Thursday, January 21, 2021

Today's Story: A Time to Heal

 

                                                                                   

                                                                    The Procession

     I walk up the main street, along the plaza, and I look to the parking lot where the van dropped me off. It's empty. Evening quickly descends. Desperately, I search for a van, any van. I ask a man, a Chamulan. He tells me the van service from San Juan Chamula to San Cristobal stopped at 7:00 P.M. He points to the taxi stop where two taxis wait. The sun reddens the mountaintops. Taxis in Mexico after dark, especially in rural areas? But what other choice do I have?

     A short, elderly man, standing next to a Toyota, raises his hand. The car has seen, as they say, better days. I ask him about the vans, as if I need a second opinion. He confirms the only way back to San Cristobal is by taxi or walking. He gives me a price. I accept, and when I sit in the car, I make sure, like always, it has door handles on the inside panel. The images from the strange church service I’ve just witnessed clash in my mind.

     I tell him to call me Antonio.

     “Like the saint,” he says.

    “Yes,” I say, “the one from Padua.”

     “The one who returns lost objects, like men, and souls.”

     As he drives, he begins to talk, his voice soothing. My mind slows. He tells me about the ranches and the settlements in the valley below, the process to cure sheep wool and turn it into clothing, the different Mayan languages, and beliefs of the various Maya clans throughout Chiapas. The eerie events of the church simmer.

     I ask him about the words I heard in the prayers, the ilol, the chulel, and the kamel. He’s hesitant, at first, as if revealing a secret, but says the ilol is a header, like a curandero, some ilols more powerful and wiser than others. The service in the temple of San Juan was a ceremony to start San Juan Chamula's annual fiesta. He explains the chulel is our animal spirit. We all have one. If our chulels suffer, we suffer. The kamel is a sickness, when our fear is too strong for us to cure. A powerful ilol can cure us.

     “What happens when one’s chulel is weak or lost?”

     His eyes on the road, he says, “Sickness, anxiety, fear, fevers, stomach problems, many things. Also, illusions, nightmares, terror. The sick are lost. A good ilol can bring them back to reality.”

     “Like San Anthonio?”

     He smiles.

     “Can a person cure his own chulel?”

     He waits, thinking. “If the person’s ilol is seriously ill, that is very dangerous.”

     I laugh, nervously, “I guess we all need good ilols then.”

     He doesn’t laugh. He says, “The world is very big. Different worlds have their own ilols. Our ilols pray to Chulmetic and to Chuloltic for healing.”

     “Who are they?”

     “Our earthly mother and father, the moon and the sun.”

     “So, they are the real healers?”

     “No. They ask nichonil, the son, to intercede.”

     “Intercede—to whom?”

     “Totic, tata.”

     “And that is…?”

     He turns to me, as if I am dense. “God the father.”

                                                                                     

                                                       The temple of San Juan Chamula

     My mind wanders. I try to hold it still but can’t. I am back in the church, blinded by incense and deafened by the monotonous strains of the musicians. I try to interpret the scene, as if I’m deciphering a code.  Geronimo continues to talk, his voice hovering above the images in my head.  

     He says, “You came from the church service?”

     “I did, yes.”

     “It is not what you expected.”

     “They killed a rooster.”

     “No. They stopped killing live roosters many years ago. They bring in a rooster but turn it loose after.”

     “I saw the blood. A man had to wipe it off of his hands.”

     “He is the nichin. He helps in the ritual. They use red liquid, like a dye. They are good at making it look real, for the tourists.”

     “Geronimo,” I ask, “do Chamulas believe St. John the Baptist is greater than Jesus.”

    Again, he waits before answering. “Some Chamulas do. I am an evangelista, a Baptist. There are Presbyterian Chamulas and Charismatic protestant Chamuluas, traditional Catholics and reformed, like you saw today. There are even Muslim and Mormon Chamulas, and that is only around here. Across Chiapas, the Maya have different beliefs. No, to me, Jesus is God’s son. Without Juan Bautista, there is no way to the son.”

     I spend the evening recording everything I can recall, but we all know how memory plays tricks on us, especially when it's time to heal.

Wednesday, January 20, 2021

Cemetery Boys

 


 

By Aiden Thomas

 

 

Publisher : Swoon Reads

Language: : English

Hardcover : 352 pages

ISBN-10 : 1250250463

ISBN-13 : 978-1250250469

Reading age : 13 - 18 years

Grade level : 7 – 9

 

 

 

A trans boy determined to prove his gender to his traditional Latinx family summons a ghost who refuses to leave in Aiden Thomas's paranormal YA debut Cemetery Boys.

 

Yadriel has summoned a ghost, and now he can't get rid of him.

 

When his traditional Latinx family has problems accepting his true gender, Yadriel becomes determined to prove himself a real brujo. With the help of his cousin and best friend Maritza, he performs the ritual himself, and then sets out to find the ghost of his murdered cousin and set it free.

 

However, the ghost he summons is actually Julian Diaz, the school's resident bad boy, and Julian is not about to go quietly into death. He's determined to find out what happened and tie off some loose ends before he leaves. Left with no choice, Yadriel agrees to help Julian, so that they can both get what they want. But the longer Yadriel spends with Julian, the less he wants to let him leave.

 

 

 

Review

 

 

"Aiden Thomas' debut novel can't help but charm and captivate readers of all ages, though teen readers will invariably identify with and appreciate the high jinks and emotional vulnerability that make each character and scenario deliciously enchanting." ― Booklist, starred review

 

 

" Thomas marries concept and execution in a romantic mystery as poignant as it is spellbinding, weaved in a mosaic of culture, acceptance, and identity, where intricately crafted characters are the pieces and love―platonic, romantic, familial, and communal―is the glue." ― Publishers Weekly, starred review

 

 

"A gay, transgender brujo with burgeoning powers seeks answers about his cousin’s death... Both the romance and mystery burn slow and hot until the climax... Their romance provides joyful, ground-breaking representation for gay, transgender boys. Heart-pounding." ―Kirkus

 

Tuesday, January 19, 2021

2021 Resolution: Just Enough Poetry

Review: Edward Vidaurre. Pandemia & Other Poems. San Antonio: Aztlán Libre Press, 2020. Isbn 978–0 –9897782-5-1 (link in title)

Michael Sedano

I lack the stamina and skill that reviewing poetry demands, on a regular basis. In worthwhile poetry collections, a reviewer wants to talk about poem after poem, idea after idea. You want readers to expect particular value in the collection by illustrating the best exemplars of idea, voice, character, prosody; elements that give a collection compelling urgency that says “buy this book,” “follow this poet,” “check out this publisher.” 

What to do when each poem seems to be the best poem in the book? This is the kind of collection that a reader thinks the best poem is the poem you're reading now.

Complicating a critic’s perplexities, publishers are finding budgets to publish a lot of poetry books. The reading and reviewing possibilities loom exhaustingly, and that’s good news. It's a “poetry explosion” multiplying the annual number of new poems and poetry books beyond anyone’s capacity to acquire, read, and share the best with friends.

This means lots of voices can get lost in the wilderness, orphan books needing readers, readers needing poetry, novels, short stories, Chicana Chicano Literature. Y más. In 2021, La Bloga-Tuesday resolves to share more raza poetry reviews. This is one way some books won't get lost, que no?

Looking back at missed opportunities, La Bloga-Tuesday should have picked up 2017’s When Love Was Reels, José B. Gonzáles' mirthful set of ekphrastic movie homages. There was Adrián Arancibia's 2018, Poems of Exhaustion, an intimate portrait of a poet finding early midlife perspective. 

Only last year, 2020, La Bloga-Tuesday found Edward Vidaurre’s Pandemia & Other Poems. With 2021 less than 20 days old, it’s not too late to recommend both Vidaurre’s Pandemia poems, and also the publisher, Aztlán Libre, and a burgeoning publishing enterprise Vidaurre has kicked off with a spectacular catalog from Flower Song Press.

Pandemia & Other Poems, from Aztlán Libre, brings readers four-in-one collections of mostly one-page work. The first Part shares the book's most self-consciously plague-time poems. Several of the poems here use space and layout to enhance their impact before the lines take on a conventionally fluid appearance that is kinder to reader eyes. Tabs creating long empty spaces in a poetry line do little to nothing to enhance effectiveness. Unless you have five darn good reasons, just use the next available space, "Sleepless In Pandemia."

Theme counters easily spot poems laced with forms of pain, emotional and corporeal. There’s death, a requiem. The most powerful death reference hits a reader in the ethnic gut because the poet pulls it out of nowhere, the ethnicity. Órale, that's what makes it Chicano.

JUNIOR HIGH SCHOOL BIOLOGY TEACHER

Was cool 
as fuck.

One day he rolled in the television to watch the spaceship carrying a 
teacher. Said, “that could have been me but I wasn’t chosen." Then we 
all watched the spaceship go up and explode. He sat silenced, looked 
at me and I kind of gave him that look back, now you know what it’s 
like to come to school as a survivor.

Lucky 
as fuck.

JUNIOR HIGH SCHOOL BIOLOGY TEACHER adds interest and humor for readers in the way the poem twists poetic time to create new life. The following stanza, the poet wonders about the now-old teacher, where is the fellow today? 

Here, Vidaurre puts a shine on the poem. Paying an unspoken debt to that man, the poet former student, brings the remembered teacher to life, gives the teacher a quaint imaginary old age. 

If a poet fiddles with the pages of a book, does my biology teacher
Have a tv tray next to him with a small tray, a scalpel, scissors and a 
probe and opens up tiny frogs during tv commercials?

Somewhere an old man smiles. My old 8th grade science teacher, I see him.

JUNIOR HIGH is the middle poem in the first Part of this four-part collection, page 10. The book has 76 pages, and it’s good to the last breath.

Love, pain—they might be the same thing in Vidaurre’s poetry—a little sex, fill the other Parts of Pandemia. Aside from that Spanish-sounding title, readers won’t find conventional Chicanx Identity poetry in this collection of Chicano poetry. Vidaurre doesn’t pound his chest shouting “mi raza primero.” 

The poet’s ethos breathes his ethnicity, but he drops a name here, a geography there, to give markers that locate raza identity. Identification is in his Soul. The poet’s tongue, it’s almost puro inglés. Pandemia & Other Poems, like almost all Chicano literature, addresses an English-speaking readership. Not a surprise, Chicano Literature is a genre of English-language American Literature.

Don’t ask, “what makes it Chicanx Chican@ Chicana/o Chicano Chicana Poetry?”

It’s unfair to burden a single book with encompassing an entire genre and go looking for ethnic justification in that particular work. 

What you read from this publisher, Aztlán Libre Press, is Chicano Poetry. That doesn’t matter if all you’re seeking is good poetry for our time. Pandemia & Other Poems is good poetry. And, if anything says “Our Time,” Pandemia screams it out loud. 

Pandemia & Other Poems has distribution to the trade via spdbooks.org Your local independent bookseller can stock Aztlán Libre Press titles or place an order for you. You can peruse the San Anto firm's catalog and place your order at aztlanlibrepress.com (link)


Monday, January 18, 2021

Dr. Martin Luther King, Jr. y ¡Sí se puede! by Xánath Caraza

 

Dr. Martin Luther King, Jr. y ¡Sí se puede! by Xánath Caraza

 


On a spring day during the civil rights movement, Dr. Martin Luther King, Jr. addressed a very eager audience in Kansas City, Missouri.  His speech rang forth energizing the community.  In the same city, and blocks from this significant gathering, the historic Latinx community of Kansas City, easily with at least two centuries of existence, had similar, interconnected needs for social change.

 

At a national level, activists were pushing forward.  For example, Dolores Huerta and César Chávez have been pillars of activism and important examples for our Latinx communities for decades.  The strife for the rights of farm workers among numerous other social change issues for our communities have been their focus, of course.

 

Today, for our commemoration of Dr. King, let us celebrate, as an example for all of us, the inspiration that Huerta and Chávez drew from King’s examples of non-violence and insistence on change.  As I drive through Kansas City and see vital reminders of Black and Brown activists, the call for justice and through a peaceful process is ever more important.  In the last couple of weeks, I keep resounding the words paz, paz, paz.  ¡Sí se puede!  ¡Sí se puede!  ¡Sí se puede!

Friday, January 15, 2021

Remembering The Ballad of Rocky Ruiz

 


Three editions of The Ballad of Rocky Ruiz

Angels in the Wind is the title of the next book I will publish.  As I write this piece for La Bloga, the crew at Arte Público Press is working on cover art, pre-pub publicity, and the final galleys for the planned publication date of April 30, 2021.  I wrote most of the book in 2020 and finished it in August.  Yes, only a few months ago.  The fact that it is coming out in April is a testament to the hard-working Arte Público staff. 

Angels in the Wind is my eleventh published novel (I also have a collection of short stories:  The Skull of Pancho Villa and Other Stories.)  Writing the book was hard work; that’s been true about all my books and stories and poetry.  But writing this book also was a bit of a different experience. Over this past record-setting hot summer, as I created, edited, loved or hated the book in my home office or in the shade of the massive pine tree in our front yard (when the air wasn’t polluted with wildfire smoke and ash,) I felt a unique challenge to finish.  After all, I’m seventy-two years old, with typical old man troubles, plus I had the added adventure of dealing with Parkinson’s, fear and uncertainty generated by the COVID-19 crisis, a nervous excitement related to the Black Lives Matter actions, depression and anger caused by the Trump presidency, and a general malaise as I realized and accepted that the years are hurtling by at soul-crunching speed and there isn’t anything to do about that.

Writing Angels in the Wind grounded me, and, paradoxically, shook me up.  It was an unsettling but satisfactory exercise. It might simply have been viejito sentiment or nostalgia, but when I completed the manuscript and sent it to the Houston offices of Arte Público, I found myself reflecting on my previous books, and how I felt when I had finished them.

My first novel was The Ballad of Rocky Ruiz.  Published in 1993, the book tells the story of a burned-out Chicano lawyer who turns to the past to help deal with his present.  Luis Móntez has mixed emotions about the memories of his days as a Chicano activist, and questions whether his life has any meaning, especially as his best friend in college, the young and charismatic Rocky Ruiz, was murdered and no one suffered any consequences.  Rocky died a hero, and his martyrdom elevated his image to near sainthood, an image that Móntez could never live up to or hope to match. Móntez struggles through a reliving of the past, interacting with the characters who populated his elegiac youth, and more often than not, he comes away saddened or disillusioned from these visits with his history.  But Móntez perseveres, learns ugly truths, and eventually solves the murder and gains a modicum of justice for his brother-in-arms, Rocky Ruiz.  

I wrote four more books about Luis Móntez.  By the end of Brown-on-Brown I thought I’d said everything about him that I could or should.  He pops up occasionally in my latest series that features a Chicano private investigator, Gus Corral, but Luis’s days at the center of the story are over.  In that way, he’s become a metaphor for my own life.  

Here’s a quote from the introduction to the Northwestern University Press edition of The Ballad of Rocky Ruiz written by Gary Phillips, a fine writer who had nice things to say about Rocky and Luis.

"The Ballad of Rocky Ruiz offers no shopworn sentimentality.  It is a tale about past sins and how Móntez must wrestle his part in all that to see clearly in the present.  It is a mystery of the human condition and our need to heal old wounds.  We, like Móntez, learn over again that cynicism and regret plague our psyches.  But to give in totally is to give up, and that’s not the answer either when the smoke clears.  Always forward, Rocky would say, ese, because it ain’t no big thing."

I’m going to finish by quoting the opening paragraph of The Ballad of Rocky Ruiz.  

"I don’t recall all the subtleties and particulars and some of the events are screwed up in my head – out of sequence, out of synch.  Hell, there were too many late nights and fuzzy mornings, end even back then I had a hard time keeping it straight.  Life had this rough texture, like Velcro on a screen door.  But there is one detail that stands out in my mind as clearly as if I was staring at her this minute, across the room, waiting for her to finish taking off her clothes.  Those eyes – the round, moist, glowing brown eyes that will haunt me as sure as La Llorona prowls dark alleys looking for bad children; eyes that will stay with me until Chicanos reclaim their lost land of Aztlán – forever. There are days when I catch them watching me, driving me up the wall, chilling my skin, making me forget every other woman I knew or met or loved.  I know those eyes.

And the blood.  I remember the blood …."


Later.

________________________



Manuel Ramos writes crime fiction. His latest book is Angels in the Wind from Arte Público Press, April 2021

Thursday, January 14, 2021

Chicanonautica: Trumpocalypse Now

by Ernest Hogan 


I was expecting an ugly meltdown, but what happened was more than I let my super-charged, twisted Latinoid imagination conjure. It wasn’t  “Rock and Roll adolescent hoodlums storm the streets of all nations. They rush into the Louvre and throw acid in the Mona Lisa’s face” like William S. Burroughs said in Naked Lunch, but then there were Trumpsters storming the Capitol, while blasting the Village People’s “Macho Man” and Michael Jackson’s “Billie Jean,” interrupting the election confirmation debate, disrupting the supposedly sacred democratic process. There was tear gas in the Rotunda. Lawmakers were given “escape hoods,” disposable gas masks that look like space helmets from a low-budget sci-fi production from the Sixties. Shots were fired, and a woman, Ashli Babbit, an Air Force veteran who thought that California’s COVID-19 stay-at-home order was “commie bullshit,” and QAnon conspiracies were the Gospel truth, took a bullet and later died. Jacob Anthony Chansleym AKA Jake Angeli, AKA QAnon Shaman, AKA Baked Alaska, AKA Ali Akbar, part-time actor and voiceover artist from Arizona who lead the attack with in his furry, horned buffalo hat, his face painted, chest bare to show off his Nazi tattoos, lived to get arrested a few days later.


National Guard troops were (eventually) sent in. The Capitol was evacuated. 


Streets were cleared. Property was destroyed. There were injuries and deaths.

If a similar armed insurrection by black or brown protesters had happened, what would have the police/military reaction have been? As compared to, say, last summer’s nonviolent, unarmed Black Lives Matter demonstrations?

Later, Congress returned and in a session that went on into the night, and despite controversy over the electoral votes from Arizona, Biden’s victory in the election was confirmed.


The next day, the headlines of the L.A. Times were:


TRUMP-INCITED MOB STORMS U.S. CAPITOL

4 DIE; OFFICERS, 1 RIOTER INJURED

Congress forced to flee, but electoral vote count resumes hours later


The next day, Trump was banned from Twitter, Facebook, and Instagram. Trumpsters on my feeds (some who are old friends and relatives) have been posting lame, grotesque memes like someone losing an argument bursting out with “Your haircut is lousy!” When they try to comment, it makes no sense, except that they may be trying and failing to be snarky. Or they are announcing that they have had it with politics, and don’t want to hear about it anymore. Still others remain silent, as is their right.


Now, even Republicans are turning against Trump. There’s talk of impeachment, and the 25th Amendment. Voters are fleeing the Republican party. 


Participants (they are being called protesters, rioters, terrorists, etc.) are being arrested because they posted pictures of themselves in the act on social media. Then there was that guy with a truckload of bombs . . . 


How does this concern those of us who are part of the Latinoid continuum? We--our very existence--are part of what this mob is angry about. And now that Trumptopia is self-destructing, they are in crisis mode. Nasty rhetoric, and just talking about violence isn’t enough for them anymore. 


Meanwhile, Trump, until January 20--when the Trumpsters also have plans--is still the Commander-in-Chief of the Armed Forces, with access to nuclear launch codes . . .


Con cuidado, mis amigos.


Ernest Hogan, Father of Chicano Science Fiction reports that in spite of all the pendejadas going on, his writing career is alive and well and demanding his attention.

Wednesday, January 13, 2021

We Are Not from Here


  

By Jenny Torres Sanchez

 

 

Publisher : Philomel Books

Language: : English

Hardcover : 368 pages

ISBN-10 : 1984812262

ISBN-13 : 978-1984812261

 

A poignant novel of desperation, escape, and survival across the U.S.-Mexico border, inspired by current events.

 

 

Pulga has his dreams.

Chico has his grief.

Pequeña has her pride.

 

And these three teens have one another. But none of them have illusions about the town they've grown up in and the dangers that surround them. Even with the love of family, threats lurk around every corner. And when those threats become all too real, the trio knows they have no choice but to run: from their country, from their families, from their beloved home.

 

Crossing from Guatemala through Mexico, they follow the route of La Bestia, the perilous train system that might deliver them to a better life--if they are lucky enough to survive the journey. With nothing but the bags on their backs and desperation drumming through their hearts, Pulga, Chico, and Pequeña know there is no turning back, despite the unknown that awaits them. And the darkness that seems to follow wherever they go.

 

In this striking portrait of lives torn apart, the plight of migrants at the U.S. southern border is brought to light through poignant, vivid storytelling. An epic journey of danger, resilience, heartache, and hope.

 

 

Review

 

 

*"A brutally honest, not-to-be-missed narrative...gripping, heart-wrenching, and thrilling.” --Kirkus Reviews, STARRED REVIEW
 

* "A candid, realistic story that will leave readers thinking about the characters—and about our own world—long after the last page." --SLJ, STARRED REVIEW
 

 

* “Gripping, poignant...this soul-shaking narrative [recalls] the works of Gabriel García Márquez.” --Booklist, STARRED REVIEW

* "A devastating read that is difficult to put down, this unforgettable book unflinchingly illuminates the experiences of those leaving their homes to seek safety in the United States." --Publishers Weekly, STARRED REVIEW

* "A stunning, visceral, and deeply moving read." --BookPage, STARRED REVIEW

 

Jenny Torres Sanchez (www.jennytorressanchez.com) is a full-time writer and former English teacher. She was born in Brooklyn, New York, but has lived on the border of two worlds her whole life. She is the author of We Are Not From Here; The Fall of Innocence; Because of the Sun; Death, Dickinson, and the Demented Life of Frenchie Garcia; and The Downside of Being Charlie. She lives in Orlando, Florida, with her husband and children. Follow her on Twitter @jetchez and on Instagram @jennytsanchez.