Monday, July 06, 2020

¿Cuántas vidas? / How Many Lives / Πόσες ζωές; / Quante Vite? by Xánath Caraza


¿Cuántas vidas? / How Many Lives / Πόσες ζωές; / Quante Vite?
Xánath Caraza


“¿Cuántas vidas?” is a poem originally written in Spanish by Xánath Caraza, included in her poetry collection, Lágrima roja (2017), translated into the English by Sandra Kingery, into the Greek by Natasa Lambrou, and into the Italian by Claudia Iglesias.

Lágrima roja is a lyrical document of a personal concern I have for femicides. With much respect I think of Vanessa Guillen while reading “¿Cuántas vidas?”.

“Xánath escribe desde la boca que muerde el polvo, desde la pulpa ácida del limón que acalla la última exhalación. Inquiere a la ley qué hacer con la poesía con tanto dolor dentro. Solicita a las muertas desde el vientre de la madre tierra -las niñas del maíz- a que renazcan de nuevo para señalar a aquellos que les cercioraron la existencia, enterrándolas en la fosa de los anónimos sin retorno. Pide salvoconducto a la luz, a los campos de cultivo, a los barrizales, a los árboles. Son, fueron, mujeres que sueñan con otro mundo major…” (Cecilia Quílez)


¿Cuántas vidas?

El trinar matutino
dicta las injustas horas.

Fractura la oscuridad
imágenes del caos.

¿Cuántas vidas
más tendremos
que perder cada día?

Niñas arrebatadas
del principio del camino
absorbidas por un frío
silencio forzado.

¿Cuántas lágrimas
en las palmas
de las manos
desbordarán el cauce?

Ríos de efímeros recuerdos,
tiernas vidas,
remolinos de injusticia
a nuestro alrededor.

Inexistentes vidas
bombardean
el angustiante trinar
de las madrugadas.

¿Es acaso la estridencia
de los metales
la que determinará
los nuevos lamentos?
 
¿Cuántas vidas antes
del amanecer se perderán?

Violenta mano:

¡detente!

¿Dónde está la otra?

La creadora
la que encuentra
el color en la aurora.
La que plasma las
letras en las páginas.

¿Cuántas vidas más?

Femeninas
siluetas 
se esfuman.

Un cuerpo más
se integra a la
ardiente arena
del desierto.

En una fosa
clandestina,
un grito
de pronto
enmudece.


How Many Lives

Morning birdsong
dictates the unjust hours.

Fractures the darkness
images of chaos.

How many more lives
will we have
to lose every day?

Daughters snatched
from the very beginning of the road
absorbed by a cold
forced silence.

How many tears 
in the palms
of our hands
will make the riverbed overflow?

Rivers of fleeting memories,
tender lives,
whirlwinds of injustice
surround us.

Inexistent lives
bombarding
the agonized birdsong
of first light.

Can it be that the shrillness
of metals
will determine
the new lamentations?
 
How many lives
will be lost before dawn?

Violent hand:

Stop!

Where’s the other one?

The one that is creative,
the one that finds
the color of dawn.
The one that captures
letters on the page.

How many more lives?

Feminine
silhouettes 
vanish.

Another body
becoming one with the
burning sand
of the desert.

In a clandestine
grave,
a scream is
suddenly
silenced.


Πόσες ζωές;

Το πρωινό κελάηδημα
υπαγορεύει τις άδικες ώρες.

Σπάζει τη σκοτεινιά
εικόνες χάους.

Πόσες ζωές
ακόμα πρέπει
να χάνουμε κάθε μέρα;

Κορίτσια αρπαγμένα
απ’ την αρχή του μονοπατιού
απορροφημένα από μια ψυχρή
σιωπή βιασμένη.

Πόσα δάκρυα
στις παλάμες
των χεριών
θα ξεχειλίσουν την κοίτη;

Ποταμοί εφήμερων αναμνήσεων,
ζωές τρυφερές,
στρόβιλοι αδικίας
τριγύρω μας.

Ζωές ανύπαρκτες
βομβαρδίζουν
το αγχώδες κελάηδημα
του ξημερώματος.

Είναι ίσως ο στριγκός ήχος
των μετάλλων
αυτός  που θα καθορίσει
τους νέους θρήνους;

Πόσες ζωές πριν
το χάραμα θα χαθούν;

Χέρι βίαιο:

σταμάτα!

Πού είναι η άλλη;

Η δημιουργός
αυτή που βρίσκει
το χρώμα στην αυγή.
Αυτή που απεικονίζει τα
γράμματα στις σελίδες.

Πόσες ζωές ακόμα;

Θηλυκές
σιλουέτες
εξαφανίζονται.

Ένα κορμί ακόμα
ενσωματώνεται στην
καυτή άμμο
της ερήμου.

Σ’ ένα τάφο
κρυφό,
μια κραυγή
ξάφνου
σωπαίνει.

Quante Vite?

Il canto mattutino
detta le ingiuste ore.

Frattura l'oscurità
immagini del caos.

Quante vite
ancora dovremo
perdere ogni giorno?

Bambine sottratte
all’inizio del loro cammino
assorbite da un freddo
silenzio forzato.

Quante lacrime
nei palmi
delle mani
faranno tracimare il torrente?

Fiumi di effimeri ricordi
tenere vite
gorghi di ingiustizia
attorno a noi.

Inesistenti vite
bombardano
l'angosciante canto
delle albe.

E' forse il frastuono stridente
del metallo
ciò che determinerà
i nuovi lamenti?

Quante vite prima
dell'alba si perderanno?

Mano violenta:

Fermati!

Dov'è l'altra?

La creatrice
quella che incontra
il colore dell'aurora.
Quella che plasma
lettere sulla carta.

Quante vite ancora?

Forme
femminili
si sfumano.

Un corpo in più
si fonde
nell’ardente sabbia
del deserto.

In una fossa
Clandestina,
un grido
all'improvviso
si ammutolisce.


Art by Miguel López Lemus

Friday, July 03, 2020

Rudolfo Anaya





His wife, in a rainbowed flowing gown, stepped out of golden sunlit clouds and reclined on the bed.
Come, she beckoned.  It’s time to rest.
Yes, he said, smiling, exhaling a breath of satisfaction, contentment at last.
You promised, he said.
I kept my promise, she replied.
The old man left his rocking chair and began to climb up the cloud to the top. He had climbed the cliffs of Jemez in his youth, and now he felt as agile and strong.  He went, eager to be with her, pulling himself up until he lay beside her.
I’m so glad to see you, he said.
It’s time, she answered, and fluffed his pillow as she was wont to do in a past life.
This is like heaven, he said.
Love is heaven, she whispered, and lay her arms across his body.

These words appear near the end of The Old Man’s Love Story, published in 2013.  According to the author, Rudolfo Anaya, the old man in this collection of stories struggles to “understand the finality of death, and thus his search becomes a spiritual quest.”

Rudy Anaya’s own spiritual quest resulted in beautiful novels and wondrous stories, and the birth of Chicano Literature. 

The “Father of Chicano Literature” died on June 28, 2020.  His legacy of sincere and realistic storytelling has been recognized around the world with awards, honors, and readers.  

His first novel, Bless Me, Ultima, appeared in 1972, and it has never gone out of print.  Considered by many to be a classic masterpiece of the coming-of-age novel, Bless Me, Ultima is not only a brilliant foundation of Chicano Literature.  Today, the novel is seen as an essential piece of the American Literature canon, and Anaya is acknowledged as an important, unique, and prolific American author. All this despite numerous and well-organized attempts to censor and blacklist the book by people who don’t understand, or can't accept, the Chicanismo, spiritualism, and naturalism in the story.

He published more than a dozen novels, numerous children’s books, plays, poetry, and nonfiction books and essays – including a travel book, A Chicano in China.  Among the list of his published works is a mystery series of five novels featuring a Chicano private investigator.  His children’s books involve young readers in stories of la Llorona and the Chupacabra.  His work was often deeply personal and intimate, as in The Old Man’s Love Story and Jalamanta:  A Message from the Desert.  At the same time, he used his New Mexican sense of humor to help the reader manage the intricacy and passion of stories with lessons in morality and humanity.   

At the core of his writing, regardless of genre, was Anaya’s commitment to honest human emotion, loyalty to his cultural heritage, and a passionate belief in the magic and power of the written word.


Jemez Springs, July 4, 1997



Like any good father, Anaya encouraged and supported his literary children.  Two of the ways that his encouragement and support manifested themselves are the Premio Aztlán and the Jemez writers’ retreat. 

He and his wife Patricia established the Premio Aztlán in 1993, and for several years it was the most prestigious award in the world for Chicana/o literature.  The prize included public readings and $1000. 

The writers’ retreat was a house in Jemez Springs, NM, where a writer could find solitude and time to write.  Surrounded by the beautiful Jemez Mountains, the retreat was quiet, inspirational, and peaceful.  Anaya’s only condition for using the house was that the author had to actively work on a piece of writing during his or her stay.
  
One of the joys and pleasures of my writing life was the friendship I developed with Rudolfo Anaya.  We met sporadically over the years, usually at writing conferences, often with other writers such as Lucha Corpi. Those were always joyful, satisfying times.  The memories I have of those days are golden with sunshine, and filled with the music of imagination, creativity, and possibility.  Although I hadn’t seen him for a few years, we kept in touch through email, and I always appreciated the notes he sent about a new book or project.  I don’t think he ever quit writing. I thank him for that.

 En paz descanse.  

_______________________________

From the earliest days of La Bloga, we have featured Rudolfo Anaya.  Our pages have been filled with Anaya reviews, interviews, photographs, essays, and news.  Use  "Rudolfo Anaya" in the search function at the top of the page to access this information.

Later.

__________________________

Manuel Ramos writes crime fiction and is working on another Gus Corral novel.

Thursday, July 02, 2020

Chicanonautica: José Torres-Tama, Part Two: Getting on the Taco Truck



Last time, in trying to define “sci-fi Latino noir,” things got audiovisual/multimedia. Latino Lit reaching out into new frontiers. José Torres-Tama has been busy with this kind of stuff. He’s been doing films and video like a proper 21st century artist.
He sent me a link to Hard Living in the Big Easy, a “short film doc (15 mins) that debuted last year at the Orange County Museum for the 10th Annual Latino OC Film Fiesta there.” It serves as a good intro to Torres-Tama in performance makeup and regalia, that includes a NO GUACAMOLE for Immigrant Haters, T-shirt presenting an artistic/political manifesto, history lecture (he studies history, and makes it an essential part of his work), and as well as a editorial on the post-Katrina influx of Latin American immigrants to New Orleans and their struggles since including their disappearance from New Orleans and the World, the Louisiana Endowment for the Humanities’ tricenential anthology. Also his artwork, that can be seen in his book New Orleans Free People of Color and Their Legacy, is used to make the point.
This arrival of new people to new territories is an issue that is going ignored. Not only do we have Mexicans and Central Americans in New Orleans, but Guatemalans in Philadelphia, Spanish-speaking communities popping up in Chicago, and other areas. It’s even got traditional vatos and cholas nervous: “These new gente, they don’t do stuff the way my nana taught me.”
There we go, creating new identities, new cultures again. Maybe a new term, Latinx, Latinoid, whatever the chingada, is needed.
He also sent links to what he’s been doing during the Coronavirus lockdown:
VIDEO CORTADITOS & Picante Poems is an audio visual series of spicy YouTube shorts created in collaboration with Bruce France on dynamic video designs, the hallucinatory soundscapes of long-time music collaborator known as BAIII, and the politically charged performance poetry of José Torres-Tama.The stage performance photos are captured by Craig Morse.


These Cortaditos, available on his YouTube channel, “Español is Verboten Here,” “And What If After So Many Words,” “Can I Get aWitness?,” and “Symbolic Opponent Syndrome.” They are performances adapted to video. The texts started as poems that can be found in his book Immigrant Dreams & Alien Nightmares, and his CD Speaking Truth to Perverse Power Vol. 1, and keeps being updated to keep them current. It’s astounding how the struggle against racism doesn’t get dated--all you have to do is change the cast to the current participants. Similar to rap, and poetry readings, with musical visual accompaniment bring the message to a new medium.

Which brings us to This Taco Truck Kills Fascists . . .
Relax, it’s only a movie. And it’s not about concerned citizens in a taco truck, doing drive-bys on gatherings of fascists. Which wouldn’t be a bad idea for a movie . . .
No, This Taco Truck Kills Fascists is a documentary about the Taco Truck Theater / Teatro Sin Fronteraswhere Torres-Tama brings his performance art to the masses: filmed and directed by Rodrigo Dorfman, our brilliant Chilean-American filmmaker who has created this hybrid-genre documentary. We WON best Louisiana Feature at the 2018 New Orleans Film Festival. 
It follows Torres-Tama as he goes about his business with the Taco Truck, and has a lot of behind-the-scenes shots of his life, often showing him being a performance artist, activist and father all at the same time. It also: introduces my sci-fi performance persona “El Obie-JUAN Kenobi” in some outrageous comedic Intervention bits. He’s the Last Latino Jedi fighting for immigrants rights on the Living La Vida Loca pirate planet to escape a GrinGoLandia that has migrated deep into the “Dark Side”. IMDb categorizes it as “Documentary, Comedy, History.” It’s quite a show. And: it's FREE until August 9th! So check it out on Vimeo now!
Whew! All this and before I even got around to talking (texting don’t count) to him. Guess we’ll have to continue this on the next Chicanautica, in two weeks, here at La Bloga . . .


Ernest Hogan is working on projects that he will reporting on soon . . .

Wednesday, July 01, 2020

Pura Belpré Celebración 2020


The Pura Belpré Celebración took place on Sunday, June 28th, 2020, at the virtual ALA Book Award Celebration.

 

Here is the video of la celebración. ¡Felicidades a todos!



 

Pura Belpré Awards honoring a Latino writer and illustrator whose children's books best portray, affirm and celebrate the Latino cultural experience:

 

“Dancing Hands: How Teresa Carreño Played the Piano for President Lincoln,” illustrated by Rafael López, is the Belpré Illustrator Award winner. The book was written by Margarita Engle and published by Atheneum Books for Young Readers, an imprint of Simon & Schuster Children’s Publishing Division.

 

Three Belpré Illustrator Honor Books were named:

 

"Across the Bay,” illustrated by Carlos Aponte, written by the illustrator and published by Penguin Workshop, an imprint of Penguin Random House LLC.

 

"My Papi Has a Motorcycle," illustrated by Zeke Peña, written by Isabel Quintero and published by Kokila, an imprint of Penguin Random House LLC.

 

"¡Vamos! Let’s Go to the Market," illustrated by Raúl Gonzalez, written by the author and published by Versify, an imprint of Houghton Mifflin Harcourt.



***


“Sal and Gabi Break the Universe,” written by Carlos Hernandez, is the Pura Belpré Author Award winner. The book is published by Disney-Hyperion, an imprint of Disney Book Group.

 

Four Belpré Author Honor Books was named:

 

"Lety Out Loud," written by Angela Cervantes and published by Scholastic Press, an imprint of Scholastic Inc.

 

"The Other Half of Happy," written by Rebecca Balcárcel and published by Chronicle Books.

 

"Planting Stories: The Life of Librarian and Storyteller Pura Belpré," written by Anika Aldamuy Denise, illustrated by Paola Escobar and published by HarperCollins Children’s Books, a division of HarperCollins Publishers.

 

"Soldier for Equality: José de la Luz Sáenz and the Great War," written by Duncan Tonatiuh, illustrated by the author and published by Abrams Books for Young Readers, an imprint of ABRAMS.