Wednesday, June 12, 2024

Magic: Once Upon a Faraway Land

Written and Illustrated by Mirelle Ortega



Publisher: Harry N. Abrams 
Language: English

Hardcover: 40 pages

ISBN-10: 195183657X

ISBN-13: 978-1951836573

 

In Magic: Once Upon a Faraway Land, her acclaimed debut as author and illustrator, Mirelle Ortega shares her own story of growing up near her family’s pineapple farm in Mexico, where she learned the true meaning of magic.

 

A 2023 Pura Belpré Youth Illustration Honor Book

 

Growing up on a pineapple farm in Mexico, a girl discovers the true meaning of the word magic in this truly magical picture book about change and transformation of all kinds—what we can’t control, such as natural disasters and loss, and what we can. Magic can transform dirt into pineapples, seeds into trees, wool into blankets, words into stories, blank pages into pictures and stories into book.



 

Magia: En una tierra muy lejana



Escrito e ilustrado por Mirelle Ortega

 


Publisher: Vintage Español 

Language: Spanish

Hardcover: 40 pages

ISBN-10: 1644737957

ISBN-13: 978-1644737958



Libro de Honor de los Premios Purá Belpré en ilustración

 

En su debut como autora e ilustradora, Mirelle Ortega comparte su historia, empezando por la finca de piñas de su familia en México, donde aprendió el verdadero significado de la magia.

 

Aprendí que la magia no es buena ni mala, simplemente es. A veces da, a veces quita. A veces la vida florece, a veces se marchita.

 

Una niña que crece en una finca de piñas en México nos descubre el verdadero significado de la palabra magia en este libro ilustrado, un volumen verdaderamente mágico sobre el cambio y la transformación —tanto sobre aquellas cosas que no podemos controlar, como los desastres naturales y las pérdidas, como las que sí están en nuestro poder. La magia puede transformar la tierra en piñas, las semillas en árboles, la lana en mantas, las palabras en historias, las páginas en blanco en imágenes.

 

 

Mirelle Ortega is a Mexican illustrator and writer for kidlit and Animation based in Los Angeles, CA. She's created covers for award winning middle grade series such as FROM THE DESK OF ZOE WASHINGTON, CECE RIOS and LOVE SUGAR MAGIC, artwork for acclaimed chapter books series such as THE MYTHICS, VOTE FOR EFFIE and MERMAIDS ROCK, and vibrant illustrations for picture books like SMALL ROOM, BIG DREAMS, PEPE AND THE PARADE and her author/illustrator debut MAGIC: ONCE UPON A FARAWAY LAND.



Tuesday, June 11, 2024

Shifter, What You Think It Means

 Review: Emma Pérez. Testimony of a Shifter. Houston: Arte Público Press, 2023.
ISBN: 978-1-55885-979-1

 

Michael Sedano

 

Speculative fiction writers expect a lot of imaginative cooperation from readers in exchange for a good story. Readers pick up a book like Emma Pérez' Testimony of a Shifter (link), expecting  at minimum, to be entertained and, in the best cases, provoked into discomfort by satirical elements inherent in "what-if" scenarios.

The story starts in 2058. Set in a place much like the United States, in a world where people are born male, female, or gender-shifters, into a racist classist society run amok in the hands of "the Impresario", a small-handed caricature of immense power and pedophilia.

 

Pérez does a good job restraining a satirist's impulse to pile on the parallels between the  dystopic leader of 2058, and a television impresario running for president of the u.s. in 2024. The parallels are telling and won't be missed even in a fast page scan.

 

The author's exaggerations don't stray far from actual events, like rounding up shifters, caging captives, separating children from adults. Read "immigrants" for "shifters" and there's nothing dystopic about the world of Testimony of a Shifter.

 

Viruses and an ongoing "woke war" have brown and black people, most of them shifters, on the losing end of health care and repressive law. One of the book's most horrid scenes depicts wholesale slaughter of ordinary people in the wrong place. This is a world where armed rebellion offers feeble opposition.

 

Pérez keeps the story compact. Coming in at under 200 pages, the novel threads plots about sexuality, power, armed intrigue, and magic. When one or another thread gets unruly, the author relies upon the testimony of the title to transition into new developments and twists.

 

Testimony of a Shifter comes from a prisoner, a captive of the assassination plot that unfolds with the Shifter, who begins the book as Ben but spends most of the plot as Alejandra, or Alex.

 

Poor Alex. She's not attractive--that's still a value in this dystopia--but Ben is handsome. Ni modo (he she is bilingual which is a crime), Alex has friends in the highest places of the revolution. Those friends don't explain much as they lead Alex into some deep caca, and she has no idea what's going to happen.

 

Readers find themselves as surprised as Alex as the rebellion unfolds before their eyes. It's part of the fun of letting the events take over, and, with this topic, allowing the author's license to envision what physical gender transmutation looks like:


The guards had a kid shifting on a slab of metal in the middle of the room, where they got on top of her and started doing things to her. Ugly sex things that she didn't want but, soon enough, she'd shift and become a boy with boy genitals. Then, they'd turn him over and someone else would get on the slab and do ugly sex things, and the boy genitals would shift back to girl genitals. The White Guards would repeat it again and again. The guards prodded and poked to see how many times they could get a shifter to transmute in an hour.

 

Readers coming to the novel for lurid sex things will find passages to titillate their imaginations, but not many. Testimony of a Shifter isn't for that reader. Readers looking for contemporary speculative fiction that entertains while engaging all manner of political and social responses find it in Testimony of a Shifter.

 

I'm not entirely satisfied with the book's revolution. Pérez' depiction of rebel leaders as cold manipulators has a feel of genuineness. I'm satisfied the Impresario gets a pocketful of justice. I'm not satisfied the repressive status quo simply replaces itself and the rebels achieve no substantive change. I'm dissatisfied the author opens a magical portal to a different dimension and that's the only way Shifters find peace, by disappearing.

 

Gente, we can't let it get this bad. You don't have to read Testimony of a Shifter to understand the necessity for decisive voting, but reading the novel doesn't hurt, either.

 


Friday, June 07, 2024

Connecting with Poets over Zoom

Melinda Palacio, Santa Barbara Poet Laureate


 


While the world has opened up since the pandemic, one of the lasting boons is the ability to zoom and interact with people worldwide. The experience cannot replace an in person gathering, but zoom works well for a lecture format, along with questions and answers. I must admit, it’s taken me a while to warm up to zoom poetry readings. Only a month ago, Amanda Gorman was offering the audience tips on how to show their appreciation for poetry. She gave the snapping of fingers as an example or the audible moan, similar to enjoying a yummy piece of cake as acceptable ways to respond to poetry at a reading. 

 

In a zoom room, the microphone is turned on only for the poet. The audience does more talking than during an in-person event. I find all the chatter distracting, especially if I am the one who is presenting. I want to continue with my set but I also want to know what everyone is saying in the chat. Usually, people are praising the reader or poet, writing down words or phrases that linger in the ear. I think I am old fashioned and want people’s undivided attention. Even as a listener, I want to hear the poet and not have my attention divided by reading the praises of friends in the audience. In my ideal zoom room, a moderator would limit or open comments on the chat for a specific time period when the poet is not presenting their work. Perhaps, a few minutes in between the poems or at the end, the chat can be available for everyone?

 

Over the Memorial Holiday Weekend, I attended the Mission Poetry Series via zoom and the poetry was amazing and featured Inaugural Poet Richard Blanco and the Alta California Chapbook prize co-winners Fred Arroyo and Amelia Rodriguez; their winning chapbooks are available through Gunpowder Press. While the poems were stellar, I have to say I was equally moved and impressed by the Q&A that followed the poetry reading. A strong discussion on reading your work aloud before and after it is printed ensued. Someone asked if the poets read their work aloud while composing and the answer was unanimous. 

 

Amelia Rodriguez said she always reads her finished poems aloud. “You have to read it for the music,” she said. “If you don’t read your poems aloud, they exist in this insular world where they never get better. For her, the sharing and reading to other people is an important part of the poem writing process. 

 

Richard Blanco talked about the importance of feeling the poem in your body when you read it out loud. For him, the act of reading a poem aloud speaks to poetry’s oral roots. When he was writing the inaugural poem for President Obama, he started paying attention to the sound of his poem. “It has to come through the ear,” he says. “Take anyone’s poem and read it out loud, you will understand something different about it. We always say show don’t tell to ground to ground your work in the details and five senses. 

 

Fred Arroyo fell in step with Amelia and Richard. He said he reads everything out loud, including reading of other poets. He does a lot of walking with his manuscript in hand and edits as he walks. “If I find anything that is not singing right, hitting the ear right, then after the reading, I go back and revise the manuscript.”

 

I find that the idea of making sure there is music in a poem is what can turn a good poem into a great. Poets will spend an extraordinary amount of time searching for the right word, the word that will convey a precise meaning while making you want to bob your head or tap your foot or melt into your seat because the words sound so good together. 

 

The Mission Poetry Series, in its 15th season now is a Santa Barbara treasure. Emma Trelles, Santa Barbara’s 9th Poet Laureate does a wonderful job with the series. I remember early days of the Mission Poetry Series, when it was run by Paul Ferricano and Sister Susan at the Mission. The Memorial Day holiday was well spent at the Mission with the I Madonnari Festival. This year was the first time poetry was included in the I Madonnari Festival. However, due to short notice I was the only poet available to read. On Sunday, I read for fifteen minutes in front of the stage as it was being cleared for the next high school band to perform. Reading in front of people sitting with their picknick or passing by with their churros and hot dogs as they carried on loud conversations was challenging, but there were several people listening and I was happy to keep going. On Monday, I read “Arroyo Burro” from my book, How Fire Is a Story, Waiting, at the festival’s ceremony which was dedicated to the late Margie Yahyavi who was on the City’s Arts Advisory Council and an important member of our community.  

 

For more discussion on the crafting and reading of poetry, come to the Santa Barbara Writers Conference next week. Poetry is in the spotlight this year with an all-laureate panel, featuring eight Santa Barbara poets laureate, poetry workshops all week and poetry presentations before the evening speakers, as well as workshops and lectures in all genres. The Santa Barbara Writers Conference honors Perie Longo, who has been running the poetry program for 40 years.  

 

This week’s poem is one I wrote about the Mission’s Bell for the Creative Community’s TV Santa Barbara episode, featuring poems about the Santa Barbara Mission. 


*this column was previously published in the Santa Barbara Independent

 

The Old Mission’s Bell

By Melinda Palacio

 

 

Me llamo Santa Barbara.

I am a discarded bell,

too old to ring the days away.

I carry my city’s name.

Me llamo Santa Barbara.

 

Santa Barbara, discarded bell.

Santa Barbara, dethroned saint, calendars say.

Santa Barbara, city of the Old Mission,

Santa Barbara, twin bell towers, red.

 

Red to mimic near mountains and sky,

setting in sun-shimmering gloria.

 

From my round capped home, see

the ocean, a holy shade of blue, beyond

San Nicolas, once home to another

lost woman, christened Juana Maria.

 

Saint Barbara, imprisoned in a single

tower with a trinity of windows,

discarded, discalced, but revered.

 

Your bare feet never walked

on smooth adobe floors. Your

robes never soaked in spouting

water from a bear totem, our

Chumash lavanderia.

 

No worries for red skies or red roses.

Your name remains.

This old Mission holds your head true,

namesake of sword and palm.

Me llamo Santa Barbara.

 

Thursday, June 06, 2024

Between Two Worlds

 

by Daniel Cano                               

                                                                                     

First generation Americans, Mom and childhood friend, Consuelo "Connie" Saenz
                                                                       

     Before she passed away, I had many discussions with my mother. I was interested about our family’s story, from Mexico to the U.S. This is a portion of one discussion. As she told me:                                   

        "My dad always talked about Mexico, but never about going back to live."

      My mother was born in Santa Monica in 1925. She grew up on 22nd Street, the heart of the Mexican barrio, in her parents' home, just south of Olympic Boulevard, three miles from the Pacific Coast, she recalls, when Santa Monica was mostly farms and vacant land.

     As the youngest child of Nicolas Gonzalez and Eusbia Villalobos Gonzalez, she never knew her grandparents. They remained in Mexico when her parents migrated to the States in 1920, along with six young children. In fact, she didn’t think her parents ever saw their parents again. Travel to Mexico, in those days, was difficult, and war, of one type of another, raged on until the late 1920s.

     My mother said she heard stories about paternal grandfather, Juan Gonzalez, and her grandmother, Micaela de Los Santos Gonzalez, about their lives in Mitic, a rural rancho in Los Altos de Jalisco, in the province of Jalostotitlan, some eighty miles east of Guadalajara.

     According to historians, Mitic’s roots can be traced back to the early 1600s, an indigenous village when the Spanish arrived. Her maternal grandparents, Pablo and Refugio Villalobos, hailed from Las Palmas, a poor, neighboring ranch with a rich history. Of them, she knew little, but she did keep tabs on her Villalobos’ relatives, like her aunts Lupe and Micaela, who lived down the street in Santa Monica, and others who migrated north to San Jose, California.

     She visited Mitic once, in her early teens, after her grandparents had died. She recalled her Mexican relatives having a difficult time, having experienced years of violence and famine. Still, her parents must have instilled a lifelong connection to the land of their birth, since she spoke of it with both sadness and pride.

     Her family also owned portions of the ranch well into the 1960s, inherited from their great-grandfather, Juan, but they eventually sold to relatives who continue to work the land, up until today.

     Maybe it was because my mother’s family owned the ranch in Mexico, her parents chose to purchase a home in Santa Monica, rather than rent, even though many Mexicans, at the time, thought the U.S. might send them back to Mexico, and they’d lose everything. Like my grandmother, my mother, and her siblings, were frugal, thrifty, and tried to invest wisely.

       To make a point, my mother once told me, her grandfather, Juan, apparently, had a large savings, the family nest egg. I guess he didn’t trust banks, so he hid the money on the family ranch, but before he revealed its location, he died.

     For years, everyone searched, desperately looking for the savings. It was no use. Eventually, the family sold a portion of the land to a man of modest means, as the story goes, and within months, he built a home, farmed the land, and purchased livestock.

     The family, and the people of the rancho, began to question the source of his money. Yet, it wasn’t until before his death, the man told someone who told someone else that some time after he purchased the Gonzalez’s land, he demolished an old rock wall. There, beneath the foundation, he found a bag full of coins, a fortune to a poor man.

     When I asked my mother, and my older aunts, for details about the story, they said, "You need to ask your Uncle Chuy. He went back to live in Mitic and knows more than any of us about Mexico."

     Whether fact or myth, the story seeped into the family psyche. It was a story I heard repeated by other families in Mexico. Maybe, it was more like a “La Llorona” fable, invented to teach a lesson, this one about money and taking care of it. I do know my Gonzalez uncles and aunts worked hard, saved earnestly, and like their parents, invested wisely, in rental homes and apartments, but unlike their grandfather, shared their prosperity with their children.

                                                                                      

My Mexican grandfather, Nicolas Gonzalez

                                                                                     2.

    My grandfather, Nicolas, died before I was born. An anomaly, rather than tall and light-skinned, like other Gonzalez men, and the men of Jalisco, generally, he was short, dark skin, with the straight, thick hair of an Indian, perhaps evidence of our indigenous heritage. They say he was an easy-going, friendly man, who loved his family but tolerated no disrespect, to man or beast. My mother grew serious when she said, "But he wasn't as strict as my mom." 

     Nicolas enjoyed his home, reading the newspapers, talking to neighbors, and tending the pig, chickens, and goat he kept in the back yard. My mother remembered, as a young girl, seeing him in the back yard, telling stories to the neighborhood boys, like the Romo, Guajardo, and Garcia brothers, Juan, Vicente, and Beto, who lived in the neighborhood. "Oh, my dad loved to tell them stories."

     Though many have passed, the families remained lifelong friends, even into their elder years.

     As the youngest of eight children, two boys and six girls, my mother always felt her father wanted a son instead of a daughter. “He treated me like a boy,” she said.

     He taught her to feed and care for the chickens, ducks, and pig. Alongside him, she learned to tend the garden, chores he had never taught his other five daughters. At the time, his two sons, Chuy and Joe, were grown and working. She said, “My dad treated me like a pal."

     She said, stressing, her dad could be firm when needed, like the time she watched prepare to kill a chicken for dinner. She said she insisted she knew how to do it. Rather than wait for his instruction, she took the chicken from his hands and began to choke the animal as she had seen him do. She felt the animal’s neck stretch, like a piece of rubber in her hands. Terrified, she dropped the bird. It leaped up and ran around the yard, its head dangling to one side. Her father caught the animal, and quickly finished it.

     "Oh, he was mad…mostly because I didn't listen to him."

     She remembered him slapping her, hard across the face, something he had never done. He said, "That's what you get for making the chicken suffer." 

     Another time she saw her father’s anger was when some neighborhood boys, Chava Guajardo, among them, had given her sister Toni a box filled with corn. Toni didn’t know the boys had taken the corn, and sugar cane, from a neighbor's yard. That's what they really wanted, the sugar cane. It was like candy. 

                                                                                            

My Mexican grandmother, Eusebia Villalobos Gonzalez

     Mr. Gutierrez, the neighbor, came to tell Nicolas about the theft, and when both men looked over at Toni, they saw the box of corn. Toni tried to explain. Nicolas didn’t give her the chance. He began hitting her with his hand and he wouldn't stop. Toni cried out, begging to explain. Eusebia heard the cries from a neighbor’s house and came running. She pulled Nicolas away from Toni.

     "I thought he would have killed her," my mother said, in a low voice as she finished telling the story. Apparently, my grandfather would tolerate much but not a thief in his family. According to one of my mother’s sisters, Nicolas had once told his son, Chuy, “I would rather see my child dead before I see him as a thief.”

     Harsh? I suppose, looking at it from my generation’s perspective, but perhaps. in my grandfather's Mexican world, a man was only as good as his word. Back in Mitic, a man's word could buy food, a horse, a house, or a plot of land. In this system of honor, a family, including the children, was judged by its actions. If anyone questioned a man’s word, he also questioned his character. If men could not place their trust in a handshake, a man’s word carried no value, neither did his life, as the song goes, La Vida No Vale Nada. 

     I asked my mom about boys, in general, who stole, in those days and how it reflected on them and their families. She said some boys were just playing around, getting their "kicks." Travieso, mischievous, was the word used to describe this behavior. But what was simply an adolescent prank in the U.S. was considered a lack of family control in Mexico.

     For me, her story indicated the difference between Mexican parents and their American-reared children, who preferred to speak English instead of Spanish, who attended American schools, played baseball, football, and knew little of agriculture or ranching. The responsibilities and duties assigned to children on Mexican ranches did not apply to them in American neighborhoods. In their parents’ eyes: had they been in Mexico, they would have been working the land rather than sitting in a classroom.

     They knew little of life in Mexico. Also, the depression years, poverty, and hunger, caused many people to behave in ways they would not normally behave. As she ended the story, my mother remembered, Chava, a close friend, who later was killed in the invasion of Guadalcanal during World War II. His sisters and my mother had been best friends well into their senior years.

     She also talked about the good times, like each year, when her father had a matanza (a slaughter). He would butcher the pig. His friends from their Santa Monica barrio came to his house to dig a pit in the backyard and stoke a fire at the bottom, where they buried the pig in burning ash, cooking it for hours. She described it as a neighborhood affair. 

Wednesday, June 05, 2024

Lionel Messi A Little Golden Book Biography - Mi Little Golden Book sobre Lionel Messi

  


Written by Roberta Ludlow

Illustrated by Nomar Perez



Publisher:  Golden Books 

Language: English

Hardcover: 24 pages

ISBN-10: 0593652177

ISBN-13: 978-059365217

 


Help your little one dream big with this Spanish language Little Golden Book biography about Argentine professional footballer Lionel Messi! Little Golden Book biographies are the perfect introduction to nonfiction for young readers!

 

This Little Golden Book about Lionel Messi--the record-smashing star forward for Argentina, FC Barcelona, and Paris Saint-Germain who is widely regarded as one of the greatest soccer players of all time--is an inspiring read-aloud for young readers.

 

Lionel Messi is widely regarded as one of the greatest soccer players of all time! This Little Golden Book Biography about the record-smashing star forward for Argentina, FC Barcelona, Paris Saint-Germain, and Inter Miami is an inspiring read-aloud for young readers.



 

 

 


Publisher: Golden Books

Language: Spanish

Hardcover: 24 pages

ISBN-10: 0593707648

ISBN-13: 978-0593707647

 


¡Ayuda a tu niño a soñar en grande con esta biografía en español sobre el futbolista argentino Lionel Messi de Little Golden Book! ¡Las biografías de Little Golden Book representan la introducción perfecta a los libros no-ficción para lectores jóvenes, ¡así como entusiastas de todas las edades!

 

Este Little Golden Book sobre Lionel Messi —el delantero y jugador estrella de Argentina, FC Barcelona, Paris Saint-Germain, y Inter Miami quien es ampliamente reconocido como uno de los mejores jugadores de fútbol de todos los tiempos— es una inspiradora historia para narrar en voz alta a los pequeños lectores.

 

 


ROBERTA LUDLOW is an Executive Art Director at Random House Children's Books. She lives with her husband, dog, and cat in Hoboken, NJ and Great Barrington, MA. They are all avid soccer fans (yes, the dog and cat too) and enjoy traveling to England as often as possible.

 

NOMAR PEREZ was born on the beautiful island of Puerto Rico. He moved to the U.S. at the age of 10, but the amazing colors, sounds, and flavors of his Puerto Rican culture have continued to influence him throughout his artistic life. He studied computer animation and painting at Bowling Green State University in Ohio, and has been an illustrator and designer ever since.



Tuesday, June 04, 2024

Mad River Ethos: Will Second Chances Be the Charm?

 Review: Lucrecia Guerrero. On the Mad River. Mouthfeel Press, 2024. isbn 978-1-957840-26-0

 

Michael Sedano 

 

Aside from having double names, and getting caught up in random chance, Rosa Linda and Donnie Ray have nothing in common when they grace themselves with small intimacies that explode in their face in a lethal confrontation with a sexual predator who sets his sights on Rosa Linda on page one of Lucrecia Guerrero's page-turner thriller, On the Mad River (link).

 

The novel offers a keen set of character studies of ordinary working-class gente who are forced to face down enormous events and in the process achieve balance in tumultuous lives. Maybe. Maybe one of them has a happy ending.

 

I hesitate to dub On the Mad River one of those ephemeral "beach read" novels, even though Guerrero's written a book you want to read in one or two sittings or hammock-reclines. Donnie Ray, Rosa Linda, and the other characters, grow on you, and they stay with you when you think the story's over.

 

Rosa Linda's a survivor, a young and attractive woman on her own after a miserable life being bounced around from home to home. That life makes her resilient and pragmatic, and a thief with justifications for her sins. A bus has dropped her off in Mad River, Ohio with only a few coins in her purse, but her boyfriend's life savings hidden in her luggage.

 

A creepy guy named Enon offers the pretty young thing a meal and a ride. Rosa Linda feels the creep in her gut. She hesitates but a fraction, before taking the easy way out of Mad River. She gets into Enon's car. It's a terrible decision, but Rosa Linda's made a career of terrible decisions. This is the first mistake that might get her throat slit, with her own knife, the one she stole from that boyfriend.

 

Donnie Ray is a barroom fist fighter, wound too tight from his own life growing up in Hillbilly Holler and his younger brother's brutal murder. Donnie Ray's blessed with a curious mind and a strong appetite for reading, and cursed to be stuck in the gunsights of gentrification. Donnie Ray's committed to Tara, a local woman, and his friends tell him he's too old for Rosa Linda, but Rosa Linda likes his looks.

 

In another one of those crummy decisions, Rosa Linda sets her sights on Donnie Ray. It's a felix culpa type of decision. When Enon has finally cornered Rosa Linda, it's Donnie Ray who's instrumental in eliminating the predator; hero malgre lui. The fight with Enon brings a purification to Donnie Ray's muddled thoughts and a reaffirmation of his roots in the holler. Rosa Linda's revelation is to understand familia and loyalty.

 

This all sounds like a tidy plot all wrapped up in a neat bundle with no loose ends, but here's the delight of On the Mad River. Author Lucrecia Guerrero doesn't want these characters' stories to end just because the rapist-murderer story ends. These people have lives that must go on, threads that started before the book began, and lives that must go on after that final page and "the end." Guerrero's character development makes this so much more than a mere thriller, a beach read. Readers will wrestle with their own feelings, not liking Rosa Linda all that much, admiring Donnie Ray for his nobility and empathizing with his haplessness.

 

Guerrero's crafted a fine finish. Donnie Ray may have resolved his pain and perhaps he's about to settle down with the community activist to bring a new life to the Holler. Rosa Linda's decided not to steal her adopted family's diamonds, and returns the boyfriend's money in a sincere Dear John letter. With her past placed behind her, Rosa Linda makes an honest decision to take a straight and narrow road to her dreams, doing it the right way this time.

 

This time. New life. In unwrapping these characters' complexities, Guererro discloses an important theme that describes what's happening in Mad River, second chances. Rosa Linda gives herself a second chance to pursue a decent life along with an acting career. She leaves town; Mad River was always to be a temporary delay. Donnie Ray has come to his senses about belonging in the Holler and with whom. He admits some of Tara's upbeat outlook has infected Donnie Ray himself.

 

I don't give Rosa Linda much of a chance to be successful in Chicago, but she's going to give it a go. She started the book with one or two strikes against her already, that second chance looms large in her future.

 

I think Donnie Ray and Tara have a good thing going and Rosa Linda's going to be a bad memory from the start of a long and happy life together. And Enon got what he had coming to him, so On the Mad River ends, if not happily, satisfactorily ever after.





Monday, June 03, 2024

_Corazón de agua_: literatura de la pandemia por la Dra. Natasa Lambrou

_Corazón de agua_: literatura de la pandemia por la Dra. Natasa Lambrou

 


Corazón de agua / Heart of Water

de Xánath Caraza

traducido al inglés por Sandra Kingery

Somos en Escrito Literary Foundation Press, 2024

 

La pandemia del COVID-19 sorprendió al planeta y lo hizo suspender durante casi dos años desde finales del año 2019 hasta, dependiendo del país, mediados del 2022. La sociedad contemporánea mostró una oposición a las instituciones democráticas y a los medios de comunicación más tradicionales. Las teorías de conspiración se dispararon durante todo el período y había mucha gente que creía que el virus era producto de un laboratorio y que los gobiernos de los países querían controlar a sus ciudadanos.

 

Por otro lado, las nuevas tecnologías, y más en especial el internet, favoreció la propagación de dichas teorías; sin embargo, la tecnología es la que ayudó también a que la gente no perdiera el contacto entre sí. Por entre las “entrañas” de esta situación tan doliente y dañina brotó un nuevo tipo de arte, un nuevo modelo de literatura que podríamos darle el marbete de “literatura de la pandemia”.

 

A este tipo de literatura pertenece Corazón de agua: un poemario que habla del aislamiento, de la distancia social que guardamos durante la pandemia, del dolor por la falta de seres queridos, de la muerte de amigos, de familiares y de la nostalgia.

 

Nostalgia

 

Luminosa promesa:

los rayos exteriores

me alumbran.

 

Rompen la sigilosa

oscuridad que se expande,

incierto devenir.

 

La piel anhela calidez,

reflexiona sobre

los que ya no están.

Los dañados por este

inesperado mal:

álgidas almas.

 

Por un instante el sol

nos transforma en flores

sembradas en las praderas.

 

Baña un bosque en la memoria:

paraíso aún no perdido:

árbol de vida, devuélvemela.

 

Antes y después, intermitente luz,

vida y muerte, eterno retorno,

nostalgia por lo que no será.

 

Corazón de agua de Xánath Caraza marca el después de la pandemia porque el antes es ya muy lejano; Caraza reflexiona sobre los resultados de este “cierre global” y el efecto que tuvieron los encerramientos y el aislamiento de las personas. La creadora mexicana, con la delicadeza y la elegancia, el lirismo y la belleza que caracterizan su obra, va a marcar este período ominoso.

 

Atenas, Grecia

Mayo de 2024