upon young people to read. The President-select's wanton urgency to make war brings youth into the administration's cross hairs. Youth--particularly the poor and non-white kids whom undeserving politicians look to in times of sacrifice--need to know about peace organizing, need to give humane consideration to the cost of war on themselves, their families, and the nation's values. Let Their Spirits Dance opens doors to these vitally important considerations.

Background on Chicana Chicano Literature and the Movement
Although la Chicanada has populated the United States since before there was a United States--we knew we were here--but until the late 1960s, a broader cross-section of a United States public had little appreciation for our history and culture. Then, as el movimiento Chicano splashed across the news, dramatic images of farm laborers, antiwar students, and hosts of community activists began to substitute in the public's mind for the little-regarded 'invisible minority' or 'sleeping Mexican-American giant.' On August 29, 1970, the movement climaxed when 50,000 Chicanas Chicanos and supporters massed in East Los Angeles as the Chicano Moratorium, to demand cessation of the war in Vietnam and its outrageously disproportionate killing of Chicano youth. Rioting Los Angeles police agencies gassed and bludgeoned the protestors, and in separate incidents, murdered three Chicanos.

Sadly, although many cast the movement in revolutionary terms, the results of the Chicano Movement did not produce revolutionary change, neither among Latinas and Latinos, nor among that broader cross-section of Unitedstatesians. For example, even today, there remains little agreement on what we call ourselves'Chicana Chicano, Latina Latino, mestiza mestizo, india indio, Mexican. And, although there appears a plurality who rejects "Hispanic" as inappropriate, that odious term has governmental sanction and is used here and there across the Chicano diaspora. A glaring example of this was the Chicano Moratorium 2002 panel of social science researchers. The public discussion quickly devolved into irate declarations of competing Peoplehood terms''Mexican' 'indio' 'American' 'I don't care.' The 'battle of the name' swept away any productive discussion of the history, sociology, and political science texts the experts had presented.

Despite persistent community division, a strong Chicano literary movement endures as one significant cultural change produced by the activism of the 1960s and 70s. The first anthology of poetry and short fiction bearing the title Chicano Literature saw print from Berkeley's Quinto Sol Press in 1969'its first edition in 1968 was titled "Mexican American" literature--signaling what some critics inappropriately termed a 'Chicano renaissance.' From that initial anthology, hundreds of titles, dozens of competing journals and small presses, and eventually major east coast publishers have created a rich, if still difficult to access, literature of the Chicana Chicano experience. An excellent body of Chicana and Chicano detective mysteries is available, but the finest work is belletrist novels and short fiction, essays, written by Chicanas. Ana Castillo, Graciela Limon, Sandra Cisneros, for instance, if better known, would readily become essential to the canon of the well read.

Putting Let Their Spirits Dance In Perspective
Oddly, until Duarte's Let Their Spirits Dance, Chicana and Chicano writers had produced no novels featuring the movement itself, and only Chicanos had published Vietnam War novels. Duarte's novel, thus, stands as a landmark in US fiction as the first novel of the Chicano Movement and the first Vietnam War novel written by a Chicana. Owing to its uniqueness, readers will profit from placing Let Their Spirits Dance into the rich literary context of Chicano fiction and war writing.

Chicano Literature hasn't ignored the movement. In several works, the movimiento features as significant background. Manuel Ramos' absorbingly exciting Luis Montez detective series set in the 1990s, for example, regularly weaves into his plots Montez' background as a 70s Denver movimiento activist. Guy Garcia's 1989 mystery, Skin Deep, is one of two novels to mention the August 29, 1970 events at Laguna Park. In a deeply moving scene that symbolizes the character's distance from his Chicano roots, Garcia draws a chilling picture of repressive violence by police angered at the antiwar protest. Lucha Corpi's 1992 Chicana detective novel, Eulogy for a Brown Angel, opens shortly after the police riot at Laguna Park. The character, fleeing bloodthirsty cops, turns a corner to safety only to discover the murder that launches the mystery. For many, Oscar 'Zeta' Acosta personifies the early Los Angeles movement, so Acosta's two biographical works, Revolt of the Cockroach People and Autobiography of a Brown Buffalo, stand as landmarks of movement and Chicano writing. In tributes to Acosta, noted Mexican author Ilan Stavans has collected Zeta's unpublished work, and Ramos' Blues for the Buffalo takes off on the Zeta legend. Ironically, Acosta also exemplifies Chicano invisibility. Hunter S. Thompson's drug-swilling "Samoan lawyer" in Fear and Loathing in Las Vegas is, in actuality, Oscar Acosta. (It was Acosta, by the way, who coined the term 'Gonzo Journalism,' Thompson's erstwhile claim to fame.)

Unfortunately, many of the noted works are now out of print, so a library search will prove well worthwhile. There may indeed, however, now be a 'renaissance' in store for readers of Chicano literature, as a number of titles are being reprinted today. For instance, Corpi's Eulogy was recently reprinted in paper, as was Blues for the Buffalo, and Ramos has a new novel and character, Moony's Road to Hell. See booklist at the bottom of page for details.

During the Vietnam War, Chicano casualties occurred far out of proportion to our numbers in the US population. According to social scientists, a diversity of factors influence the large numbers of Mexican kids who find themselves in uniform, medalled, and, inevitably, dead. Perhaps kids see the military as their only exit from endemic poverty, so they enlist. Perhaps the Selective Service found easy pickings among a large population of 18-year olds not in college and thus eligible for the draft. Whatever the causes, Chicano veterans give voice to their experience and in the process create a noteworthy body of work.

Charley Trujillo's oral history, Soldados, sparkles with authenticity while offering the author's personal tribute to these men, everyday kids from campos and urban barrios who keenly understand their role: stay alive. Trujillo's novel, Dogs From Illusion, paints a grim picture of small town boys caught helplessly in a terrible spiral of loss. We meet them as stoop labor picking melons and being ripped off by a greedy farmer. A few months later, they're surrounded by other hostile forces, friends dying all around them, heads literally rolling. Each man is badly wounded, but far worse is the moral loss they suffer, turning into murderous monsters. The novel closes as it opens, the guys back in the fields picking fruit, getting ripped off by their employer. Trujillo, in addition to character and story, adds linguistic and cultural interest capturing conversations of his Califas characters with Puertorrique'o and Indio soldiers, helpfully translating the warriors' cal' and Spanish phrases. I wonder how many young readers will miss subtle cultural data an older reader will enjoy, as when a vato greets his buddy with 'What's in the bag, goose''

In a superb book, Daniel Cano's Shifting Loyalties intertwines stories of members of a field artillery unit in Vietnam, black, brown, white. Cano keeps the reader on edge, wondering which of these guys will die. Structure highlights the senseless tragedy of these warriors' lives and deaths through contrasting stories of youthful innocence when, as children, the soldiers play Little League, struggle with family matters and other mundane details of' life not being soldiers. Cano then yanks the reader out of reverie, his characters acting out the silly bravado of young men at war, laughter turning without warning into tragedy. Two stories stand out. One tells of the expatriate who discovers his own anomie and self-destructiveness reflected in the person of a US tourist whose acts make even less sense than his own; perhaps this ex-artilleryman finds a cure in that. An especially poignant story recounts one soldier's attempt, as a way of healing his deep emotional wounds, to talk to the parents of his long-dead Anglo friend, to explain, apologize, confront that painful moment. But he so long delays that, when finally he confronts his past, the mother has died and the father's disassociation make the character's healing problematic and the story closes ambiguously, maybe hopeful.

The best written and stylistically most interesting of the Chicano Vietnam war novels is Alfredo Vea's Gods Go Begging. A polished writer of several novels, Vea's Vietnam novel mixes horror with humor and contemporary social commentary. His lawyer character, 30 years past Vietnam, suffers' bloody wartime nightmares relived in gruesome though excellently written war scenes. Nightmare emerges to actuality onto a bizarre present day San Francisco, turning the novel into an unconventional and thrilling mystery. Vea's closing scenes are at once hilarious and surreal, and one closes the cover smiling, hoping the character has found a cure for his war-borne disaffection.

Two Chicana Vietnam War Novels
War is the province of men, or so it would seem in any consideration of war literature. From Homer or Caesar through Crane or Remarque to Uris and Mailer, men tell war's stories, and the focus is on the men. A woman's role, the war at home, its impact on mothers, sisters, wives, is only lightly touched on by the warrior writer. Women cannot be content that such images as the Dear John letter, the tearful airport farewell, exotic bar girls have constituted a woman's war story. Thus a pair of 2002 publications, Stella Pope Duarte's Let Their Spirits Dance, and Patricia Santana's' Motorcycle Ride On the Sea of Tranquility, bring welcome perspectives to readers of Chicana Chicano Literature, and the Vietnam War novel.

Santana's Motorcycle Ride on the Sea of Tranquility opens in April 1969. Fourteen-year-old Yolanda's revered older brother comes home from Vietnam to San Diego. Physically sound, Chuy is broken, badly. Chuy's a monster, but never loses the loving support of his hero-worshipping kid sister. As if Chuy's destruction isn't earth shattering enough, Yolanda comes of age all at once. Her own sexual awakening turns from innocence to confused mad passion in the aftermath of Chuy's escape into the arroyo behind the family home. Then Yolanda suffers a base' indoctrination to man-woman sexuality, hiding in a closet listening to a brother seduce an unwilling virgin, perhaps one of Yolanda's own friends. The scene is a feminist highlight that boys and girls alike should read, think about, and discuss in an open classroom.

Confronting the brother, Yolanda tells him, "Yeah, maybe you're right. Maybe I don't know shit, but I can't help asking myself, hermano, why shouldn't Tito and Tom, Dick and Harry think like you, try to get a piece of ass any chance they can' Pop someone's cherry and promise her she's gonna fly high with him. Why should the next guy be any different from you, Octavio'" Then older sister Ana Maria jumps in, "Leave her the fuck alone," she said to Octavio, staring at him hard and determined. "Leave all women the fuck alone unless you're going to treat them with respect‑‑the way you'd like to have your sisters be treated."' (235)

The August 29, 1970 Chicano Moratorium march marked the high point in the movimiento, the massed protestors validating the wrongfulness of the devastatingly disproportionate numbers of Chicano war dead. Duarte weaves the historical context of the police attack that day into her entertaining novel about a community devastated by that war, a novel of grieving mothers, peace organizers, broken veterans, sons who arrive home in aluminum cases, and the role of today's aging activists still seeking healing from those now long-ago wounds.

Duarte has a storyteller's sense of action, using a heroic journey structure to caravan her pilgrims from Arizona to The Wall, stopping along the way to collect Jesse's war buddies, themselves on lifelong downward spirals. Along the journey they meet other families with names on The Wall and promise to touch their Names, too. Let Their Spirits Dance has romance, fantasy, spiritualism, patriotism, and adventure wrapped around a challenging gender- and cultural nationalism sure to sponsor lively discussions. La Manda to The Wall to touch Jesse's name animates the spiritualism that drives the action. Duarte gives the mother a Guadalupana's faith but indigenous faith comes to the daughter. Some readers may find the author's spiritualism challenging; they should simply recognize the curandero hermit's vision of a Chicano Eden'Aztlan constitutes a cultural difference; they should reflect on the cultural origin and uses of faith such as motivates a Guadalupana.

A reader feels the writer's energy in a number of ways. The burlesque opening with Teresa jumping a rival in the middle of a dance floor puts an absurd overlay across the grimness of the quest. The author's humor, timing, and sense of surprise should delight most readers. I hope they enjoy the surprise ending as magical delight, understanding how its miracle of regeneration validates the curandero's insight and how this informs Teresa's understanding that cultural differences are valuable, and True.

Readers will appreciate the research that informs the novel's authenticity. The Gold of Asia chapter feels of a writer who walked in a Vietnamese rice paddy to pull off a handful of seeds. Duarte's fictive Laguna Park scene, like Guy Garcia's before her, makes an outstanding highlight of the work. Duarte's chillingly realistic scene speaks as someone standing on the podium overlooking the panorama of fleeing families pursued by club-swinging uniforms emerging from swirling clouds of gray-white tear gas. The book is worth reading almost for that chapter alone.

Duarte writes with a beautiful sentimental regard for mothers of dead sons, for long-suffering women. Male readers may have difficulty with the writer's low regard for and small trust in men. Despite the hero worship of a brother or a dad, according to Duarte's women, relationships fail because men generally are worthless louts. Women staunchly withstand philandering men, but tragically faithful in their love, dauntless in their strength, must find ways to ensure not merely survival but satisfaction. Still, threatened men will appreciate the youngest pilgrim, the neglected son, is himself a miracle worker whose efforts are instrumental in bringing about the novel's culture-bridging healing.

Jingoistic readers might resent Duarte's Chicana nationalism, the indigenism of Aztlan, or the roll call at The Wall of only the Spanish-surnames. But these emotions mask an important distinction. Let Their Spirits Dance is a patriotic Chicana novel. This at first might seem contradictory given the outspoken bitterness of movement protest, but where comprehension of patria includes Aztlan as much as the conventional homeland, Duarte's journey across the United States reaffirms the novel's conviction that Chicanas and Chicanos, like Jesse and all the other dead, are "Americans" too.

Like Moses nearing the promised land, it's a foregone conclusion the mother isn't going to make it. But the other pilgrims do:

"Priscilla is next, then Paul, Thom, Lam, and Joshua held in Lam's arms, reaching up to touch his grandfather's name. Then Chris, Gates, Willy, Manuel, Tennessee, and the kids touch Jesse's name. All around me everyone else is touching their man's name. The Wall is reflecting our faces like a mirror. We've journeyed through Aztlan to the place where our warriors are immortalized in stone, their names, their stories hidden in atoms of granite. We've crossed paths with them, exchanged orbits, let their spirits dance." (309)

The novel ends here in catharsis, in remembrance of 55,000 GIs and uncounted Vietnamese dead. At the end of the pilgrimage begins a healing of long festering wounds. But can readers here find psychic energy to power a new journey, a pilgrimage of prevention' I hope you will pursue wider reading to place Duarte's novel into perspective as the first movement novel, and as part of the fabric of Vietnam War writing. More than simply a pursuit of reading, like the journey in Let Their Spirits Dance, the reader will find it a rewarding quest.



Chronologically Sequenced Bibliography of Chicana Chicano Vietnam and movement novels. (back)

Duarte, Stella Pope. Let Their Spirits Dance. NY: Harper Collins, 2002.

ISBN 0-06-018637-2.

Santana, Patricia. Motorcycle Ride on the Sea of Tranquility. Albuquerque, 2002.

ISBN0-8263-2435-5.

Corpi, Lucha. Eulogy for a Brown Angel: A Mystery Novel. Arte Publico. 2002.

ISBN: 1558853561

Ramos, Manuel. Moony's Road to Hell. University of New Mexico Press. 2002.

ISBN: 0826329497.

Ramos, Manuel. Blues for the Buffalo. iUniverse.com. 2001.

ISBN: 0595200664

Alfredo Vea. Gods Go Begging. E P Dutton. 1999.

ASIN: 052594513X.

Ramirez, Juan A. A Patriot After All: The Story of a Chicano in Vietnam. University of New Mexico Press, 1999.

ISBN: 0826319599. ( You can read this as a free trial subscription at http://www.questia.com/aboutQuestia/eventsg.html)

Rodriguez, Michael W. Humidity Moon. Pecan Grove Press. 1998. ISBN: 1877603546 (Some list this as nonfiction.)

Vazquez, Diego, Jr. Growing Through the Ugly: A Novel. Henry Holt. 1998. (Narrator is voice of dead Chicano soldier. Not a war novel per se.) ISBN: 0805057447

Stavans, Ilan. Ed. Oscar 'Zeta' Acosta: The Uncollected Works. Arte Publico. 1996.

ISBN: 1558850996.

Cano, Daniel. Shifting Loyalties. Arte Publico.1995.

ISBN: 1558851445.

Trujillo, Charley. Dogs from Illusion. Chusma House. 1994.

ISBN: 096245365X.

Trujillo, Charley (ed). Soldados: Chicanos in Viet Nam. Chusma House.1993.

ISBN: 0962453609.

Garcia, Guy. Skin Deep. Farrar Straus & Giroux. 1989.

ASIN: 0374265739

Acosta, Oscar Zeta. Revolt of the Cockroach People. Vintage Books. 1989

Reprint edition ISBN: 0679722122

Acosta, Oscar Zeta. The Autobiography of a Brown Buffalo.Vintage Books. 1989

ISBN: 0679722130

Romano, Octavio and Herminio Rios (Eds). El Espejo: The Mirror, Selected Chicano Literature. Berkeley, Quinto Sol, 1969.