Wednesday, July 10, 2024

Vampirita and the Angry Mob - Vampirita y la turba enfurecida


By Mariana Llanos and illustrated by Laura Brenlla.

 

 

Publisher: Reycraft Books 

Language: English

Paperback: 136 pages

ISBN-10: 1478880570

ISBN-13: 978-1478880578

Reading age: 7 - 12 years

 

Embark on a fang-tastic adventure with "Vampirita and the Angry Mob (Book 1)" by Mariana Llanos, illustrated by Laura Brenlla. Vampirita's life takes an unexpected turn when she swaps Lima, Peru, for Sunny City, California. In this whimsical tale, join her in navigating the challenges of fitting into a town that's a far cry from her eerie hometown. Will Vampirita's mischievous plan to bring spooky back succeed, or will she discover unexpected enchantment in the seemingly mundane?

 

Gothic Humor Unleashed: Experience the humor as Vampirita finds herself in a not-so-spooky environment, attempting to inject a dose of the macabre into her life in Sunny City, California.

Navigating New Norms: Witness Vampirita's attempts to adapt to her new surroundings as she contends with the challenges of being caught between her eerie upbringing and the mundane reality of her new life, all while balancing the complexities of her divorced parents' differing expectations.

 

Cultural Clashes: Follow Vampirita's hilarious escapades as she grapples with the cultural differences between her vibrant hometown of Lima, Peru, and the seemingly ordinary Sunny City. Cricket and worm empanadas? Not here!

 

Mischievous Machinations: Join Vampirita and her reluctant friends as they cook up a mischievous plan to shake up the monotony and get her family chased out of town—pitchforks and torches included!

 

Annoyingly Nice Neighbors: Discover the quirks of Vampirita's next-door neighbors, August and Molly, who prove to be more sweet than spooky. Will their kindness thwart Vampirita's plans, or is there more to Sunny City than meets the eye?

 

Spooky Surprises: Will Vampirita's scheme to bring spookiness back to her life succeed, or will she uncover unexpected enchantment in Sunny City?

 

Dive into this enchanting tale of mischief, friendship, and discovering the magic within the ordinary.

 

 


 


Embárcate en una aventura fantástica con "Vampirita y la turba enfurecida (Libro 1)" de Mariana Llanos, ilustrado por Laura Brenlla. La vida de Vampirita da un giro inesperado cuando cambia Lima, Perú, por Sunny City, California. Acompáñala en esta divertida aventura mientras navega los desafíos de encajar en una ciudad que está muy lejos de su tenebroso hogar. ¿Dará resultado su travieso plan de volver a su espeluznante ciudad, o descubrirá un encanto inesperado en lo aparentemente mundano?

 

Humor Gótico Desatado: Experimenta las hilarantes situaciones que desencadena Vampirita al tratar de inyectar una dosis de lo macabro a su vida en Sunny City, California.

Navegando Nuevas Normas: Sé testigo de los intentos de Vampirita por adaptarse a su nuevo entorno mientras lidia con el desafío de estar atrapada entre su educación tenebrosa y la realidad mundana de su nueva vida, todo mientras equilibra las complejidades de las expectativas de sus padres divorciados.

 

Choques Culturales: Sigue las divertidas peripecias de Vampirita mientras lucha con las diferencias culturales entre su vibrante ciudad natal de Lima, Perú, y la aparentemente ordinaria Sunny City. ¿Empanadas de grillos y gusanos? ¡Aquí no hay!

Maquinaciones Traviesas: Únete a Vampirita y a sus amigos mientras traman un plan travieso para sacudir la monotonía y hacer que su familia sea perseguida fuera de la ciudad, ¡con horcas y antorchas incluidas!

 

Vecinos Irritablemente Amables: Descubre las peculiaridades de los vecinos de Vampirita, August y Molly, quienes resultan ser más dulces que espeluznantes. ¿Su amabilidad frustrará los planes de Vampirita, o hay más en Sunny City de lo que parece?

 

Sorpresas Espeluznantes: ¿Tendrá éxito el plan de Vampirita para atraer lo espeluznante de vuelta a su vida, o descubrirá un encanto inesperado en Sunny City?

 

Sumérgete en este cuento encantador lleno de travesuras, amistad y descubrimiento de la magia que hay dentro de lo ordinario.

 

 

Mariana Llanos is not a vampire, but just like Vampirita, she’s from Lima, Perú. She lives in Oklahoma where she writes books in both English and Spanish. She is a Pura Belpre Honor winning author for her book Benita y las criaturas nocturnas/Benita and the Night Creatures. Some of her other work include Run Little Chaski! (Oklahoma Book Award winner), Luca's Bridge/El puente de Luca (ALSC Notable Book) and more. Mariana loves visiting schools to spread her joy for reading and writing. Vampirita is Mariana’s first chapter book series. Just like Vampirita, she misses the gray and cloudy skies of Lima, but she has learned to love her new home.

 

 

Tuesday, July 09, 2024

Wait, Wait, Don't Tell Me I Have to Wait

Review: Tim Z. Hernandez. They Call You Back. Tucson, University of Arizona Press, 2024

Michael Sedano

I happily began reading They Call You Back by Tim Z. Hernandez. I don’t remember how many days into reading that I looked at the cover and noticed the publisher's bug next to the title. “Advance Reading Copy” it reads. The back cover says publication date of They Call You Back will be September 17, 2024. 


I'm not jumping the gun with this brief review. The book demands attention. Gente, waiting it out is all you can do. When the book hits the market, They Call You Back will be a literary sensation, for its stories, for the writing, for the book's necessity. 

 

They Call You Back is a necessary book at a necessary time. As the nation descends into divisive chaos, only unity can bring it back from the brink.  Tim Z Hernandez has a mission, it's been at the forefront of his work: make visible the invisible. Specifically, bring back from contemptuous disregard the Mexicanos and one Mexicana who were buried known only as "deportee".

 

Hernandez won the 2011 Premio Aztlán for the novel Breathing, In Dust. His 2013 novel is the first "discovery" book: Mañana Means Heaven, earns accolades for the Chicano writer’s uncovering the Mexican woman fictionalized in the beatnik classic, On The Road. Next, this author causes a sensation with publication of his 2018 investigative report All They Will Call You, that “finds” families of braceros killed in the worst airplane crash in history.

 

They Call You Back recounts the birth and growth of the author's mission--perhaps despite himself--to find missing souls. It's not just the deportees, nor Kerouac's lover. Hernandez reveals generational searches for lost graves and lost, missing, or disappeared, relatives. 

 

Asked by historians about his "method," Hernandez can point to dogged legwork but mostly to the lost themselves. A person doesn't need to be spiritual to be influenced by spirits, and that's Hernandez. The author discloses a yearning to be free of his quest, but when he's ready to leave behind the old work, a new story finds him when a relative contacts him. "I think I'm related to..." Skeptical of any claim, the author resists, but they--the spirits--call him back into the search.

 

Writers will devour They Call You Back as an avatar of good memoir writing. Every now and then, Hernandez pulls back the biography curtain to disclose a personal fact--a divorce, alcohol dependence--but his quests always compel the storyteller to get back to the next fact, the next connection between disparate events that, with hindsight, are prophetic. This is the difference between "memoir" and "autobiography," the author's dedication to writing about writing his stuff. The book's the thing whereby the author catches the conscience of a readership.


The author's use of time and location-based incidents will captivate readers and writers alike.  

There's a fly, and a butterfly, that attend a family crisis. The reader notes it, and the writer moves along. Some years afterward, another crisis looms and the author sees another fly, perceives the influence of another butterfly rebounding through family history. Readers recognize matters are not coincidental, but the author remains unable to pin down a concrete connection. In fact, he avers a feeling of being prisoner of demanding spirits that need to be written about.

 

With one glaring exception, the spirits and families seek identification with consequent closure. Because I have an uncorrected proof, there's a possibility editors will eliminate the one chapter filled with black boxes emending the name of one of the deportees. A family, after engaging Hernandez' efforts to find the story of a dead relative, demurs. They pull back permission to name the relative and the author is left helplessly sharing words and grammar--product of years of work-- that build to a name, and instead the name is covered with a black box. It's disconcerting to readers, given the ethos Hernandez builds as a sincere discoverer and sharer of light, to see the story marked up like a mural tagged and ruined beyond recognition by marker-wielding vandals. In this case, the vandal is the author himself.

 

For the author, as for readers, the search for the missing lives comes with powerful emotions. One of the most emotional moments for readers, as for the writer and his children, comes when the California State Assembly fetes the author and book, All They Will Call You. 

 

There's a powerful backstage moment when Joan Baez sings Woody Guthrie's "Deportee" song to Hernandez and three families of the discovered. It's the only time Baez or anyone, has sung the words for members of the families of the Los Gatos plane crash.

 

More powerful, when the State Senator begins to call the names of the dead, Hernandez' son takes up the ritual when raza roll call the absent: "Presente!" the boy mumbles at first to himself. Then, as the roll grows, the boy's voice grows in power and others join him. It's a magnificent piece of writing here. As California government calls out names, the boy's voice draws the elected members of government to their feet. As each name is pronounced--all they will call you is 'deportee'-- the government finally acknowledges its shamefulness; the power of cultura brings back those lives once and for all.

 

Presente!


Link to UofA Press: https://uapress.arizona.edu/book/they-call-you-back

 

 

Friday, July 05, 2024

Summertime Blues at the Santa Barbara Writers Conference

 Melinda Palacio

 

After more than two years of rebuilding life after the pandemic lockdown, it seems as if covid is not done with us. The virus still lingers and thanks to vaccines and hygiene protocols, the corona virus presents itself as a mild cold at best in most cases. As Poet Laureate, I have had a year of public engagement and have been lucky not to have another bout of covid. Local events didn’t seem as risky for me. Although no event or venue is safe from Covid, I was nervous about going to Disneyland last month and being exposed to people from around the globe. 

 

I imagined the happiest place on earth to also be the most welcoming germ exchange. However, I was pleasantly surprised to see hand sanitizer dispensers throughout the park and handwashing encouraged. I didn’t notice anybody coughing. I had taken the precaution of adding zinc to my regiment of vitamins and supplements. I also didn’t want to jeopardize my upcoming schedule at the Santa Barbara Writers Conference (SBWC), which started the next day. At the SBWC, I had a full week from helping with registration and agents’ day, teaching a marketing workshop with Lida Sideris to appearing on two panels. 

 

The week was off to a wonderful start, greeting old friends, conference regulars and new attendees. The first panel of the conference was an all Poet Laureate Panel that Perie Longo moderated. In my duties as Poet Laureate, I often encounter people who do not realize that Santa Barbara has had ten poets laureate. We’ve lost our first Poet Laureate, Barry Spacks and our most recognized laureate, Sojourner Kincaid Rolle. 

 

I hope that the panel was as interesting for folks attending the conference as it was for me. I certainly learned much about our past poets. It’s wonderful to see how we each have brought something different to the honorary position. I learned something new about each of our laureates, but have to say I was super impressed with David Starkey who has retired as a poetry professor at Santa Barbara City College and continues to write poetry and academic books, plays in band, hosts a local television show, writes for the Independent; and he has written his first novel, Poor Ghost, a fictional account of a band that crashes their plane in the backyard of a character who lives in Goleta. The clever novel mines Starkey’s own poetry for song titles and motifs, leaving the reader with the feeling of having followed the band’s music for years. I can almost hear their songs. The novel represents Starkey’s pandemic lockdown project. It also helps that he is an accomplished musician. If you’re looking for a book to take to the beach or if you enjoyed Daisy Jones & The Six by Taylor Jenkins Reid, try Poor Ghost by David Starkey.

 

Unfortunately, my SBWC activities were cut short due to Covid reaching my household. Although, I personally never got Covid and kept testing negative, I was exposed to the virus and out of an acute precaution stayed away from the remainder of the conference, Tuesday-Friday. I was sad to miss connecting with so many people, especially after receiving messages from friends who I only know from the conference who were looking for me at the cocktail party and the panels I was scheduled on.  I hope to see some familiar faces at the Goleta Valley Library August 4 at 2pm. I am looking forward to meeting our new youth Poet Laureate, Jasmine Guerrero Sevilla; join us at the Goleta Valley library next month. 

 

If you are in New Orleans this weekend, I will be at the Music & Poetry Summer Fest at the Domino, Sunday July 7, 12-5pm, 3044 St. Claude Ave, New Orleans. 


*An earlier version of this column appeared in the Santa Barbara Independent

Thursday, July 04, 2024

Through American Eyes

                                                                                         

                                                                             

Jesus "Chuy" Gonzales, circa 1930, Santa Monica, CA

     When I think of the 4th of July, of course I think about U.S. independence from England, starting with everything I learned in school, like the signing of the Declaration of Independence in 1776, about Washington crossing the Delaware River, the street battles in Boston, up on Bunker Hill, through Virginia, and rural New York; then, the end of the war with England in 1812.

     With other Americans, I celebrate U.S. independence. As an army veteran, having served in combat, I feel a deep sense of my “American-ness,” not necessarily patriotic, more abstract, a certain sense of “being,” maybe because when one has faced the possibility of dying on foreign shores for a country’s independence, it’s different than just learning about it in history books, shouting “USA!” “USA!” “USA!” or celebrating with fireworks and barbecues. Maybe it's historical. My roots on this land, which was once Mexico, go back generations.

     As a descendent of Mexicans, my other homeland, just two hours to the south, much closer, physically and mentally, than say Europe, Africa, or Asia, so I'm aware of my family’s history, especially, when my home state, California, in 1776, was still part of Spain, and the first Spanish-Mexican-Indian-Afro settlers were arriving and founding missions and settlements at San Diego and San Gabriel, all the way up the coast to San Francisco. It 1820, Mexico won its independence from Spain, and this land was then Mexican territory, Alta California.

     That too is my history, much like the history of Americans whose roots go back to Africa, Europe, Asia, and the Middle East, all of us coming from somewhere else, that is, except for native Americans, whose roots go deeper than all others.

     In some ways, for Mexicans, like native Americans, it’s difficult to reconcile our immigrant status, since our history has us on this land before it became the U.S. For us, the border is an artificial line, one our ancestors have been crossing for generations, and it's hard seeing ourselves as immigrants.

     Maybe, that is what it means to be an American, dualities, hyphenated social beings, whether we accept it or not. What is it to be an American? Few can define it. It’s too complex. It isn’t a piece of paper, alone. It’s metaphysical. Cosnider a Mayan whose ancestors on this American continent go back 2,000 years. Isn’t he or she even more American than the first Europeans whose grandparents arrived on Ellis Island in 1920?

    I remembered this when I interviewed my uncle back in 2001, after the Trade Center fell, Americans were on a war-footing, not really sure why, or with whom, but questioning what it was to be an American. I’d venture to say, my uncle was as American as any other American. Read and see for yourself.

                                                                                      

Chuy and Lupe Gonzales, Nine Decades an American

                                                          Jesus "Chuy" Villalobos Gonzales

                                                                 Santa Monica/Venice, CA

      "At Grant School in Santa Monica, I was a good baseball player, first base. Oh, I used to stretch to get that ball. One day Mrs. Stratman, my teacher, who was head of the team, told me, 'Jesus, you got to bring shoes to school.' I said, 'Mrs. Stratman, you're gonna punish me by making me wear shoes. Okay, I won't play [baseball].' She thought about it and let me go barefoot."

                                                                       1.

     I spoke to my uncle, Jesus “Chuy” Gonzales, my mother’s second oldest sibling, at his home in Venice, just off busy Lincoln Boulevard, a mile or so from Venice Beach, where he pruchased his first properties in the 1950s, after working as a dispatcher in Oregon during the war.

     I hadn’t seen him in a couple of years, and he was elated when I called to tell him about my project interviewing elders of the WWII generation and asked about coming over to talk to him. He was the only Gonzales sibling who, in his teens, returned to Mexico to live on the family ranch, temporarily, in Jalisco, and he’d always enjoyed talking about his memories. 

     He's passed now, but at 92 years of age, when this interview took place, he still looked spritely and told me his kids, my cousins, were annoyed with him for climbing up on the roof, recently, to clean the gutters. He also said, proudly, the California Department of Motor Vehicles had granted him a driver’s license for another year, but he admitted, he rarely got behind the wheel. He trusted his own driving skills. It was others he worried about

     Like his father, Nicolas, he was short, trim, and darker skin, but he always looked much taller, dignity, I think it was. He wore casual slacks, a dressy short sleeve shirt with a white t-shirt underneath. He spoke English, not with a Spanish accent but more of a sing-song working-class American intonation. He slipped into Spanish, usually to make a point or quote somebody. 

     He told me he arrived in the states as a child, in 1920, about six or seven years old, the second oldest child of the seven who left their rancho, Mitic (pronounced Mee-teek), during the Mexican revolution, to settle in the U.S., along with hundreds of thousands of Mexican regugees. His mother Eusebia was from another rancho, Las Palmas. I told him I’d recently chatted with a man I knew as Andy, whose wife’s family owned La Talpa, a popular restaurant in West L.A. I told Andy my family was from Mitic, my grandmother's side from Las Palmas, which is now gone. Andy said he’d come to the states from San Gaspar de Los Reyes, a town neighboring Mitic. He said he knew Mitic well, and even remembered Las Palmas, my grandmother’s village and thought it was still there.

     My uncle was surprised. He said he’d also heard his mother’s village no longer existed, then said he hadn’t visited the area in many years.

     There had always been some question as to the name of his father’s ranch, my older aunts called it Mi-tic, two syllables, but my mother and the younger aunts called it Mi-ti-que, three syllables.

     He said he’d heard both but heard Mitic was the more formal name.

     I recently found in the book Beyond the Codices: The Nahua View of Colonial Mexico, edited by Arthur Anderson and James Lockhart, an Indian, Miguel Lopez, wrote a letter to the king of Spain, in 1611. Lopez, a colonized Indian from the province of Jalostotitlan, petitioned the king to remove a local Spanish priest, the vicar, Francisco Munoz, who, Lopez claimed, beat the Indians, took their food, and had a lady for his personal use.

     Lopez identified the village where this occurred as Mizquictlaca, a Nahuatl word, which the Spaniards, possibly, shortened to Mizquitic, one of the original seven indigenous villages in the province of Jalostotitlan. Later in the letter, Lopez uses the name “Mitique" and "Mitic,” which was a second village of the seven original Texcuexe settlements.

     Whatever name the settlement used, one thing is clear, Mitic dates back to the early seventeenth century. It must have been a well-established community in 1611 to have a church and a vicar, unless the Vicar was visiting from Jalos, the largest town in the province.

     My uncle’s paternal grandparents, Juan Gonzales and Micaela de Los Santos, had deep roots in Mitic. Their parents, my uncle's great-grandparents, Perfecto Gonzales (born February of 1830) and Catalina Gonzales, are identified as “Spanish,” while Micaela’s parents, Salvador de Los Santos and Vicenta Villanueva de Los Santos, are identified as “Mexican,” making their descendants the first "Gonzales" mestizos.

     He said, "You know, it was just a little rancho [when I lived there] back then, but there were stores and businesses.” He added, as an afterthought, “I heard they [he wasn’t sure whom] changed our name from Calero to Gonzales, I think…or some name like that."

     "I had never heard that. Why?" I asked.

     He shrugged. "It wasn't unusual in those days," he said.

     "So, all this time the family thinks they are really Gonzales but could have been Calero?"

     “It might have been a long time ago.”

     Before the Revolution of 1910, by all accounts, the Gonzales family of Mitic had lived relatively well, ranchers and farmers, owners of large tracts of land, a sign of wealth in rural Mexico. He said, “Today, it’s almost all gone, just a few ranches.”

     I reminded him of the time I called him in 1992, from San Juan de Los Lagos, asking the location of the family ranch, thinking it was a neighborhood of San Juan. “No, Viejo,” he’d said, “it’s far from San Juan, closer to San Gaspar, maybe 45 minutes in a taxi. Our cousin, Franciso, and his family, should still be there.”

     I hopped into a taxi and headed for San Gaspar. From there, the driver, who had never driven to Mitic, asked for directions. After a grueling half-hour ride on a bumpy dirt road, I found Mitic and Francico Gonzales working and operating the ranch. It wasn’t much of a ranch back then, mostly adobe and brick houses.

     I returned, again, in 2002, a few months after I’d interviewed my uncle. Franciso had remodeled his home, added a long veranda and shaded front porch. Adjacent to the house was a new barn, corrugated steel, large enough for trucks, tractors, and farm equipment. All around me I heard the hum of automatic milking machines. A row of cows stood under shaded stalls. A tractor was parked at the edge of a field. Francisco’s teenage-daughter kept watch over the cows. 

     A handsome man, probably in his early sixties, at the time, light skin bronze from the sun, and friendly eyes, he wore a cowboy hat and jeans. He said, “No one from the north has visited us in many years.”

     He remembered visiting Santa Monica, and the American Gonzalez clan, maybe around 1965. He worked with my uncle, Joe, who supervised a maintenance crew in a large apartment complex in Venice, near Penmar Park. I looked over at a crumbling adobe, right above where a small river passed. He said he kept it as a reminder of the old ranch. It was difficult for me to imagine what life must have been like when my grandparents, uncles, and aunts lived there.

     He showed me around the property, pointing out the property lines, a vast amount of land, lush from the recent rains. I told him how calm and beautiful the ranch appeared. After, we retired inside and talked for a while. When it was time to leave, he removed his hat, wiped his brow, and told me how, a few months earlier, his teenage daughter had been kidnapped.

     “By whom?”

     “Strangers. I guess one of them had had his eyes on her all along.”.

     He said he made a few, timely, telephone calls to some very important people in San Juan de Los Lagos. It didn’t take long before the police set up roadblocks, apprehended the kidnappers at the state-line, and returned his daughter.

     The irony wasn’t lost on me. I asked, "Didn't my grandfather kidnap my grandmother?"

     "Yes, yes I think I did hear it told that way," he said, “down there in the river.” He pointed to the river beyond his home.

     Strange how, even though there is much change in rural Mexico, some things never change.

     Before I left my uncle Chuy's house, I could tell by the tone of his voice he was pleased with my visit. He said he was glad someone in the family was still interested in the past and how much our family had sacrificed, and suffered, to start again in the U.S.

Wednesday, July 03, 2024

Ultraviolet


By Aida Salazar

 

 

Publisher: Scholastic Press 

Language: English

Hardcover: 304 pages

ISBN-10: 1338775650

ISBN-13: 978-1338775655

Reading age: 10 years and up

 

Sometimes life explodes in technicolor.

 

In the spirit of Judy Blume, award-winning author Aida Salazar tells it like it is about puberty, hormones, and first love in this hilarious, heartwarming, and highly relatable coming-of-age story. Perfect for fans of Jason Reynolds, Kwame Alexander, and Adib Khorram.

 

For Elio Solis, eighth grade fizzes with change―His body teeming with hormones. His feelings that flow like lava. His relationship with Pops, who’s always telling him to man up, the Solis way. And especially Camelia, his first girlfriend.

 

But then, betrayal and heartbreak send Elio spiraling toward revenge, a fight to prove his manhood, and defend Camelia’s honor. He doesn’t anticipate the dire consequences―or that Camelia’s not looking for a savior.

 

Ultraviolet digs deep into themes of consent, puberty, masculinity, and the emotional lives of boys, as it challenges stereotypes and offers another way to be in the world.

 

 


Review

 

* “Salazar writes from a place of abundant empathy. . . . Her frank but thoughtful approach to puberty and sexuality . . . provides valuable life lessons to young readers without tilting into preachiness. . . . Could inspire in-depth conversations on the broad spectrum of coming-of-age narratives and experiences. Yet another heartfelt and accessible tale of growing up from one of the best in modern children’s literature.” ―School Library Journal, starred review

 

* “Written in Salazar’s stunning and highly accessible verse . . . this novel stands out for the thoughtful way it expresses a young boy’s perspective as it discusses topics such as masculinity and consent. . . . A story that sings to the soul.” ―Kirkus Reviews, starred review

 

* “In a succinct, conversational style, Salazar (A Seed in the Sun) humorously and introspectively depicts the effects of puberty on Elio’s everyday life as he grapples with confusing messaging he receives about how to be a man. Issues around consent and patriarchal systems are handled with insight and sensitivity, culminating in a compassionate verse novel about first love, heartbreak, and vulnerability.” ―Publishers Weekly, starred review

 

Aida Salazar is an award-winning author and arts activist whose writings for adults and children explore issues of identity and social justice. She is the author of the middle-grade verse novels The Moon Within (International Latino Book Award Winner), Land of the Cranes (Americas Award Winner), the picture book anthology, In the Spirit of a Dream, and the picture book biography Jovita Wore Pants: The Story of a Mexican Freedom Fighter. She is a founding member of Las Musas, a Latinx kidlit debut author collective. Her short story "By the Light of the Moon" was adapted into a ballet production by the Sonoma Conservatory of Dance and is the first Xicana-themed ballet in history. She lives with her family of artists in Oakland, California.



Tuesday, July 02, 2024

Gluten-free Chicano food: Summertime is Guisadotime

Carne Molida and Papas in Chile Cheese Sauce: A Classic Guisado

Michael Sedano, The Gluten-free Chicano

**see Carb count at the bottom of the page**

 


The Gluten-free Chicano loves a hearty guisado any day of the year, weather cold or weather hot or somewhere in-between. There's always room for guisado, the spicy, stew that's a hallmark of genuine Mexican-Chicano home cooking. 

 

Guisado refers to the cooking method, something cooked in savory liquid, usually over extended time over low heat. In raza kitchens, guisado often means a slow-cooked meat and vegetable stew. Guisados are universal in our comida because they are fast and easily prepared, delicious, and accommodating to a frantic end-of-the-day schedule.

 

Clean-up's a breeze. in addition to trastes from the meal, you'll clean a knife, a cutting board, one pot or deep frying pan, an optional lid.

 

Today, el Gluten-free Chicas Patas shares a classic guisado named "those potatoes in red cheese sauce with ground beef." Millions of Chicanas Chicanos in greater Aztlán know the dish and every household no matter poor or middle class, ate a version of this on a regular basis. This is as genuine as genuine gets when you say, "Let's eat Mexican food tonight!"

 

Ingredients in four to six servings:

Brown or white onion

3 or more cloves garlic

1 small bell pepper

4 peeled potatoes 

1 carrot

1/2 stalk celery

gebhardt's chile powder

1 can 15 oz tomato sauce

good cheddar cheese

olive oil

3/4 lb good ground beef (80/90%)

 


Easy Preparation:

Mince the onion and garlic

Chop the potatoes and bell pepper into spoon-size chunks

Slice the carrot into rounds or chop

Mince the celery leaves and stalk

(One of the Gluten-free Chicano's gente is no fan of bell pepper so the pepper's cut large for easy removal. The flavor's in the food.)

 

Fast Cooking:

In a deep pot or frying pan, be generous with the olive oil (especially if using 93% beef) and wilt the onion and garlic over medium heat.

Sprinkle with ample Gebhardt's or another good ground red chile powder.

 

Up the heat, add the papas, carrots, pepper, and celery. Keep stirring and get everything lightly browned. The aroma now will make you weak-kneed and grateful.

 

Add the meat and break it up into fork-size crumbles as the mélange gets cooking and mouth-watering.

 

Time for other duties:

Lower the heat to medium.

Pour in a can of tomato sauce.

Rinse the can twice with tap water and add to the pot or pan.

Dab six or eight 1" cubes of cheese across the surface.

 


Cover, lower heat and let it cook for fifteen or thirty minutes or longer. The lower the flame/heat, the longer you have. The slow-cook method breaks down the potato to produce a richly-flavored thick broth.

 

In a hurry:

Cover, raise the heat, and cook for 15 minutes or less , stirring occasionally, until a fork easily pierces a papa and all the cheese is dissolved into the red soup.

 

Serve with hot corn tortillas




Carbs approximately 176 in entire recipe, or 35g per serving (5).

4 potatoes, 31g per potato 

1 onion, 16g

1 carrot, 12g

4 garlics, 1g

1/2 stalk celery, 1g

tomato sauce, 16 oz, 18g

cheddar cheese, 1 cup, 4g

beef, 0g

 

Carb counter:

http://www.carbohydrate-counter.org/advsearch.php

 

 

 

Monday, July 01, 2024

Comentario de Katori Walker para _Corazón de agua / Heart of Water_

Comentario de Katori Walker para _Corazón de agua / Heart of Water_

 


Corazón de agua / Heart of Water es una colección de poesía única y poderosa que explora el espíritu humano y los misterios de la existencia con pensamientos provocativos de autorreflexión y momentos profundos de introspección. El uso exquisito de las palabras de Xánath Caraza, profesora y poeta, crea un ritmo y un fluir que permite a los lectores descubrir la conexión entre emoción, belleza y ausencia. Como menciona en uno de los poemas del libro titulado “Aliento”, ‘…No hay nada que sea mío / en esta tierra / sólo mi respiración…’, gentilmente nos lleva a un estado de consciencia, a través de la interacción de observaciones sutiles y la aceptación radical de nuestra circunstancia presente.  Es con gran entendimiento e inteligencia que una selección de palabras en negritas está entre tejidas con el texto para crear una conexión figurada escondida en plena vista para cultivar una nueva perspectiva que estimule imágenes vibrantes en los corazones y mentes del lector.

 

Katori Walker vive en la ciudad de Nueva York. Es una artista multimedia, poeta, guionista, educadora en meditación y la autora de tres Rookie Read-About Geography Series (Scholastic Library Publishing).

 


Corazón de agua/Heart of Water is a unique and powerful collection of poetry that explores the human spirit and its mysteries of existence within thought-provoking self-reflection and deep introspective moments. Professor and Poet, Xanath Caraza’s exquisite use of words creates a rhythm and flow that allows readers to discover the connection between emotions, beauty and impermanence. As in one of her poems inside the book titled “Inhalation”, ‘…There is nothing that is mine / in this land / except my breathing…,’ it gently awakens us through the interplay of quiet observation and the radical acceptance of our own present circumstance. It is with great insight and cleverness that selections of boldface words are weaved within the text to create a surreal connection that is hidden in plain sight to raise a new perspective that stimulates vibrant imagery in our heart and mind.

 

Katori Walker lives in New York City. She is a multimedia artist, poet, playwright, meditation educator, and the author of three Rookie Read-About Geography Series (Scholastic Library Publishing).