Friday, August 28, 2020

Virtual Events -- For The Reals


Here's a handful of upcoming events that cover a broad spectrum of interest: Teaching Gloria Anzaldúa, digging the be-bop king Charlie Parker, a launch party for a book of pandemic poetry, and advance notice of a 24 hour scholarship fundraiser that will feature autographed books and a visit to a local brewery. 




Teaching and Celebrating Gloria E. Anzaldúa, Thursday October 22

Join editors Margaret Cantú-Sánchez, Candace de León-Zepeda, and Norma Elia Cantú, and contributors of the new book, Teaching Gloria E. Anzaldúa: Pedagogy and Practice for Our Classrooms and Communities, to discuss this volume's practical and inspiring ways to deploy Anzaldúa's transformative theories with real and meaningful action.

Thursday, October 22, 2020, 4:30 p.m. Pacific Time
This is a free online event, but registration is required. Please visit here to register.



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Bird at 100—The Charlie Parker Centennial
Steve Chavis



Denver jazz radio station KUVO and iconic saxophonist-composer Charlie “Yardbird” Parker share the same birthday, August 29. This year, KUVO turns 35. Charlie Parker would have been 100.

On Friday, August 28 and Saturday August 29, KUVO hosts will celebrate the music of Charlie Parker with hourly selections performed or written by Parker. On Friday afternoon, host Rodney Franks will celebrate the legacy of Bird with quotes, recollections, and musical gems from his own personal library.

Since Charlie Parker died in 1955 at age 34, numerous tributes and salutes to Bird and his music have been produced and played on KUVO Jazz, most recently “Bird at 100” (2019, Smoke Sessions Records) featuring three alto saxophonists: Vincent Herring, Gary Bartz and Bobby Watson (also a Kansas City native). As part of the centennial observance, Bird’s longtime label Verve is issuing several vinyl reproductions from Parker’s Howard Theatre concerts in Washington D.C. (1952-53) and Clef Records’ 10-inch 78-rpm releases, and there’s a new Savoy CD box set (also available on vinyl). This year Parker’s estate is also releasing collectible album cover art, videos, bound sheet music and a graphic novel, “Chasin’ The Bird: Charlie Parker in California.” (Z2 Comics)


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Virtual Book Launch for Pandemia & Other Poems , Aug 30th @ 3pm central

Join us on the Aztlan Libre Press Facebook page on Sunday, August, 30, 2020, from 3-4pm (central time) for a conversation and reading with the author. Moderated by Juan Tejeda.

Pandemia & Other Poems
comes to us as a salve to a trifecta of crises - a virus that has crippled the world forcing us to reevaluate and test our resolve as survivors; border issues of children in cages and immigrants being held in tent cities to wait with little or no hope; and the ongoing issue of racism and police brutality stirring protests around the world.


Vidaurre’s writings have appeared or are forthcoming in The New York Times Magazine, The Texas Observer, Grist, Poet Lore, The Acentos Review, Poetrybay, Voices de la Luna, as well as other journals and anthologies. Vidaurre is the author of seven collections of poetry. He is the 2018-2019 City of McAllen, Texas Poet Laureate, a four-time Pushcart-nominated poet and publisher of FlowerSong Press. Vidaurre is from Boyle Heights, California and now resides in McAllen, Texas with his wife and daughter.


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More info to come.

REFORMA'S mission is to improve the full spectrum of information services for Latinos, Hispanics, and Spanish-speaking persons in the United States. Our goals in support of this mission are:

* To promote development of Spanish-language and Latino/Hispanic oriented library collections
* To support active recruitment of bilingual, bicultural library staff
* To increase Latino/Hispanic awareness of available library services and collections
* To advocate on behalf of the information needs of the Latino/Hispanic community

Later.


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Manuel Ramos writes crime fiction.


Wednesday, August 26, 2020

Sharuko: El arqueólogo peruano Julio C. Tello/Peruvian Archaeologist Julio C. Tello


 

By Monica Brown

Illustrated by Elisa Chavarri

 

 

Age Range: 7 - 11 years

Grade Level: 1 - 6

Hardcover: 40 pages

Publisher: Children's Book Press (CA)

Bilingual edition

Language: Spanish, English

ISBN-10: 0892394234

ISBN-13: 978-0892394234

 

 

Growing up in the late 1800s, Julio Tello, an Indigenous boy, spent time exploring the caves and burial grounds in the foothills of the Peruvian Andes. Nothing scared Julio, not even the ancient human skulls he found. His bravery earned him the boyhood nickname Sharuko, which means "brave" in Quechua, the language of the Native people of Peru.

 

At the age of twelve, Julio moved to Lima to continue his education. While in medical school, he discovered an article about the skulls he had found. The skulls had long ago been sent to Lima to be studied by scientists. The article renewed Julio's interest in his ancestry, and he decided to devote his medical skills to the study of Peru's Indigenous history.

 

Over his lifetime, Julio Tello made many revolutionary discoveries at archaeological sites around Peru, and he worked to preserve the historical treasures he excavated. He showed that Peru's Indigenous cultures had been established thousands of years ago, disproving the popular belief that Peruvian culture had been introduced more recently from other countries. He fostered pride in his country's Indigenous ancestry, making him a hero to all Peruvians. Because of the brave man once known as Sharuko, people around the world today know of Peru's long history and its living cultural legacy.

 

MONICA BROWN has written twenty acclaimed picture books, including the Pura Belpré Illustrator Honor-winning Marisol McDonald Doesn't Match, as well as the Lola Levine and Sarai chapter book series. Most of her stories are inspired by her desire to bring diverse stories to children and by her own mixed heritage, which includes Peruvian, Scottish, Spanish, Amerindian, and Jewish ancestry. When not writing for children, Brown serves as a professor of English at Northern Arizona University, where she teaches about US Latino and multicultural literature. Brown lives with her family in Flagstaff, Arizona. Her website is monicabrown.net.

 

 

ELISA CHAVARRI is the illustrator of the popular Lee & Low title Rainbow Weaver/Tejedora del arcoiris. Chavarri is a full-time illustrator who graduated with honors from the Savannah College of Art and Design, where she majored in Classical Animation and minored in Comics. She was born in Peru and raised mostly in northern Michigan, where she still lives with her husband and their two children. You can find her online at elisachavarri.com.

Saturday, August 22, 2020

Lupe Mendez - On Point and Staying There





Cover Artist: Ramiro Rodriguez

2018 Editor’s Choice Selection

AVAILABLE FROM WILLOW BOOKS, HERE

WHY I AM LIKE TEQUILA is a collection of poetry spanning a decade of writing and performance. This collection exists in 4 parts – each a layered perspective, a look through a Mexican/ Mexican – American voice living in the Texas Gulf Coast. Set within spaces such as Galveston Island, Houston, the Rio Grande Valley and Jalisco, Mexico, these poems peel away at all parts, like the maguey, drawing to craft spirits, quenching a thirst between land and sea. 

Originally from Galveston, TX, Mendez (Writer//Educator//Activist) works with Nuestra Palabra: Latino Writers Having Their Say, Brazilian Arts Foundation and other organizations to promote poetry events, advocate for literacy/literature and organize creative writing workshops that are open to the public. He is the founder of Tintero Projects and works with emerging Latinx writers and other writers of color within the Texas Gulf Coast Region. Lupe co-hosts INKWELL, a collaborative podcast on regional, national and international Latinx writers and other writers of color. Mendez is a CantoMundo Fellow, a Macondo Fellow and an Emerging Poet Incubator Fellow.

Mendez has close to 20 years of experience as a performance poet, having opened up for such notable writers as Dagoberto Gilb, Esmeralda Santiago and the late Raul Salinas. He has shared his poetry across the country in places such as the Holocaust Museum Houston, the Jung Center, MECA (Houston), the Mission Cultural Center For Latino Arts (San Francisco), the National Hispanic Cultural Center (Albuquerque) and the Mexican American Cultural Center (Austin). A keynote speaker/poetry performer across Texas, Mendez hosts writing workshops across the country, most recently as a teaching artist for the Poetry Foundation’s Teacher Poetry Summits.


I wanted to start our conversation with a quote from your site:

“Si me quedo dormido con un lápiz en la mano, no me lo quites - podría estar escribiendo en mis sueños.”

- Terri Guillemet

 

How does that reflect your life and work?

 

Hijuesu, I love that quote.  It serves as both a bit of a reminder and a focal point. I have been an educator roughly around the same amount of time I have been a writer and so the Guillemet's quote speaks to me in both ways.  I used to have that quote painted on butcher paper on the front wall of my elementary school classroom when I was a writing teacher. It was high up, because I knew my kids' ojitos would eventually gravitate to the ceiling and I wanted it to seep into their subconscious: always write, always explore, always dream. I am fond of it for other reasons. I use it remind myself that I was more than my day job. I never resented the time I spent creating lesson plans and teaching kids the writing cycle. I was building a well oiled machine in these young readers and writers. It takes a sense of creativity to build up curriculum and access points where you are encouraging the body to engage in speaking about language and craft, to think about these patterns, to emulate them in writing and to read with corazón. But I did go through periods where I felt a longing to get back into my own writing or sometimes fearing that if I took too long a break from it, I'd get rusty. I giggled to myself the first time I read this quote - it is a truth. I have fallen asleep with a pen or pencil or a laptop in my hands. I used to post this quote in 2009 - 2013. I still stay up and write in the dark well past midnight. Now I do it because it's sometimes the only quiet time I get (I have a two year old, so no way can I write when she's got my full attention).  This quote keeps me grounded. Me hace recordar que hay que seguir adelante.

 

 

Talk a little about your book, Why I Am Like Tequila. How does it reflect your own journey as a writer?

 

So I had worked on the poems in the collection for well over a decade. Some of the pieces were poems I used to perform with at venues across Houston and Texas for a bit. I write about the worlds I belong to. The landscapes and communities I am a part of.  I kept thinking of home in Galveston, TX, of home in La Pareja, a rancho just outside Atotonilco El Alto, Jalisco, MX. I kept thinking of playas and cerros. I kept thinking about the rising/receding tides, the hectares of maguey, and the rhythm in the poems and it all started to come together. 


I kept going back to my time as a 5th grade Science teacher. When I taught the life science unit, there was always one factoid I used to throw into the unit that amazed the kids, but also amazed me - that every 7 years the human body has completely replicated all the cells in the body.  You are practically a whole new being. And it was this notion that always had me make a comparison between my worlds. I thought of tequila as well. I have always been around and known of the process by which tequila is made - Don Julio happens to be made in Atotonilco El Alto and its a given fact that it takes seven years to cultivate a full maguey to harvest the root to then make tequila.  


It was also this notion that got me thinking of how everyone is like tequila:  we are always being pressed, chopped at, boiled, pressured, fired, into something refined.  The world comes at us, in whatever order, and cleaves at us but in the end, every once in a while, we are an elixir. We are the best, most new, refreshed, refined thing we can be at certain time, just as often as we are in the ground, tumbling and mixing it up with the dirt. The human experience is full of the highs and the lows and this became the perfect analogy for it all. I am like tequila because the world remakes me every 7 years, every 7 thoughts, every 7 breaths into something better than I was before.

 

A Chicano?

 

You know, to this day, I don't know if I am Chicano.  I didn't grow up with the identity. I didn't discover Chicano understandings until my twenties in college. I knew Mexicano. I knew Tejano, but a Mexican - American identity didn't always sit well.  I always felt on the outside. Even in Texas, Even in Jalisco.  Most gente from Jalisco don't move to Texas. 


I used to laugh when I would go out to norteño spots and hear the DJs do a shout out "para todo la gente de San Luiiiisssssss" and the crowd would go nuts, or "para todo la gente de MOOONNNTTTEEERRRRRRREEEEYYYYY" and same thing, a roar. And with most of my friends when the occasional "para todo la gente de Jalisco" they would laugh and I would jump in the air and did't give a shit "a su pinche madre!" and it never failed, I would look out across the room para que veas - I would see one or two paisas and we would wave to one another. My friends would giggle and say "vez, no 'stas solo." Even though this is just a jovial moment, I have always been cognizant that there are differences between what Mexico looks like, what it sounds like, what it prays like, what it tastes like for me. The same geographical and cultural nuances that happen in the US happen in other spaces - Mexico is no different. I remember hearing banda as a kid well before it became prevalent in the US. Well before it became such a major genre in Mexico. Banda has always been in Jalisco.  The same can be said about my life in Texas.  I didn't grow up with many a Mexican role model in a space like Galveston. There was no poetry scene there when i was growing up. There is a small community that is a mix of 3rd and 4th generation Mex-Ams and Mexicans present, and this was my community. I was still the outsider. I went to school with Mex-Am kids that didn't know Spanish and they would make prejudicial remarks about "being too Mexican". And then there was always the geography - being from a barrier island, one already knows what it means to live in isolation. My writing was a way to push into all this understanding. I am still looking inward in this regard. I want to be able to stand up and provide space for the brown writer who lives a coastal life, who lives in two worlds, whatever those worlds may look like.

 

 

Are there core themes you return to, and if so, what are they and what is their power in your life?

 

So I think in a way I alluded to this in the end of the previous question - I look at both space and time, history and culture in my writing. I look at social issues and hope I serve as a decent observer of events. I know that time is fleeting and am aware of how ethnic and racial histories are vital to the growth of historically marginalized communities. I keep looking at the Latinx condition. I keep looking at what the counter history has told us for years. I keep going back to the sea. I try to go back to Mexico and to the RGV as much as I can.  I used to listen to corridos, just for the story, just for the bajo sexto or the acordeón. But that was before I realized that these are part of a brilliant Mexican form of poetry. The corrido is all things subversive.  It is cutthroat. It is infinite. It is both non-academic and story of witness, narrative and legendary.  It is consumable and linguistically profound. When I am writing, i am thinking along those lines. I want my work to be as infectious as a corrido.  I want for my work to work in you in some ways that you don't even know it is changing your understanding of "world".  I want it to work like the corrido: so ingrained in you that you don't even know you are reciting poetry.

 

 

You are involved in several incubators - Tintero Project, among them. What about this juncture in time fuels that work?

 

As I read this now, I think perhaps, one day, Tintero Projects can serve as a full on incubator program, but we are not there yet. Wouldn't that be something?  I am a long time member, partner, producer, you name it - in Nuestra Palabra: Latino Writers Having Their Say. The org has been around for over twenty years and shows no sign of slowing down. It was in this community that I began to see what community can create for itself. Tony Diaz, novelist and political commentator created NP to respond to the statement we heard time and time again "Hispanic people just don't read." 


So Tony helped build a community of readers and writers here in Houston. When I was a novice writer, I was also a volunteer, licking envelopes, mailing flyers, setting out chairs and folding them back up at the end of readings. I was boxing and boxing books, helping people purchase books and sometimes, even selling books out of the back of my car. But I also got the perks - I got to sit at dinners, or have coffee or have drinks with visiting writers from all of the US and America Latina and got to listen to them, even ask them questions about both craft and the lit biz. 

 

I remember what it was like to run and host and provide space for established as well as rookie writers, even before I ever got on the mic as a poet. NP grew up: it went from monthly live shows to hosting the Latino Book and Family Festival to hosting a still current radio show to eventually participate in an ethnic studies movement with the Librotraficante Caravan and the Librotraficante Movement.

 

I knew that there was still room to hold some of these things current and with Tony's blessing - I worked to establish Tintero Projects, trying out the old formats but expanding in ways NP talked about. So Tintero Projects works to provide a platform for newer and established writers. It's for all POC writers, but we always maintain a heavy support for Latinx writers. We've provided time and space for performance, for workshops and for collaborative opportunities. I don't even know if I responded correctly - but in the end, what fuels this work is community.  If we want to see Latinx writers and POC writers, then we have to make sure that there is space for them to do their thing.

 

Where do you clock in on the "What is Latinx literature" discussion?

 

Is there a discussion? If there is one, I need fellow Latinx editors, writers, publishers, to begin to widen their understanding that the labels that are present weren't created by those of us the labels seek to identify.  "We" are not a monolith. We are every race. If we somehow hide or make invisible the Black body or the Indigenous body, then we are doing the work of colonizers before us. Somebody reading this might even have a fit because we are saying "Latinx" and I can already hear people speaking out "I am not Latinx, I am [add in Nationality name]!" and I already have a response, ARE YOU REALLY THOUGH?

 

I have been a part of the conversation where Spanish purists say that Latinx was made by Caucasian folks and it isn't a word in Spanish like "Latino" and frankly - that's an ignorant response. People forget that Spanish/SPAIN was just a vulgar a colonizing force as the English, the Dutch, the French, the Portuguese, etc.

 

It has taken me a whole life time to figure out that my roots tie back to the Wirikuta (Huichol) peoples of Jalisco. So much of all of our beginnings are lost to false comfort in "history". Hell just now, in these last few months in the pandemic, in conversations with a cousin (as HE is working to piece together side of the family tree), I learned where our grandmother was born: San Carlos, Tamaulipas, Mexico.

 

It took me til I was 35 to figure out that my father's side of the family is connected to the lands of the Kauyumari and the Huichol tribes. No telling how long it will take me to learn of my mother's people. I am eager to begin this learning and unlearning of names and systems, people and places. And this is where language must take us. Language changes and the links to language and people give us the tools and the means to collect and birth counter-histories that need to be told.

 

I'm not here to make this comfortable for gente. But I am here to learn and be taught, to grow with and to guide as much as I can. As far as I know, I support books in all Spanish, in Spanglish, in Portunol, in Portugues. I support books in indigenous languages.  I support books as much as I support stage performances. Spoken word and threate is as noteworthy as the book, because they are EQUAL FORMS OF PUBLICATION. Anybody that tells you otherwise has never tried the other. I support books and performances created by Afro-Latinx writers. I support self-published work. I support gorilla theatre. I support including Hatian writers in Latinx canon. I support ethnic studies. You with me? Good. Let's go.  

 

Who were your influences/mentors?

 

My grandparents. My parents. My theatre teacher in high school (S/O to Mrs. T), my Government teacher and track coach, Tim Cotton. Tony Diaz. Luis Omar Salinas. Martin Espada, Sasha Pimentel, Lorna Dee Cervantes. Carmen Tafolla. Patricia Smith. Norma Elia Cantú. Raul Salinas, Robin Davidson, Jonathan Moody, Stephen Gros, Tim Z. Hernandez, Lucille Clifton, Miguel Piñero, Lex Wiliford, Gil Scott Heron, Sylvia Plath, Roque Dalton, Mario Benedetti, Jose Alfredo Jimenez, Chavela Vargas, Nina Simone,

 

How does being a husband and father inform your work?

 

Being married and a father has morphed when I write. It informs how much focus and tension to the work I create. I look at mortality in a different way.  My partner and fellow writer, Jasminne Mendez, a Dominican-American writer lives with Lupus and there have been complications to her condition a different points in our journey together. I once took part in an MFA poetry workshop while she was recovering in an ICU. She was on the mend, and got the ok from her to participate and I asked my classmates and prof. if they were ok with hearing the occasional "beep" of a heart monitor. 

 

And now as a father, I have learned that I am definitely not on a time clock to get this work done. I published my first book in 2019. We have a photo of my daughter at 10 months old holding a copy of the book in her little hands. Me dio orgullo. She just stared at it for a while. I am more confident than ever that I have something to say.

 

What is something not in the official bio?

 

I am a good cook and used to play in a samba band. 



Thursday, August 20, 2020

Wrapping Up a Pandemic Summer Vacation

Melinda Palacio



Summer Vacation was a long drive east to visit friends and family in New Orleans. Or at least, wave to them from six feet away, instead of two thousand miles away. The plan was a van visit, but things didn’t quite work out. If you tuned in last week, you’ll notice I had to pass on my post. Steve had a tree trimming accident that landed him on the operating table with open heart bypass surgery. Some call it a happy accident that led to the detection of blocked heart arteries. What would have been time for writing and surviving isolation and the pandemic, turned into hospital stays, hospital visits, isolation, and surviving a pandemic. 


If I was a germaphobe before Covid, I’m even more of germ freak now. I walk around with lysol wipes, gloves, extra masks, sanitizing gel and spray and try not to touch any surface with my bare hands. The idea of going into a hospital sounded all my alerts. However, knowing that I had the opportunity to make sure Steve was going to be alright, made me face my germ fears. In some ways, I was lucky. Hospital patients in California aren’t allowed visitors. I was surprised by how casual some of the doctors, nurses and staff were, many of whom ate at their desk and spoke without their mask on. 


I kept my mask on as I sat in the corner and saw a rotating circus of doctors, nurses, technicians and hospital staff enter and exit Steve’s room. What I didn’t realize is how important it is for a patient to have a personal advocate. Someone who can run outside the room and let staff know that at 4pm, lunch was never brought to the patient. I understand why nurses and staff are immune to a patient’s call button buzzing every few minutes. Some patients abuse this power, like the guy next door was throwing a baby tantrum over his lack of jello pudding. However, when I mentioned to friends in the medical field that I had to give Steve the lunch I had packed for myself, they told me this was unacceptable and that I should complain. My complained garnered apologies and a fruit basket for Steve’s last day in the hospital. 


Discharge day was a whole other level of crazy. It seems as if doctors are bigger procrastinators than writers. Somehow, getting the doctor to sign a final discharge order, complete with prescriptions from the pharmacy, and an order for a wheel chair (hospitals apparently will not let you leave on your own two feet, even if you can walk), took six hours. Meanwhile, I was bothered by a clogged ear and started to pray and hope that I wasn’t getting sick. A week later, I had my ears flushed out by an ENT doctor. 


Th is how our summer vacation turns into a self-imposed medical leave. Not fun, but at least, the surprising blocked arteries were surgically repaired and my hearing and balance are back to normal. 


If you require urgent or emergency or wellness care, do not be afraid to seek medical attention for fear of hospital germs or Covid germs. It’s important to take care of your health and trust that you will receive professional care, even if the hospital’s lunch cart passes you by. Stay safe, healthy, and happy. Wash your hands, wear a mask, keep sanitizer handy, and vote.  

Seeking Broader Horizons

 

                                                                             

    My parents always told me they wanted a better life for my sisters, brothers, and me, better education, better jobs, better income, and better social status. Like one time, my father said he never wanted to see me doing the kind of work he did, construction, too dirty and too hard. He wanted me to study and make something of myself.

     In the 50s, my mother, like most mothers, stayed home, got her husband off to work by 6 AM, the school-aged kids off to school, the toddlers fed, the house cleaned, the grocery shopping finished, and the bills paid, you get the picture.  Sometimes when money was tight, Mom had to pick-up a part-time job at one of the many electronic or manufacturing companies near our home on L.A.’s west side, companies with names like Magnavox, GE, Gilfillan, Sasha Brastoff, Wynmac, and many others, mind-numbing work, welding tiny wires together, sanding, scraping, polishing, or packaging merchandise to ship across the county. She wanted better for her kids.

     If we claimed sickness on a school day, the thermometer better be above 97 degrees. If it was a cold, she’d better hear phlegm in that cough. She made sure we finished our homework before we could go out to play. She didn’t want to see any grade lower than a B on our report cards, but for me, like vanilla toffee, the happiness stretched to a C. That may not sound strict at all, but we came from poor to working-class families, where many of our relatives never finished school, dropping out to work.

     Whenever she tutored me in math, she realized, there might as well have been a metal plate between the numbers and my brain, especially when it got to word problems, like traveling 123 miles on half tank of gas, leaving home at seven at night, stopping to fill up in Gilroy, and arriving in Frisco at three in the morning, how much gas would your tank have, how many miles did you travel, and what time did your companion wake up? Man, I wasn’t even old enough to drive. Forget about it. I was “out.”

     From the first day of kindergarten, having to wake up at the ungodly hour of 6:30, it was clear, I would not be a budding young scholar. As the years passed, to play sports and keep my guitar, I had to earn a C, what the Ivy Leagues back then called the Gentleman’s C, to avoid having to flunk the kids of the rich and influential, of which I was neither, but a gentleman I tried to be. My teachers liked me, and I kept them laughing. So, my C kept me on the athletic field and in early rock ‘n roll bands with my friends.

     There went my dad’s big dreams of my graduation from West Point Military Academy and joining the ranks of famous generals, which he’d always tell me after he’d had a few beers too many.

     I guess both my parents realized I didn’t have it in me to become a doctor, lawyer, banker, movie mogul, or even bigshot construction contractor, so they settled on barber and shipped me off to the Hollywood Barber College on Cherokee Avenue, around the corner from the world famous, and pretty rank, Hollywood boulevard, a few block shy of Capital Records.

     In the summer of 1965, for an 18 year-old kid fresh out of a Catholic high school, the barber college introduced me to my fellow students, mostly thirty-somethings, shysters, gangsters, wanna-be actors, failed musicians and poets, divorcees, college dropouts, prostitutes, and the first gay woman, Shawn, I ever met. I’ll always remember a line from a poem one guy wrote to her, “Shawn, who always stands up in the John.” I, being the youngest, became their pet.

     Long story short, I learned education was more than just math and science. It was about thinking creatively and imaginatively, as well. I earned a university degree, wrote novels and short stories, and after administrative stints at UC Davis, UCLA, and Cal State Dominguez Hills, I ended up teaching English at Santa Monica Community College, a mile or so from the ocean, a couple of miles from where I was born, and next door to the town I called home.

     Did I fulfill my parents dream and do better than they had? In their minds, they had succeeded. 

     When I first started teaching, Richard Rodriguez published his controversial blockbuster memoir Hunger of Memory. Chicano scholars, students, and activists wouldn’t accept it. Rodriguez was revealing to the world his Ph. D and education from Stanford, Columbia, Cal, and Warburg Institute (London) had changed him, not only could he not identify with his Mexican parents, or his Mexican self, but, admitted, as a child in elementary school, he was embarrassed of his parents, the smells and noises of their house, their attempts at speaking English. He came out strongly against bilingual education and affirmative action programs, as holding kids back rather than launching them forward.

     Rodriguez lived in 1950s Sacramento, surrounded by Anglos, many racist. Because of his dark skin, Rodriguez couldn’t hide his Mexican-ness. He couldn’t pass for Anglo, Spanish or Italian. Between the lines, he also revealed some deeply-seated psychological issues. Though I had lighter skin, I had an idea how he felt.

     I was raised on L.A.’s west side, surrounded by Westwood, Bel-Air, Brentwood, Play del Rey, Westchester, and Santa Monica, home to some of the wealthiest, influential, and most physically beautiful (if one accepts the European version of beauty) Americans in the country, and at one high school in West Los Angeles, the children of the elite, the working class, and the poor met--University High School, the school of Norma Jean Baker (Marilyn Monroe), Ryan O'Neil, David Crosby, Jan and Dean, and so many others. Some friends, as adults, confessed to me it didn’t raise their self-esteem when their dads pulled up in gardening trucks to pick them up after school for work. Often, they’d hide or pretend they didn’t see their father.

     I’m not sure if the same adolescent identity angst holds true for Chicanos raised on the East Side, where most of their neighbors were other Chicanos(as). If you attended Roosevelt, Garfield, Wilson, or Lincoln High School, you were part of a community much like yourself, the athletic stars, the cheerleaders, the homecoming king and queen, the A-students, the F-students, band, the slackers, school government, newspaper staff, social clubs, and the kids most likely to succeed, looked like you,  Chicanos and Chicanas. On the west side, except for the rare exceptions, the kids “most likely to succeed” did not at all look like us, especially not at the Catholic high school I attended. They were rich beyond one's wildest dreams. They lived in mansions and sprawling estates. Some had their drivers drop them off at school, and often, there they sat, in the desk next to you. Is "bettering" ourselves relative?

     How do we “better” ourselves?  I remember hearing a story of an African American girl coming home for summer break from a prestigious university. As she lugged in her suitcases into the house, one of her siblings said, “Now, don’t you come in here speaking White.”

     Really? Is that what it to means to broaden our world, to talk, dress, eat, act, and think “better?” It means acting "White?” Is that what my parents wanted for my siblings, and me, to be more “white?” I don't believe so, and I don’t see the connection between becoming better and taking on any one particular ethnicity except one's own. Neither did my parents.

     For a lot of Chicanos raised on L.A.’s 1950 and 60s west side, whiteness, in and of itself, isn’t a big stretch. Since many of our friends were “White,” we began speaking like them, acting like them, eating the food, and listening to the music they did, not to copy them, more out of exposure. Some of them reciprocated, acting like us, but that was more a social class than ethnicity. Many of us stopped speaking Spanish. Some of them absorbed Chicano diction. That didn’t make us better—or worse, just different.

     My friend Marco Sanchez tells the story about him and his close friend Junior Parsley, a kid who moved into the Chicano neighborhood from West Virginia. As neighbors, they grew close, hung out, and did everything together. Marco said he’d go to Junior’s house and his mom would feed him Southern food, fried chicken, chitlings, greens, grits, fresh biscuits, and gravy. Marco's mom had died before he reached his teens, and the Parsleys treated him like one of the family. 

     Marco a guitar player as a kid, whose dad was a musician and played on the radio in the 1930s with Pedro J. Gonzalez’ band, would listen to country music on the radio, at Junior’s and try to pick up some of the riffs. Then Junior would visit Marco’s house and clean-up on bean and cheese burritos, menudo, chile, fresh tortillas, Marco’s older brother practicing guitar in the other room. “It was all pretty natural,” he told me.

     One thing about growing up among “White” kids is that we quickly learned no group had a monopoly on intelligence, athletic skill, or ethnic superiority of any kind. In school, some of the white kids were dumb as nails and not a lick of common sense. Others were bright as light bulbs, but then so were many Chicanos and Japanese, the dominant groups in town. 

     Forget about the Asian stereotypes, math and science whizzes. We saw some of our Japanese friends do well and succeed. Others became con men and were "down and out." Still others turned to drugs and ended up in jail, Japanese, baby Yakuza.

     Before the Chicano street gang that the press seemed to love for a good news story there were the car clubs, Whites, Asians, and Chicanos, the Dukes from Venice, the Buzzards from Santa Monica, and the Falcons from West L.A. They could be as violent as any street gang, but since white kids participated, it wasn't such a great news story. 

    In the 60s, Chicanos made up most of the street gangs, but they were the minority, not the majority of kids in town. Of the entire park where we all hung out, they occupied a tiny corner of it and hardly anybody gave them a second thought. 

    The vast majority of kids played sports, attended school, had hobbies, and went on with their lives, hoping to better themselves, as their parents dreamed. Gangs are good for news, as we see the attorney general of the United States claiming war, not against ISIS, Russia, China, or Iran, but an American street gang composed mostly of Salvadoran immigrants, ruthless in their little world, but nowhere near the fire power of North Korea. What about the "white" motorcycle gangs who control the flow of drugs throughout the world and contribute to the creation of the American street gang, or the bankers who launder billions of dollars, why isn't the government splattering their mugs on television. What is the message to the world, "Beware of Latinos?"

     So does bettering ourselves mean moving farther and farther away from the difficult lives our grandparents lived? Does bettering ourselves mean broadening our horizons and exposing ourselves to different cultures, languages, music, foods, friends, and ways of life?

     I have relatives who lived hard lives, turned to drugs and crime, ended up in prison, and many are now dead, never stepping out to “better” their lives, always staying in that little corner of the park. With each generation, like my parents, I hope our children and grandchildren aspire for something “better,” something broader than we had, however they find it.

     My father was never impressed with big houses, fancy cars, or clothes, so, I know, for him, “better” did not mean “more.” He always talked about “nice” or “good” people, so did my mother, about respect and manners. She filled us with sayings, like, “Give advice only when you are asked;” “If you can’t say anything good, don’t say anything at all; and the granddaddy of all sayings, el mero, mero, dicho, “Dime con quien andas y te dire quien eres,” the same advice my grandmother, a woman with no formal education, gave to my mother, a woman who always pushed her children to better themselves.

Wednesday, August 19, 2020

Rise of the Halfling King


 

Written by David Bowles 

Illustrated Charlene Bowles

 


Age Range: 8 - 13 years

Grade Level: 3 - 4

Series: Tales of the Feathered Serpent (Book 1)

Paperback: 64 pages

Publisher: Cinco Puntos Press (September 1, 2020)

Language: English

ISBN-10: 1947627376

ISBN-13: 978-1947627376

Product Dimensions: 7 x 10.5 inches


 

A middle grade graphic novel follows the adventures of a magical boy from Maya mythology. The first of a series based on ancient Mesoamerican myths and legends.

 

Sayam has always been different from other kids―he’s very short for his age, his best friend is a monkey, and most curious of all: he was born from an egg! His grandmother, a witch, found him and taught him all the ancient magic she uses to help her people. So when a giant snake starts terrorizing a nearby city, Sayam decides it’s time for him to use his knowledge to help others, and steps into action. But the beast might not be Sayam’s biggest problem: the ruthless King Kinich Kak Ek sees Sayam as a threat to his throne. Prophecy declares that whoever succeeds at three impossible tests will be king. Monstrous snakes and impossible tests are a lot for a boy to handle, but Sayam is brave and has a loyal monkey, a wise grandmother, and magical knowledge on his side!

 

 

Fans of adventure tales with a mythological focus―such as Bowles’ previous work with Latin American myths, The Chupacabras of the Rio Grande and the Garza Twin series, as well as Rick Riordan Presents, especially the Storm Runner novels―will love this exciting and accessible graphic novel. Rise of the Halfling King is also an invaluable educational tool for middle school students―it’s a well-researched introduction to Maya culture, made accessible by an expert in Mesoamerican culture and juvenile literature. Bowles previously stitched together tales from Maya, Aztec, and other ancient mythology from pre-Columbian Mexico in the critically-acclaimed YA book, Feathered Serpent, Dark Heart of Sky.

 

David Bowles is a Mexican American author and educator based in South Texas. He has written fourteen books. His middle grade novel-in-verse They Call Me Güero has been the recipient of numerous honors such as the Pura Belpré Honor, the Tomás Rivera Mexican American Children’s Book Award, the Claudia Lewis Award for Excellence in Poetry, the Walter Dean Myers Honor Award for Outstanding Children’s Literature, the Texas Institute of Letters Best Middle Grade Book Award, the Skipping Stones Award; the book is also an Américas Book Award Commended Title and was named in the Bluebonnet Award Masterlist. Some of his other books are Feathered Serpent, Dark Heart of Sky and The Smoking Mirror.

 

Charlene Bowles is a Mexican American digital artist based in Texas. Her work has been featured on the covers of the award-winning Garza Twins books.



Tuesday, August 18, 2020

DEROS Plus 50 Years, I Do Plus 52.

18Aug2020, Pasadena CA 
Michael Sedano


It was a Tuesday in Los Angeles, Wednesday in Korea. August 18, 1970, a day like any other day, for many. Me, 18AUG70, was DEROS, return from overseas day. At Ft. Lewis, Washington, an E-4 clerk enviously hands me a 9 X 10” manila envelope with my DD-214, cash to get home, and re-up information. I spent the money on a bus ride down the coast, I still have the DD-214—it’s the only proof anyone has of being a soldier. I did give a second thought to the re-up concept. The Army had been FTA, fun, travel, adventure.

Does it seem that long to you? I’ve been home for fifty years as of today.

Barbara and I lived apart on our first wedding anniversary. I woke that morning 6000 miles away, on the world’s highest anti-aircraft missile site, drinking in the spectacular view, taking inventory. Barbara was organizing her second year teaching English to high school kids, wondering if my birthday card arrived in time.


We married on my birthday in 1968. I joked so I’d never forget; in truth, my birthday present to last all the days of my life. This August 31 marks our 52d anniversary, my 75th. I’m taking inventory of everything every day. 

Barbara won’t remember.

Barbara’s Alzheimer’s Dementia blossomed in 2017 and has “progressed” according to the model. She no longer owns many facts; she doesn’t know her age, I sing “76 trombones.” She asks if we own this house and I tell her how she bought it when I was on a business trip. That makes her happy and she decides she’d like to stay here. There was a time last year she didn’t recognize me, talked about Michael who’d visited her that morning. Michael can take it, even when Barbara went to live in a sequestered Memory Unit for six months. She DEROSed in November last year and is here to stay. 

I’m cleaning out the detritus of time that gathers over a lifetime, stuff that followed us from domicile to domicile. 

The other day I discovered a cache of costume jewelry. Barbara’s style was large pins and earrings, hummingbirds, insects, and reptiles. These fill the long-stored cardboard box. Some I bought her, some she picked up on a vacation. She wasn’t an inveterate shopper but she knew how to buy stuff she liked. I can't avoid that past tense, she was.


I showed her the silver Victorian medusa pin that had been a favorite. Barbara says the pin is so pretty, she wonders where it came from?

Fifty years ago, I came home from Korea and the Army, still a newlywed. Married, honeymoon, Draft notice, Thanksgiving, Christmas, Ft. Ord. No sweatie-da, we would start all over again when I got discharged. So we did. So we have. So it goes.

Happy Anniversary, Barbara. If only you remembered.